FUJIFILM X-Pro1 Photographes's Guidebook

FUJIFILM X-Pro1 Photographer's Guidebook

Professional tool X-Pro1 

When you wrap your fingers around the grip of the FUJIFILM X-Pro1, your thumb supports the back 

of the camera while your index finger rests lightly on the shutter button. Your middle finger touches the 

viewfinder selector on the front of the camera and the tip of your thumb is just on the command dial 

on its back. You have only to slide your thumb up a little to use the exposure compensation dial. Being 

able to use most of the camera controls without changing my grip or taking my eye from the viewfinder 

leaves me smiling. In the course of their development, digital cameras seem to have moved away from 

the basic photographic technique of looking through the viewfinder, but looking through the X-Pro1’s 

hybrid viewfinder has made me aware once again not only of the importance of framing pictures in the 

viewfinder, but of the pleasures of framing pictures in the viewfinder. The X-Pro1 really communicates 

the manufacturer’s drive and passion. 

Yoichi Sone

GalleryPage 5 

Photograph of Macau taken by Yoichi Sone with X-Pro1 

The inspiration 

It's just inspiration from Macau 

Section The Allure of the X-Pro1 Page 17 

The X-Trans CMOS Sensor 

In Search of Superior Optical Performance and Ease of Use 

Getting the Most from Lenses with the X Mount 

Section The X-Pro1 Page 24 

The Hybrid Multi Viewfinder / The Optical Viewfinder (OVF) 

The Hybrid Multi Viewfinder / The Electronic Viewfinder (EVF) 

The Viewfinder and the LCD Monitor 

Switching Between the EVF and OVF 

Display Customization 

A High-Performance LCD Monitor 

Manual Focus 

Saving and Modifying Custom Settings 

The Function (Fn) Button / The DRIVE Button/ The AE Button/ 

The AF Button

Section Fun with the X-Pro1 Page 35 

Film Simulation Function: Reversal Films 

Section Interview in Macau Page 72 

Photographer Yoichi Sone’s Macau Photo Diary 

Film Simulation Function: Color Neg. Film /Monochrome/ 

Sepia 

Film Simulation Bracketing 

Film Simulation: PROVIA 

Film Simulation: Velvia 

Film Simulation: ASTIA 

Film Simulation: PRO Neg.Hi / PRO Neg.Std 

Film Simulation: Monochrome 

Film Simulation: Sepia 

Multiple Exposure Shooting / ISO/Continuous Shooting/ 

White Balance /Processing RAW image on the camera 

Recording HD Movies 

Section VI Accessories Page 78 

M mount adapter 

Accessories 

How to use 

RAW FILE CONVERTER EX 

powered by SILKYPIX® 

Retouch: Color/RAW Processing for Richer Colors 

Retouch: Black-and-White/RAW Processing for “Presence”: 

Creating the Effect of Prints on 

Monochrome Photographic Paper 

Section XF Lenses Page 57 

The long history of Fujinon Lens 

Fujinon Interchangeable lenses 

XF18mmF2 R 

XF35mmF1.4 R 

XF60mmF2.4 R Macro

Gallery 

Photograph of Macau taken by Yoichi Sone with X-Pro1

Gallery 

Yoichi Sone 

The inspiration 

It's just inspiration from Macau

Shooting Data 

Review

This shot was taken from a room on the 14th floor. In addition to being taken through a window, this scene was shot under cloudy 

skies, both of which conspire to make colors less saturated, and this motivated my decision to choose the Velvia film simulation option. 

Film simulation makes for a meatier photograph than could have been achieved with a film camera, which in any case would not have 

allowed me to match my film to the subject of the moment or alter ISO sensitivity at will. 

Shooting Data 

Review

Shooting Data 

Review

When it comes to snapshots, quantity beats quality: you walk around ceaselessly and taking pictures continually until you naturally 

arrive at the point where quantity has conquered quality. Having come across a group of people washing coins, I set film simulation to 

Velvia and took a picture while watching. Without losing vividness, Velvia has captured facial expressions that otherwise would have 

appeared flat as a result of backlighting. 

Shooting Data 

Review

Shooting Data 

Review

A flower had fallen on the roof of this new Japanese car in the aftermath of a squall. Overall the colors were muted, so I adjusted all 

color settings for maximum vividness: COLOR > HIGH, SHADOW TONE > HARD, and FILM SIMULATION > Velvia/VIVID. 

Shooting Data 

Review

Shooting Data 

Review

When I told her I wanted to take her picture, the woman smiled shyly and turned away, but the child watched me with profound 

interest and a serious gaze. This had been a cloudy, muggy, humid day, so I choose Velvia to prevent colors being washed out. The 

splashes of red stretching from the left to the center of the image are rendered vividly, giving the picture a sense of unity. In my 

opinion, Velvia is an excellent match for cloudy weather. 

Shooting Data 

Review

Shooting Data 

Review

After less than a second’s eye-contact, the women were ready to reward me with wonderful expressions the moment I readied the 

camera and took a picture. The method used to capture this moment was pan focus achieved by selecting manual focus and an aperture 

of f/8 and leaving focus fixed at 2m. The sun was strong that day, so I chose ASTIA film simulation for gentle skin tones. I had 

formerly avoided ASTIA due to a mistaken impression from my film camera days that it was a soft-toned film, and I had no idea that it 

offered such excellent color reproduction. 

Shooting Data 

Review

Shooting Data 

Review

Happening to glance down as I crossed a pedestrian overpass, I was struck by the sight of a woman looking at her cell phone. I 

immediately snapped a shot with ISO raised to 6400. The reliability of the X-Pro1’s enhanced sensitivity is noteworthy. And just when 

I was thinking of taking another shot, the woman left. The shot may have been the result of a one-in-a-million chance, but when I 

viewed the picture in the LCD monitor, I was struck by how lovely the street corner looked. 

Shooting Data 

Review

Shooting Data 

Review

When taking snapshots with a wide-angle lens, stop aperture down for sharp results. This piece of photographic lore has been handed 

down over generations, but in fact another legitimate use for wide-angle lenses is to deliberately choose a wide aperture for dynamic 

shots with a sense of immediacy. I was using an XF18mm lens, so I could have stopped aperture down to get the whole frame in focus, 

but instead I went for a low angle and wide aperture to express the details of the tiles, the metallic feel of the decorations on the railing, 

and my own awareness of myself as an observer. The sense of immanent movement I get from this picture even now, its ability to 

suggest that kind of atmosphere, is the result of this overturning of convention. 

Shooting Data 

Review

Shooting Data 

Review

After attaching an XF18mm lens and disabling autofocus, I embarked on the night streets with my camera set for manual focus. I left 

focus fixed at 2m and set film simulation to Velvia. On leaving the narrow side streets for the main drag, I noticed a youth with the air 

of a young Rambo and took his picture as I passed, shooting from the hip without the viewfinder. 

Shooting Data 

Review

Shooting Data 

Review

The first film I ever bought was Fuji Neopan SS. Having just been turned on to photography, I spent half a year working during 

the day and taking photographs at night. Even pushed to +2, SS film was unable to capture night scenes in the city, so I switched to 

ISO 200 SSS film, which could be pushed to +2 for a exposure index of ISO 800. I remember taking quite a few photographs at this 

setting, which when combined with a wide-angle lens was adequate for night photography. Locations look different in the daytime 

than they do at night due to the difference between natural light (sunlight) and artificial light, which is due not only to the differing 

natures of the two sources but also to their position, and the increase in sensitivity is needed if film speed is to fill the gap. In the film 

era, ISO 800 was the point where results might start to become grainy, and, conscious as we were of the need to avoid grain, we had to 

use as slow a film as possible even if it meant putting up with some camera blur. The only way to satisfy these criteria was to choose a 

fast lens, making an aperture of f/2 essential for wide-angle lenses. The XF 18 mm has an aperture of f/2; the default ISO sensitivity for 

the X-Pro1 is ISO 200. I hope you can appreciate the magnificence of this shot, taken with sensitivity pushed to +2. 

Shooting Data 

Review

Shooting Data 

Review 

Yoichi Sone 

Yoichi Sone was born in Kawaguchi, Saitama, in 1953, and is a graduate of 

Hongo Senior High School. After dropping out of the French-language program 

at the Athénéé Français, he spent three semesters at the workshop of the 

Moriyama Daido film school, starting in 

1976. After spending time as an assistant 

to commercial photographers, he struck 

out on his own in 1979 and has worked as 

a freelancer ever since. He is an instructor 

at the Ginza Photo School and hosts the 

Sonë School Workshops. He supervises the 

photography coterie magazine “DRUG”. 

http://ys-ode.net/

Hearing joyful voices coming from the back of a deserted street, I turned around to see three boys pass in front of me, one of them 

trying to run with another on his back. I took a photo on the spot. It was but a brief event, but the sense of having shared this time 

with them made me happy. One can never predict when one will be blessed with such opportunities, which might be called decisive, 

but there is always some warning. The ability to detect such warnings is a test of the photographer’s sensibility. 

Shooting Data 

Review 

Yoichi Sone 

Yoichi Sone was born in Kawaguchi, Saitama, in 1953, and is a graduate of 

Hongo Senior High School. After dropping out of the French-language program 

at the Athénéé Français, he spent three semesters at the workshop of the 

Moriyama Daido film school, starting in 

1976. After spending time as an assistant 

to commercial photographers, he struck 

out on his own in 1979 and has worked as 

a freelancer ever since. He is an instructor 

at the Ginza Photo School and hosts the 

Sonë School Workshops. He supervises the 

photography coterie magazine “DRUG”. 

http://ys-ode.net/

The Allure of the X-Pro1

The Allure of the X-Pro1 

 

 

Large-Format APS-C Sensor Selected for High Image Quality 

People think that the physics of image sensors implies that the 

bigger they are, the closer they are to the desired image quality, 

but a larger size also has implications for body design that 

result in poor handling and other problems. The APS-C size was 

adopted for the X-Pro1 as representing the best balance between 

these competing factors. Its area is more than ten times that of 

the 1/2.33-inch sensors used in most compact digital cameras; at 

this size, each pixel can perform its role of reliably capturing the 

light from the lens and passing it to the image engine as a highquality, 

low-noise signal. 

The Plusses and Minuses of Moiré and Optical Low-Pass 

Filters 

Digital cameras that use large sensors provide sharp images 

thanks to increased pixel pitch. Unfortunately, moiré is more 

likely in close-ups of cloth and in shots of other subjects featuring 

regular geometric patterns. To counter this, most cameras use 

optical low-pass filters, a filter placed between the lens and the 

sensor to reduce the occurrence of moiré by defocusing fine 

details. Optical low-pass filters prevent lenses achieving their full 

potential, no matter how good their resolution.


