Fujifilm X-Pro1 preview

Indeed for the X-Pro1, Fujifilm has developed a new type of sensor which claims to out-perform even full-frame models, while further refining its innovative hybrid viewfinder. Coupled with three high quality bright prime lenses at launch and the promise of nine more over the next two or three years, the X-Pro1 is undoubtedly aimed at demanding enthusiasts and pros.

These features and the target market set the X-Pro1 apart from most mirror-less ILCs to date. The only camera to come close to its high-end aspirations is Sony's NEX-7, but their feature-set, styling and overall propositions are quite different. Then there's the Godfather of luxury ILCs, Leica's M9, which may target a different price-point altogether, but one which Fujifilm has clearly been inspired by, at least in terms of design if nothing else. It all adds up to the X-Pro1 being one of the most promising ILCs so far with a feature-set and claims which will have any photographer chomping at the bit. In my preview I'll take a look at the headline features and see how they compare to rival models.

Fujifilm X-Pro1 sensor

Fujifilm has a proud tradition in developing new types of sensors and crucially getting them into viable products. For the X-Pro1, Fujifilm has developed a new 16 Megapixel APS-C sized CMOS sensor which the company calls 'X-Trans'. The key difference between it and conventional sensors is the colour filter array.

In a traditional digital camera sensor, each photosite is covered by a coloured filter arranged in a repeating pattern. The most common pattern uses a two-by-two square array with one red, one blue and two green filters; this is known as the Bayer pattern after the Kodak engineer which invented it. Software then interprets this data to generate a full colour image in a process known as de-mosaicing.

The problem with the Bayer pattern is that very fine details can cause undesirable colour artefacts known as moiré. The solution on traditional camera sensors is to slightly blur the fine detail using a low-pass filter placed in front of the sensor. This effectively reduces moiré, but at the cost of losing the finest details.

	Bayer pattern: 2x2		X-Trans pattern: 6x6

Fujifilm's new X-Trans sensor claims to avoid moiré by employing a different pattern of filters which more closely resembles the random nature of film grain. So instead of the traditional two-by-two Bayer pattern, the X-Trans sensor employs a six-by-six repeating pattern with a less regular arrangement of coloured filters within. You can see how this looks in the diagram opposite, reproduced from the Fujifilm brochure.

Fujifilm reckons this new pattern is so effective that moiré is reduced to an extent that eliminates the need for a low-pass filter altogether. This means the full resolution of the sensor is unlocked and the company claims the 16 Megapixel X-Trans will match or even out-perform the 21 Megapixel full-frame sensor of the Canon EOS 5D Mark II, a claim I'll certainly be putting to the test.

The more complex pattern does however require a more intensive de-mosaicing process to generate a full colour image, and to cope with the number-crunching, Fujifilm has equipped the X-Pro1 with its new EXR Processor Pro. The greater processor demands could have a knock-on effect on continuous shooting, and while Fujifilm quotes a respectable top speed of 6fps, I'm confirming the buffer size and flush times. A new and complex pattern will also need more involved RAW processing, so it'll be interesting to see how quickly (and effectively) the X-Pro1 is supported by third party programs like Adobe Lightroom and Camera RAW.

Moving onto the actual photos, the X-Trans sensor delivers 3:2 shaped images with a maximum resolution of 4896x3264 pixels. 16:9 and 1:1 cropped aspect ratios are also available, and each shape is additionally offered at two lower resolutions if desired. Images can be recorded as JPEGs, RAW files or RAW plus JPEG. A Motion Panorama mode will also capture images measuring up to 7680x1440 (for horizontal pans) or 7680x2160 pixels (for vertical pans).

The sensitivity ranges from 200-6400 ISO and is expandable down to 100 ISO and up to 25600 ISO. Auto ISO can be limited to a maximum of 400 to 3200 ISO.

The X-Pro1 is fitted with a mechanical focal-plane shutter with a range of 30 seconds to 1/4000 and a flash synch speed of 1/180. The Bulb mode can support exposures up to 60 minutes long. Exposure compensation is available from +/-2EV and bracketing in 0.3, 0.7 or 1EV increments; I'm confirming the number of frames when bracketing.

