Fujifilm X-Pro1 in-depth review
XF lenses - 18mm F2, 35mm F1.4, 60mm F2.4 macro
The X-Pro1's lenses are designated 'XF', and the three initial offerings are shown below - from left to right the 18mm F2, 35mm F1.4 and 60mm F2.4 Macro (which offers 0.5x magnification). The 18mm lens in particular features an unusually short backfocus design, with a large-diameter rear element that protrudes behind the rear of the mount.
All three of these lenses offer an impressive blend of large maximum aperture and relatively compact size; even the largest is smaller than Sony's Carl Zeiss Sonnar E 24mm F1.8 for the NEX system, and the 35mm F1.4 is slightly shorter than Panasonic's Leica Summilux DG 25mm F1.4 despite covering the larger APS-C sensor. All of the lenses include circular aperture diaphragms for attractive rendition of out-of-focus backgrounds. According the Fujifilm, even the edge shape of the blades has been optimized for the best possible image quality, being rounded rather than simply stamped from a flat sheet of metal.
The lenses all come with finely-crafted metal hoods - those for the 18mm and 35mm are rectangular, while the 60mm gets a deep circular hood. Unfortunately, though, practicality seems to have taken something if a back seat in their design; the 60mm's hood is so deep that it's near-impossible to change the lens with the hood reversed, and as the front element is deeply-recessed anyway, we ended up always leaving it at home (which rather negates the point of having one).
The rectangular hoods, meanwhile, can't be used with the standard circular clip-on lens caps and require flexible push-on caps instead, which continually fall off. These hoods also intrude on the lower corner of the optical viewfinder notably more than the vented variety (as used by the X100). None of the hoods are particularly well-suited for use with polarising filters either (arguably the only type of lens filter that still makes perfect sense to use with digital).
|The X-Pro1 with its three lenses and hoods as you'd pack them up to transport. The rectangular hoods for the 18m and 35mm add bulk for carrying and can't be used with the normal clip caps, while the 60mm's hood is deeply impractical.|
The X-Pro1's lenses are supposed to look just like old manual focus designs, but they handle very differently. The electronically-coupled manual focus rings rotate absolutely freely with no end stops, and therefore have no distance or depth of field scales (which have moved into the viewfinder). The unusually-wide aperture rings have detents at one-third stop intervals, and click slightly more-positively at the marked full-stop positions; however none of these are particularly firm. This makes for quick handling while shooting, but does mean that the aperture is easy to change accidentally.
Unusually the barrels are scalloped-in towards the mount, presumably for aesthetic reasons; most other small lenses on the market have ridged grips here. Unfortunately this means that the only fixed point on the barrel you can really grip when changing lenses is the smooth, slim ring between the focus and aperture rings; on the 18mm F2, this is less than 5mm wide. It's therefore all-too-easy to rotate the aperture ring when changing lenses, and find yourself inadvertently shooting at the wrong setting. We'd like to see Fujifilm sacrifice a bit of style for substance in future, and provide enough fixed barrel area such that you can easily change lenses without also changing the aperture.
XF 18mm F2 R
XF 35mm F1.4 R
XF 60mm F2.4 R Macro
|Angle of View||76.5°||44.2°||26.6°|
|Lens construction|| • 8 elements/7 groups
• 2 aspheric elements
| • 8 elements/6 groups
• 1 aspheric element
| • 10 elements/8 groups
• 1 aspheric element
• 1 abnormal dispersion element
|Aperture control|| • 7 blades (rounded)
• 1/3 EV steps
| • 7 blades (rounded)
• 1/3 EV steps
| • 9 blades (rounded)
• 1/3 EV steps
|Dimensions (D x L)|| 64.5mm x 40.6mm
(2.5" x 1.6")
| 65mm x 54.9mm
(2.5" x 2.2")
| 64.1mm x 70.9mm
(2.5" x 2.8")
|Weight||116g (4.1oz)||187g (6.6oz)||215g (7.6 oz)|
Fujifilm has published a roadmap for lenses it plans to release by Spring 2013, including three image-stabilised zooms, an ultrawide prime, a 'pancake' normal, and an 85mm-equivalent F1.4 'portrait lens'. It's an interesting list that's intended to show the company's commitment to building a complete, versatile system. The full list is as follows:
|14mm F2.8||Wideangle prime||21mm||Autumn 2012|
|18-55mm F2.8-4 OIS||Standard zoom||27-83mm||Autumn 2012|
|27mm F2.8||Pancake prime||41mm||Spring 2013|
|23mm F1.4||Semi-wide prime||35mm||Spring 2013|
|55-200mm F3.5-4.8 OIS||Telephoto zoom||83-300mm||Spring 2013|
|56mm F1.4||Short tele prime||84mm||Spring 2013|
|10-24mm F4 OIS||Wideangle zoom||15-36mm||Spring 2013|
Use of third party lenses with adapters
One of the great advantages of mirrorless cameras is their ability to utilise a vast range of lenses via mount adapters, including top-quality Leica M-mount primes and the huge number of 'orphaned' manual focus lenses from obsolete film camera systems. Fujifilm is making a very clever adapter for Leica M-mount lenses, and third-party adapters are available in a plethora of mounts for both current (Leica M, Nikon F, Pentax K) and older systems (Leica L39, Canon FD, Contax Yashica, Minolta MD, Olympus OM, etc.). It's also possible to find adapters on eBay for electronic lens mounts such as Canon EF, but these lenses really won't work well on the X-Pro1 as no powered functions are available - including aperture setting and image stabilization.