 

 

 

New Dimensions in Detail Inspired by the Design of Photographic Film 

Color filters attached to the image sensor are arranged in a regular array, causing moiré due to 

mutualinterference in shots of objects featuring regular patterns. At FUJIFILM our attention was drawn 

to the fact that moiré does not occur in pictures taken with silver-nitrate film. Film grain is distributed 

randomly, preventing interference with regular patterns. Our attempt to replicate this random distribution 

is the “new color-filter array”, which is decidedly “film camera” in its inspiration. By removing the source 

of moiré, we also removed the need for a low-pass filter, with the result that the X-Pro1 offers a level of 

fidelity far beyond that of other image sensors with the same number of pixels.


 

 

In Search of Superior Image Quality and Ease of Use 

With its all-new lenses, lens mount, and sensor, the X-Pro1 represents 

the pursuit of top image quality and ease of use unhindered by existing 

concepts and standards. The design of “XF” X-system lenses is true to 

the following concepts: 

Optical fidelity is maintained from the center to the edges of the image 

for sharp detail in every corner of the frame . 

Maximum aperture is as fast as possible for greater expressive power. 

Compact and easy to carry 

Aperture Diaphragm Blades Designed with Image Quality in Mind 

Typically, each of the blades in a multi-bladed aperture has the same 

rounding, so that when aperture is stopped down, out-of-focus light 

sources are blurred into polygonal shapes that make it hard to get good 

bokeh. XF lenses feature a “rounded aperture” design in which the 

blades are carefully adjusted to create a nearly circular aperture at all 

f-stops. Molds are used for blades that, unlike blades produced by the 

more common press manufacturing process, can be virtually any shape 

in cross-section, minimizing flare and ghosting caused by lens-internal 

reflections.


 

 

Aperture Ring Supports 1⁄3 EV Stops for Flexible Exposure 

Aperture is adjusted using a ring on the lens barrel, just as in traditional 

cameras, and can be fine-tuned in increments as small as 1⁄3 EV for 

photographers who pay close attention to slight differences in exposure 

or depth of field. Increments are etched close together, reducing the 

amount the ring must be rotated to change aperture with each stop: 

for each 1⁄3 stop, the ring is rotated four degrees. Full steps are 

delineated by a stronger “click” than 1⁄3 stops, a design that makes it 

easy for photographers to directly feel changes to aperture through their 

fingertips. 

Size, Weight, and Feel All Targeted for Top Image Quality and Free 

Expression 

XF lenses are of course designed to deliver superlative image quality, 

but more than this, with their aluminum barrels and exteriors, they have 

been designed with appearance, quality, and feel in mind. The more the 

camera is used, the clearer the intentions of the designers with respect 

to such points as how the camera feels in the hand during framing 

and focusing, and this no doubt is what makes it a true professional 

photographic tool.


 

 

Unique X Mount Newly Developed to Increase Lens Optical Fidelity 

The X-Pro1 acknowledges no restraint in pursuit of high image quality. 

Central to this pursuit is the “X mount”. 

Take, for example, single-lens reflex cameras, which require a large 

flange-back distance due to the presence of a mirror assembly between 

the sensor and the lens. This makes it difficult to design wide-angle 

lenses that preserve adequate optical fidelity at the edges of the frame. 

In contrast, the X mount, with a flange-back distance of 17.7 mm, makes 

reduced flange-back distance its first priority. In addition, a wide opening 

allows the lens to be set back another 7.5 mm or so. This reduces the 

lens back-focus distance, preventing loss of peripheral illumination and 

ensuring high resolution right to the edges of the frame. This ingenious 

mount design also allows the rear lens element to be made larger, 

reducing the overall size of the lens. 

 

 

 

 

 

 

 

Down to the Last Anti-Flex Screw, Mount Design Spares Nothing in 

Pursuit of Thinness 

The X mount is extremely thin, having been kept to a thickness of about 

2.5 mm to reduce the flange-back distance. The number of screws used 

to ensure mount strength has consequently been increased to six from 

the more usual four. They are positioned to keep the both edges of each 

bayonet slot in place, combining thinness and strength while maintaining 

focus precision.


 

 

New Shutter System Combines Reduced Shutter Lag with High Frame Rate 

The focal-pane shutters in mirrorless cameras typically operate in the following 

sequence: 

1. The front curtain opens. 

2. The camera captures the live view image. 

3. The front curtain closes briefly when shutter button is pressed. 

4. The front curtain opens to create the exposure. 

5. The rear curtain closes. 

6. The front and rear curtains are charged and the process repeats from Step 1. 

While the X-Pro1 uses this sequence in single-frame advance mode, during burst 

shooting Steps 1 to 3 are omitted after the first shot, increasing the frame rate. 

Lenses’ Full Potential Realized by Electronically Transmitting All Lens Data 

to the Camera 

Mount control usually includes mechanical processes such as autofocus and 

aperture adjustment. The ten signal pins in the X mount connect the lens drive 

to the camera body, where it is controlled electronically. This simple and reliable 

method makes it easy to optimize image quality. Another feature of the X mount 

is that it gives the camera body access to high-level optical data from lenses of all 

types. This information is used to optimize image processing for high resolution, 

even illumination, and reduced chromatic aberration.

The X-Pro1

The Hybrid Multi Viewfinder 

 

 

The attraction of optical viewfinders is that they provide a clear optical image with sharp bright brackets 

superimposed to indicate the edges of the frame. The clear image in the viewfinder awakens the joy of 

taking photographs. 

Magnification lens 

Prism 

 

WIDE 

LCD panel 

Variable-Magnification Viewfinder 

Viewfinder magnification and the size of the bright frame 

change automatically to match the focal length of XF 

lenses. 

*35 mm [135] format equivalent 

Changing Viewfinder Magnification 

Viewfinder magnification can be changed by holding 

the viewfinder selector up for a few seconds. 


Change magnification Change magnification 

STANDARD 

 

 

TIPS 1 TIPS 2


 

 




TIPS 1 


Prism 

Parallax Adustment 

 

LCD panel 

WIDE 

Parallax correction 

takes effect when 

the shutter button 

is pressed halfway. 


Viewfinder magnification 

Normal 

and the 

OVF 

size of 

display 

the bright frame 


lenses. 

*35 mm [135] format equivalent 




OVF display adusted for parallax 



STANDARD 

 

 

TIPS 1 TIPS 2


 

 





Prism 

TIPS 2 

 

LCD panel 

WIDE 


Viewfinder magnification and the size of the bright frame 


lenses. 

The OVFs Appeal 

The appeal of the OVF is the sharp optical image in which 

both background and foreground are in focus. This allows 

you to observe the entire the scene and make the most of 

every opportunity for a photograph. You can also view the 

area outside the bright frame while finding for the perfect *35 mm [135] format equivalent 

composition. 






STANDARD 

 

 

TIPS 1 TIPS 2


The Electronic Viewfinder (EVF) 

 

The X-Pro1’s EVF offers 100% frame coverage; unlike other 

cameras with poor frame coverage, there is no need to 

worry that photographs may include objects not visible in the 

viewfinder. Full frame coverage is particularly important for 

macro photography, which demands precise framing. The 

high-resolution, approximately 1,440k-dots, 0.47-inch display 

provides clear images during both live subject preview and 

post-shooting image review. 

Preview the Effects of Exposure Compensation, Film Simulation, and Other Settings 

The EVF lets you preview the effects of camera settings before shooting. When the exposure compensation dial is rotated to adjust exposure compensation, 

for example, the effect is immediately visible. You can also accurately preview the effects of each film simulation option. 

Exposure 

preview 

 

F i l m s i m u l a t i o n 

preview


The Viewfinder and the LCD Monitor 

 

In addition to its optical and electronic viewfinders (OVF and EVF), the X-Pro1 

features an LCD monitor on the back of the camera (see page 30). Display selection is 

performed by pressing the VIEW MODE button. 

Choose a display that matches your shooting style and choice of subject. 

Choosing Between the Electronic Viewfinder (EVF), 

Optical Viewfinder (OVF), and LCD Monitor 

Eye sensor 

Press VIEW MODE 

to cycle through 

the displays. 

LCD Monitor Only Viewfinder Only Automatic Display Selection 

Choose this option when shooting movies and 

on other occasions when you want to frame 

pictures in the LCD monitor. It also reduces 

power consumption. The viewfinder functions 

as an OVF with no shooting information display. 

Choose this option to frame photographs with 

your eye to the viewfinder while holding the 

camera securely. 

For information on switching between the OVF 

and EVF, see page 28. 

When the eye sensor detects that you have 

put your eye to the viewfinder, the LCD monitor 

turns off and the OVF or EVF turns on. Display 

switches back to the LCD monitor when you 

take your eye from the viewfinder.


Switching Between the EVF and OVF 

 

The X-Pro1 features a viewfinder selector that can be used to switch 

instantly between the OVF and EVF displays. The selector can be 

operated without taking your eye from the viewfinder, allowing you to take 

advantage of the features of either display according to your photographic 

objectives. 

Each time the viewfinder selector is raised, the camera switches instantly between 

the OVF and EVF. The selector can be operated without taking your eye from the 

viewfinder, allowing you to switch displays without missing a shot. A hallmark X-Pro1 

technique is to first view the area around the frame in the OVF and compose a shot, 

then switch to the EVF and add polish your artistic conception with precision framing 

adjustments. 

NOTE 

EVF 

OVF 

 

Optical viewfinder (OVF) Viewfinder selector Electronic viewfinder (EVF)



 

Choosing the Inform ation Displayed in the OVF, EVF, and LCD Monitor 

At shipment, the OVF and EVF/LCD monitor are configured for full display and show information on a wide variety of settings. The X-Pro1 

does, however, let you choose the items displayed. For example, if you want a simple display that lets you concentrate on framing and angle 

while composing photographs, you can choose a display that features a bare minimum of shooting information. 

Press MENU/OK and select "DISP. 

CUSTOM SETTING" in shooting menu 

Tab 4. 

Select OVF or EVF/LCD. 

The items that appear in the display are 

indicated by check marks. Highlight items 

and press MENU/OK to add or remove check 

marks from the desired items. 

Items 

Full display Histogram hidden Most items hidden 

 

TIPS 1 TIPS 2



 





TIPS 2 

Framing uideline 

The “FRAMING GUIDELINE” option in Tab 4 of the shooting menu offers a choice of GRID 9, GRID 

24, and HD FRAMING. The “grid” options are a very effective aid to composition when, for example, 

framin photographs with the subjects arranged along a diagonal. 




CUSTOM SETTING" in shooting RID menu 

RID 2 

HD FRAMIINindicated by check marks. Highlight items 

Tab 4. 

A three-by-three grid. 

A six-by-four grid. 

Frame HD (16:9) and pictures press MENU/OK in to add or remove check 

the crop shown marks by lines from at the desired items. 

top and bottom the display. 

Items 


 

TIPS 1 TIPS 2



 





Items 

Items Available for Display 


CUSTOM SETTING" in shooting menu 

Tab 4. 



indicated by check marks. Highlight items 

and press MENU/OK to add or remove check 

marks from the desired items. 