Fujifilm X-Pro1 lenses

The X-Pro1 introduces another new lens mount: the X Mount. This exploits the absence of a low-pass filter to achieve a very short flange back-distance of 17.7mm, along with a wide opening and allowing very deep mounting of the lenses. Indeed the distance between the sensor and the rear element of the widest of the three launch lenses is just 11mm. Shortly after launch, Fujifilm confirmed the X-Pro1 would be the first in a series of X Mount cameras.

The X-Pro1 may be retro-styled and the lenses feature an aperture ring, but communication between the lens and body is entirely electronic. There's no mechanical couplings at all, so the aperture and manual focusing rings on the lenses are actually electronic 'fly-by-wire' controls.

Fujifilm launched the X-Pro1 with three fixed focal length prime lenses, all of which boast respectably bright focal ratios with rounded aperture blades and metal construction. Each lens also features focusing and aperture rings, the latter with 0.3EV increments. Due to the APS-C size of the sensor, the field of view is effectively reduced by 1.5 times. Note none of them are optically stabilised.

The widest of the three lenses is the XF18mm f2 R which has an equivalent focal length of 27mm, a maximum aperture of f2.0, closest focusing distance of 18cm and a 52mm filter thread; it measures 65x51mm and weighs 116g. The 'standard' lens of the threesome is the XF35mm f1.4 R which has an equivalent focal length of 53mm, a maximum aperture of f1.4, closest focusing distance of 28cm and a 52mm filter thread; it measures 65x55mm and weighs 187g. Finally, the longest of the initial three is the XF60mm f2.4 R Macro which has an equivalent focal length of 91mm, a maximum aperture of f2.4, closest focusing distance of 26.7cm (for 0.5x reproduction) and a 39mm filter thread; it measures 64x71mm and weighs 215g.

The X-Pro1 employs a contrast-based AF system with single and continuous options, along with manual focusing complete with a distance scale in the viewfinder. If you're composing with the screen or EVF, the camera has 49 areas to choose from in a seven-by-seven array, or 25 in a five-by-five array with the optical viewfinder.

Fujifilm isn't making any bold claims about the AF performance and the X100's was certainly on the leisurely side, so I don't expect it'll challenge or even approach the speed of other mirror-less ILCs. The bright focal ratios of the lenses will certainly help in low light, but their shallow depth-of-field can also make it harder for a contrast-based system to initially lock-on. Only time will tell how quick it is to acquire a subject and how effective it will be at tracking it, although I hope it proves superior to the X100 which fell well behind the best contrast-based systems available.

The three lenses represent a useful range of focal lengths and applications at launch, and nine more are expected over the next two or three years including zooms; at launch Fujifilm also discussed the possibility of a 14mm (21mm equivalent) ultra-wide lens. Adapters to support other lens systems will also be made available, with the first supporting Leica's M-mount.

Fujifilm X-Pro1 viewfinder and screen

Composition is a highlight of the X-Pro1 with the camera sporting an enhanced version of the hybrid viewfinder first seen on the X100, along with a superb screen. The hybrid viewfinder really is unlike anything else on the market. At first glance it's a simple optical rangefinder, but if desired you can superimpose electronic guides like a proper heads-up-display. This means the X-Pro1's viewfinder can indicate accurate coverage with a thin frame, along with exposure and focusing details, while still benefitting from the brightness and low power consumption of an optical system and its real-life view.

Fujifilm X-Pro1 OVF		Fujifilm X-Pro1 EVF

One of the big issues of an optical rangefinder though is how to support the coverage of different focal length lenses. The super-imposed frame could indicate the actual coverage, but for longer lenses, the frame would get smaller and smaller and harder to compose with. This wasn't a problem with the X100 with its fixed lens, but is an issue for the X-Pro1.

Fujifilm's solution is to offer a magnified optical view when the 35mm or 60mm lenses are mounted. The magnification increases when the 35mm is mounted so the active framed area is roughly the same size as when using the 18mm. There is however only one magnified option, so when longer lenses, like the 60mm, are fitted, the composition frame becomes steadily smaller.

