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The Everyday Sling might just be the perfect pack for not carrying too much gear, combining comfort with Peak Design's signature modern style.
Fujifilm's unique hybrid viewfinder, a version of which was first seen in the X100, provides a bright optical view of the scene while simultaneously allowing you to view shooting information via an electronic overlay. In the example below, I've set the viewfinder to display minimal shooting information, for an uncluttered scene view.
|In optical viewfinder (OVF) mode, the viewfinder provides you with a wider angle of coverage than the lens you're using - in this case the 35mm f/1.4 without its lens hood. Image composition is made with the use of framelines (seen here in yellow) that correspond to the lens' field of view.|
In true rangefinder fashion, the framelines in the X-Pro1 indicate less than 100% coverage of what the lens will actually capture. Fujifilm claim aproximately 90% coverage in their specs but with the 35mm lens at least, I find it to be even less. Until you become familiar enough with the framing to take this into account, you'll likely end up with a composition including elements you thought were cropped out, but you'll never suffer the (even worse) fate of inadvertently cropping an element you though you had included.
In a subtle but welcome change over the X100, the framelines on the X-Pro1 change color based on the ambient light. With the camera pointed at a normal to dark scene, the framelines are white. Face the camera towards a bright scene, however, and those framelines become yellow, allowing for better visibility.
Fujifilm's engineers have provided two separate magnifications for the OVF when switching between the 18mm lens (.37x) and the 35mm and 60mm lenses (.60x). The higher magnification level ensures that even with the longest of the three XF lenses mounted, the framelines do not become unusably small in the viewfinder. The switch happens automatically upon mounting a lens, though you can also toggle between magnifications simply by holding the viewfinder lever selector for two seconds.
|The hybrid viewfinder contains a magnification lens that is offset from the viewfinder prism when the 18mm lens is mounted.||With the 35mm or 60mm lens attached, the magnification lens slides into the light path, enlarging the image seen in the OVF.|
If you want to see 100% coverage for your attached lens, you can do so by switching the viewfinder to EVF operation. As seamlessly as this hybrid viewfinder system operates, the performance of the EVF itself is a little disappointing. From my experience so far, I feel the same way about the X-Pro1's EVF as I felt about that of the X100. Matched against the best of its competition (the Sony NEX 7 and Olympus OM-D E-M5 are the obvious points of comparison) its refresh rate is a little slow. If you're panning with a moving subject, for example (admittedly not the most typical usage scenario for the X-Pro1), the screen image can lag considerably behind the movement of the camera.
For all of the comparisons to the ultra-expensive Leica M9, it's important to remember that the X-Pro1 has other competitors as well. Realistically, anyone interested in the X-Pro1 will also be considering standout mirrorless models like the Sony NEX 7 and Olympus OM-D E-M5. Be warned though - if you're excited by the very fast autofocus performance of these cameras, you might be disappointed by the responsiveness of the X-Pro1.
In reasonably well-lit scenes with subjects of moderate contrast, AF acquisition is certainly adequate, although no-one will ever mistake the X-Pro1 for an action or sports-oriented camera. The real frustration comes in lower light scenes when using the 60mm f/2.4. Focus hunting is a constant problem, with performance that is noticeably slower than either of the other two XF lenses. I must say though, that while AF may be slow, when the X Pro1 finds its mark it is very, very accurate. After reviewing hundreds of my handheld sample images on the computer, I've only been able to identify a small handful that are unusable due to mis-focus by the AF system.
Unfortunately, the MF complaints we had with the X100 are unchanged with the X-Pro1. In order to check focus you can set the EVF to magnification mode easily enough by clikcing-in the rear dial. Yet the camera insists on choosing its own aperture setting for the image preview - chosen presumably to maintain scene brightness in live view - which in some situations can make critical focus effectively impossible.
When pointed at a bright scene, for example, the camera will show you a magnified live view with the lens set to a narrow aperture, which of course shows a relatively wide depth of field. But if you actually want to shoot at a wide aperture (f/2.4 for example), you can easily be looking at a scene element that appears sharp in the magnified view but sits beyond the depth of field at the taking aperture. In this case, you'll end up with an out-of-focus image, despite it looking sharp in the magnified focusing view in the EVF. For a camera that is so clearly geared to enthusiasts and professionals, this is a critical misstep.
There is a workaround to this problem, although it's far from obvious. If you configure the Fn button for Depth of Field Preview, pressing it before you adjust focus sets the lens to the taking aperture. At this point, clicking in the rear dial for magnified view will allow accurate manual focus. Rather curiously, when set to video mode the camera honors the taking aperture in both normal and magnified live view all of the time, giving full time depth of field preview. I don't see why the camera can't behave this way in still image mode.
|When using the EVF or rear LCD in MF mode, you can view the scene at 100%...||...or press the rear thumb dial for a magnified view in order to adjust focus.|
There's another frustration that carries over from the X100. Looking through the viewfinder set to either OVF or EVF operation, in MF mode you can press the AE/AF lock button to engage AF acquisition on a chosen AF area. Yet there is no focus confirmation. Your only clue is an audible one, in that you can longer hear the lens being adjusted. Whether the camera thinks it has achieved focus or not is never clear; all you know for sure is that is has stopped trying.