Items 


 

TIPS 1 TIPS 2

LCD A High-Performance LCD Monitor 

 

Special Coating on 

High-Resolution 

(Approximately 1,230-k dots) 

Monitor Has Reflectivity 

Under 0.2% 

At default settings, the LCD monitor functions 

as a shooting information display. Standard and 

custom displays can be viewed by pressing the 

DISP/BACK button. 

No coating 

X-Pro1 

The monitor features a high-quality 

anti-reflective coating. The highly 

water-repellent, stain-resistant acrylic 

lets you enjoy a clear image even 

when you are shooting outdoors in 

bright sunlight. 

The DISP / BACK Button 

The display in shooting and playback modes 

changes each time the button is pressed. 

TIPS 1 TIPS 2

LCD A High-Performance LCD Monitor 

 

At default settings, the LCD monitor functions 

as a shooting information display. Standard and 

custom displays can be viewed by pressing the 

DISP/BACK button. 

The DISP / BACK Button 

The display in shooting and playback modes 

changes each time the button is pressed. 

TIPS 2 

No coating 

Silent Mode 

X-Pro1 

Press and hold the DISP/BACK button to enable “SILENT 

MODE”; press again to disable. 

 

The AF-assist illuminator turns off. 

All control beeps are muted. 

Sound is muted during movie playback. 

Note: Silent mode can not be enabled during movie playback. 

Special Coating on 

High-Resolution 

(Approximately 1,230-k dots) 

Monitor Has Reflectivity 

Under 0.2% 

The monitor features a high-quality 

anti-reflective coating. The highly 

water-repellent, stain-resistant acrylic 

lets you enjoy a clear image even 

when you are shooting outdoors in 

bright sunlight. 

 

TIPS 1 TIPS 2

Manual FocusMF 

 

In manual focus mode, focus is adjusted 

manually by rotating the lens focus ring. To 

select manual focus mode, rotate the focus 

mode selector on the front of the camera to 

M. Although autofocus (AF) is adequate in 

most situations, manual focus can be used 

for subjects that autofocus can’t handle 

or in circumstances that call for deliberate 

defocusing. The designers of the XF lenses 

for the X-Pro1 have paid special attention to 

the “feel” of the focus ring, and we hope that 

you will take the opportunity to experience 

how it has been delicately tuned to be neither 

too loose or too tight. 

Shooting Data 

Review 

XF35mmF1.4 R 

Program AE (F11, 1/420 sec ) 23 EV 

White balance: FINE 

ISO: 200 

Film simulation: Velvia/VIVID 

 

TIPS 1


 

In manual focus mode, focus is adjusted 

manually by rotating the lens focus ring. To 

select manual focus mode, rotate the focus 

mode selector on the front of the camera to 

M. Although autofocus (AF) is adequate in 

most situations, manual focus can be used 

for subjects that autofocus can’t handle 

or in circumstances that call for deliberate 

defocusing. The designers of the XF lenses 

for the X-Pro1 have paid special attention to 

the “feel” of the focus ring, and we hope that 

you will take the opportunity to experience 

how it has been delicately tuned to be neither 

too loose or too tight. 

 

TIPS 1 

Shooting Data 

Review 

While digital cameras are ready to shoot as soon as they are turned on, film cameras in the days before extensive 

automation required that a certain sequence of operations be performed before pictures could be taken. Users of early 

SLR cameras had to open the camera, install film and then, after finding their subject, set aperture and shutter speed, 

put an eye to the viewfinder and focus, advance the film, and finally release the shutter. This process, which seemed 

perfectly natural at the time, was in effect a kind of ritual that had to be performed before pictures could be taken, a 

connected series of actions with a photograph as its result. A key element of this process connecting it to the choice 

of subject, the genesis of any photograph, was the act of looking through the viewfinder and focusing. In contrast to 

traditional rangefinder cameras with two separate optical systems operating in parallel, the X-Pro1’s hybrid electronic 

viewfinder lets you experience the style of focusing used in SLR cameras, and we hope you will take advantage of this 

opportunity to experience manual focus photography as it was meant to be.


 

Checking Focus 

Focus distance (red bar) 

Depth of field (white bar) 

W h i l e i n g e n e r a l f o c u s c a n b e 

determined by an inspection of the 

image in the viewfinder, the manual 

focus indicator can also be used as 

guide. Focus distance is indicated by 

the red bar, while the white bar shows 

the field depth. The focus distance can 

be displayed in meters or feet, with 

the selection made using the “FOCUS 

SCALE UNITS” option in the set-up 

menu. 

Using Autofocus in Manual Focus Mode: 

The AE-L/AF-L Button 

Zooming in on the electronic viewfinder or LCD monitor 

Even in manual focus mode, you can press the AE-L/AF-L button 

to instantly focus using autofocus. When shooting close-ups, 

for example, you can press the AE-L/AF-L button to focus on 

your subject and then make precision adjustments using manual 

focus. This option can also be used when the view through the 

lens is zoomed in. 

Note: Available in manual focus mode only. 

Normal display 

Zooming in 

 

TIPS 1 

Pressing the center of the command dial magnifies the view in the electronic 

viewfinder or LCD monitor for precise focus. To scroll to other areas of the frame, 

press the AF button and use the selector.


 

The Focus Ring 

Using Autofocus in Manual Focus Mode: 

The AE-L/AF-L Button 

TIPS 1 

Focus distance (red bar) 

Depth of field (white bar) 

At default settings, focus distance increases when the focus 

ring is rotated clockwise and decreases when the ring is rotated 

Checking Focus 

W h i l e i n g e n e r a l f o c u s c a n b e 

determined by an inspection of the 

image in the viewfinder, the manual 

focus indicator can also be used as 

guide. Focus distance is indicated by 

the red bar, while the white bar shows 

the field depth. The focus distance can 

be displayed in meters or feet, with 

the selection made using the “FOCUS 

SCALE UNITS” option in the set-up 

menu. 

Zooming in on the electronic viewfinder or LCD monitor 

counterclockwise. This can be reversed in the “FOCUS RING” of setup 

menu. 

Reduce 

focus 

distance 

Increase 

focus 

distance 

Increase 

focus 

distance 

Reduce 

focus 

distance 

Even in manual focus mode, you can press the AE-L/AF-L Default button 

to instantly focus using autofocus. When shooting close-ups, 

for example, you can press the AE-L/AF-L button to focus on 

your subject and then make precision adjustments using manual 

focus. This option can also be used when the view through the 

lens is zoomed in. 

Note: Available in manual focus mode only. 

 

TIPS 1 

Normal display 

Rotation reversed in setup menu 

Zooming in 

Pressing the center of the command dial magnifies the view in the electronic 

viewfinder or LCD monitor for precise focus. To scroll to other areas of the frame, 

press the AF button and use the selector.

Custom Setting 


 

Options 

Up to seven combinations of settings can be saved by pressing the MENU button and selecting 

EDIT/SAVE CUSTOM SETTING in the shooting menu. Each combination can contain settings 

for nine separate items. Create different combinations for different conditions: for example, one 

combination for a soft effect and another for vivid colors. 

Settings for More Vivid Colors 

FILM SIMULATION: Velvia/VIVID 

COLOR: HIGH (+2) 

SHARPNESS: HARD (+2) 

HIGHLIGHT TONE: HARD (+2) 

SHADOW TONE: HARD (+2) 

Once you have created a Custom Settings bank for hard 

contrast and vivid colors, for example, you can recall 

the settings quickly whenever required. You may find it 

convenient to create a variety of settings for different results. 

 

TIPS 1 TIPS 2 TIPS



 

Options 


EDIT/SAVE CUSTOM TIPS SETTING 1 in the shooting menu. Each combination can contain settings 


combination for a soft effect and Instead another of selecting for vivid colors. Custom Settings banks 

from the shooting menu, you can press the 

button and use the quick menu for fast access. 


Rotate the command dial to choose from 

BASIC and FILM banks SIMULATION: C1 through Velvia/VIVID C7 and press 

MENU/OK to COLOR: select. HIGH (+2) 


HIGHLIGHT TONE: HARD (+2) 






 

TIPS 1 TIPS 2 TIPS



 

TIPS 3 

HIHLIHT TONE 

Increase contrast in highlights or make highlight tones more muted. 

Options 

Options 

HARD (+2) 

MEDIUM HARD (+1) 

STANDARD (0) 

MEDIUM SOFT (1) 

SOFT (2) 

Note: The default option is 

STANDARD 






HARD (+2) 

SOFT (2) 



SHADO TONE 


Increase contrast rast in shadows or make shadow tones more muted. HIGHLIGHT TONE: HARD (+2) 


Options 

HARD (+2) 


STANDARD (0) 


SOFT (2) 


STANDARD 





HARD (+2) 

SOFT (2) 

 

 

TIPS 1 TIPS 2 TIPS



 

TIPS 2 

COLOR 

This item controls saturation (color density). It can be used in combination with film simulation for a variety 

of effects. 

Options 

Options 

HIGH (+2) 

MEDIUM HIGH (+1) 

MEDIUM (0) 

MEDIUM LOW (1) 

LOW (2) 


MEDIUM. 






HIGH (+2) 

LOW (2) 



SHARPNESS 


This item sharpens or softens edges to make outlines stand out or lend HIGHLIGHT images a soft TONE: effect. HARD (+2) 


Options 

HARD (+2) 


STANDARD (0) 


SOFT (2) 


STANDARD 





HARD (+2) 

SOFT (2) 

 

 

TIPS 1 TIPS 2 TIPS

The Fn Button 

Assign frequently-used options to the Fn button. At 

default settings, this button controls ISO sensitivity, 

but it can also be used for quick access to film 

simulation settings, movie recording, or RAW image 

quality, among others. 

Functions That Can Be Assigned to the Fn Button 

Multiple exposures 

Depth-of-field preview 

ISO sensitivity 

Self-timer 

Image size 

Image quality 

Dynamic range 

Film simulation 

White balance 

AF mode 

Custom settings 

Movie recording 

RAW/JPEG toggle 

Note: Fn button options 

can also be displayed 

by pressing and holding 

the Fn button. 

The DRIVE Button 

Use the DRIVE button to choose from single-frame or 

continuous (6 fps or 3 fps) frame advance, bracketing (AE, 

ISO, film simulation, or dynamic range), panorama, or 

movie recording. 

The AE Button 

Choose how the camera meters exposure. Your 

options are MULTI, SPOT, and AVERAGE. 

Rotate to the left to reduce the 

size of the focus frame, right to 

increase, or press the command 

dial to restore 

the frame to its normal size. 

There are five sizes of focus 

frame available. 

The AF Button 

 

Use the AF button to choose the focus point. The 

EVF and LCD monitor offer a choice of 49 and the 

OVF a choice of 25 focus points. Press the AF button 

and use the selector to position the focus frame, or in 

the EVF/LCD monitor displays rotate the command 

dial to choose the frame size.

Section 

Fun with the X-Pro1

Film Simulation Reversal Film 

 

PROVIA / STANDARD Velvia / VIVID ASTIA / SOFT 

Known for its natural colors true to those 

seen by the naked eye. These natural 

colors make it suited to any scene or 

subject, from portraits to landscapes. 

