Section

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Fun with the X-Pro1

PROVIA / STANDARD Velvia / VIVID ASTIA / SOFT

Section III Fun with the X-Pro1

36CONTENTS

Reversal FilmFilm Simulation

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 worldflowers, new leaves, autumn colorsand 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.

Section III Fun with the X-Pro1

37CONTENTS

Color Neg. Film/ Monochrome /SepiaFilm Simulation

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

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.

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.

PRO Neg.Std PRO Neg.Hi Sepia

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

PROVIA / STANDARD Velvia / VIVID ASTIA / SOFT

Section III Fun with the X-Pro1

38CONTENTS

Film Simulation BracketingFilm Simulation BKT

In fi lm 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.

Selecting Film Simulation Bracketing

Choosing Film Simulation Bracketing Settings

TIPS

Press the DRIVE button.

Press MENU/OK.

Choose FILM SIMULATION BKT from the list of drive options.

Select FILM SIMULATION BKT in Tab 1 of the shooting menu.

Choose film simulations for films 13.

PROVIA / STANDARD Velvia / VIVID ASTIA / SOFT

Section III Fun with the X-Pro1

38CONTENTS

Film Simulation BracketingFilm Simulation BKT

In fi lm 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.

Selecting Film Simulation Bracketing

Choosing Film Simulation Bracketing Settings

TIPS

Press the DRIVE button.

Press MENU/OK.

Choose FILM SIMULATION BKT from the list of drive options.

Select FILM SIMULATION BKT in Tab 1 of the shooting menu.

Choose film simulations for films 13.

TIPSOther Bracketing Options

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.

The camera varies ISO sensitivity in the range ISO 200ISO 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 you are photographing moving objects. Note: The camera varies aperture and shutter speed.

Each time the shutter button is pressed, the camera takes three shots with different dynamic ranges: 100% for the first, 200% for the second, and 400% for the third.

[ AE Bracketing ]

[ ISO Bracketing ]

[ Dynamic Range Bracketing ]

1 Exposure is varied by 1 EV with each shot.

2/3 Exposure is varied by 2/3EV with each shot.

1/3 Exposure is varied by 1/3EV with each shot.

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.

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%.

100% 200% 400%

[ Options ]

[ Options ]

[ Options ]

1EV

DR100

ISO400

0EV

DR200

ISO800

1EV

DR400

ISO200

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39CONTENTS

Section III Fun with the X-Pro1

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, Ive used iteither normally or intensify, according to the situationin 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.

Yoichi Sone

PROVIA100FFUJICHROME

KLASSE W

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Section III Fun with the X-Pro1

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, Ive used iteither normally or intensify, according to the situationin 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.

Yoichi Sone

PROVIA100FFUJICHROME

KLASSE W

Shooting Data Review

Section III Fun with the X-Pro1

40CONTENTS

PROVIAFilm Simulation

Shooting Data Review

Section III Fun with the X-Pro1

40CONTENTS

PROVIAFilm Simulation

XF18mmF2 RProgram AEF51/450 sec-1/3EVWHITE BALANCE / FineISO200FILM SIMULATION / PROVIAStandard

Shooting Data Review

Section III Fun with the X-Pro1

40CONTENTS

PROVIAFilm Simulation

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 its possible to get to the colors seen by the naked eye.

ReviewShooting Data

Section III Fun with the X-Pro1

41CONTENTS

PROVIAFilm Simulation

ReviewShooting Data

Section III Fun with the X-Pro1

41CONTENTS

PROVIAFilm Simulation

XF18mmF2 R Program AE(F2.5 1/1000 sec ) -1/3EVWHITE BALANCE / Fine ISO200 FILM SIMULATION / PROVIA Standard

ReviewShooting Data

Section III Fun with the X-Pro1

41CONTENTS

PROVIAFilm Simulation

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 gosomewhere 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 womans face.

