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Fujifilm X-Pro1

APS-C AF digital mirrorless camera

Specification

Production details
Announced:January 2012
System: Fujifilm X (2012)
Imaging plane
Maximum format:APS-C
Mount and Flange focal distance:Fujifilm X [17.7mm]
Imaging plane:23.6 × 15.6mm X-Trans CMOS sensor
Resolution:4896 × 3264 - 16 MP
Shutter
Type:Focal-plane
Model:Electronically controlled
Speeds:30 - 1/4000 + B
Sensor-shift image stabilization:-
Exposure
Exposure metering:Through-the-lens (TTL)
Exposure modes:Programmed Auto
Aperture-priority Auto
Shutter-priority Auto
Manual
Physical characteristics
Weight:450g
Dimensions:139.5x81.8x42.5mm

Manufacturer description

FUJIFILM Corporation (President and CEO: Shigetaka Komori) are proud to announce the FUJIFILM X-Pro1, an all-new interchangeable lens camera system. The X-Pro1 features a 16 megapixel APS-C X-Trans CMOS sensorTM, a brand new X lens mount, Hybrid Multi Viewfinder and three prime lenses.

Key Features

Setting new standards in image resolution

FUJIFILM have developed a new CMOS sensor called the X-Trans CMOSTM. The X-Trans CMOSTM sensor is capable of delivering resolution that is parallel, if not superior, to a full frame sensor.

The new colour filter array paves the way for an ideal sensor that does not need an optical low-pass filter. While the optical low-pass filter is indispensable for the reduction of moiré and false colour generated by conventional sensors, it also degrades resolution. FUJIFILM has developed a new colour filter array that is inspired by the random arrangement of fine film grain, removing the need for an optical low-pass filter to solve moiré and false colour issues. In the array, RGB pixels are arranged in 6x6 pixel sets with high aperiodicity. Increasing the degree of randomness eliminates the fundamental cause of moiré and false colours – a problem that occurs in conventional arrays when shooting stripes and other repeating patterns. The presence of an R, G and B pixel in every vertical and horizontal pixel series minimizes the generation of false colours and delivers higher colour reproduction.

EXR Processor Pro – As a result of using a film-inspired array, a more powerful processor is required to process the image signal data. So FUJIFILM have created the EXR Processor Pro. This development will maximise the full potential of the X-Trans CMOSTM sensor and deliver high speed and high precision image processing.

Prime FUJINON XF lenses deliver the highest image quality

Fujinon lenses have long been associated with delivering high quality images, with optics used for both broadcast TV and medium format cameras. Now the expertise borne out of this enviable optical heritage has been put into lenses for the FUJIFILM X-Pro1

Three compact XF Fujinon fast aperture prime lenses will be available at launch. The “XF18mmF2 R”, “XF 35mmF1.4 R” and “XF60mmF2.4 R Macro” all offer precise control over depth-of-field and deliver excellent out-of-focus bokeh thanks to the design of the moulded aperture diaphragm blades. The blades are curved to create a circular image at all aperture settings, while the very edges of each blade are meticulously rounded off rather than simply cut off, which delivers a sharper image. In addition, the solid feel of the high-quality metal barrel and detailed exposure setting in 1/3 step increments using the aperture ring fuel your desire to capture more photos with every shot.

FUJIFILM original “X-Mount” maximises lens performance

Specifically designed to maximise the mirror less design of the body the X-Mount has a short flange back distance of just 17.7mm. This means the rear lens elements are as close as possible to the sensor. The wide opening allows the lens to be mounted deeper within the body – up to 7.5mm (approx) from the mount surface – reducing the back focus distance of each lens to the minimum possible, thus achieving high resolution all the way to the edge of the image

Hybrid Multi Viewfinder – seeing is believing

FUJIFILM’s revolutionary Hybrid Viewfinder first appeared in the X100. With its ability to instantly switch between an Optical Viewfinder and Electronic Viewfinder the Hybrid Viewfinder has added a new dimension to the pleasure of composing photographs. For the brightest viewing image, and to keep shutter lag to a minimum, users should choose the Optical Viewfinder. Those wanting focus confirmation, exposure information, white balance information and depth of field indicators should switch to Electronic Viewfinder.

The Electronic Viewfinder provides an excellent “Live View” of your composition. This fusion of technologies allows users to enjoy composing their images through a bright viewfinder, but has the option to overlay vital picture taking information should this be required.