Known for its vivid colors and vibrant 

tones, this option is well adapted to shots 

of the natural world—flowers, new leaves, 

autumn colors—and to photographers 

whose goal is to give strong expression to 

their inner vision. 

Known for its quiet, reserved skin tones 

and contrast, this option is a good choice 

for outdoor portraits thanks to its ability 

to give vivid expression to the colors of 

flowering plants and the bright blues of 

daylight skies. It offers photographs with 

a soft, refined feel while reliably capturing 

vivid colors.

Film Simulation 

 

PRO Neg.Std PRO Neg.Hi Sepia 

This option simulates the professional negative film used in studio photography and is defined 

by the gentle rendering of skin tones so typical of color negative film. Thanks to its wide dynamic 

range, “PRO Neg. Std” is capable of capturing the details revealed by the most carefully designed 

lighting. PRO Neg. Hi is a slightly more “contrasty” option that produces vibrant images outdoors or 

under flat lighting. 

T h i s o p t i o n s i m u l a t e s t h e p a l e t t e o f 

monochrome sepia film. Free of the artificiality 

so common in other palette simulations, it is 

known for its refined, calm tones, and produces 

interesting results not only in snapshots but in 

pictures of flowers and other plants. 

Monochrome(Normal) Monochrome + Yellow filter Monochrome + Red filter Monochrome + Green filter 

The defining feature of these options is the rich tone range that one would expect of Monochrome film. Choose these simulations to enjoy naturallooking 

results that might almost be prints made from monochrome film stock. In addition to standard monochrome, there are color filter options at your 

beck and call that can be used for a variety of effects. Choose the yellow filter for just a touch more contrast or the red filter for a whole lot more. The 

green filter, which brightens greens and increases the density of reds, can be used for outdoor portrait photography. The motivation behind including 

such a variety of monochrome effects is a refusal to compromise film expression on the part of FUJIFILM, which is also a film manufacturer.

Film Simulation BKTFilm Simulation Bracketing 

 


Selecting Film Simulation Bracketing 

In film simulation bracketing, pressing the shutter 

button creates three images, each using a different film 

simulation. You can choose the simulations used and the 

order in which bracketing is performed. 

Press the DRIVE 

button. 

Choose FILM SIMULATION BKT 

from the list of drive options. 

Choosing Film Simulation Bracketing Settings 

Press MENU/OK. 

Select FILM SIMULATION BKT 

in Tab 1 of the shooting menu. 

Choose film simulations for 

films 1–3. 

TIPS

Film Simulation BKTFilm Simulation Bracketing 

Other Bracketing Options 

TIPS 

 

[ ISO Bracketing ] 


The camera varies ISO sensitivity in the range ISO 200–ISO 6400 with each shot. The camera brackets exposure without changing 

aperture or shutter speed, making this option a good choice when you need to bracket exposure without changing depth of field or when 

Selecting Film Simulation Bracketing 

In film simulation bracketing, pressing the shutter 

you are photographing moving objects.Note: The camera varies aperture and shutter speed. 

button creates three images, each using a different film 

[ Options ] 

simulation. You can choose the simulations used and the 

order in which bracketing is performed. 

Press the DRIVE 

button. 

[ AE Bracketing ] 

Each time the shutter button is pressed, the camera takes three shots: one using the metered value for exposure, the second overexposed, 

and the third underexposed.Note: The camera varies aperture and shutter speed. 

[ Options ] 

±1 Exposure is varied by 1 EV 

with each shot. 

2/3 Exposure is varied by 2/3EV 


1/3 Exposure is varied by 1/3EV 


±1 ISO sensitivity is varied by 

1 EV. 

2/3 ISO sensitivity is varied by 

2/3EV. 

1/3 ISO sensitivity is varied by 

1/3EV. 

 

 

Choose FILM SIMULATION BKT 

from the list of drive options. 

[ Dynamic Range Bracketing ] 

Each time the shutter button is pressed, the camera takes three shots with different dynamic ranges: 100 for the first, 200 for the 

second, Choosing and 400 Film for Simulation the third. Bracketing Settings 

 

 

 

 

ISO sensitivity is automatically set 

to ISO 800 or above; the sensitivity 

previously in effect is restored when 

bracketing ends. 

Note: When creating JPEG copies 

of RAW images, you can set ISO 

sensitivity for photos taken at 200% 

to ISO 400 or higher, or to ISO 800 or 

higher for photos taken at 400. 

[ Options ] 

 

Press MENU/OK. Select FILM SIMULATION BKT 

100 200 400 

in Tab 1 of the shooting menu. 

 

Choose film simulations for 

films 1–3. 

 

TIPS

FUJICHROME 

PROVIA100F 

PROVIA is the reversal film with which I am 

most familiar, having used it since it first 

appeared on the market under the Fujichrome 

Professional brand. With its natural colors and 

ability to be pushed to +2 stops, I’ve used it— 

either normally or intensify, according to the 

situation—in everything from outdoor portraits 

through studio work to snapshots. At the time, 

it was sold as an ISO 400 reversal film, and 

the combination of +2 stop push-processing 

and the high granularity of the ISO 400 film 

gave it wide applicability, making it one of my 

favorite films. 

 

Enlarge 

Yoichi Sone

FUJICHROME 

PROVIA100F 

PROVIA is the reversal film with which I am 

most familiar, having used it since it first 

appeared on the market under the Fujichrome 

Professional brand. With its natural colors and 

ability to be pushed to +2 stops, I’ve used it— 

either normally or intensify, according to the 

situation—in everything from outdoor portraits 

through studio work to snapshots. At the time, 

it was sold as an ISO 400 reversal film, and 

the combination of +2 stop push-processing 

and the high granularity of the ISO 400 film 

gave it wide applicability, making it one of my 

favorite films. 

 

Enlarge 

Yoichi Sone

Film Simulation PROVIA 

 

Shooting Data 

Review 

XF18mmF2 RProgram AEF51/450 sec -1/3EV 

WHITE ALANCE / FineISO200FILM SIMULATION / PROVIAStandard


 

The graffiti is certainly vivid, but it could hardly be said to 

use primary colors. The woman whose attention is riveted 

on whatever she holds in her hands appears to be part of 

the mural. Our choice of film simulation for reproducing this 

flat tone range: the all-powerful PROVIA. Frame the picture 

in the electronic viewfinder and take the shot. Viewing the 

result in the LCD monitor, one has the illusion of viewing a 

strip of positive film through a magnifying glass. The snazzy 

tints are as close as it’s possible to get to the colors seen by 

the naked eye. 

Shooting Data 

Review


 

Shooting Data 

Review 

XF18mmF2 R Program AE(F2.5 1/1000 sec ) -1/3EV 

WHITE ALANCE / Fine ISO200 

FILM SIMULATION / PROVIA Standard


 

Our attention is held by beautiful woman with the dark 

hair who is waiting for the light to change. The subtle 

tones in the image dictate our choice of film simulation: 

PROVIA, with its natural-looking color reproduction. 

Although one would normally take a step forward to 

photograph the woman, leaving the post and its lettering 

out of the frame, here the photographer has deliberately 

focused on the post for a shot with aperture almost as 

wide as it will go—somewhere between f/2 and f/0.5. The 

large depth of field of the wide-angle lens contributes to 

a shot that allows us to read the mild expression on the 

woman’s face. 

Shooting Data 

Review

Velvia100F 

The Velvia entered the market with only one 

speed—ISO 50—and seeing as my focus at 

the time was snapshots, I had little opportunity 

to use this reversal film. I nevertheless did 

employ it for such subjects as landscapes, 

still lifes, and architecture because of its 

excellent granularity and a resolution capable 

of capturing edges in the minutest details. If I 

had to use it for snapshots I usually pushed it 

to +1 and shot at ISO 100. 

Yoichi Sone 

 

Enlarge

Velvia100F 

The Velvia entered the market with only one 

speed—ISO 50—and seeing as my focus at 

the time was snapshots, I had little opportunity 

to use this reversal film. I nevertheless did 

employ it for such subjects as landscapes, 

still lifes, and architecture because of its 

excellent granularity and a resolution capable 

of capturing edges in the minutest details. If I 

had to use it for snapshots I usually pushed it 

to +1 and shot at ISO 100. 

Yoichi Sone 

 

Enlarge

Film Simulation Velvia 

 

Shooting Data 

Review 

XF35mmF1.4 R Program AE(F5.6 1/340 sec ) -1/3EV 

WHITE ALANCE / Fine ISO200 FILM SIMULATION / Velvia Vivid

Film Simulation Velvia 

 

This garden in a quiet part of town was dotted with a 

number of plants so shockingly pink they seemed to 

hurt the eyes. The Velvia film simulation was used for 

more emphatic colors. To avoid distorting the Westernstyle 

building in the background, I used an XF35 mm 

lens at f/5.6. I also used manual focus and took my time 

framing and focusing before taking the shot. 

Shooting Data 

Review

Film Simulation 

Velvia 

 

Shooting Data 

Review 

XF18mmF2 R Program AE(F2 1/40 sec ) -2/3EV 

WHITE ALANCE / Fine ISO200 FILM SIMULATION / Velvia Vivid


Velvia 

 

Enlarged to huge proportions with multiple additions, this 

ancient high-rise made an eerie sight, so much so that 

I was slightly hesitant to take the picture. Conscious of 

what in film photography is known as color temperature, 

I set white balance to “FINE”. Vivid Velvia film simulation 

combines with the blue cast produced by the low color 

temperature for a surreal shot. 

Shooting Data 

Review

ASTIA 100F 

ASTIA’s reputation as a “soft-toned portrait 

film” unfortunately meant that I didn’t use it 

very often when shooting with film cameras. 

When I loaded some into my KLASSE W 

for this shot, however, I found that contrary 

to its reputation as a soft-toned film, it lies 

somewhere between PROVIA and Velvia in 

terms of vividness and is extremely sharp, 

making it more than adequate for everyday 

snapshots. 

Yoichi Sone 

 

Enlarge

ASTIA 100F 

ASTIA’s reputation as a “soft-toned portrait 

film” unfortunately meant that I didn’t use it 

very often when shooting with film cameras. 

When I loaded some into my KLASSE W 

for this shot, however, I found that contrary 

to its reputation as a soft-toned film, it lies 

somewhere between PROVIA and Velvia in 

terms of vividness and is extremely sharp, 

making it more than adequate for everyday 

snapshots. 

Yoichi Sone 

 

Enlarge


ASTIA 

 

Shooting Data 

Review 


WHITE ALANCE / Fine ISO200 FILM SIMULATION / ASTIA SOFT


ASTIA 

 

This mural, with its highly original design, is hidden away 

in a secluded area, unnoticed by passers-by on the 

sidewalk below. With its lack of vivid colors, this scene is 

suited to the calmer hues of ASTIA. I deliberately placed 

the mural in the center of the frame to give the shot 

symmetry. 

