Fujifilm X-Pro1 Specification Review

Fujifilm X-Pro1 – When Fujifilm declared its FinePix X100 retro styled large-sensor lightweight at Photokina 2010, it taken the creativity of serious professional photographers in a way the company seemed not to have quite expected. The X100’s mixture of Normal dial-based managing and excellent picture quality introduced extensive plaudits, making it something of a conspiracy traditional despite its unquestionable faults. The following addition to the range of the X10 lightweight, with its shiny, manually-controlled contact, has encapsulated Fujifilm’s revival as a product worth serious attention.

Fujifilm X-Pro1
Fujifilm X-Pro1

The X100 may have seemed very conventional but it located some very modern technological innovation – major amongst which was its multiple optical/electronic viewfinder. This style not only permitted the choice of a rangefinder-style visual perspective or a completely digital perspective, but was also able to overlay digital data over the visual viewfinder. It was a work of art of technological innovation, but showed up to be a style very much reliant on its use with an incorporated primary lens.

With the X100’s success and the improving use of mirrorless exchangeable lens camcorders, it seemed only a matter of time before Fujifilm would present a higher-end design with changeable contacts. That digicam has now visited the shape of the X-Pro1, whose name results in absolutely undoubtedly as to its designed market: it becomes the first of its type particularly targeted at photography lovers.

Key Features

  • Fujifilm-designed 16MP APS-C X-Trans CMOS sensor
  • Novel color narrow range to reduce color moiré, no visual low-pass filter
  • EXR Processer Pro picture processor
  • Dual-magnification multiple visual / digital viewfinder
  • Analogue calls for shutter rate and visibility settlement on top of camera
  • All-new, completely digital X lens mount; 17.7mm flange-to-sensor distance
  • Three ‘XF’ contacts at launch: XF 18mm F2 R, XF Negatives F1.4 R, and XF 60mm F2.4 R Macro
  • Prime contacts have traditional-style aperture jewelry (1/3 quit increments) and huge guide concentrate rings
  • Revised rear-panel management layout
  • On-screen ‘Q’ cpanel and remodeled tabbed selection system
  • Focal-plane shutter, 1/4000 sec max speed
  • 3.0″ RGBW 1.23M dot LCD

The X-Pro1 is most easily recognized as a beefed-up, interchangeable-lens edition of the X100, but it’s a lot more besides. It maintains the same primary analog management viewpoint, but the design and style has been rationalized and delicate in a way that indicates Fujifilm has been hearing to reviews from customers and evaluators as well. For example, the shutter rate switch has a main secure key for its Automatic place, and the visibility settlement switch is recessed, which decreases the threat of random configurations changes. There’s also a conveniently-placed ‘Q’ key that delivers up an on-screen cpanel to gain accessibility to a variety of features that formerly required a vacation into the choices – a much-needed enhancement over the X100.

Performance

Overall Performance

The X-Pro1 isn’t the quickest digicam in the world, and certainly can’t coordinate a similarly-priced SLR for rate and responsiveness. It’s a noticeable enhancement over the X100 though, and in comparison acts much as we’d anticipate from a contemporary digicam, staying sensitive to the manages all of the time and streaming jolts of pictures entirely properly. It definitely benefits from using a quick SD bank cards, though, and we’d suggest getting hold the newest UHS-I bank cards to get the best out of it.

The digicam is ready to capture about a second after shifting the ‘On’ change. However it does take a second or two to resume from auto-power down following a half-press of the shutter key, and it can’t be ‘woken’ by any of the other manages. This technique can be speeded-up by allowing ‘Quick Start Mode’ in the Set-up selection, but Fujifilm alerts this comes at the trouble of battery power.

Playback functions are reasonably quick and sensitive, but benefit clearly from using a UHS-I bank cards (for example magnifier and ranking pictures can feel remarkably laggy even with a Category 10 ‘standard’ SD). When surfing around easily through pictures there’s also a visible wait before capturing information is shown. Data file create periods aren’t especially quick, even with a UHS-I bank cards, but brilliant streaming indicates that you’ll hardly ever observe any adverse effect o the capturing procedure. However if you capture jolts of RAW pictures you can easily achieve a point where you is not able to capture until it’s eliminated some data from its shield to the credit bank cards.