|The X-Pro1 with three Olympus OM Zuiko lenses from the 1970s that are all still easy to find today: from left to right, 50mm F1.4, 135mm F3.5 and 24mm F2.8|
The use of adapters greatly expands the range of lenses that can be used with the camera beyond the initial three native offerings, especially for photographers who already have a collection of old manual focus lenses gathering dust in the closet. To use them, you first have to enable the obtusely-named 'Shoot without lens' setting in the menu. Naturally adapted lenses offer no automatic functions, so both focus and aperture have to be set manually. Of course, it should go without saying that best practice is normally to focus the lens wide open, then stop down to the desired aperture (although with older fast primes you may get find it easiest to focus with the aperture closed down a stop).
If you wish to use adapted lenses then you'll need to download and install Firmware 1.1, which offers important refinements over previous versions. When using Fujifilm's own Leica M-mount adaptor it automatically turns off the now-redundant distance scale in the viewfinder, and enables user-set optical correction profiles to be stored for to up to six lenses (covering distortion, colour shading and vignetting). These functions aren't available with third-party adapters, but FW 1.10 still offers improvements with the frameline displays.
|The X-Pro1 has a menu option to set the focal length of the lens you're using. This is used both to configure the viewfinder, and to fill-in the EXIF data. The camera offers four presets corresponding to the most popular film wideangles - 21mm, 24mm, 28mm and 35mm - and two further lens memories which can be set freely (with 50mm and 75mm as the defaults).
With Firmware version 1.1 this screen is renamed 'Mount Adaptor Setting'
When using the optical viewfinder with adapted lenses, the X-Pro1 shows a pair of framelines for infinity focus (in white) and parallax-corrected for 1m (in blue). The viewfinder switches up the magnification automatically when a focal length of 35mm or longer is selected. If the set focal length is longer than 60mm then the OVF displays the infinity frameline in red, but strangely it's always sized for a 60mm lens, which can easily be misleading. In this case you really need to switch over to the EVF.
The focus mode switch needs to be manually set to M; if it's at S or C then the viewfinder display will behave as if an AF lens is attached, and appear to confirm focus on a half-press of the shutter regardless of whether the subject is in-focus or not. During daylight shooting, though, there's a much bigger problem; the information overlay doesn't gain up properly and is essentially invisible, which isn't much good for anything.
If you're prepared to use the electronic viewfinder, though, and don't mind continually flicking the focus mode switch between AF-S and M when changing over from native lenses, then the X-Pro1 works quite well with manual lenses. Note though that it doesn't offer any manual focus aid other than magnified view in the EVF, and most notably there's no 'Focus Peaking' display (that Sony, Pentax and Ricoh users tend to appreciate). Overall, it's probably not a body we'd buy right now for the express purpose of using manual lenses (as opposed to using them to fill in the gaps in its native range); instead we'd go for something like the Ricoh GXR Mount A12 or Sony Alpha NEX-5N.
Fujifilm M-mount adapter
Fujifilm's own M-mount adapter is unique in having electronic contacts that tell the camera when it's attached. It has two buttons on its rim, one being the lens release while the other brings up the camera's 'Mount Adaptor Settings' screen. However the contacts restrict the diameter of the opening at the rear of adapter, meaning that lenses with large rear elements won't physically fit.
The adapter includes a dual-function plastic gauge, which you can see by clicking-through on the image above. This allows you to check not only that the lens doesn't protrude too far into the body, but also that the diameter of the rear element won't clash with the contacts (something that won't trouble simpler third-party adapters).
Known incompatibilities include certain 21mm ultrawideangles and fast 35mm primes. However, the lens corrections menu (whose behaviour is improved with X-Pro1 Firmware v1.11) is only available with the Fujifilm adapter, so it appears to be impossible to set corrections for these lenses, even if you can get them to mount.
- 15 Photographic features
- 16 Image Quality Tests
- 17 Noise & Noise Reduction
- 18 Resolution
- 19 RAW mode and RAW conversion
- 20 Dynamic Range
- 21 Lens corrections
- 22 Movie Mode
- 23 Image Quality Compared (JPEG)
- 24 Image Quality Compared (High ISO)
- 25 Image Quality Compared (Raw)
- 26 Conclusion
- 27 Image samples
Jun 23, 2015
Jun 16, 2015
Dec 18, 2014
Jun 27, 2014
|Bald Eagle by anisah|
from Features - lips/mouth
|heron and fish by APenza|
from A Big Year - birds
|Cows Cowering Under Rare California Super Cell by RBFresno|
from -The Old Cows-
The new iZugar 3.25mm F2.5 super fisheye lens offers an insane 220-degree angle of view. That means it can basically see behind itself... good luck keeping your feet out of the shot.