Shooting Data 

Review


ASTIA 

 

Shooting Data 

Review 

XF18mmF2 R Program AE(F5.6 1/280 sec ) -2/3EV 

WHITE ALANCE / AUTO ISO6400 FILM SIMULATION / ASTIA SOFT


ASTIA 

 

The elevator lobby in the hotel I stayed at in Macau 

was a space with the most magical decorations. 

Although I was eager to capture them in all their 

shining brilliance, I was also conscious of the night 

atmosphere and choose ASTIA film simulation for 

a slightly restrained feel. The gaudiness visible to 

the eye has been curbed in favor of more dignified 

hues. 

Shooting Data 

Review


 

 

 

 

Shooting Data 

Review 

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Shooting Data 

Review 

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XF18mmF1.4R Program AE(F5.6 1/150 sec ) -2/3EV 

WHITE ALANCE / Fine ISO200 FILM SIMULATION / PRO Neg. Hi 

XF18mmF2 R Program AE(F8 1/350 sec ) -1.3EV 

WHITE ALANCE / Fine ISO200 FILM SIMULATION / PRO Neg. Std


 

 

 

 

Shooting Data 

Review 

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Shooting Data 

Review 

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Prints from negative color film have a glossy feel and unique intensity. 

The scope of expression available with digital cameras has been 

increased by adding PRO Neg. Hi and PRO Neg. Std to the available 

film simulation modes. Only the kind of color reproduction available 

with color negative film could capture the harsh feel of the paper in 

the posters on the wall. The more you experiment with film simulation, 

the closer you come to the true essence of photography. 

A view of Macau Tower taken through the trees at the Pena Church 

on a hill in the western part of the Macau Peninsula. Although the 

differences in contrast make it a difficult subject insofar as choosing 

the correct exposure is concerned, the restrained tones of the PRO 

Neg. Std simulation provide a high-key rendering of the Macau Tower 

in the background without losing any details, and while not blocking 

shadows in the vegetation in the foreground. PRO Neg. Std is suited 

to portraits, shots of plants, and other subjects that call for limpid 

tones.


 

 

 

 

Shooting Data 

Review 

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Review 

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Review 

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Monochrome 

 

Monochrome(Normal) 

Monochrome + Yellow filter 



FILM SIMULATION / Monochrome 



FILM SIMULATION / Monochrome + Yellow filter 

Shooting Data 

Review 

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Shooting Data 

Review 

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Monochrome + Red filter 

Monochrome + Green filter 

XF18mmF2R Program AE(F8 1/400 sec ) -1/3EV 


FILM SIMULATION / Monochrome + Red filter 

XF18mmF2R Program AE(F4 1/3500 sec ) 0 


FILM SIMULATION / Monochrome + Green filter 

Shooting Data 

Review 

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Shooting Data 

Review 

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Monochrome 

 



Although is the basic black-and-white film 

simulation option, the grays of the asphalt and the 

washed-out, neutral tones with reduced contrast 

in the background give the illusion of an actual 

photographic print on Baryta paper. 

If I’d been asked what filter I was using back in the 

days when the default photographic film was blackand-white, 

I would have answered that I usually 

used a yellow filter for slightly higher contrast and 

firmer blacks. The circle at the center of this light 

fixture and the slightly underexposed areas in the 

corners provide deeper tones that look as though 

they were burned in using darkroom techniques. 

Shooting Data 

Review 

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Shooting Data 

Review 

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Red filters are effective in increasing the density 

of blue skies and making white clouds stand out. 

Although their deep color, which made it difficult to 

see shadows when looking through the viewfinder, 

was once a drawback, nowadays film simulations 

are not displayed in color and photographers are 

free take advantage of the high contrast that red 

filters can provide. 

Green filters capture the skin and lips of portrait 

subjects in limpid shades, making portrait 

photography and shots of wooden items one 

of their basic uses, but they are also put to 

work surprisingly frequently in landscape shots 

featuring abundant green foliage. In the case of 

portraits, film simulation bracketing using ASTIA, 

MONOCHROME + G FILTER, and PRO Neg. Std 

can produce interesting results. 

Shooting Data 

Review 

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Review 

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Monochrome 

 



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Monochrome 

 



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Monochrome 

 



Shooting Data 

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Monochrome 

 



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Shooting Data 

Review 

XF18mmF1.4 R Program AE(F4 1/4000 sec ) -2/3EV 

WHITE ALANCE / Fine ISO6400 FILM SIMULATION / Sepia


 

 

Sepia, a tone process applied to pictures after printing 

in the early days of photography, is known for its warm 

tones that awaken almost-forgotten fond, gentle, and 

nostalgic memories in the corners of our hearts. The 

sepia used in the X-Pro1 retains the pale, restrained 

tones of the original process, making it sure to be of use 

as an artistic storage device for memories of weddings, 

birthdays, and other memorable events. 

Shooting Data 

Review

Multiple exposure 

 

1. Shoot the first exposure. 

Original photo 

To retake the first exposure, press 

the selector left. 

To end multiple exposure shooting 

and save only the first shot, press 

DISP/BACK. 

2. Shoot the second exposure. 

The view through the lens will be 

shown superimposed over the first 

shot in the EVF, OVF, and (in the 

standard and custom displays) LCD 

monitor. Use the display as a guide 

to composing the second shot. The 

procedures for retaking or saving 

the second exposure are the same 

as for the first shot. 

Multiple exposures bring to life a world that can be imagined but that is invisible to the naked eye. In 

film cameras, multiple exposures were created by not advancing the film between shots. The results 

could not be determined until the film had been developed. Waiting with anticipation for the film to be 

developed was a joy in itself. The X-Pro1 makes it easy to enjoy creating multiple exposures that match 

your personal vision by letting you preview the results of each multiple exposure in the viewfinder or 

LCD monitor. 

Note: Multiple exposure remains in effect when the camera is turned off. Cancel multiple exposure in the menus when shooting is 

complete. 

Original photo Another Cut NOTE


 



Another Cut 





DISP/BACK. 
















LCD monitor. 


complete. 



 





NOTE 



DISP/BACK. 











Exposure can be changed between the first and 

second shots. 

The exposure mode can be changed between the 

first and second shots. 

Film simulation and other parameters can not be 

changed between the first and second shots. 






LCD monitor. 


complete. 



 








DISP/BACK. 
















LCD monitor. 


complete. 


ISOISO SensitivityISO 

 

TIPS 1 

ISO sensitivity can be adjusted in 

the range ISO 100–ISO 25600, 

including low- and high-gain 

settings. The normal range is ISO 

200–ISO 6400. 

Enlarge 

ISO AUTO 

ISO sensitivity can be adjusted according to shooting conditions. There is little reason 

to worry about noise when using the X-Pro1 in the normal range of ISO 200 to ISO 

6400. Normally ISO sensitivity can be set to AUTO (6400), letting the camera choose 

from ISO sensitivities between ISO 200 and ISO 6400 according to the scene. If you 

don’t want ISO sensitivity to go as a high as ISO 6400, you can choose AUTO (400) or 

AUTO (800) to set the maximum values for auto ISO sensitivity control to those values. 

High Gain (H) 

The camera offers high-gain settings equivalent to ISO sensitivities of ISO 12800 and 

ISO 25600. Although noise will become more noticeable as ISO sensitivity is raised, 

these settings can be extremely effective when you need to record scenes of scientific 

import or in other similar situations. 

 

Enlarge 

 

Enlarge 

 

Low Gain (L) 

The camera also offers a low-gain setting equivalent to ISO 100. XF lenses are fast 

with wide maximum apertures and large diameter openings. If aperture is opened 

up to take advantage of the lenses’ beautiful soft bokeh, shutter speeds may exceed 

the fastest speed supported by the exposure system (1/4000sec). Should this occur, 

shutter The Top speed of can the be slowed Normal by selecting Range: an Taking ISO sensitivity Pictures of L (100). at ISO L (100) 6400 can 

also be used in cases in which you want to blur subject motion by choosing as slow a 

Including low- and high-gain settings, the X-Pro1 supports ISO sensitivities between ISO 100 

shutter speed as possible. 

and ISO 25600. The normal range is between ISO 200 and ISO 6400, and even at the upper limit 

of ISO 6400, noise is barely noticeable. With a fast XF lens, you can turn the flash off and take 

photos using natural light late in the evening or at night, for beautiful pictures that show the scene 

as it originally appeared. 

See also: ISO 

 

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TIPS 1 TIPS 2 NOTE Shooting Data


 





200–ISO 6400. 

Enlarge 

 

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Noise reduction 

TIPS 2 

Noise in the form of randomly-spaced bright pixels or color noise is more common at 

higher sensitivities. Noise reduction can be used to reduce noise for smoother images; 

note, however, that noise reduction, while useful for reducing noise, also has such 

side-effects as lowering the amount of detail visible in the image and reducing color 

saturation in shadows. While these defects are hardly noticeable in pictures taken with 

the X-Pro1, MEDIUM LOW (–1) and LOW (–2) have been included for photographers 

who are sensitive to their effects in even the smallest amount. 

[ Options ] 

HIGH (+2) 

MEDIUM HIGH (+1) 

STANDARD (0) 

MEDIUM LOW (–1) 

LOW (–2) 

Note: The default setting is STANDARD. 

 

The Top of the Normal Range: Taking Pictures at ISO 6400 

Enlarge 

 






See also: ISO 

 

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200–ISO 6400. 

Enlarge 

 

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See also: ISO 

 

XF18mmF2R Program AE(F2.5 1/110 sec ) -2/3 WHITE ALANCE / AUTO ISO6400 FILM SIMULATION / ASTIA SOFT 

Enlarge 



 





200–ISO 6400. 

NOTE 

Enlarge 

 

RAW Image Quality 

(RAW, RAW + FINE, and RAW + NORMAL) 

If a RAW option (RAW, RAW + FINE, or RAW + NORMAL) is 

selected for image quality while ISO sensitivity is set to L (100), ISO 

sensitivity will be raised to ISO 200. If H (12800) or H (25600) is 

selected, ISO sensitivity will automatically be set to ISO 6400. 

Enlarge 

 


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See also: ISO 

 

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200–ISO 6400. 

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See also: ISO 

 

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Continuous shooting 

 

Select CONTINUOUS 

with the DRIVE button 

and choose from frame 

rates of 3 and 6 fps. 

Choice 

Taking a series of shots of an object in motion 

is of course one purpose for which continuous 

shooting can be used. But continuous shooting 

can also be used proactively for portraits and 

snapshots. Sometimes a decisive moment can 

be hiding in that sequence of shots. Children’s 

expressions can change at dizzying speed, as 

can the faces of people on the street: captured in 

burst mode, subjects like these can offer a variety 

of expressions to choose from. The X-Pro1 has a 

quiet shutter and is much less intimidating than a 

single-lens reflex camera. You’ll want to take all 

the burst mode shots you can to find the perfect 

masterpiece. 

