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The X-Pro1 has no built-in flash, but offers a standard hotshoe and sync socket for use with external flashguns. Fujifilm offers a range of accessory flashes, including the EF-X20, which shares the camera's relatively compact, rectangular design and has a top-mounted dial to control flash compensation or set the power output manually. However, it's also fixed so that it can only shoot directly forward, with no option for bouncing. The larger, but less-expensive EF-42 unit offers a fully articulated head for more-creative lighting options.

This example was shot using the matched EF-X20 flash unit. The camera has done a good job of balancing flash output and ambient lighting, but the flash unit's fixed head and proximity to the lens means the results look a little compact-camera-esque.

Film simulation modes

The X-Pro1 provides a range of colour 'looks' that Fujifilm - playing on its rich analogue photography heritage - calls 'Film Simulation' modes. These consist of five colour modes which are named after the company's professional films - Standard / Provia, Vivid / Velvia, Soft / Astia, Pro Neg Hi and Pro Neg Std - and a number of monochrome modes that aim to simulate the effects of using coloured filters with black-and-white film (yellow, red, green or no filter), plus a 'retro' Sepia-toned mode.

Standard/Provia Vivid/Velvia Soft/Astia Pro Neg High Pro Neg Standard
Monochrome Mono (Yellow Filter) Mono (Red Filter) Mono (Green Filter) Sepia

The Standard/Provia and Pro Neg Standard modes both use a very 'open' shadow tone curve, that reduces perceived saturation and 'punch'. Of the two, the latter is the less-saturated, and therefore the X-Pro1's most 'neutral' colour mode; we think it's an excellent choice for natural-looking portraits. Curiously the Astia/Soft mode is actually rather higher in contrast, and (as with the X100) probably our favourite for everyday shooting. Meanwhile Pro Neg High is a little contrastier, but the colour is less-saturated.

The Vivid / Velvia mode certainly lives up to its name - we're not convinced that it provides exactly the same look as the iconic film it's named after, but it's certainly very vivid and saturated. Highlights tend to blow more easily, though, and we'd probably be tempted to dial the Highlight Tone down a notch. Of the mono modes, we'd be most inclined to use the red filter mode for landscapes, and green filter for portraits.

The X-Pro1 offers a great deal of control over its JPEG processing; you can adjust the colour saturation, sharpening and noise reduction, and even set the shadow and highlight tone (contrast) independently. However, the Film Simulation modes can't be tweaked individually to suit your tastes; instead any changes you make to the various processing settings are applied universally across all of them.

A workaround to this is to save any preferred tweaks to one of the custom settings sets, which can then be recalled through the Q menu. However it's important to remember that these save ISO and DR settings too. It's also worth bearing in mind that if you shoot raw, you have free control over all of these processing parameters when using the in-camera raw developer in playback.

Dynamic range expansion modes

Like the X100, the Fujifilm X-Pro1 offers two expanded dynamic range settings, labelled DR200 and DR400 (the standard setting is DR100). They work in exactly the same way too; technically they apply less amplification to the data that's read from the sensor to avoid clipping highlights, then compensate by applying a different tone curve in processing to lift the midtones to the correct brightness. Because of this, the minimum available sensitivities are limited to ISO 400 with DR200, and ISO 800 with DR400. (Note that shooting at ISO 100 in effect does the opposite, and reduces highlight range by a stop).

DR100 (1/1800 F5.6 ISO 800) DR100 - sky detail
DR200 (1/1800 F5.6 ISO 800) DR200 - sky detail
DR400 (1/1800 F5.6 ISO 800) DR400 - sky detail

The example above shows how this works in practice, with a high-contrast scene in which we're trying to balance a dark foreground against a bright sky. At the standard DR100 setting, a large area of the sky is blown out and entirely devoid of detail. Much of it is recovered using DR200, and DR400 does better still, managing to capture almost all of the extreme brightness range of the scene. If we'd simply used exposure compensation to control the highlights instead, then the foreground would be underexposed and devoid of detail.

Normally, this kind of approach might be expected to deliver highlight range at the expense of increased shadow noise. But with the X-Pro1 this simply isn't the case, due to its combination of excellent sensor and image processing. In this comparison there's no visible difference in noise between the DR settings, even when delving deep into the shadows:

DR100 (100% crop) DR200 (100% crop) DR400 (100% crop)

While DR400 clearly gives best results in this particular case, we've found this to be unusual - it only rarely provides a clear advantage over DR200. In principle, to get the best possible image quality you still want to use as low an ISO as possible, which in turn means using the minimum DR expansion to capture the required range. Sadly the camera's built-in DR bracketing mode doesn't quite do this; it won't use ISOs lower than 800 (and won't record RAW files either). However because the ISO setting overrides DR, you can effectively bracket by first setting the DR to 400, and shooting at ISO 200, 400 and 800.