Changing between the two viewfinders is simple, thanks to the switch on the front of the X-Pro1 body. When attaching a FUJINON XF-series lens on X-Pro1, both the viewfinder magnification and bright frame size automatically switch to support the lens focal length. Viewfinder magnification switches to 0.37x for the 18mm lens, and to 0.60x when the 35mm or 60mm lens is mounted, letting you compose your shot with the bright, crystal clarity of an optical image. The X-Pro1 also gives you the freedom to manually set a focal distance and switch between viewfinder magnifications.

Cutting-edge technology in a beautiful camera body

The top and base are made from die-cast aluminium alloy which, combined with high quality touches like precise engraving on the top-plate and hand-enamelled lettering on the lenses, underlines the fact that the entire X-Pro1 system is built without compromise.

This eye for detail extends to the shutter speed dial and exposure compensation control that is precision milled from solid metal. Details like the shutter speed dial lock mechanism and the recessed exposure compensation dial are designed to prevent accidental movement of settings. The knurled finish on the sides of the dials feature rows of minutely milled squared pyramids for superb grip and confidence.

“Made in Japan” confirms that every part of the construction has had to meet FUJIFILM’s highest standards. The lightweight, precision-milled lens hood (included with the lens) has been exclusively designed and machined from aluminium for the FUJINON XF lens. Its compact size delivers superb light shading performance in a design that perfectly matches X-Pro1 styling.

Diameters of the aperture ring and focus ring of the 3 Fujinon XF-series interchangeable lenses are only slightly larger than the barrel for sleek uniformity of design. Precision machined from metal, the reassuring click of the aperture ring at each setting and the comfortable torque resistance when operating the focus ring enhances the shooting experience.

The X-Pro1’s leather-like finish designed for a quality look and durability. The synthetic leather offers resistance to the elements and high durability, while an original manufacturing process produces a texture with the look and feel of authentic leather.

The X-Pro1 has been designed with the photographer’s comfort in mind. The natural fit of the eyepiece provides excellent shielding from light leakage. A dioptric adjustment lens can also be attached.

Extending FUJIFILM’s photo film legacy

In film cameras, multiple exposures is the unique photographic technique of superimposing one image on another by double exposing a single frame of film. Through advanced digital processing the X-Pro1 can simulate this technique - just select Multiple Exposure mode and take your first shot. By viewing it in the Hybrid Multi Viewfinder or on the LCD screen, you can see how the finished multiple exposure will look and precisely frame the second shot.

Further enhancements have been made to the Film Simulation modes with the new Professional Colour Negative Film Modes (Pro Neg. Std and Pro Neg. Hi) designed for X-Pro1 users working in the studio. If you’d like to shoot the same scene in a variety of Film Simulation modes, the X-Pro1 offers Film Simulation bracketing, along with AE, Dynamic and ISO bracketing.

FUJIFILM has also included Film Simulation modes, where the X-Pro1 simulates the colours and tonal qualities of popular FUJIFILM emulsions. These include the vibrant colours of Velvia, the softer skin tones of ASTIA and the natural look of PROVIA.

Enhance Monochrome Expression with Colour Filters - Replicating the effects of monochrome film photography the X-Pro1 lets you use colour filters to expand your photographic interpretation. Heighten contrast with the yellow filter and red filter or brighten greens and deepen reds with the green filter. Just as professional film photographers once selected a filter and printing paper to complement their creative vision, you can easily fine tune image quality with these filters. For those after a more nostalgic theme there’s a sepia filter too.

Premium Accessory Lineup

Hand Grip, HG-XPro1 (sold separately) - Giving you more secure and balanced handling of the camera, the X-Pro1 accessory grip smoothly moulds to the lines of the camera body for a uniform look. The grip helps balance the weight of the camera body, allowing for a more comfortable hold.

Shoe Mount Flash EF-X20 (sold separately) - Being designed to match X-Pro1’s distinctive styling. One dial lets you choose between two modes: AUTO - automatically optimizes flash for both outdoor daylight and dark indoor shots; MANUAL - for hands-on control. In addition, the built-in flash diffuser has an easy one-touch operation to soften harsh flash effects.

Leather Case LC-XPro1 (sold separately)* - Beautifully moulded to protect the X-Pro1, leather case is designed to allow fast access for easy shooting. Attention has been given to every detail, from the colour and spacing of the stitches to the adoption of a hidden magnet rather than a snap for closing the case. The premium case is completed by the inclusion of the authentic leather neck-strap and hood case.