KLASSE W

The Velvia entered the market with only one speedISO 50and 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

Velvia100F

42CONTENTS

Section III Fun with the X-Pro1

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KLASSE W

The Velvia entered the market with only one speedISO 50and 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

Velvia100F

42CONTENTS

Section III Fun with the X-Pro1

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KLASSE W

The Velvia entered the market with only one speedISO 50and 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

Velvia100F

42CONTENTS

Section III Fun with the X-Pro1

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Shooting Data Review

Section III Fun with the X-Pro1

43CONTENTS

Film Simulation Velvia

Shooting Data Review

Section III Fun with the X-Pro1

43CONTENTS

Film Simulation Velvia

XF35mmF1.4 R Program AE(F5.6 1/340 sec ) -1/3EVWHITE BALANCE / Fine ISO200 FILM SIMULATION / Velvia Vivid

Shooting Data Review

Section III Fun with the X-Pro1

43CONTENTS

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 Western-style 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

Section III Fun with the X-Pro1

44CONTENTS

Film Simulation Velvia

44CONTENTS

Shooting Data Review

Section III Fun with the X-Pro1

44CONTENTS

Film Simulation Velvia

44CONTENTS

XF18mmF2 R Program AE(F2 1/40 sec ) -2/3EVWHITE BALANCE / Fine ISO200 FILM SIMULATION / Velvia Vivid

Shooting Data Review

Section III Fun with the X-Pro1

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Film Simulation Velvia

44CONTENTS

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.

KLASSE W

ASTIAs reputation as a soft-toned portrait film unfortunately meant that I didnt 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

ASTIA 100F

45CONTENTS

Section III Fun with the X-Pro1

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KLASSE W

ASTIAs reputation as a soft-toned portrait film unfortunately meant that I didnt 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

ASTIA 100F

45CONTENTS

Section III Fun with the X-Pro1

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Shooting Data Review

Section III Fun with the X-Pro1

46CONTENTS

ASTIAFilm Simulation

Shooting Data Review

Section III Fun with the X-Pro1

46CONTENTS

ASTIAFilm Simulation

XF18mmF2 R Program AE(F2 1/170 sec ) -1/3EVWHITE BALANCE / Fine ISO200 FILM SIMULATION / ASTIA SOFT

Shooting Data Review

Section III Fun with the X-Pro1

46CONTENTS

ASTIAFilm Simulation

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

Section III Fun with the X-Pro1

47CONTENTS

ASTIAFilm Simulation

Shooting Data Review

Section III Fun with the X-Pro1

47CONTENTS

ASTIAFilm Simulation

XF18mmF2 R Program AE(F5.6 1/280 sec ) -2/3EVWHITE BALANCE / AUTO ISO6400 FILM SIMULATION / ASTIA SOFT

Shooting Data Review

Section III Fun with the X-Pro1

47CONTENTS

ASTIAFilm Simulation

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.

Review ReviewShooting Data Shooting Data

PRO Neg.Hi PRO Neg.Std

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48CONTENTS

Section III Fun with the X-Pro1PRO Neg.Hi/PRO Neg.StdFilm Simulation

48CONTENTS

Review ReviewShooting Data Shooting Data

PRO Neg.Hi PRO Neg.Std

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Section III Fun with the X-Pro1PRO Neg.Hi/PRO Neg.StdFilm Simulation

48CONTENTS

XF18mmF1.4R Program AE(F5.6 1/150 sec ) -2/3EVWHITE BALANCE / Fine ISO200 FILM SIMULATION / PRO Neg. Hi

XF18mmF2 R Program AE(F8 1/350 sec ) -1.3EVWHITE BALANCE / Fine ISO200 FILM SIMULATION / PRO Neg. Std

Review ReviewShooting Data Shooting Data

PRO Neg.Hi PRO Neg.Std

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48CONTENTS

Section III Fun with the X-Pro1PRO Neg.Hi/PRO Neg.StdFilm Simulation

48CONTENTS

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.