RAW highlight recovery, and relevance of DR settings to RAW

It's tempting to think of DR settings as being most relevant for JPEG shooters, but they apply equally to RAW capture. Both Raw File Converter and ACR/Lightroom recognise the X-Pro1's DR settings, and make use of the additional highlight data by default. As usual, it's also possible to recover highlight detail that's lost in the camera's JPEGs even at DR100 - but there's potentially an extra stop of fully-recoverable highlight data at DR200, and two stops more in a DR200 file. Whether you'll actually get this, though, depends on the dynamic range of the scene and the camera's metering - often DR 200 will retain everything that's available.

The example below looks at crops from a bright sky region shot at the three DR settings, comparing the camera's JPEGs with RAW files that have been developed using an exposure setting of -2 in ACR. In this particular case we can see a clear advantage for DR200 both in JPEG and RAW; the DR100 recovered RAW file shows tell-tale desaturation and loss of tonality, indicating that one or more of the colour channels has clipped completely and ACR is making a 'best guess' on the limited information that's left. In contrast the sky detail is recovered fully at DR200, and (not atypically) there's nothing extra to be gained by using DR400.

DR100 JPEG (50% crop) DR200 JPEG (50% crop) DR400 JPEG (50% crop)
DR100 ACR -2 EC DR200 ACR -2 EC DR400 ACR -2 EC

The DR Modes also have a couple of operational advantages compared to using negative exposure compensation to control the highlights. Most notably, the preview image is displayed at the correct brightness when you're shooting with the LCD or EVF, and the review image in playback is likely to be more representative of your final image too.

However there is one significant operational problem - the live histogram doesn't understand the extended highlight range at all, and can therefore incorrectly indicate overexposure. This means that if you shoot mainly with the optical finder using the histogram to avoid highlight clipping, and intend to adjust the image brightness during RAW development, then exposure compensation is probably still your best bet.

Overall image quality / Specifics

In terms of image quality, there's not a huge amount to say about the X-Pro1, aside from the fact that it's excellent in almost every situation you can throw at it. We've shot thousands of frames with the X-Pro1 across a wide range of lighting conditions, and it delivers fine results time after time. White balance is well-judged, and colour rendition is excellent. High ISO image quality is extremely impressive too, even under artificial light where many cameras struggle.

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 worth reiterating here that the optical quality of the lenses, along with Fujifilm's integration of software corrections into the system design, obviously plays a large part in the system's overall image quality. The XF 35mm F1.4 R in particular is one of the very best lenses we've had the pleasure of using - we struggle to find any fault with it at all - and while the others may not quite reach the same giddy heights, the XF 60mm F2.4 R Macro is still optically very good indeed, and the XF 18mm F2 R performs very acceptably given its size and speed.

Chroma blur in JPEGs

If you look closely at the X-Pro1's JPEGs you can occasionally see a tradeoff for its high ISO performance, in the form of a degree of chroma blur where strong colours can bleed across low-contrast edges into neutral-toned surrounding areas in certain situations. The effect is minimal at ISO 200, but gets increasingly obvious as the sensitivity is increased. This, in turn, has implications for the use of the higher DR settings, as you risk increased chroma blur using DR400 (which requires ISO 800).

This is illustrated below; here we're looking at the same scene shot at ISO 200 and ISO 800/DR400. There's a little colour bleeding in the crops even at ISO200, but it's more pronounced when the sensitivity is increased. These examples use the Standard (0) noise reduction setting - reducing this to Low (-2) has little effect. Neither RFC- nor ACR-converted RAWs show this effect.

ISO 100 (1/220sec F5.6), XF 18mm F2 R ISO 800 DR400 (1/1000sec F5.6)
100% crop 100% crop

It's important to reiterate that this is only an occasional issue that occurs under specific conditions - we've shot many hundreds of images with the X-Pro1 and only seen it a few times. It's worth knowing about, but not worth getting worried about.

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Total comments: 18

I was looking at getting the X-E2 second hand on E-bay, but with X-Pro2 coming soon the X-Pro1, brand new, with two beautiful prime lenses and the gorgeous full leather case is available at a no-brainer price of £649 in the UK.
My wife bought me this unbeatable package as a present for our 30th anniversary! What a wife? (love you so much Fee X).

The camera IQ is amazing, handling is fantastic, build quality is superb, (not a plastic part in sight, more than can be said for a comparatively priced CanNikon DSLR). I take it everywhere with me, it's small light and always at hand.
If like me you don't have the time or the money to buy an X-pro2 and if you don't just want the latest, buy what is still, (for me at least) the greatest camera bargain going. My advice is grab one before it's gone!


I've spotted this incredible 2 lens offer here in the UK as well. Very tempting, but the 28mm f2.8 would be a nothing focal length for me, too close to the 18mm. Fortunately, I found a mint outfit from a London Leica dealer whom I've dealt with before so I know the quality of his used equipment, and this kit comprises of the f2/18mm and the very desirable f1.4/35mm.

David Smith - Photographer

Well, I guess it's an early christmas for me this year. Today I'll receive my (like new with warranty) 2015 Fuji X-Pro 1 body. The price is insanely low for such a nice camera. It really is. I'm sure it will be a nice complement to my X-E2.