Continuous Shooting and Buffering

The X-Pro1 has a choice of two ongoing drive rates of speed, noticeable 3 and 6 fps; we calculated the latter to be a little bit more slowly than promoted, although still entirely decent at about 5.6 fps. It has very excellent streaming too, for 19 JPEG supports or 11 in RAW (with or without an associated with JPEG). Compared with the X100 it does not secure up after a rush, but allows you capture again as shield space becomes free; this is lucky as composing a complete rush to bank cards can take the best part of a few minutes. When set to JPEG-only, you can capture consistently at decreased rate (~2.2 fps) after the preliminary full-speed rush.

Auto-focus rate / accuracy

Autofocus rate is not the X-Pro1’s most powerful point. In good mild it’s just excellent, and will hardly ever be so slowly as to make you skip photos. But it’s nowhere near as quick as the state-of-the-art contrast-detect AF techniques found in the quickest mirrorless cameras such as the Olympus OM-D E-M5 or Panasonic GX1. In low mild the X-Pro1 starts to battle clearly, and the gap with its colleagues broadens further.

Focus rate is extremely lens-dependent, of course, and the 18mm F2 and Negatives F1.4 are remarkably faster than the 60mm F2.4 Macro. But it’s also the purpose of lens style, and the fastest-focusing contacts we’ve seen for mirrorless cameras use light and portable internal-focus techniques that can be motivated quickly and perfectly without taking extreme energy. Fujifilm, on the other hand, has used device concentrate techniques for the 18mm and Negatives contacts, in which the whole visual device goes back and sends for concentrating, and an increasing gun barrel style for the 60mm. The result is that the X-Pro1 simply can’t coordinate other mirrorless cameras for concentrate rate with any of its contacts.

Battery life

The X-Pro1 uses the NP-W126 battery energy, providing a potential of 8.7Wh. According to Fujifilm the number of photos you’ll get from electrical relies upon extremely on your viewfinder use and configurations, from 150 to 350 photos with combined OVF/LCD use. This is more-or-less par for the course for a mirrorless digicam, but a long way off the endurance of a semi-pro SLR. In concept, though, you can get as many as 1000 photos using only the visual locater with the least power-hungry installation. It’s value learning the desk on-page 23 of the instructions to get an idea of what you might anticipate.

If you mainly capture with the visual locater you can turn on ‘OVF energy preserve mode’ (Setup Selection Website 2), which means to enhance battery energy by not constantly studying out information from the indicator. Its main drawback is that the stay histogram is no longer available – instead the X-Pro1 reveals a sad, vacant box in its place, for no apparent reason. If you mainly capture in guide visibility method, the stay histogram does not work effectively effectively anyway, so switching OVF energy preserve on is value considering; however in other ways the histogram is completely useful that we’d be prepared to keep it at the cost of battery energy.

Images Quality

Overall picture quality

In terms of picture high quality, there’s not a large amount to say about the X-Pro1, aside from the fact that it’s outstanding in almost every situation you can toss at it. We’ve taken countless numbers of supports with the X-Pro1 across a variety of illumination circumstances, and it provides fine results again and again. White balance is well-judged, and color version is outstanding. High ISO picture high quality is extremely amazing too, even under synthetic light where many cameras battle.

Fujifilm X Pro 1 Overall image quality

The X-Pro1’s low light, high ISO image quality is impressive. This ISO 6400 JPEG example shows attractive, saturated colour and well-judged white balance. Noise levels have been kept impressively low too.