Fujifilm X-Pro1 OVF with 18mm lens		Fujifilm X-Pro1 OVF with 35mm lens		Fujifilm X-Pro1 OVF with 60mm lens

As for wider lenses, there some padding around the active frame when using the 18mm lens which suggests a larger frame could indicate the coverage of shorter focal lengths. But while padding, the magnified view and superimposed frame cleverly get around classic rangefinder issues, the X-Pro1 has an additional trick up its sleeve.

Like the X100 before it, you can switch the optical viewfinder for an entirely electronic system if preferred, delivering 100% coverage with any lens, absolute focusing confirmation and a live histogram. It's not a half-hearted EVF either, boasting 1.44 Million dots. The combination of an optical rangefinder with superimposed guides or an EVF effectively resolves most of the issues anyone would have with this system.

Having used the X100, I can confirm this is the case. I previously owned a Mamiya 7II Medium Format  camera and while the quality was fantastic, I was constantly frustrated by the accuracy of the rangefinder, the difficulty in focusing and having to compose with a tiny frame or an external finder for long or ultra-wide lenses. Fujifilm has been highly innovative in this regard and should be commended.

Indeed the viewfinder system is so clever and addictive that it's easy to forget the X-Pro1 also has a very respectable screen too, employing a 3in panel with 1230k dots.

Fujifilm X-Pro1 continuous shooting

The X-Pro1 offers two continuous shooting speeds of 3 or 6fps, the latter being fairly respectable if delivered in practice, although there's no mention of buffer sizes yet. Of potentially greater concern are the flush times and what you can or can't do while the camera is writing to the card. The earlier X100 could lockup for several seconds after a burst while the files were written to the card, which could quickly become frustrating. Both cameras support the faster write speeds of UHS-1 cards, but the potential lockup is still a concern.

Like the movie mode, continuous shooting is another aspect of the X-Pro1 which is barely mentioned beyond a couple of numbers in the spec sheet, which again coupled with its predecessor's performance, doesn't bode well. Again I hope to be surprised, but I suspect the X-Pro1 will be most comfortable shooting fairly static subjects, and anyone wanting an ILC for action photography will be better-served by the phase-change AF and fast bursts of the Nikon 1 system.

Fujifilm X-Pro1 movie mode

The Fujifilm X-Pro1 can record video, but looking at the promotional material you'd be hard-pushed to know. It's not mentioned anywhere in the initial X-Pro1 brochure or press release, nor as one of the key features on the Fujifilm website. Indeed you'll need to drill-down into the specification sheet to discover the camera supports 1080p or 720p at 24fps with stereo sound from the built-in microphones. No other specification is listed beyond the maximum recording time of 29 minutes, although I can confirm there's no port for an external microphone input.

While the X-Pro1 is unashamedly targeted at higher-end photographers who appreciate traditional designs, there's still no excuse for a camera which doesn't embrace video in 2012 as far as I'm concerned. Sure some photographers may not want it, but others will, and any half-hearted approach to the format will inevitably see many potential buyers turn to models like the Sony NEX-7 or Panasonic GX1.

Of course the movie mode on the X-Pro1 might be amazing, especially if it can exploit the new colour filter to minimise moiré; after all, this is one aspect which plagues the movie modes on current DSLRs. But without any details from Fujifilm along with a worrying lack of promotion in its marketing materials, not to mention the unremarkable video features of the earlier X100, it doesn't bode well. I really hope to be proven wrong.

Fujifilm X-Pro1 design and controls

The X-Pro1 is styled like a classic rangefinder camera with a retro look and feel which will greatly appeal to photographic enthusiasts. If you're familiar with the earlier X100 you'll know exactly what to expect. There's shutter speed and exposure compensation dials on the upper surface along with a shutter release that's even threaded for cable releases. Fujifilm has learnt from the X100 though with the shutter speed dial now locked by a central button, and the compensation dial recessed to avoid either being turned by mistake. Coupled with the aperture rings on the lenses, it's all adds up to a satisfyingly analogue experience.

While the X-Pro1 looks a great deal like the X100, it's actually considerably larger. The X100 measured 127x74x54mm and weighed 445g with battery - plus of course its integrated 35mm equivalent f2 lens. In contrast, the X-Pro1 measures 140x82x43mm and weighs 450g including battery for the body alone. Add the smallest and lightest 27mm equivalent f2 lens and the depth increases to 84mm and the weight to 566g. It looks and feels like a chunkier, scaled-up version of the X100.