Ideally, we'd like to see a firmware update that incorporated Sony and Ricoh-style focusing peaking in MF mode. After all, one of the potential benefits of a mirrorless camera design is a short flange back distance that permits the use of a range of lenses built for other systems, past and present. It's likely we'll see all sorts of third party adapters for the X-mount in the coming months, which could quickly broaden the selection of usable manual focus lenses. Improved MF capability could go a long way towards making the X-Pro1 an attractive option for owners of third-party lenses, but right now I don't think the manual focus experience has received the attention it deserves from Fujifilm.
Fortunately, the X-Pro1 is free from the majority of the handling oddities, operational quirks and downright bugs that made the X100 such a painful camera to use when it was first released. Fujifilm appears to have taken some of the feedback to heart, with the result that the X-Pro1 behaves much more sensibly. It isn't perfect though - here are a few things that have bothered me during my time with the camera.
When shooting in continuous mode, the resulting files get saved according to a completely different filenaming system, which can cause all sorts of issues if you like to name and sort images using any camera-generated titles. Another bit of maddening behavior comes when you review vertical images in playback mode. Should you want to magnify the view, the enlarged view remains constrained to the same vertical format, as shown below. The only workaround - and I use the term loosely here - is to disable the camera's auto rotation ability, which is far from ideal. This quirk is also inherited from the X100, but on that camera it's been fixed in FW 1.20.
|Because the rear screen is in a horizontal format, vertical images occupy a much smaller screen area.||Frustratingly, and for no good reason, this behavior carries over into the magnified view, resulting in a lot of wasted display area.|
Finally, although you have the option to display compositional grids in the OVF, this function is rendered much less useful than it could (and should) be by the fact that they are positioned relative to the entire viewfinder area rather than to the framelines for the currently-mounted lens. Unlike the framelines, the gridlines don't adjust for parallax on focusing either. This means that when using the 60mm lens in particular, the gridlines are of limited practical use as 'Framing Guidelines', which is what Fujifilm claims them to be.
Mar 26, 2015
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Jun 27, 2014
Fujifilm has released a number of firmware updates for several lenses and camera bodies. Changes and firmware versions vary based on model, but most camera body updates simply add support for a focus limiter function on the XF 100-400mm F4.5-5.6. Read more
In amongst the product releases of the past few months, Fujifilm announced a pair of accessory grips for its X-E and X-Pro cameras. The MHG-Xpro and MHG-XE improve on the original HG designs by providing continued access to the cameras' battery/card compartments. In addition they reposition the tripod mount so that it's in line with the optical axis. The MHG-XPro and HMG-XE are available now priced at $150 and $130 respectively.
Fujifilm has announced forthcoming firmware updates for its X-Pro1, X-E2 and X-E1 mirrorless interchangeable lens cameras, and for the X100S fixed-lens large sensor compact. Features promised include customizable Auto ISO, exposure preview in manual exposure mode, improved workflow for in-camera Raw conversion, and the ability to edit filenames in-camera. The update for the X-Pro1 will be available on 5th December; those for the X-E1, X-E2 and X100S on 19th December. Click through for full details.
The holidays are a great time to take pictures — and they're a great time to get a camera for yourself or for a loved one. With more than 50 cameras going through the hands of the DPReview team over the year, we've seen it all (or so we think). Based on our collective knowledge we hope this guide will help you make an informed decision on which camera will fit your needs. In part 1, we look at enthusiast interchangeable lens cameras.
Fujifilm has posted firmware version 3.01 for the X-Pro1, which resolves a bug in the recently-released v3.00 that caused movies to be recorded incorrectly under some circumstances. It's otherwise the same, meaning that it promises faster AF speed, and adds a 'peaking' display mode to aid manual focus, compared to prevous versions. Click through for the download link.
The Everyday Sling might just be the perfect pack for not carrying too much gear, combining comfort with Peak Design's signature modern style.
When the Fujifilm X-T2 arrived, it was more than just a modest upgrade to the already impressive X-T1. While the new X-T3 hasn't changed the overall design of the camera, this model is way more than an upgrade; rather, it's a quantum leap.
The Movie Maker is a compact, motorized slider designed for phones, action cams and small mirrorless cameras. We think it's a fun little kit and a good value proposition for the cost, provided you can work around a few of its weak points.
Nikon's Z7 is the first camera to use the all-new Z-mount, the company's first new full-frame mount since 1959. We've put together our first impressions based on quality shooting time with a pre-production camera - check out what we've found.
What's the best camera for a parent? The best cameras for shooting kids and family must have fast autofocus, good low-light image quality and great video. In this buying guide we've rounded-up several great cameras for parents, and recommended the best.
What's the best camera for shooting landscapes? High resolution, weather-sealed bodies and wide dynamic range are all important. In this buying guide we've rounded-up several great cameras for shooting landscapes, and recommended the best.