It’s value repeating here that the visual company’s contacts, along with Fujifilm’s incorporation of application improvements into the program style, obviously performs most in the body overall picture top quality. The XF Negatives F1.4 R in particular is one of the very best contacts we’ve had the satisfaction of using – we discover it difficult to discover any mistake with it at all – and while the others may not quite get to the same giddy levels, the XF 60mm F2.4 R Macro is still optically excellent indeed, and the XF 18mm F2 R works very acceptably given its dimension and rate.

Chroma cloud in JPEGs

If you look carefully at the X-Pro1’s JPEGs you can sometimes see a compromise for its great ISO efficiency, in the proper execution of a level of chroma cloud where powerful colors can hemorrhage across low-contrast sides into neutral-toned around places in specific circumstances. The impact is little at ISO 200, but gets progressively apparent as the understanding is improved. This, in convert, has effects for the use of the greater DR configurations, as you threat improved chroma cloud using DR400 (which needs ISO 800).

Fujifilm X Pro 1 Images Quality Chroma blur in JPEGs
ISO 100 (1/220sec F5.6), XF 18mm F2 R

This is shown below; here we’re looking at the same field taken at ISO 200 and ISO 800/DR400. There’s a little color blood loss in the plants even at ISO200, but it’s more noticeable when the understanding is improved. These illustrations use the Conventional (0) disturbance decrease establishing – decreasing this to Low (-2) has little impact. Neither RFC- nor ACR-converted RAWs display this impact.

RAW emphasize restoration, and importance of DR configurations to RAW

It’s attractive to think of DR configurations as being most appropriate for JPEG photographers, but they implement similarly to RAW catch. Both Raw Details file Ripper and ACR/Lightroom acknowledge the X-Pro1’s DR configurations, and take advantage of the extra emphasize data by standard. As regular, it’s also possible to restore emphasize details that’s missing in the digital camera’s JPEGs even at DR100 – but there’s possibly an extra quit of fully-recoverable emphasize data at DR200, and two prevents more in a DR200 file. Whether you’ll actually get this, though, relies upon on the powerful variety of the field and the digital camera’s metering – often DR 200 will maintain everything that’s available.

Fujifilm X Pro 1 Images Quality
Fuji 60mm f/2.4 – 1/250 sec at f/2.4 and ISO 200

The example below looks at plants from a shiny sky area taken at the three DR configurations, evaluating the digital camera’s JPEGs with RAW data files that have been designed using an visibility establishing of -2 in ACR. In this particular situation we can see a obvious benefits for DR200 both in JPEG and RAW; the DR100 retrieved RAW file reveals tell-tale desaturation and lack of tonality, showing that one or more of large programs has attached absolutely and ACR is creating a ‘best guess’ on the restricted information that’s remaining. In comparison the sky details is retrieved absolutely at DR200, and (not atypically) there’s nothing extra to be obtained by using DR400.

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Specification

Body material Die-cast Aluminium alloy
Sensor • 23.6mm x 15.6mm (APS-C) X-Trans CMOS sensor
• 16.3 million effective pixels
• Primary colour filter (RGB color filter array)
Sensor cleaning Ultrasonic Vibration
Image sizes 3:2
• 4896 x 3264
• 3456 x 2304
• 2496 x 1664

16:9
• 4896 x 2760
• 3456 x 1944
• 2496 x 1408

1:1
• 3264 x 3264
• 2304 x 2304
• 1664 x 1664

Motion Panorama
• L  7680 x 2160     Horizontal  7680 x 1440
• M  5120 x 2160     Horizontal  5120 x 1440