In comparison the Sony NEX-7 measures 120x70x42.6mm, dipping to 25.3mm at its thinnest point, and weighs 350g including battery. Add the 45mm equivalent f3.5 lens and the depth increases to around 80mm and the weight to 488g; add the 36mm equivalent f1.8 lens and the total depth becomes around 100mm and the weight 575g.

Panasonic's GX1 measures 116x68x39.4mm and weighs 318g, again with battery. Add the 28mm equivalent f2.5 lens and the depth and weight increase to 60mm and 373g. Add the 50mm f1.4 equivalent and the total depth and weight become 94mm and 518g respectively.

So the X-Pro1 is wider and taller than either the NEX-7 or GX1, although the depth of all three are similar when fitted with premium prime lenses. What the NEX-7 and GX1 have in their favour though are a choice of smaller and lighter pancake lenses right now which bring their overall weight and depth below that of the X-Pro1. It should of course be noted the GX1 doesn't include a viewfinder in its standard configuration, although conversely the X-Pro1 doesn't have a built-in flash. Revealingly the NEX-7 sports both.

For the record, the Leica M9 measures 139x80x37mm and weighs 585g with battery; add the 28mm equivalent f2 lens and the depth and weight increase to 78mm and 855g. This makes it very similar in overall dimensions to the X-Pro1, although the M9 is heavier, at least with the 28mm f2 lens, although to be fair it is corrected for a full-frame sensor.

The X-Pro1 may not have a built-in flash, but it does at least have a standard hotshoe for which Fujifilm have designed the appropriately retro-styled EX-X20 flash, in addition to the EF-20 and EF-42 models. In terms of connectivity, there's a USB and HDMI ports, but sadly no external microphone jack. Impressively though there is a PC Sync port for external lighting, something which you won't find on other ILCs.

The X-Pro1 is powered by an NP-W126 Lithium Ion battery pack which Fujifilm quotes is good for 300 shots, which is roughly the same as the Panasonic GX1, although below the 335 or so of the Sony NEX-7. What Fujifilm doesn't say is with which means of composition. I'd assuming - and hoping - this is a worse-case scenario using electronic composition, and that switching to the optical viewfinder alone will greatly extend the life. If not, then we're looking at a hungry sensor and processor.

The battery compartment also houses the SD card slot, and the X-Pro1 supports UHS-1 cards. Strangely for a camera so carefully engineered for demanding enthusiasts though, the tripod thread is actually to one side of the lens axis and right next to the compartment door, blocking it when mounted on a tripod.

If you'd like more to hold onto, Fujifilm offers the HG-XPro1 handgrip which screws into the tripod thread like a battery grip and delivers a thicker grip to hold onto. Interestingly its duplicate tripod thread is shifted closer to the lens axis. There's also an optional leather case, but it won't accommodate the 60mm lens.

The price and availability have not been absolutely confirmed yet, but the X-Pro1 body is expected to cost in the region of $1700 USD and the lenses around $650 USD each. Now before my final wrap-up, how does the X-Pro1 compare to its closest rivals?

Compared to Sony NEX-7

Sony's NEX-7 is arguably one of the closest rivals for the X-Pro1. It's the highest-end NEX model yet, and while it's more semi-pro than pro, both Sony and Fujifilm are aiming at demanding photographic enthusiasts with their flagship mirror-less ILCs. However the NEX-7 couldn't be more different in style, control and features, eschewing traditional style and controls for a thoroughly modern approach. Here are the pros and cons of each model to help you decide between them.

In its favour the NEX-7 body is smaller and lighter than the X-Pro1, while packing-in just about every feature you could think of. Both cameras feature viewfinders and LCD screens, although the former on the NEX-7 is electronic only and more detailed, while the latter tilts for easier composition at low or high angles; of course some may prefer the hybrid rangefinder of the X-Pro1, but there's no arguing with the quality of the NEX-7's EVF nor the flexibility of its screen.

