On this page we're comparing the X-Pro1 with its Fujifilm stablemates, along with some some of its competitors, to give a perspective on its size relative to its peers.
Side-by-side with the FinePix X100 and X10
The Fujifilm X-Pro1 inherits its basic design philosophy from the FinePix X100, but in a larger, chunkier body that manages to look more purposeful and, arguably, 'professional' in its all-black finish. In fact if you take a second look, it's in several respects closer in design to the X10, incorporating such improvements as the front-mounted focus mode switch and recessed exposure compensation dial. This family group, however, emphasizes just how far Fujifilm is pushing the word 'compact' in its preferred 'Compact System Camera' nomenclature - the X-Pro1 is about the same size as the Leica M9.
The X-Pro1's family lineage is apparent in this side-by-side shot, nestling between the X100 and X10. It's a large, chunky camera though - rather bigger than the X100 - and like its siblings bristles with external controls. One noteworthy change is that the viewfinder mode switch points down rather than up, for operation by your middle finger.
Compared to the Panasonic DMC-GX1 and Sony NEX-7
As the first mirrorless camera aimed specifically towards professional photographers, the X-Pro1 has no really direct competitors. Arguably the closest is the Sony NEX-7, and we've chosen the enthusiast-orientated Panasonic GX1 to represent the Micro Four Thirds system. The traditional control layout of the X-Pro1 is very different from the button-and-dial approach of the other two cameras.
The X-Pro1's size is reinforced in this view: it's quite substantially larger than the Sony Alpha NEX-7, let alone the Panasonic Lumix DMC-GX1, but of course it's the only one in this group with an optical viewfinder (although the NEX has a built-in EVF). On the other hand it's also the only one that lacks a built-in flash. Its 'traditional' control philosophy is pretty well the polar opposite of the NEX-7's, with its soft keys and highly modal dials.
The X-Pro1 is much bigger than the Sony NEX-7 from the front, and the optical viewfinder doubtless has a lot to do with it. However in this comparison the huge Sony 24mm F1.8 adds considerable bulk to the NEX (obviously it's not directly comparable to the Fujinon 35mm F1.4).
This comparison again emphasizes that the X-Pro1 isn't your common-or-garden Compact System Camera, by any stretch of the imagination. The GX1 is considerably smaller, substantially because it has no eye-level viewfinder (although it accepts an add-on EVF).
Compared to the Leica M9-P
It's not rocket science to work out who Fujifilm is really gunning for - the X-Pro1's similarity to the Leica M9 demonstrates the company's refound confidence, having already placed the X100 squarely up against the Leica X1 (which has since been replaced by the X2). It's pretty clear that Fujifilm very much sees the X-Pro1, with its hybrid viewfinder and infinitely-variable framelines, as the modern autofocus reincarnation of the classic rangefinder. Let's not forget that the company is no stranger to the high-end professional market - it may have had a hiatus of several years, but made a wide range of medium format film cameras.
This composite illustrates the similarity in size between the X-Pro1 and the Leica M9-P. It also emphasizes the X-Pro1's rangefinder-inspired traditional control layout.