 

Shooting Data

White Balance 

 

You can choose a white balance 

setting from the menus. White 

balance can also be selected 

using the Q button or assigned 

to the Fn button for quick 

access. 

XF18mmF2R Program AE(F6.4 1/500 sec ) +1/3 WHITE ALANCE / INCANDESCENT LIGHT ISO200 

FILM SIMULATION / Velvia Vivid 

Choosing a white balance that matches the light source—say the sun, or incandescent lighting—produces colors 

close to those seen by the human eye. AUTO is recommended in most situations. Deliberately choosing a 

setting that does not match the light source, on the other hand, alters color balance and offers the photographer 

a further means of artistic expression. The photograph above was taken in sunlight but with white balance set to 

INCANDESCENT LIGHT, giving the picture a blue color cast and creating a striking image. 

 

Shooting Data Another Cut TIPS

White Balance 

 

Another Cut 

You can choose a white balance 





access. 


close to those seen by the human eye. is recommended in most situations. Deliberately choosing a 



S G, giving the picture a blue color cast and creating a striking image. 

 


White Balance 

 

TIPS 

AUTO 

Fine 

Shade 

Fluorescent light You (Daylight) can choose a white balance 





access. 

Fluorescent light (Warm White) Fluorescent light (Cool White) Incandescent light Underwater 

Choosing white balance to match the light source produces 

colors close to those seen by the human eye. Other settings 

can be used to give your images a color cast. 


close to those seen by the human eye. AUTO is recommended in most situations. Deliberately choosing a 



INCANDESCENT LIGHT, giving the picture a blue color cast and creating a striking image. 

 


Processing RAW Images on the Camera 

 

The X-Pro1 can be used to create JPEG copies of 

RAW images recorded with the camera. You can 

choose different values for camera settings every time 

you create a JPEG copy: for example, you can adjust 

film simulation for one copy and film simulation, color, 

and sharpness for another. To record RAW images, 

select RAW, RAW + FINE, or RAW + NORMAL for 

the IMAGE QUALITY option in the shooting menu. 

RAW CONVERSION: COLOR 

RAW CONVERSION: FILM SIMULATION 

RAW CONVERSION: SHARPNESS 

RAW CONVERSION: WHITE BALANCE 

Options

Processing RAW Images on the Camera 

 

The X-Pro1 can be used to create JPEG copies of 

RAW images recorded with the camera. You can 

choose different values for camera settings every time 

you create a JPEG copy: for example, you can adjust 

film simulation for one copy and film simulation, color, 

and sharpness for another. To record RAW images, 

select RAW, RAW + FINE, or RAW + NORMAL for 

the IMAGE QUALITY option in the shooting menu. 

Options 

RAW CONVERSION: COLOR 

RAW CONVERSION: FILM SIMULATION 

RAW CONVERSION: SHARPNESS 

RAW CONVERSION: WHITE BALANCE 

Options


 

The X-Pro1 makes it easy to record high-definition (HD) movies. 

Not only that, but our fast XF lenses lose none of their power 

when used to record movies. Shoot with an XF60 mm f/2.4 

Macro lens at maximum aperture to beautifully blur everything 

but your main subject, or stop an XF18 mm f/2 R lens all the way 

down to maximize depth of field. Film simulation can be used for 

movies just as it can for still photographs. 

TIPS 

Press the 

DRIVE button. 

Select MOVIE. 

Press MENU/OK 

to enter standby 

mode. 

Press the shutter button to start 

recording. 

Press the shutter button again to 

end recording, save the movie, 

and return to standby mode. 

SAMPLE MOVIE 

FILM SIMULATION / Velvia FILM SIMULATION / PROVIA FILM SIMULATION / SEPIA


 

The X-Pro1 makes it easy to record high-definition (HD) movies. 

Not only that, but our fast XF lenses lose none of their power 

when used to record movies. Shoot with an XF60 mm f/2.4 

Macro lens at maximum aperture to beautifully blur everything 

but your main subject, or stop an XF18 mm f/2 R lens all the way 

down to maximize depth of field. Film simulation can be used for 

movies just as it can for still photographs. 

TIPS 

TIPS 

Press the 

DRIVE button. 

Adjusting Movie Settings 

Adjust aperture and choose focus mode 

(continuous AF or manual), white balance, film 

simulation, and exposure compensation settings 

before starting shooting. The selected settings will 

be reflected in the movie. Note that continuous AF 

will be used when single AF is selected for focus 

mode and that aperture can not be adjusted during 

recording. 

Select MOVIE. 

Press MENU/OK 

to enter standby 

mode. 

Aperture 

If an option other than A is selected for aperture 

before shooting begins, the movie will be recorded 

in aperture-priority AE mode. To blur background 

details, choose a wide aperture (low f-number). 

Press the shutter button to start 

recording. 

Press the shutter button again to 

end recording, save the movie, 

and return to standby mode. 

SAMPLE MOVIE 

FILM SIMULATION / Velvia FILM SIMULATION / PROVIA FILM SIMULATION / SEPIA

XF Lens

The long history of 

Fujinon Lens

Fujinon Lens 

Its history began in 1940 / The long history of Fujinon Lens 

 

Its history began in 1940 and 

continues today 

Fujifilm has a long history when it comes 

to photographic lens development. This 

history began in 1940 with the construction 

of a glass melting furnace in Odawara 

factory in 1940. To further improve the 

research, in 1949 Fujifilm planned and 

designed the first electronic computer 

system in Japan. From that time, the 

company began to sell lenses for video 

cameras, projectors, enlargers, and 

more. After entering the color era, Fujifilm 

adopted the Super Electron Beam Coating 

(EBC) technology to achieve superior color 

balance and transparency. Its lenses then 

became well-known for their great optical 

performance and high contrast. Today’s 

Fujifilm XF lenses have inherited these 

superior features, such as cam-driven 

zoom mechanism for smooth adjustment 

of high magnification lenses. The reasons 

why Fujifilm lenses have been used and 

appreciated through times, particularly 

video camera lenses and cinema lenses 

used in the broadcasting and movie 

industries, probably lie in this long history. 

1949 / Fuji Cristar 5cm f2 

Collapsible L-mount lens. A rare 

lens that is particularly difficult to 

find even in secondhand markets. 

1954 / Fujinon 5cm f1.2 

It is said that 3 years have been 

necessary to develop this largediameter 

L-mount lens. Its size 

perfectly fit old Barnack-type Leica 

cameras to maximize brightness 

without blocking the view through 

the rangefinder. 

1964 / FUJICAREX II 

Central shutter single-lens reflex 

camera. 

1974 / Fujinon 65mm f5.6 

Wide -angle lens for Fujifilm 

medium-format G690 camera 

featuring 6 - group/8 - element 

configuration and a minimum 

focusing distance of 1m. Popular 

for its capacity of capturing sharp 

images even at maximum aperture. 

1980 / FUJICA AX-5 

E m p l o y s a b ayo n e t F u j i c a 

X-mount. 

2012/ Fujinon XF Lens 

An aperture achieving high brightness and 

resolution in a compact design.

Fujinon Lens 

 

 

The day I met the Fujinon lenses 

 

In 1976, I joined without hesitation the third class of Daido Moriyama’s 

course at the Workshop Photography School when I saw its billboard 

saying “Workshop Photography School, last year of teaching”. After 

graduated, I became an assistant photograph in a studio taking mainly 

pictures of products to increase my photographic skills. Equipment at the 

studio was mainly composed of Schneider and Rodenstock lenses for 4x5 

in, but the two mentors I worked with were using more often EBC Fujinon 

210mm F5.6 lenses. For people who were working there at shooting 

products for advertisement, EBC Fujinon lens was synonym of “good 

lens”. During the work, I was standing under the camera installed on the 

product stand, and was following the instructions from my mentors. I was 

in charge of moving the products, checking the configuration through 

the ground glass, charging the shutter and so on. I spent a lot of time 

manipulating Fujinon lenses while looking at products in front focus. I was 

authorized to stay alone in the studio and take pictures after work, so I 

had the opportunity to shoot a same subject with 3 different EBC Fujinon 

lenses (90mm, 150mm, and 210mm). At that time, the emulsion of 4x5- 

inch sheet films wasn’t stable so we were using them with gelatin filters. 

But with Fujinon lenses the center of the focal plane was very sharp even 

without narrowing much the aperture. In addition, colors were reproduced 

vividly with remarkable color shading. I spent this period as an photograph 

assistant dreaming of the time I would be able to buy my own Sinar 

camera and a set of three EBC Fujinon lenses to work as a professional. 

Yoichi Sone

Fujinon Lens 

Its history began in 1940 /The long history of Fujinon Lens 

 

The day I bought a Fujinon lens 

 

During the second part of the period I spent working as an photograph 

assistant, we received much more work from photographic magazines. I 

was asked more often to carry out jobs in place of my mentors and began 

to think about working independently as a photograph. After I resigned 

from the studio, I thought I would find jobs as a product photograph 

for advertisement thanks to my experience accumulated in the studio. 

However I was asked for collaboration by a photographic magazine 

focusing on snapshots. This is how I had to delay the achievement of my 

dream of having a Sinar camera and Fujinon lenses for 10 years. Single 

lens reflex (SLR) cameras were mostly used then but I was personally 

interested in compact camera for their portability. As I felt a particular 

attraction toward Fujifilm brand, I bought a Fuji Cardia Travel Mini Dual-P. 

It was the prime of SLR cameras and photographic magazines were 

displaying shoots I had taken with my Travel Mini along with pictures 

taken with SLR cameras in the same issues. At that time, most people 

were thinking that professionals would never use compact cameras but 

the contribution made by my Travel Mini was brilliant enough. Then I could 

make my dream come true. As soon as I heard about the launch of the 

Tiara compact camera mounted with EBC Fujinon lens, I bought one. The 

model I bought featured a single-focal 28mm lens. I was really impressed 

by the shutter response and its portability and became soon fond of it. 

I was really productive and sent a great deal of pictures I took with it. 

Later I fell into such raptures about the newly available GA645/GA645W 

that I bought two in a row. I could familiarize myself with medium-format 

cameras thanks to these 2 models. Even if I worked with the GA645W 

more often, I spent so much time observing different scenes though the 

EBC Fujinon lens of the GA645 that it became like a part of my body. Even 

after spending 35 years observing the world through a Fujinon lens, I felt a 

rare joy when I could acquire a Fujifilm X-Pro1 and start using it the further 

enhanced Super EBC Fujinon lens. 

Yoichi Sone

Fujinon Interchangeable lenses: Fujinon XF Lens series 

 

XF18mmF2 R 

 

 

 

 

 

 

 

 

 

 

Uses glass-mold aspheric lenses at 

the 5th and 7th elements. The final 

element, positioned as closely to 

the sensor as possible, makes the 

incidence angle of light reaching 

the sensor smaller, and reduces 

vignetting and color shading, while 

helping to keep the lens's overall 

size small. 