What’s the best camera costing over $2000? The best high-end camera costing more than $2000 should have plenty of resolution, exceptional build quality, good 4K video capture and top-notch autofocus for advanced and professional users. In this buying guide we’ve rounded up all the current interchangeable lens cameras costing over $2000 and recommended the best.
|_ERN9064 by ernesto juarez|
from Shoot yourself ! (with your camera)
|walkersons fields by George Veltchev|
from -Waiting for Autumn- (in Full Colours Only)
There's no mistaking the Nikon Coolpix P1000 – with a 24-3000mm equivalent zoom, it really is in a class of its own. It's a conspicuous-looking superzoom with one main job: getting you really close to far away subjects. We've put together a gallery showing the kind of results you can expect from it.
A new report from The Verge claims Instagram is currently testing a feature that allows users to re-share posts to their own account feeds.
GoPro has announced its HERO7 camera lineup. The updated action cameras feature new HyperSmooth and TimeWarp modes, as well as improved video and photo specs.
The latest Samsung midrange smartphone offers a super-wide-angle lens in its triple-camera setup.
The Sony 24mm F1.4 is the latest lens to join the company's premium G Master lineup. We've been shooting with one for a couple of days - here's what you need to know.
Apple released iOS 12 a few days ago and some iPhone X users are less than happy with how the new operating system has made their phones look.
Camera bag manufacturer Lowepro has introduced mark II backpacks for its ProTactic AW range with models that are said to feature an improved handling experience as well as a collection of accessories that can be attached to the outside.
Canon has announced its latest superzoom camera, the PowerShot SX70 HS. Compared to the SX60 that came before it, the SX70 has the same lens but offers a higher resolution EVF, 4K video capture and support for Canon's new CR3 Raw format.
Cosina has announced its eighth lens designed specifically for Sony's E-mount system. The Voigtlander 21mm F3.5 lens is due out October 2018.
Sony has taken the wraps off of its new 24mm F1.4 GM full-frame lens, which the company claims is the lightest in its class. Despite its fast aperture, the 24mm F1.4 is remarkably light, weighing just 445 grams (15.7 ounces). The lens will set you back $1400 when it ships next month.
In this episode of DPReview TV we take a look at Sony's brand new 24mm F1.4 GM lens, a desirable focal length for many photographers. How does it perform? Chris and Jordan give us their first impressions.
We've had a little time to shoot with Sony's new wide/fast prime, both close to home and on the water in San Francisco. Check out our initial sample images.
Fujifilm released a firmware upgrade for its X-T3 mirrorless camera that addresses issues with distortion compensation and the mechanical lock on SD cards.
The app's algorithms have been trained using using 200 million cropping data points from real photographers.
Thanks to a software update, the Loupedeck+ editing console can now be used for video editing.
British photographic engineer MTF Services is claiming the world’s first third-party lens adapters for the new Nikon Z system with a collection of four units designed to allow cinema lenses to be mounted on the mirrorless full frame bodies.
Think Tank Photo has updated its line of heavy-duty rain covers and introduced a new, compact version for emergency situations.
The X-T3 is our first opportunity to analyze what's likely to be Fujifilm's next generation image sensor. Take a look at how it performs next to the competition in our studio test scene.
Canon's new normal is seriously sharp wide open. After shooting with it for a few days, we've prepared a gallery of real-world sample images.
Nikon will cease offering Brazil-based customer service and technical support, though the company stresses that it will still offer technical assistance and warranty repairs for valid warranties.
Two years ago, CatLABS of JP announced a plan to save Packfilm from the dead. Now, it's announced it's giving up its efforts to better focus its resources elsewhere.
The GoPro Fusion is designed to make it easy to capture 360-degree video and stills. We took it out recently on a typically hot Seattle summer day to see what it can do.
We've got our hands on a full-production Nikon Z7 camera and have updated our gallery with additional samples.
A new Kickstarter campaign seeks funding for Chroma Chrono, a programmable RGB camera flash that emits multiple colors during long exposures.
Think Tank Photo has launched a new lineup of six dual-access, water-resistant protective lens cases it calls Lens Case Duo.
Canon and Nikon finally entered the full-frame mirrorless market this summer with the brand-new RF and Z mounts. Now that we've had some time with the cameras, we wanted to revisit our earlier predictions and take stock.
The devices' camera specs look pretty much identical to last year's iPhone X but under the hood a number of important improvements have been made.
Blackmagic Design has announced the public beta of its new Blackmagic RAW video codec. The company says the new format combines the benefits of shooting Raw video with the ease of use and smaller file sizes usually associated with non-Raw video files.
Serif, the company behind the Affinity suite, has announced the latest update for its mobile Photoshop competitor Affinity Photo for iPad.
The Atomos Ninja V external video recorder and monitor will be ready to ship at the end of this month. The 5.2in Ninja V is designed to provide a smaller option, while still offering many of the features of the larger 7-inch models.