Protector Filterφ39mm and Protector Filterφ52mm - This is a protection filter with high transmissivity without affecting the visible light. The Super EBC (Electron Beam Coating) of these would control harmful borrowed light effectively. The frame of filter given the semi-gloss black coating fits a high sense design. Or the inner side of filter given the matt black coating restrains a reflection effect and does design well.

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35mm full frame

43.27 24 36
  • Dimensions: 36 × 24mm
  • Aspect ratio: 3:2
  • Diagonal: 43.27mm

Travellers' choice

Note

Among autofocus lenses designed for 35mm full-frame mirrorless cameras only. Speed of standard and telephoto lenses is taken into account.

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Image stabilizer

A technology used for reducing or even eliminating the effects of camera shake. Gyro sensors inside the lens detect camera shake and pass the data to a microcomputer. Then an image stabilization group of elements controlled by the microcomputer moves inside the lens and compensates camera shake in order to keep the image static on the imaging sensor or film.

The technology allows to increase the shutter speed by several stops and shoot handheld in such lighting conditions and at such focal lengths where without image stabilizer you have to use tripod, decrease the shutter speed and/or increase the ISO setting which can lead to blurry and noisy images.

Original name

Lens name as indicated on the lens barrel (usually on the front ring). With lenses from film era, may vary slightly from batch to batch.

Format

Format refers to the shape and size of film or image sensor.

35mm is the common name of the 36x24mm film format or image sensor format. It has an aspect ratio of 3:2, and a diagonal measurement of approximately 43mm. The name originates with the total width of the 135 film which was the primary medium of the format prior to the invention of the full frame digital SLR. Historically the 35mm format was sometimes called small format to distinguish it from the medium and large formats.

APS-C is an image sensor format approximately equivalent in size to the film negatives of 25.1x16.7mm with an aspect ratio of 3:2.

Medium format is a film format or image sensor format larger than 36x24mm (35mm) but smaller than 4x5in (large format).

Angle of view

Angle of view describes the angular extent of a given scene that is imaged by a camera. It is used interchangeably with the more general term field of view.

As the focal length changes, the angle of view also changes. The shorter the focal length (eg 18mm), the wider the angle of view. Conversely, the longer the focal length (eg 55mm), the smaller the angle of view.

A camera's angle of view depends not only on the lens, but also on the sensor. Imaging sensors are sometimes smaller than 35mm film frame, and this causes the lens to have a narrower angle of view than with 35mm film, by a certain factor for each sensor (called the crop factor).

This website does not use the angles of view provided by lens manufacturers, but calculates them automatically by the following formula: 114.6 * arctan (21.622 / CF * FL),

where:

CF – crop-factor of a sensor,
FL – focal length of a lens.

Mount

A lens mount is an interface — mechanical and often also electrical — between a camera body and a lens.

A lens mount may be a screw-threaded type, a bayonet-type, or a breech-lock type. Modern camera lens mounts are of the bayonet type, because the bayonet mechanism precisely aligns mechanical and electrical features between lens and body, unlike screw-threaded mounts.

Lens mounts of competing manufacturers (Canon, Nikon, Pentax, Sony etc.) are always incompatible. In addition to the mechanical and electrical interface variations, the flange focal distance can also be different.

The flange focal distance (FFD) is the distance from the mechanical rear end surface of the lens mount to the focal plane.

Lens construction

Lens construction – a specific arrangement of elements and groups that make up the optical design, including type and size of elements, type of used materials etc.

Element - an individual piece of glass which makes up one component of a photographic lens. Photographic lenses are nearly always built up of multiple such elements.

Group – a cemented together pieces of glass which form a single unit or an individual piece of glass. The advantage is that there is no glass-air surfaces between cemented together pieces of glass, which reduces reflections.

Focal length

The focal length is the factor that determines the size of the image reproduced on the focal plane, picture angle which covers the area of the subject to be photographed, depth of field, etc.

Speed

The largest opening or stop at which a lens can be used is referred to as the speed of the lens. The larger the maximum aperture is, the faster the lens is considered to be. Lenses that offer a large maximum aperture are commonly referred to as fast lenses, and lenses with smaller maximum aperture are regarded as slow.

In low-light situations, having a wider maximum aperture means that you can shoot at a faster shutter speed or work at a lower ISO, or both.

Closest focusing distance

The minimum distance from the focal plane (film or sensor) to the subject where the lens is still able to focus.