You'll laugh, you'll cry, you'll remember that time you took a picture of the frozen pizza baking directions.
A Craigslist poster has discovered the worst possible way to photograph a car: taking pictures of pictures displayed on a cracked and scratched up smartphone screen.
With the iPhone X coming out soon, the title probably won't last, but the iPhone 8 Plus is officially the best smartphone camera DxOMark has ever tested, and the iPhone 8 is second.
Kodak's new Facebook Messenger chatbot is trying to bring back the 'Kodak Moment' by digging up your old social media photos and trying to sell you prints and custom coffee mugs.
Affinity Photo for iPad was touted as "the first full blown, truly professional photo editing tool to make its way onto the Apple tablet." This update makes it that much more convenient.
Yashica has released a new teaser video, and this one claims they'll be releasing an "unprecedented camera" in October on Kickstarter. Ready... set... speculate!
Storage solutions company Synology has just released its very first 6-bay NAS tower. Combined with the DX1215 expansion units, it can hold and control up to thirty drives.
We're always expanding our collection of product overview content, and we've just added videos for the Canon EOS 6D Mark II, the EOS Rebel SL2 and EOS M6.
The venerable Canon PowerShot G1 was announced seventeen years ago this week, marking the start of a line of enthusiast-focused compacts that's still alive and kicking.
Super macro photographer Can Tuncer captured these incredible close-ups of a single peacock feather using a special setup and three different microscope lenses.
After successfully crowdfunding the Biotar 75mm F1.5, Oprema Jena is at it again. This time they're bringing back the Biotar 58mm F2: the world's only lens with a 17-blade aperture.
Adobe's move to a subscription model is treating it very well indeed. The company has posted record revenue for the second quarter in a row, hauling in a mind-boggling $1.84 billion.
More details have emerged about the potential sale of Blackstone's 45% stake in iconic camera brand Leica.
Popular mobile editing app Snapseed just got a major update that includes a new interface and 11 new presets for both Android and iOS, as well as adding the Perspective tool to the iOS version.
It might sound like a strange idea, but taking macro photos of boiling water can actually result in some really cool photographs. A good photo experiment for a rainy day.
The database was created to "break with the narrow lens through which history… has been recorded" by equipping those who commission photography with "the resources to discover photographers of color available for assignments.
Lensbaby has released two new optics for their special "optic swap system." The Lensbaby Sweet 80 Optic gives you that trademark sweet spot of focus, while the Creative Bokeh optic gives you 9 different drop in aperture plate options to play with.
TechCrunch has already posted their review of the upcoming iPhone 8 (not yet the iPhone X), and they're calling it "a look into the augmented future of photography."
Affinity Photo is a $50 photo editing software with no subscriptions. That's it – pay for it once and you're done. And we think it's actually pretty darn good.
Instagram is currently testing a major change to the app's profile layout: replacing the 3-photo across grid with a 4-photo grid... and some users are NOT taking the news well.
A report by USSRPhoto is shedding some light on the return of the famed Zenit camera brand. It seems the full-frame mirrorless camera they're working on will be made in part by Leica using components from the Leica SL.
According to a reliable Korean report, Samsung is developing a smartphone sensor that's capable of super slow motion. Translation: Samsung's next batch of Galaxy smartphones may be able to shoot 1,000fps.
This simple photograph of a seahorse and Q-tip has taken the internet by storm. We spoke to photographer Justin Hofman about how it was captured, and what it means to him.
After a massive leak last week, Profoto has officially debuted the Profoto A1: the company's first on-camera flash system that they're calling "the world's smallest studio flash."
"When the first hyperfocal distance charts were designed, someone decided that an acceptably sharp background contained some blur — enough to notice in a medium-sized print [...] After that point, nearly every other hyperfocal chart followed suit."
The Canon EOS Rebel SL2 (also known as the EOS 200D) is the company's impressively compact entry-level DSLR. Packing a 24MP APS-C sensor, DIGIC 7 processor and Dual Pixel AF, it promises a lot of bang for the buck. And while not mind-blowing, it handles most tasks very well.
Correct these four common composition mistakes and your photos will be more balanced, tell a better story, and lead your viewer's eye where you want it to go.
The rugged, compact 360° action camera Kodak unveiled at Photokina in 2016, the Kodak PixPro Orbit 360, is finally available in the United States.
iOS 11 launches tomorrow, and it'll save all of your pictures in a new high efficiency image format called HEIC. Fortunately, there's now a converter that will let you turn those photos back into JPEGs.