Review ReviewShooting Data Shooting Data

PRO Neg.Hi PRO Neg.Std

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48CONTENTS

Section III Fun with the X-Pro1PRO Neg.Hi/PRO Neg.StdFilm Simulation

48CONTENTS

Review ReviewShooting Data Shooting Data

PRO Neg.Hi PRO Neg.Std

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48CONTENTS

Section III Fun with the X-Pro1PRO Neg.Hi/PRO Neg.StdFilm Simulation

48CONTENTS

Review

Review

Review

Review

Shooting Data

Shooting Data

Shooting Data

Shooting Data

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Section III Fun with the X-Pro1

MonochromeFilm SimulationMonochrome(Normal) Monochrome + Yellow filter

Monochrome + Red filter Monochrome + Green filter

Review

Review

Review

Review

Shooting Data

Shooting Data

Shooting Data

Shooting Data

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Section III Fun with the X-Pro1

MonochromeFilm SimulationMonochrome(Normal) Monochrome + Yellow filter

Monochrome + Red filter Monochrome + Green filter

XF18mmF1.4R Program AE(F5.6 1/350 sec ) -2/3EVWHITE BALANCE / Fine ISO200 FILM SIMULATION / Monochrome

XF18mmF2R Program AE(F8 1/400 sec ) -1/3EVWHITE BALANCE / Fine ISO200 FILM SIMULATION / Monochrome + Red filter

XF18mmF2R Program AE(F4 1/3500 sec ) 0WHITE BALANCE / Fine ISO200 FILM SIMULATION / Monochrome + Green filter

XF18mmF1.4R Program AE(F1.4 1/38 sec ) -2/3EVWHITE BALANCE / Fine ISO400 FILM SIMULATION / Monochrome + Yellow filter

Review

Review

Review

Review

Shooting Data

Shooting Data

Shooting Data

Shooting Data

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Section III Fun with the X-Pro1

MonochromeFilm SimulationMonochrome(Normal) Monochrome + Yellow filter

Monochrome + Red filter Monochrome + Green filter

If Id been asked what filter I was using back in the days when the default photographic film was black-and-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.

Green filters capture the skin and lips of portrait subjects in l impid shades, making por trait 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.

Although is the basic black-and-white f i lm 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.

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.

Review

Review

Review

Review

Shooting Data

Shooting Data

Shooting Data

Shooting Data

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Section III Fun with the X-Pro1

MonochromeFilm SimulationMonochrome(Normal) Monochrome + Yellow filter

Monochrome + Red filter Monochrome + Green filter

Review

Review

Review

Review

Shooting Data

Shooting Data

Shooting Data

Shooting Data

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Section III Fun with the X-Pro1

MonochromeFilm SimulationMonochrome(Normal) Monochrome + Yellow filter

Monochrome + Red filter Monochrome + Green filter

Review

Review

Review

Review

Shooting Data

Shooting Data

Shooting Data

Shooting Data

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Section III Fun with the X-Pro1

MonochromeFilm SimulationMonochrome(Normal) Monochrome + Yellow filter

Monochrome + Red filter Monochrome + Green filter

Review

Review

Review

Review

Shooting Data

Shooting Data

Shooting Data

Shooting Data

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Section III Fun with the X-Pro1

MonochromeFilm SimulationMonochrome(Normal) Monochrome + Yellow filter

Monochrome + Red filter Monochrome + Green filter

Shooting Data Review

Section III Fun with the X-Pro1

50CONTENTS

SepiaFilm Simulation

50CONTENTS

Shooting Data Review

Section III Fun with the X-Pro1

50CONTENTS

SepiaFilm Simulation

50CONTENTS

XF18mmF1.4 R Program AE(F4 1/4000 sec ) -2/3EVWHITE BALANCE / Fine ISO6400 FILM SIMULATION / Sepia

Shooting Data Review

Section III Fun with the X-Pro1

50CONTENTS

SepiaFilm Simulation

50CONTENTS

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.

