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These significantly improve certain key aspects of operation criticised in this review, including autofocus and manual focus performance, operational speed, and handling. We recommend you familiarise yourself with the list of improvements by visiting Fujifilm’s firmware update page for the X-Pro1.

Please bear this in mind when reading this review. When Fujifilm announced its FinePix X retro-styled large-sensor compact at Photokina , it captured the imagination of serious photographers in a way the company seemed not to have quite anticipated.

The X’s combination of ‘traditional’ dial-based handling and outstanding image quality brought widespread plaudits, making it something of a cult classic despite its undeniable flaws. The subsequent addition to the range of the X10 compact, with its bright, manually-controlled zoom lens, has cemented Fujifilm’s resurgence as a brand worthy of serious attention.

This design not only allowed the choice of a rangefinder-style optical view or a fully electronic view, but was also able to overlay electronic data over the optical viewfinder. It was a masterpiece of engineering, but appeared to be a design very much dependent on its use with an integrated prime lens. With the X ‘s success and the increasing popularity of mirrorless interchangeable lens cameras, it seemed only a matter of time before Fujifilm would introduce a higher-end model with exchangeable lenses.

That camera has now arrived in the shape of the X-Pro1, whose name leaves absolutely no doubt as to its intended market: it becomes the first of its type specifically aimed at professional photographers. The X-Pro1 is the start of an all-new camera system, with a brand new mount and lenses.

It’s unashamedly targeted at a high-end audience, with analogue control dials and a small set of compact, large-aperture primes available at launch. Fujifilm is keen to stress its future commitment to the system, with a promise of seven more lenses by spring , and further camera models to come too.

Key features are:. The X-Pro1 is most easily characterized as a beefed-up, interchangeable-lens version of the X , but it’s a lot more besides. It retains the same basic analogue control philosophy, but the design has been rationalized and refined in a fashion that suggests Fujifilm has been listening to feedback from users and reviewers alike. For example, the shutter speed dial has a central lock button for its Auto position, and the exposure compensation dial is recessed, which reduces the risk of accidental settings changes.

There’s also a conveniently-placed ‘Q’ button that brings up an on-screen control panel to access a range of functions that previously required a trip into the menus – a much-needed improvement over the X However potentially the most interesting change is on the inside, and specifically the image sensor.

The X-Pro1 uses an entirely new all-electronic lens mount, and the initial lens line-up will consist of a set of bright primes with focal lengths that neatly complement the X’s 23mm F2.

There’s an 18mm F2 wideangle, 35mm F1. However, neither control is mechanically coupled – both focus and aperture are electronically driven ‘by wire’.

At its lower magnification 0. The 60mm lens uses a smaller frameline within this magnified view. One of the advantages of the hybrid finder, of course, is that it can project suitable frame lines in the optical finder for a wide range of focal lengths, and critically-accurate composition can always be obtained by switching to the EVF regardless of the lens used. One perhaps less-obvious change is that the X’s near-silent in lens shutter has gone, and the X-Pro1 employs a conventional focal plane shutter.

This is inevitably louder in operation, and offers slower flash sync. But it also means that unlike the X, the X-Pro1 is fully capable of combining its fastest shutter speeds with large apertures. Further additions compared to the X include an upgraded LCD, which Fujifilm says offers wider viewing angles and lower reflectivity to aid viewing in direct sunlight, and a clever multiple exposure mode that provides a live preview of the composite image even when using the optical viewfinder.

These, of course, play on Fujifilm’s long heritage as a film manufacturer, and as the names suggest aim to replicate the characteristics of Fujicolor professional colour negative film PRO NS and PRO NH respectively. They’re therefore targeted specifically at professional photographers shooting portrait and wedding work. All of this certainly makes the X-Pro1 an enticing prospect. We very much like the X , despite its numerous quirks, and on paper its big brother promises improved handling and even better image quality, along with all the flexibility of interchangeable lenses.

In this review we’ll see whether it lives up to its billing. My wife bought me this unbeatable package as a present for our 30th anniversary! What a wife? The camera IQ is amazing, handling is fantastic, build quality is superb, not a plastic part in sight, more than can be said for a comparatively priced CanNikon DSLR.

I take it everywhere with me, it’s small light and always at hand. If like me you don’t have the time or the money to buy an X-pro2 and if you don’t just want the latest, buy what is still, for me at least the greatest camera bargain going. My advice is grab one before it’s gone! I’ve spotted this incredible 2 lens offer here in the UK as well.