Still image formats  • RAW (.RAF)
• JPEG (EXIF 2.3)
• RAW + JPEG
Image processor Fujifilm EXR Processor Pro
Movie recording • 1920 x 1080 Full HD, 24fps
• 1280 x 720 HD, 24fps
• 29 minutes max recording time
• H.264 MOV format
• Stereo sound
Lens mount Fujifilm X mount
Image stabilization  • In-lens optical stabilization when available
Auto focus  • TTL Contrast Detection AF system
• Multi, 49 Area (7×7) LCD / EVF, 25 area (5×5) OVF
• AF frame size changeable, 5 types
• Distance indicator
Focus modes  • Single shot AF (S-AF)
• Continuous AF (C-AF)
• Manual focus (MF)
AF assist lamp  • Yes
Exposure modes  • Program AE
• Aperture priority AE
• Shutter priority AE
• Manual
Sensitivity  • ISO 200- 6400 (Standard Output Sensitivity)
• 100, 12800 and 25,600 in extended mode
• Auto ISO (400, 800, 1600 or 3200 upper limit)
Metering modes  • TTL 256-zones metering
• Multi-pattern
• Center-Weighted Average
• Spot
Exposure comp.  • Up to ± 2.0 EV
• 1/3 EV steps
Shutter speeds  • 1/4 – 1/4000 sec (P mode)
• 30-1/4000 sec (all other modes)
• Bulb (Max 60 min)
• Time (2-30 sec)
• Flash sync 1/180 sec
• Focal plane shutter
Self timer  • 10 or 2 seconds
Continuous shooting  • 6fps / 3fps selectable
Auto bracketing  • AE Bracketing (±1/3EV, ±2/3EV, ±1EV)
• Film Simulation Bracketing (any 3 type of film simulation selectable)
• Dynamic Range Bracketing (100%, 200%, 400%)
• ISO sensitivity Bracketing (±1/3EV, ±2/3EV, ±1EV)
White balance  • Automatic scene recognition
• Fine
• Shade
• Fluorescent light (Daylight),
• Fluorescent light (Warm White)
• Fluorescent light (Cool White)
• Incandescent light
• Underwater
• Custom
• Color temperature selection (K)
Film Simulation modes  • Provia / Standard
• Velvia / Vivid
• Astia / Soft
• Pro Neg Hi
• Pro Neg Std
• Monochrome
• Monochrome + Yellow Filter
• Monochrome + Red Filter
• Monochrome + Green Filter
• Sepia
Dynamic Range Setting  • Auto (100-400%)
• 100%
• 200%
• 400%
Internal Flash  • None
External Flash  • Hot-Shoe (dedicated TTL flash compatible)
• Sync terminal
Flash modes  • Auto
• Forced Flash
• Suppressed Flash
• Slow Sync
• Rear Curtain Sync
• Red-eye Reduction Auto
• Red-eye Reduction & Forced Flash
• Red-eye Reduction & Slow Sync
• Red-eye Reduction & Rear Curtain Sync
Viewfinder  • Hybrid Multi Finder
• Eye sensor installed
• Eye point approx 14mm
Optical Viewfinder  • Reverse Galilean with electronic bright frame display
• 0.37x and 0.6x magnifications
• Framelines cover approx 90% captured area
Electronic Viewfinder  • 0.47in, approx 1,440,000 colour LCD
• Approx 100% coverage
LCD monitor  • 3.0″ RGBW colour LCD
• 1,230,000 dots
• 100% frame coverage
Photography Functions Select custom setting, Motion panorama, colour space, colour (Saturation), sharpness, Dynamic range, Film simulation, Gradation, Auto red-eye removal, Framing guideline, Frame No. memory, Histogram display, Preview depth of focus, Focus check, Electronic level, Multiple exposure, Date input, Fn button setting (RAW, Movie, etc)
Playback  functions RAW conversion, Image rotate, Red-eye reduction, Photobook assist, Erase selected frames, image search, Multi-frame playback (with micro thumbnail), Slide show, Mark for upload, Protect, Crop, Resize, Panorama, Favourites
Storage  • SD/SDHC/SDXC
Connectivity  • USB 2.0 (Hi Speed)
• Mini HDMI
Power  • NP-W126 Lithium-Ion rechargeable battery
• Approx 300 frames battery life
Dimensions  • 139.5 (W) x 81.8 (H) x  42.6 (D) mm
• 5.5 (W) x 3.2 (H) x 1.7 (D) in.
Weight  • Approx. 450g / 15.9oz. (including battery and memory card)
• Approx. 400g / 14.1oz. (excluding battery and memory card