Yes, better camera models are coming at the end of this year. Possibly with a new higher resolution sensor, faster autofocus and more features. I'll get my hands on that stuff in a year or two, when everybody dumps it, like they dump the X-Pro 1 bodies now. Man I love capitalism.

Comment edited 31 seconds after posting

Looking to get an X-Pro1 for christmas and really happy to see that all relevant flaws seem to have been eradicated by Fuji's firmware updates. Yes!

1 upvote
David Smith - Photographer

Well, I can tell you right now that you've got something nice to look forward to photominion. I just bought my X-Pro 1 and my first impression is very good. It makes the X-E2 feel like a toy and using the 27mm I haven't really found any difference in focus speed. Not sure what the fuss is about. It's not lightning quick. None of the Fuji cameras are. Focussing speed certainly is adequate and again, I don't see a difference in speed compared to the X-E2. It does take a little longer for the X-Pro 1 to write the file to the SD card. Since both cameras are about the same price, I recommend the X-Pro 1 if you don't need every bit of extra speed and if you prefer to hold a slightly bigger and noticeably better build camera.

1 upvote

I am a rather new member and I must say that the few dopey questions I have asked have usually been answered with great information and a lack of sarcasm and judgement. They were not dopey on purpose. If anyone would like to visit the images in my portfolio you will at least know that I am not just obsessed with cameras but sing them to shoot, share, publish et. So without further ado, just purchased a new Fuji X Pro1 and bam I read the rumor page and it says Fuji X Pro2 verified rumor will be introduced this year. Besides offering the advice, "just shut up and shoot', What would you do? Is this even the right spot to leave my qesriom

1 upvote

Don't worry too much about it.I also just bought the X Pro 1,well aware of the rumors. It's all about IQ right?I can assure you,you wont be disappointed! Far away from it.And I really wonder whether the IQ(mind you, IQ!)will be very different from this one.
All else, yes for sure.

1 upvote
Don Sata

It will take you a bit of effort getting used to the AF of this camera but it's very engaging to use, the VF is great and images are great too.

If you don't shoot action (like sports, pets or running children) you will be ok.

1 upvote

I bought an X-Pro1 a week or so ago - I've got a use for it (I wanted a compact 50 that's not too demanding) and they can be had new for £350 in the UK! Happy days. No doubt a new flagship X-Pro2 will be announced soon, but it'll be a very expensive camera, presumably sitting above the X-T1 in the range.


Fujifilm has fixed most of the reported issues (like slow AF) with incremental updates. I got a chance to review it recently


What is the seemingly insurmountable problem with studying a traditional 35mm film rangefinder and re-engineering it into an equally capable digital rangefinder instead of trying to re-invent the wheel? The idea that you cannot accurately use manual focus is absurd. The whole focusing by wire thing is absurd. Again, why is everyone trying to re-invent the wheel?

Comment edited 1 minute after posting

things what you are asking do exist and they are called Leica.

paul simon king

looking at these RAW examples the fuji x Pro looks softer nad less saturated than the Fuji X100s

Comment edited 3 minutes after posting
Dave Chilvers

After using one for a while and with the latest firmware I find the camera to be quite superb. Lets face it, most of us are looking for IQ firstly and has been said in the review lenses like the 35 1.4 are second to none in my book.


I just purchased a used X-_pro1 like new in box and I am very curious about the firmware updates that seem to address its previous shortcomings. Should I ask the seller about these because I am naive and no nothing about these on her camera is it a simple fix to update the firmware Your recommendation I don't even know the latest and best ones. or are they available fre e or can they be user updated. and again what is the latest firm ware and how would you perceive this as situation.


The latest firmware update as of May 2015 is version 3.4 and can be downloaded from Fuji's website for free. Also check to see if your lenses are also up to date.


Firstly I really would like to thank almost everyone for the generous and non combative input. So as long as I am curious about one further issue, any gracious input will be devoured with great enjoyment. Some lenses, whether short, medium or full on zooms have O.I.S and some don't. So any other advice on gaining sharpness and stability that works well for you, hardware wise , please let me know because I am well aware of the great impact shutter speed and stillness etc. have. And please take a moment to take a look at my gallery just so you understand that it is images and not equipment I am really hungry for. Thanks in advance, and yeah thanks Light Catcher LT for the real corn on the cob. "things what you are asking do exist and they are called Leica..Really??

1 upvote

OIS helps when the shutter speed gets below 1/60.

Use as wide an aperture as possible and push the ISO up to 6400.

Brace the camera against your face with your left hand under the lens to steady it. A thumb-grip, like the Lensmate, helps as well.

Set the camera to continuous low and learn to fire off two or three shots. many times one will be sharper than the other.

After that, just practice being as smooth as possible while gently pressing the shutter release, I find a screw-in soft release button helps. Also, use a faster SD card like the Sandisk Extreme Pro 95 Mb/s.

1 upvote
Total comments: 18