Section III Fun with the X-Pro1

51CONTENTS

Multiple exposure

1. Shoot the first exposure.

2. Shoot the second exposure.

To retake the first exposure, press the selector left.

To end multiple exposure shooting and save only the first shot, press DISP/BACK.

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

Original photo

Section III Fun with the X-Pro1

51CONTENTS

Multiple exposure

1. Shoot the first exposure.

2. Shoot the second exposure.

To retake the first exposure, press the selector left.

To end multiple exposure shooting and save only the first shot, press DISP/BACK.

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

Original photoAnother Cut

Section III Fun with the X-Pro1

51CONTENTS

Multiple exposure

1. Shoot the first exposure.

2. Shoot the second exposure.

To retake the first exposure, press the selector left.

To end multiple exposure shooting and save only the first shot, press DISP/BACK.

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

Original photo

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.

NOTE

Section III Fun with the X-Pro1

51CONTENTS

Multiple exposure

1. Shoot the first exposure.

2. Shoot the second exposure.

To retake the first exposure, press the selector left.

To end multiple exposure shooting and save only the first shot, press DISP/BACK.

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

Original photo Original photo

Section III Fun with the X-Pro1

52CONTENTS

ISO SensitivityISOISO

ISO sensitivity can be adjusted in the range ISO 100ISO 25600, inc lud ing low- and h igh-ga in settings. The normal range is ISO 200ISO 6400.

The Top of the Normal Range: Taking Pictures at ISO 6400Including low- and high-gain settings, the X-Pro1 supports ISO sensitivities between ISO 100 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

ISO800

ISO1600

ISO3200

ISO6400 TIPS 1 TIPS 2 NOTE Shooting Data

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TIPS 1

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 dont 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.

ISO AUTO

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.

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 speed can be slowed by selecting an ISO sensitivity of L (100). L (100) can also be used in cases in which you want to blur subject motion by choosing as slow a shutter speed as possible.

High Gain (H)

Low Gain (L)

Section III Fun with the X-Pro1

52CONTENTS

ISO SensitivityISOISO

ISO sensitivity can be adjusted in the range ISO 100ISO 25600, inc lud ing low- and h igh-ga in settings. The normal range is ISO 200ISO 6400.

The Top of the Normal Range: Taking Pictures at ISO 6400Including low- and high-gain settings, the X-Pro1 supports ISO sensitivities between ISO 100 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

ISO800

ISO1600

ISO3200

ISO6400 TIPS 1 TIPS 2 NOTE Shooting Data

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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.

Noise reduction

HIGH (+2)MEDIUM HIGH (+1)STANDARD (0)MEDIUM LOW (1)LOW (2)Note: The default setting is STANDARD.

[ Options ]

Section III Fun with the X-Pro1

52CONTENTS

ISO SensitivityISOISO

ISO sensitivity can be adjusted in the range ISO 100ISO 25600, inc lud ing low- and h igh-ga in settings. The normal range is ISO 200ISO 6400.

The Top of the Normal Range: Taking Pictures at ISO 6400Including low- and high-gain settings, the X-Pro1 supports ISO sensitivities between ISO 100 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

ISO800

ISO1600

ISO3200

ISO6400 TIPS 1 TIPS 2 NOTE Shooting Data

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Section III Fun with the X-Pro1

52CONTENTS

ISO SensitivityISOISO

ISO sensitivity can be adjusted in the range ISO 100ISO 25600, inc lud ing low- and h igh-ga in settings. The normal range is ISO 200ISO 6400.

The Top of the Normal Range: Taking Pictures at ISO 6400Including low- and high-gain settings, the X-Pro1 supports ISO sensitivities between ISO 100 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

ISO800

ISO1600

ISO3200

ISO6400 TIPS 1 TIPS 2 NOTE Shooting Data

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

Section III Fun with the X-Pro1

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ISO SensitivityISOISO

ISO sensitivity can be adjusted in the range ISO 100ISO 25600, inc lud ing low- and h igh-ga in settings. The normal range is ISO 200ISO 6400.