The NEX-7 features a built-in flash in addition to an Alpha accessory shoe for standard Sony flashguns, although the X-Pro1's hotshoe is standard, not proprietary. The NEX-7 also sports an external microphone input, but there's no cabled-release option - only an optional IR control. Sticking with video, the NEX-7 offers 1080/60p with what I suspect will be more confident continuous autofocusing.

The NEX-7 is quicker with a top continuous shooting speed of 10fps, albeit for ten frames only. The battery life is also a little longer, quoted at 335 shots per charge - and that's with confirmed electronic composition only.

Moving onto the X-Pro1, traditionalists will prefer the dedicated control dials for shutter speed and exposure compensation, along with aperture rings on the lenses and support for cheap cabled releases. The hybrid viewfinder is a triumph of technology and while Sony's EVF is superior to the EVF option on the X-Pro1, some may prefer the bright optical rangefinder with superimposed guides. The X-Pro1 also boasts a standard hotshoe and a PC-sync port for external lighting.

Image quality is a harder one to compare until I actually get hold of an X-Pro1 to test. Both cameras share APS-C sized sensors, but the Sony has 50% more pixels, whereas the Fujifilm employs a new colour array. An interesting and important thing to note though is while the X-Pro1 will be launched with high quality prime lenses, none of them are stabilised and zooms won't be available until later. Conversely the NEX system has several zooms, all stabilised and a number of much more affordable options allowing you to build a much cheaper kit if desired. It's important to consider the system and roadmap as a whole before investing in a new camera.

Ultimately the X-Pro1 is all about tough build and traditional styling, the innovative viewfinder, what look like three great prime lenses and of course that new sensor which, if it lives up to claims, could out-perform any ILC or DSLR to date. Conversely the NEX-7 is about packing all of the latest features into a smaller and much cheaper body including an articulated screen, large and detailed EVF, popup flash and mic input, and taking movies as seriously as stills. They are both high-end ILCs, but represent completely different propositions for very different photographers.

See my Sony NEX-7 preview for more details.

Compared to Panasonic Lumix GX1

The Lumix GX1 is a more affordable ILC, but as Panasonic's model targeted at enthusiasts it's worth making the comparison with the X-Pro1. In some ways, the proposition of the GX1 is closer to the X-Pro1 than the Sony NEX-7, as the styling and controls are fairly classic. But like the NEX-7, there are considerable differences to weigh-up.

The Lumix GX1 is comfortably smaller than the X-Pro1 and also lighter even when fitted with a fast prime lens. As a Micro Four Thirds camera, it also has access to a broad range of native lenses including zooms, primes, pancakes and many stabilised options; Panasonic's own remarkable 14-42mm power zoom which is smaller than many pancake primes. There are also a wealth of adapters available for other lens systems.

Both cameras sport standard hotshoes, but the GX1's also includes an accessory port underneath which can support an optional electronic viewfinder. Now obviously the absence of a built-in viewfinder on the GX1 could be seen as a disadvantage, but it keeps the price and size down, while the port allows you to fit one later when required and remove it when you don't. Sadly there's no means to connect an external microphone to the GX1 though, so in that respect it's no different to the X-Pro1.

The GX1's screen is the same size as the X-Pro1's although less detailed. But in its favour it is touch-sensitive and allows you to tap on subjects you'd like it to focus on; this works particularly well while filming video. The movie mode is more sophisticated too and models from outside Europe can keep recording until the battery or card run out - which in my tests occurred simultaneously on a 16GB card after two hours of footage. The AF is faster too, indeed one of the quickest of all ILCs, and it makes a fair attempt at tracking while filming.

Traditional photographic features haven't been overlooked either. For example the option for up to seven frame bracketing up to 1EV apart will delight HDR fanatics.

Moving onto the X-Pro1, traditionalists will again prefer the separate control dials for shutter speed and exposure compensation, along with a traditional aperture ring on the lenses and support for cheap cabled releases. The X-Pro1 enjoys the benefit of a built-in viewfinder, and while Panasonic's optional EVF is superior to the EVF option on the X-Pro1, some may prefer the bright optical rangefinder with superimposed guides. The X-Pro1 may not have a built-in flash, but in addition to a standard hotshoe is a PC-Sync port for external lighting.