Three newly developed singlefocal 

lenses 

The 3 new interchangeable lenses for the 

X-Pro1 are specially designed to deliver 

improved center-to-edge resolution and 

brightness free from chromatic aberration. 

All 3 lenses are masterpieces of optical 

engineering and quality, and feature all-glass 

fabrication of the aspherical lens and other 

lens elements, as well as treatment with 

Fujinon’s original Super EBC coating. Fine 

adjustment of aperture is made possible 

through the 1/3-step aperture ring which let 

you feel each subtle step as you operate the 

ring. 

XF35mmF1.4 R 

 

 

 

 

 

 

 

 

 

XF60mmF2.4 R Macro 

 

 

 

 

 

 

 

 

 

 

 

Large-diameter lens achieving 

homogeneous resolution even at 

maximum aperture that uses a 

glass-molded aspheric lens at the 

5th element to minimize spherical 

aberration. In addition to excellent 

reproduction in the focal plane, it 

also achieves beautiful blur in out-offocus 

areas. 

Mid telephoto lens with a bright 

aperture of F2.4. Uses a glass 

molded aspheric lens and places an 

ED (extra-low dispersion) glass lens 

to prevent field curvature and reduce 

chromatic aberration. This lens is not 

only ideal for portraiture thanks to its 

beautiful blur and high resolution, 

but also delivers magnification of 

0.5x for macro photography. 

Lens Structure

Fujinon Interchangeable lenses: Fujinon XF Lens series 

Lens Structure 

XF18mmF2 R 

XF18mmF2 R 

 

 

 

 

 

 

 

 

 

 

 

Uses glass-mold aspheric lenses at 

the 5th and 7th elements. The final 

element, positioned as closely to 

the sensor as possible, makes the 

incidence angle of light reaching 

the sensor smaller, and reduces 

vignetting and color shading, while 

helping to keep the lens's overall 

size small. 

Three newly developed singlefocal 

lenses 

XF35mmF1.4 R 

The 3 new interchangeable lenses for the 

X-Pro1 are specially designed to deliver 

improved center-to-edge resolution and 

brightness free from chromatic aberration. 

All 3 lenses are masterpieces of optical 

engineering and quality, and feature all-glass XF60mmF2.4 R Macro 

fabrication of the aspherical lens and other 

lens elements, as well as treatment with 

Fujinon’s original Super EBC coating. Fine 

adjustment of aperture is made possible 

through the 1/3-step aperture ring which let 

you feel each subtle step as you operate the 

ring. 

XF35mmF1.4 R 

 

 

 

 

 

 

 

 

 


 

 

 

 

 

 

 

 

 

 

 

Large-diameter lens achieving 

homogeneous resolution even at 

maximum aperture that uses a 

glass-molded aspheric lens at the 

5th element to minimize spherical 

aberration. In addition to excellent 

reproduction in the focal plane, it 

also achieves beautiful blur in out-offocus 

areas. 

Mid telephoto lens with a bright 

aperture of F2.4. Uses a glass 

molded aspheric lens and places an 

ED (extra-low dispersion) glass lens 

to prevent field curvature and reduce 

chromatic aberration. This lens is not 

only ideal for portraiture thanks to its 

beautiful blur and high resolution, 

but also delivers magnification of 

0.5x for macro photography. 

Lens Structure

XF18mmF2 R 

The standard at the time was 50mm lenses, but 

despite that I decided to buy a camera and lenses for 

28mm. Actually I based my choice on pictures I saw 

in a photographic magazine. I forgot the name of that 

photograph but I found his work excellent and it was 

written in the description that he had used a 28mm lens. 

I could appreciate this particular angle of view because 

I spent myself years shooting with a 28mm lens. Even 

when I was using my three Fujinon XF lenses, I first 

used the XF18mmF2 R, which is 27mm (35mm format 

equivalent). The compatibility with the X-Pro1 is amazing. 

When setting the Hybrid Viewfinder to EVF and looking 

at an indoor scene, there is almost no barrel distortion in 

the straight lines of the ceiling, the walls and the doors, 

even when seen from below. With single lens reflex and 

compact digital cameras, wide angle distortion often 

spoils the joy when looking at the viewfinder, but with 

XF18mmF2 R the scene is clear with no distortion and the 

enjoyment can reach its peak. 

Yoichi Sone

XF18mm F2 R 

 

Shooting Data 

Review 


WHITE BALANCE / FINE ISO200 FILM SIMULATION / Velvia Vivid

XF18mm F2 R 

 

This T-shirt pattern is so elaborated! I wish I could 

have a camera with the wide angle XF18mmF2 R lens 

with its bright aperture to perfectly capture the beauty 

of this small street covered with shadow. 

Shooting Data 

Review

XF18mm F2 R 

 

XF18mmF2 R Program AE(F2 1/30 sec ) -1EV 

WHITE BALANCE / AUTO ISO1000 FILM SIMULATION / Velvia Vivid

XF18mm F2 R 

 

The atmosphere of the blue wall of the cafe on the 

right and of the motorbike backlit by the sun slowly 

going down. The shape of the boy going down the 

street. The more I think about it, the more I want to 

praise the position I’m standing at. The angle of view 

of 18mm that will be perfect to shoot that scene is 

really a natural way of looking at things for me. 

Shooting Data 

Review

XF35mmF1.4 R 

The 50mm lenses, which are said to be the closest to 

the human eye vision, became the “standard lenses” 

during the prime of single lens reflex (SLR) cameras. Also 

with cameras using rangefinders manufactured before 

the SLR era, the standard for viewfinders with bright 

frame was 50mm. Numerous works left by photographs 

were made with 50mm lenses. We can probably say 

that the characteristic of 50mm angle of view is that 

all subjects can well capture with only one lens. The 

maximum aperture of the XF35mmF1.4 R (35mm format 

equivalent: 53mm) is F1.4, which is the standard aperture 

of 50mm lenses. I have taken lots of pictures with different 

apertures, but thanks to its large diameter, it gave me 

an impression of remarkable sharpness with a great 

resolution in the center of the focus plane surrounded by 

an elegant and beautiful blur. Focusing manually is really 

easy and intuitive thanks to the smooth operation of the 

focusing ring. It gave me the illusion I was shooting with 

my old and familiar cameras I used for years. 

Yoichi Sone

XF35mmF1.4 R 

 

Shooting Data 

Review 


WHITE BALANCE / FINE ISO200 FILM SIMULATION / Velvia Vivid

XF35mmF1.4 R 

 

A standard lens that it is said to be the closest 

to the human vision. It probably means that it’s a 

natural angle of view, but for me it gives somehow 

the feeling of a telephoto lens. It is also the angle 

of view of 50mm lenses* which were mainly used 

during the prime era of cameras with rangefinders. 

But it is still a mysterious lens that can give good 

results even if the photograph had the feeling of a 

narrow angle when he shoots the scene. 

*35mm format equivalent 

Shooting Data 

Review

XF35mmF1.4 R 

 


WHITE BALANCE / FINE ISO200 FILM SIMULATION / PROVIA STANDARD

XF35mmF1.4 R 

 

The XF35mmF1.4 R is hard to define. It is an 

exceptional macro lens and at the same time a good 

mid telephoto lens that can achieve a exceptional 

range of variation from full aperture to narrow focus. 

I began photography with 2mm lenses and haven’t 

used 50mm lenses* so much but since I have met 

the XF35mmF1.4 R (53mm), I often think that I 

would have taken pictures differently if I had met 

50mm lenses* earlier. And the blur is so beautiful! 


Shooting Data 

Review


If you ask me what kind of lens I’m not at ease with, as 

a photograph who has taken snapshots in the street 

for a long time, I would say it’s mid telephoto lenses. 

When I first used the XF60mmF2.4 R Macro lens (35mm 

format equivalent: 91mm), I was wondering what kind of 

shoot I should take. I mounted it on the X-Pro1 and was 

impressed by the great feeling of the focusing ring, neither 

too hard nor loose. The lens is compact so you tend to 

forget it is a 91mm when holding it. Considering the size, 

I started to think that I will do a great work with it and 

changed my opinion on the XF60mmF2.4 R Macro lens 

even before taking the first shoot. When I was actually 

taking pictures with it, I didn’t focused so much on scenes 

for macro shoots, but took a lot of snapshots in the street 

as usual. For a 91mm and a mid telephoto lens, the scene 

was compressed as if taken with a telephoto lens while 

the space surrounding the subject was well rendered. I 

fell in love at first sight of the results. The bright aperture 

of F2.4 allowed me to shoot with confidence even shady 

areas in the street. 

Yoichi Sone


 

Shooting Data 

Review 

XF60mmF2.4 R Macro Program AE(F2.4 1/80 sec ) -1/3EV 

WHITE BALANCE / FINE ISO200 FILM SIMULATION / ASTIA SOFT


 

The XF60mmF2.4R Macro is categorized as a 

mid telephoto lens with its 91mm (35mm format 

equivalent). But when viewing through the finder, 

it gives the impression of a 200mm* telephoto 

lens with the characteristic feeling of compression 

of the focus plane surrounded by wide space. 

This is a high quality lens achieving excellent 

resolution at full focus in a compact design. 

(*35mm format equivalent) 

Shooting Data 

Review


 

 

Shooting Data Review Another Cut 1 Another Cut 2 


Aperture Priority AE(F2.4 1/1600 sec ) +1/3EV 

WHITE BALANCE / FINE ISO200 

FILM SIMULATION / ASTIA SOFT


 

I tried to take portrait with maximum 

aperture (F2.4) and the result was 

even greater than the actual angle, 

giving the impression of a telephoto 

lens. It’s really an exceptional lens 

that rendered a sharp and crisp focal 

plane surrounded by a beautiful blur. 

When I started photography, I heard 

that a fashion photographer in New 

York used to shoot in studio with 

only one 50mm* macro lens. I think 

that’s something that lens may also 

achieve. 


Shooting Data Review Another Cut 1 Another Cut 2


 


Aperture Priority AE(F2.4 1/2900 sec ) 

+1/3EV 

WHITE BALANCE / FINE 

ISO500 

FILM SIMULATION / ASTIA SOFT 



 


Aperture Priority AE(F2.4 1/1200 sec ) 

+2/3EV 

WHITE BALANCE / FINE 

ISO500 

FILM SIMULATION / 

Monochrome reen filter 


Interview

Interview in Macao Part 1 mpressions of using the X-Pro1 in 

 

Notes about using the X-Pro1 in Macao 

by photographer Yoichi Sone 

I was able to capture natural expressions because the X-Pro1 is not 

intimidating 

Even though the X-Pro1 has a very good viewfinder, I often shot using the live 

view while looking at the liquid crystal display when people were in the shot. You 

look at the subject’s eyes through the viewfinder when taking pictures of people. 

As a result, the subject is aware of the camera and gets nervous. When you 

shoot using the LCD, this doesn’t happen. It puts some separation between you 

and the subject instead of you staring directly into their eyes. And this results in 

softer expressions. I think the LCD is useful for taking pictures of people. The 

LCD displays clear images and is easy to see even in the daytime. In addition, 

you are able to capture very good expressions because the body of the X-Pro1 

is not overpowering like a single lens reflex camera. The resulting pictures are 

equal to or better than those of the single lens reflex camera. I was shocked by 

the amazing resolution.