The Top of the Normal Range: Taking Pictures at ISO 6400Including low- and high-gain settings, the X-Pro1 supports ISO sensitivities between ISO 100 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

ISO800

ISO1600

ISO3200

ISO6400 TIPS 1 TIPS 2 NOTE Shooting Data

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NOTE

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.

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

Section III Fun with the X-Pro1

52CONTENTS

ISO SensitivityISOISO

ISO sensitivity can be adjusted in the range ISO 100ISO 25600, inc lud ing low- and h igh-ga in settings. The normal range is ISO 200ISO 6400.

The Top of the Normal Range: Taking Pictures at ISO 6400Including low- and high-gain settings, the X-Pro1 supports ISO sensitivities between ISO 100 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

ISO800

ISO1600

ISO3200

ISO6400 TIPS 1 TIPS 2 NOTE Shooting Data

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ISO800

Choice

Section III Fun with the X-Pro1

53CONTENTS

Continuous shootingSelect CONTINUOUS with the DRIVE button and choose from frame rates of 3 and 6 fps.

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. Childrens 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. Youll want to take all the burst mode shots you can to find the perfect masterpiece.

Shooting Data

Section III Fun with the X-Pro1

54CONTENTS

Choosing a white balance that matches the light sourcesay the sun, or incandescent lightingproduces 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.

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 but ton for qu ick access.

Shooting Data Another Cut TIPS

White Balance

Section III Fun with the X-Pro1

54CONTENTS

Choosing a white balance that matches the light sourcesay the sun, or incandescent lightingproduces 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.

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 but ton for qu ick access.

Shooting Data Another Cut TIPS

White Balance

XF18mmF2R Program AE(F6.4 1/500 sec ) +1/3 WHITE BALANCE / INCANDESCENT LIGHT ISO200 FILM SIMULATION / Velvia Vivid

Section III Fun with the X-Pro1

54CONTENTS

Choosing a white balance that matches the light sourcesay the sun, or incandescent lightingproduces 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.

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 but ton for qu ick access.

Shooting Data Another Cut TIPS

White Balance

Another Cut

Section III Fun with the X-Pro1

54CONTENTS

Choosing a white balance that matches the light sourcesay the sun, or incandescent lightingproduces 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.

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 but ton for qu ick access.

Shooting Data Another Cut TIPS

White Balance

Fluorescent light (Daylight)

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

ShadeFineAUTO

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.

TIPS

Section III Fun with the X-Pro1

55CONTENTS

Processing RAW Images on the CameraThe 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: FILM SIMULATION

RAW CONVERSION: COLOR

RAW CONVERSION: SHARPNESS

RAW CONVERSION: WHITE BALANCE

Section III Fun with the X-Pro1

55CONTENTS

Processing RAW Images on the CameraThe 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: FILM SIMULATION

RAW CONVERSION: COLOR

RAW CONVERSION: SHARPNESS

RAW CONVERSION: WHITE BALANCE

Options

SAMPLE MOVIE

TIPS

FILM SIMULATION / Velvia FILM SIMULATION / PROVIA FILM SIMULATION / SEPIANEXT

Section III Fun with the X-Pro1

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Recording HD MoviesThe 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.

Press the shutter button to start recording.

Press the DRIVE button.

Press MENU/OK to enter standby mode.

Select MOVIE.

Press the shutter button again to end recording, save the movie, and return to standby mode.

SAMPLE MOVIE

TIPS

FILM SIMULATION / Velvia FILM SIMULATION / PROVIA FILM SIMULATION / SEPIANEXT

Section III Fun with the X-Pro1

56CONTENTS

Recording HD MoviesThe 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.

Press the shutter button to start recording.

Press the DRIVE button.

Press MENU/OK to enter standby mode.

Select MOVIE.

Press the shutter button again to end recording, save the movie, and return to standby mode.

Ad jus t aper tu re 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.

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).

Adjusting Movie Settings Aperture

TIPS