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Taking Control
The camera control systems are also pretty 
similar to what’s on offer on the X100, starting 
with a choice of three metering methods employing up to 256 segments to for multi-zone, centre-weighted average or spot measurements. These drive a standard set of ‘PASM’ control modes 
with the usual auto mode overrides – program 
shift, exposure compensation (up to +/-2.0 EV) 
and an AE lock.

The shutter has a speed range of 30-1/4000 second plus ‘B’ (which has a maximum duration 
of 60 minutes). The shutter speed dial is marked from 1/4000 second to one second, after which selecting a ‘T’ setting accesses the slower timed speeds. As it has a focal plane type shutter, the X-Pro1 doesn’t have the top-speed limitations imposed by the X100’s combined leaf-shutter/
diaphragm arrangement.

Flash sync is up to 1/160 or 1/180 second, depending on the selected exposure mode and, unlike the X100, the X-Pro1 doesn’t have a built-in flash. Instead, Fujfilm offers a very compact accessory flash – called the EF-X20 – which is operated from the camera in the same way as a built-in flash and has auto, fill-in, slow sync and red-eye reduction modes (the latter operates in conjunction with automatic red-eye removal processing). In addition to the hotshoe, the X-Pro1 has a PC flash terminal.

Autofocusing is via contrast detection measurements made by the imaging sensor and uses 49 points in a 7x7 array for the LCD monitor screen and the EVF, or 25 points in a 5x5 array with the optical viewfinder. The former provides almost complete coverage of the frame area. Automatic or manual point selection is set via the main shooting menu and the latter allows for the focusing area’s size to be reduced or enlarged (with five options compared to the X100’s three). A selector located on the front panel alongside the lens mount switches between the single-shot AF, continuous AF and manual focus modes. Manual focus is assisted by an enlarged image in the electronic displays, coinciding with the focus zone’s position which, strangely, now isn’t adjustable for size. It’s possible to re-activate the autofocusing momentarily by pressing the AE/AF lock button and there’s a distance scale which also appears in the optical viewfinder when it’s in its ‘hybrid’ configuration. This scale also serves as a depth-of-field indicator. The manual focusing rings on the lenses can be set to turn in either the clockwise or anti-clockwise direction to match whatever you’re familiar with.

Finder Keeper
The X-Pro1’s viewfinder has a bit more to do than the unit in the X100 so it’s called the “Hybrid Multi Viewfinder II”. The extra duties relate to switching between the lens focal lengths which is achieved via a combination of superimposing bright frames and changing the magnification. Increasing the latter ensures the frames for the longer focal length lenses aren’t too small. The viewfinder magnification is at 0.37x for the 18mm and automatically switches to 0.60x for the 35mm and 60mm lenses. It’s also possible to manually switch between the frames and the two magnification settings.

As with all rangefinder camera viewfinders, there’s a limit to the focal lengths that can be accommodated and it looks like the 27mm to 90mm range is about it – it might just be able to handle a 24mm – so it will be interesting to see how Fujifilm deals with any wider-angle X-mount lenses it 
might have planned. Of course, there’s still the 
LCD monitor screen, but the hybrid optical/electronic eyelevel finder is obviously one of the X-Pro1’s key attractions.

Switching between the LCD monitor and the eyelevel finder can be done manually or automatically using proximity sensors in the eyepiece. The eyelevel finder has three configurations namely purely optical (with no displays) or purely electronic or – the really neat trick – optical with superimposed electronic displays. Both the hybrid and electronic displays can be switched between standard and custom settings, the latter adding the distance/depth-of-field scale mentioned earlier, a real-time histogram, superimposed grids and a level indicator (the latter three are all switchable so any desired combination can be had). This, combined with the wonderful clarity, colour and contrast of the optical viewfinder makes for a superb viewing experience.

The EVF is a 0.47-inch LCD panel with 1.44 million dots resolution and gives 100 percent coverage. However, it looks positively muddy when immediately compared with the hybrid display and lacks both the brightness and dynamic range of Sony’s OLED EVF. The hybrid finder provides roughly 90 percent scene coverage.

The external monitor screen – which has 
a resolution of 1.23 million dots and is a joy to behold – has a third display mode for info only which includes an AF point grid and a swag of camera status indicators. New to the X-Pro1 is a ‘Quick Menu’ display which is activated via a button marked, logically, ‘Q’ and provides direct access to a range of the most commonly-needed capture and camera setting adjustments... 16 of them to be precise. These include the ISO settings, image format and size, the picture parameters, white balance settings, ‘Film Simulation’ modes, noise reduction levels and the AF modes. Navigation is via the four-way controller with the rear command wheel used to adjust the settings.

Unlike some quick menus, clicking on a function tile doesn’t bring up a sub-menu and instead the settings are simply changed within the tile. It’s not totally intuitive, but it does overcome some of the clunkiness of the X100’s control interface. The menu design is also much improved an employs tabbed individual pages, eliminating the need to scroll through everything to find what you want. The pages are pretty logically organised too, so for example, page one in the shooting menu has the ‘stables’ such as ISO, image size and quality, the ‘Film Simulation’ modes and the dynamic range expansion settings. Progressive right clicks lead to the sub-menus and settings.

The playback modes include a variety of 
multi-frame displays, zooming on the focus point and something called ‘PhotoBook Assist’ which allows for up to 300 images to be organised for reproduction in a photo book (with the first as 
the cover shot).