Interview in Macao Impressions of using the X-Pro1 in Macao 

 



The sync terminal is evidence that this is a professional camera 

I think that I was able to take pictures in Macao without any problems because the 

usability of the camera is so well thought out. An example is the gentle slope for the 

shutter button and exposure compensation dial. The slope has an exquisite feel and 

is very easy to use. I was very thankful that I was able to use the camera without 

taking my eye off the finder, as you would expect from frequently using the exposure 

compensation dial in particular. It is also really good to have the ability to instantly 

switch the exposure mode without having to set this and the exposure mode dial 

individually. Another thing that impressed me about the X-Pro1 was the sync terminal 

on the side surface of the body. I think that this is evidence that the camera was 

designed considering professionals shooting in the studio. There have been cameras, 

even single reflex cameras, without sync terminals recently. This made me realize 

again that the X-Pro1 is a professional camera used by professionals. Just imagining 

the cord of a large strobe attached to the sync terminal of the X-Pro1 in a studio 

makes me want to take pictures.


 



The X-Pro1 is a camera that lets you appreciate photography 

The time taking snapshots in Macao was divided by the use of the OVF, 

EVF, and LCD. When people were in the shot, I used the LCD to reduce the 

awareness of the camera and was able to capture natural expressions. Because 

you can see the background outside the shooting range, the OVF is useful 

for knowing what to try and capture from that background. This really made 

things enjoyable I wanted to take pictures quickly without careful framing. In 

the first place, it is more interesting to take photos this way. As well, sometimes 

unwanted objects get into the image because framing is done so roughly, and 

this can produce an unexpectedly good accent. I think that this is the true 

pleasure of taking snapshots. At the same time, I also frequently used the EVF. 

When there was a subject that I definitely didn’t want to have the periphery, I 

used EVF with a 100% field of view ratio for framing. It was very convenient 

because you can also view the shooting results. I feel that this camera lets you 

appreciate photography.


 



Film simulation is a function that pros can use in their work 

This time I chose ASTIA setting for the X-Pro1 film simulation when shooting 

and again I was very pleased by the excellent color tone. While the coloring 

was vivid, the graceful color tone was very good. The film simulation function 

is very well done. PROVIA and Velvia offer the same images as those taken 

with standard film. No other camera manufacturer can provide this kind of 

color reproduction. Fujifilm was able to develop this function because of their 

history manufacturing film. It was also amazing to be able to take pictures while 

changing the settings to suit various situations. This is because photographers 

like me used to actually choose film and shoot in this way. In this respect, I think 

film simulation is a function that professionals can use in their work. While color 

shots are good, monochrome and sepia shots are amazing. The fact that it 

feels like a genuine printed monochrome photo is amazing. Sepia is also good 

because it has no artificiality. In addition to the standard monochrome mode, 

there are also three types of proper monochrome filters. I frequently used the 

Ye filter to increase the contrast slightly while shooting this time. When taking 

pictures of clouds, I attached the R filter and shot while remembering the days I 

shot using film. The experience was extremely meaningful for me.

Interview in Macao Part 1 Impressions of using the X-Pro1 in Macao 

 



The sharpness and beautiful “bokeh”. These three XF lens are very enjoyable 

to use. 

All of these lenses are really superb. While all of them are very compact, in 

particular I was surprised by how small the 60mm lens is. Because the focal 

plane is crisp and sharp, the smooth gradation of blur moving away from 

it stands out very strongly. Like the 60mm lens, the blur of the 35mm lens 

is beautiful. I realized when shooting at F1.4 that the blur around the focal 

plane is not uniform but instead gently moves out of focus. This effect is very 

beautiful. With snapshots, the blur around F5.6 has the stereoscopic effect that 

is also very good. The XF 18mm, converted at 35mm size, is a wide angle lens 

equivalent to 27mm. This angle of view is about the viewable range when one 

eye is closed. I’ve always liked this angle of view and took many snapshots 

using it. I feel that there are a lot of fun ways to use this lens. At maximum 

aperture, you can produce photographic expressions that include both blur and 

perspective because the blur is so good. By reducing to around F8, you can use 

a more orthodox shooting 

method to shoot in a panfocus 

style. This lens makes 

it fun to change the aperture 

setting.

Section 

Accessories

M MOUNT ADAPTER 

 

 

Enjoy the individuality of old lenses 

The official Fujifilm mount adapter for M mount lenses 

Equipped with signal contacts and function button 

Able to correct distortion, peripheral illumination, and color shading


 

 

Fujifilm M mount adapter 

 

High precision design 

New function button 

With the M mount adapter, you can install 

This adapter realizes the standard 

Pressing the function button on the 

a wide variety of M mount lenses on the 

flange back distances of lenses 

side surface quickly switches on 

X-Pro1 for shooting. The three-part structure 

that support the M mount with high 

the Mount Adapter Setting mode. 

has the optimal material for each section to 

precision. The contact surface 

This means that when you change 

provide high precision. Furthermore, the built- 

with M mount lenses features the 

lenses you can configure the 

in electrical contacts with communication 

same high quality stainless steel 

lens in use easily without having 

functionality and the function button to ensure 

finish as that used on the X mount, 

to change settings at the menu 

excellent coordination with the camera body 

while the contact surface with the 

screen. 

and smooth operation. 

camera body uses an aluminum 

component similar to that used 

 

in XF lenses to provide a level of 

 

mounting precision that only an 

official product can.


 

 

 

 

Image quality correction for lenses that 

communicate with the camera through 

electronic contacts 

The M-mount adapter is equipped with electrical 

contacts for complete communication with the 

camera. Thanks to the electrical contacts, the 

camera automatically switches on the “SHOOT 

WITHOUT LENS” mode when the adapter is 

mounted. This makes changing settings stress free, 

even when using the XF lens at the same time. In 

addition, the angle of view setting and display for 

the Hybrid Viewfinder can be also automatically 

changed if the focal length is entered ahead of 

time. You can also enter the correction information 

for image quality conditions for each lens ahead 

of time. This is good for achieving high image 

quality through advanced correction using the 

image quality processing of the camera or leaving 

a moderate amount of distortion to enjoy the 

individual flavor of the lens.


 

 

 

Shooting Data 

Review


 

 

Exchanging lenses has become easier as mirrorless digital 

cameras have entered the mainstream. Installing a mount 

adapter makes it possible to use old lenses such as an M 

mount lens. In the digital world, new and old lenses are 

now compatible. This time we did some trial shooting with 

the Leitz Elmar f=5cm f:3.5, an old signature lens. The 

operational feel was better than expected, and we were 

able to shoot comfortably even with manual operation. I’d 

like for you to try combining the X-Pro1 with an old screw 

mount lens or M mount lens. 

Shooting Data 

Review


 

 

 

Shooting Data Review After retouching


 

 

You can shoot in monochrome using film simulation 

mode without changing the contrast, highlight tone, 

sharpness, or shadow tone settings. The overall tone 

of the results is dull. owever, this can be eplained by 

regarding the shot as being like film developed without 

modification when you consider monochrome photos are 

the creation of the work you imagined using darkroom 

techniques. 



 

 

Retouching JPEG images digitally starts with reducing black using level correction. This simply adds contrast to images with reduced gray tone. 

ooking at the image as shot doesn’t lead to disappointment. fterwards, you only have to manipulate the contrast and brightness to move the 

image closer to what you imagined and then save it. 



 

 

 

Shooting Data 

Review


 

 

The Leitz Elmar f=5cm f:3.5 was manufactured from 

1 to 161. While it showed a dull finish with outdoor 

shooting, it provided sufficient reproducibility without 

retouching for indoor subjects with distinct differences 

between light and dark. I never would have imagined 

that a half-century later this signature lens would make 

a comeback in the digital age. There was an instant in 

which I realized that photography surpasses generations 

and eras and was in existence before we were. 

Shooting Data 

Review

Advanced accessory system 

 

The X-Pro1 has a wide variety of accessories available to optimize its design and performance. I’d like to 

introduce some products that will let you shoot in more situations and further increase your regard for the X-Pro1.

Shoe Mount Flash 

 

 

A clip-on flash that can produce a variety of expressions through 

manipulation of its dial 

To achieve the same level of operability as the X-Pro1, this clip-on flash is 

equipped with a dimmer correction dial. Its exterior is made of metal to match the 

camera body. The dial was crafted from premium metal block cutouts. The flash 

was designed with consideration of weight balance and the visibility of the shutter 

speed dial when the flash is mounted on the camera.

Protector Filter 

 

 

A protector filter to prevent the addition of color to description 

performance 

Since UV filtering is carried out at the camera body (by a sensor), we boldly 

We used Super EBC coating to thoroughly control 

ghosting and flares. 

made a filter specifically designed to protect the lens that is completely colorless 

and transparent so that description is not negatively affected. We used the “Super 

EBC”, a multilayer coating technology, to treat the lens surface. In addition, we 

processed the inner frame like that of the XF lens to thoroughly control ghosting 

and flares. Naturally, this filter offers the reliability of products made in Japan. 

Its thin frame design ensures no vignetting in the 

corners of the image, even when used with other 

filters such as a polarized light filter.

Hand Grip 

 

 

A hand grip for more reliable holding 

This hand grip further improves the holdability of the 

X-Pro1. The grip portion is made of synthetic rubber 

to provide a better hold. The hand grip offers the 

optimal grip in less than optimal shooting situations, 

such as when you have to shoot one handed. 

The hand grip was also designed considering weight 

balance when a large lens is attached. To increase 

usability, attachment screws do not protrude and the 

bottom surface is flat. The tripod hole is aligned with 

the optical axis of the lens.

Leather Case 

 

 

A genuine leather snapshot case 

This high quality dedicated snapshot case is 

made of genuine leather, and it become better 

accustomed to your hands the longer you use 

it. The two-piece snapshot design allows you 

to quickly shoot without having to remove the 

cover section. Just find your subject, turn the 

cover section only, and then start shooting. In 

consideration of stability when the camera is 

placed on a surface, the case is designed to 

be flat with no screws or buttons on the bottom 

surface. The case includes a leather strap, a 

convenient round pouch for holding small items 

like lens hoods, and a long leather strap with a 

full length of 136 cm.

Specifications

FUJIFILM X-Pro1 

Photographer's Guidebook 

Published by FUJIFILM Corporation 

9-7-3 Akasaka, Minato-ku, Tokyo 107-0052 

Photographs/text by 

Yoichi Sone 

Editing / layout by Water mill, Inc. 

Design by Friends! Inc. 

Production by Monolith Inc. 

Additional commentary by Hideyuki Motegi and Ei Yoshimura 

*Product specifications are current as of September 18, 2012. Specifications are subject to change.

FUJIFILM X-Pro1 Photographes's Guidebook

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