Closest working distance

The distance from the front edge of the lens to the subject at the maximum magnification.

Magnification ratio

Determines how large the subject will appear in the final image. For example, a magnification ratio of 1:1 means that the image of the subject formed on the film or sensor will be the same size as the subject in real life. For this reason, a 1:1 ratio is often called "life-size".

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Electronic manual focus override is performed in the following way: half-press the shutter button, wait until the camera has finished the autofocusing and then focus manually without releasing the shutter button using the focusing ring.

Electromagnetic diaphragm control system

Provides highly accurate diaphragm control and stable auto exposure performance during continuous shooting.

Manual diaphragm

The diaphragm must be stopped down manually by rotating the detent aperture ring.

Preset diaphragm

The lens has two rings, one is for pre-setting, while the other is for normal diaphragm adjustment. The first ring must be set at the desired aperture, the second ring then should be fully opened for focusing, and turned back for stop down to the pre-set value.

Semi-automatic diaphragm

The lens features spring mechanism in the diaphragm, triggered by the shutter release, which stops down the diaphragm to the pre-set value. The spring needs to be reset manually after each exposure to re-open diaphragm to its maximum value.

Automatic diaphragm

The camera automatically closes the diaphragm down during the shutter operation. On completion of the exposure, the diaphragm re-opens to its maximum value.

Fixed diaphragm

The aperture setting is fixed at F/ on this lens, and cannot be adjusted.

Number of blades

As a general rule, the more blades that are used to create the aperture opening in the lens, the rounder the out-of-focus highlights will be.

Some lenses are designed with curved diaphragm blades, so the roundness of the aperture comes not from the number of blades, but from their shape. However, the fewer blades the diaphragm has, the more difficult it is to form a circle, regardless of rounded edges.

At maximum aperture, the opening will be circular regardless of the number of blades.

Weight

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

Maximum diameter x Length

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

For lenses with collapsible design, the length is indicated for the working (retracted) state.

Weather sealing

A rubber material which is inserted in between each externally exposed part (manual focus and zoom rings, buttons, switch panels etc.) to ensure it is properly sealed against dust and moisture.

Lenses that accept front mounted filters typically do not have gaskets behind the filter mount. It is recommended to use a filter for complete weather resistance when desired.

Fluorine coating

Helps keep lenses clean by reducing the possibility of dust and dirt adhering to the lens and by facilitating cleaning should the need arise. Applied to the outer surface of the front and/or rear lens elements over multi-coatings.

Filters

Lens filters are accessories that can protect lenses from dirt and damage, enhance colors, minimize glare and reflections, and add creative effects to images.

Lens hood

A lens hood or lens shade is a device used on the end of a lens to block the sun or other light source in order to prevent glare and lens flare. Flare occurs when stray light strikes the front element of a lens and then bounces around within the lens. This stray light often comes from very bright light sources, such as the sun, bright studio lights, or a bright white background.

The geometry of the lens hood can vary from a plain cylindrical or conical section to a more complex shape, sometimes called a petal, tulip, or flower hood. This allows the lens hood to block stray light with the higher portions of the lens hood, while allowing more light into the corners of the image through the lowered portions of the hood.

Lens hoods are more prominent in long focus lenses because they have a smaller viewing angle than that of wide-angle lenses. For wide angle lenses, the length of the hood cannot be as long as those for telephoto lenses, as a longer hood would enter the wider field of view of the lens.

Lens hoods are often designed to fit onto the matching lens facing either forward, for normal use, or backwards, so that the hood may be stored with the lens without occupying much additional space. In addition, lens hoods can offer some degree of physical protection for the lens due to the hood extending farther than the lens itself.

Teleconverters

Teleconverters increase the effective focal length of lenses. They also usually maintain the closest focusing distance of lenses, thus increasing the magnification significantly. A lens combined with a teleconverter is normally smaller, lighter and cheaper than a "direct" telephoto lens of the same focal length and speed.

Teleconverters are a convenient way of enhancing telephoto capability, but it comes at a cost − reduced maximum aperture. Also, since teleconverters magnify every detail in the image, they logically also magnify residual aberrations of the lens.

Lens caps

Scratched lens surfaces can spoil the definition and contrast of even the finest lenses. Lens covers are the best and most inexpensive protection available against dust, moisture and abrasion. Safeguard lens elements - both front and rear - whenever the lens is not in use.