Image quality will be an interesting one to compare. The total number of pixels may be the same, but the X-Pro1's APS-C sensor area is larger than Micro Four Thirds, so in a traditional sense, the larger pixel pitch should give the Fujifilm an advantage in low light. But if the new colour array does all its claimed then the overall resolving power will be greater too.

But an important thing to remember is while the X-Pro1 will be launched with high quality prime lenses, none of them are stabilised and zooms won't be available until later. As mentioned earlier, the Micro Four Thirds system employed by the GX1 is the most mature and established of all the mirror-less ILC formats and enjoys a wide variety of lenses including stabilised zooms, primes, pancakes and macros; some are much more affordable too allowing you to build a much cheaper kit if desired. It's important to consider the system and roadmap as a whole before investing in a new camera.

Once again the X-Pro1 is all about tough build and traditional styling, the innovative viewfinder, what look like three great prime lenses and of course that new sensor which, if it lives up to claims, could out-perform any ILC or DSLR to date. Conversely the GX1 is about enjoying modern technologies in a classically-styled and compact form factor with a touch-screen, popup flash, great bracketing, optional EVF, an established lens catalogue and movies that are taken as seriously as stills.

See my Panasonic GX1 preview for more details.

Fujifilm X-Pro1 final thoughts

The Fujifilm X-Pro1 takes mirror-less ILCs to a higher ground than any company other than Leica has done to date. It unashamedly targets enthusiasts with an innovative sensor and viewfinder packed into a retro-styled body with nostalgic analogue controls and a choice of three high quality prime lenses at launch.

It also builds upon the highly regarded X100 by accommodating removeable lenses, enhancing the hybrid viewfinder to support them, and developing a new sensor which could, if Fujifilm's claims bear-out, deliver superior image quality to even the best full-frame DSLRs. This is of course a major claim for a new and untested technology and one I'll be putting to the test, but revealingly even if it performs similarly to traditional APS-C sensors I reckon the appeal of the system as a whole could still be enough to gain many followers. After all, the styling and analogue controls, coupled with one of the cleverest and most usable rangefinder systems and what look like some very high quality lenses all add up to a very desirable package.

It's not all roses though. The X-Pro1 might look a lot like the earlier X100, but it's noticeably larger and heavier, not to mention relatively expensive. Sure it's not in the same league as the Leica M9 which undoubtedly inspired some of its physical design, but it still costs a lot more than the next most expensive ILC, Sony's NEX-7. With a body costing in the region of $1700 USD and lenses around $650 each, the X-Pro1 is not a system for the faint-hearted, and neither is it as pocketable as other mirror-less ILCs.

I'm also concerned by some of the specifications (or lack-of) regarding AF, continuous shooting and buffer flushing speeds. The earlier X100 was poor in these regards and by hardly mentioning their performance in its promotional materials, I'm concerned the X-Pro1 may not be much better. Then there's the movie mode which is barely even mentioned, and again which disappointed on the X100. Now each of these might in fact be fantastic on the X-Pro1 and we won't know until we test final production samples, and even if they're below par, it may not bother those who aren't interested in video or mostly shoot static subjects. But based on cursory mentions in the specs and the performance of the X100, I again remain concerned until proven otherwise. My suspicion is that if you're into video or action shooting, you'll be better-served by one of the other ILC systems.

It's also worth noting that while Fujifilm has launched the X-Pro1 with what look like three very nice bright prime lenses, none of them are stabilised and neither is the sensor in the body. Again this may not bother you, but for others it'll be a negative mark. As a brand new system it also inevitably lacks the lens variety of other, more mature formats like Micro Four Thirds.

As always it'll boil down to how well the new system works as a whole. If the sensor lives up to the claims and the lenses are as good as they look, the X-Pro1 could easily become the ILC of choice for those who demand the highest quality results; indeed it may even turn the heads of those who'd otherwise be looking at Leica and could represent a relative bargain in comparison.

Anyone who's currently considering a NEX-7 or GX1 are unlikely to be swayed due to the higher cost, larger size and lack of gadgetry, but it's refreshing and welcome to find someone bringing a truly high-end mirror-less ILC into a market that so far has been dominated by entry-level and mid-range models.

Has Fujifilm nailed-it or do concerns over size, price and handling put you off? As always I'd love to hear what you think in the Cameralabs forums!