Very tempting, but the 28mm f2. Well, I guess it’s an early christmas for me this year. Today I’ll receive my like new with warranty Fuji X-Pro 1 body. The price is insanely low for such a nice camera. It really is. I’m sure it will be a nice complement to my X-E2. Yes, better camera models are coming at the end of this year. Possibly with a new higher resolution sensor, faster autofocus and more features. I’ll get my hands on that stuff in a year or two, when everybody dumps it, like they dump the X-Pro 1 bodies now.

Man I love capitalism. Looking to get an X-Pro1 for christmas and really happy to see that all relevant flaws seem to have been eradicated by Fuji’s firmware updates. Well, I can tell you right now that you’ve got something nice to look forward to photominion. I just bought my X-Pro 1 and my first impression is very good. It makes the X-E2 feel like a toy and using the 27mm I haven’t really found any difference in focus speed. Not sure what the fuss is about. It’s not lightning quick.

None of the Fuji cameras are. Focussing speed certainly is adequate and again, I don’t see a difference in speed compared to the X-E2. It does take a little longer for the X-Pro 1 to write the file to the SD card. Since both cameras are about the same price, I recommend the X-Pro 1 if you don’t need every bit of extra speed and if you prefer to hold a slightly bigger and noticeably better build camera.

I am a rather new member and I must say that the few dopey questions I have asked have usually been answered with great information and a lack of sarcasm and judgement.

They were not dopey on purpose. If anyone would like to visit the images in my portfolio you will at least know that I am not just obsessed with cameras but sing them to shoot, share, publish et. So without further ado, just purchased a new Fuji X Pro1 and bam I read the rumor page and it says Fuji X Pro2 verified rumor will be introduced this year. Besides offering the advice, “just shut up and shoot’, What would you do?

Is this even the right spot to leave my qesriom. Don’t worry too much about it. I also just bought the X Pro 1,well aware of the rumors. It’s all about IQ right? I can assure you,you wont be disappointed! Far away from it. All else, yes for sure. It will take you a bit of effort getting used to the AF of this camera but it’s very engaging to use, the VF is great and images are great too.

Happy days. No doubt a new flagship X-Pro2 will be announced soon, but it’ll be a very expensive camera, presumably sitting above the X-T1 in the range. Fujifilm has fixed most of the reported issues like slow AF with incremental updates. I got a chance to review it recently. What is the seemingly insurmountable problem with studying a traditional 35mm film rangefinder and re-engineering it into an equally capable digital rangefinder instead of trying to re-invent the wheel?

The idea that you cannot accurately use manual focus is absurd. The whole focusing by wire thing is absurd. Again, why is everyone trying to re-invent the wheel? After using one for a while and with the latest firmware I find the camera to be quite superb. Lets face it, most of us are looking for IQ firstly and has been said in the review lenses like the 35 1. Should I ask the seller about these because I am naive and no nothing about these on her camera is it a simple fix to update the firmware Your recommendation I don’t even know the latest and best ones.

The latest firmware update as of May is version 3. Also check to see if your lenses are also up to date. Firstly I really would like to thank almost everyone for the generous and non combative input. So as long as I am curious about one further issue, any gracious input will be devoured with great enjoyment.

Some lenses, whether short, medium or full on zooms have O. S and some don’t. So any other advice on gaining sharpness and stability that works well for you, hardware wise , please let me know because I am well aware of the great impact shutter speed and stillness etc. And please take a moment to take a look at my gallery just so you understand that it is images and not equipment I am really hungry for.

Thanks in advance, and yeah thanks Light Catcher LT for the real corn on the cob. Brace the camera against your face with your left hand under the lens to steady it.

A thumb-grip, like the Lensmate, helps as well. Set the camera to continuous low and learn to fire off two or three shots. After that, just practice being as smooth as possible while gently pressing the shutter release, I find a screw-in soft release button helps. Check out their sample gallery to see how its image quality stacks up ten years later.



– Review: Capture One 12 (Most of the Enhancements We Really Wanted)


The objective here isn’t to run down every feature available in both programs, which would lead to an extremely long article for a program as in-depth as Capture One. It’s to show the basics and give a sense of which program makes it easier to get the results you’re after from those basics.

Adjustment layers aren’t available in the version he is describing, it is available in the paid version. Isn’t that’s a Photoshop bug? They could easily parse the XMP and open into ACR only those that have Adobe’s namespace edits included, with the rest going into main PS interface – controllable in preferences I presume C1 writes its edits under its own namespace. You should really brush up on XMP :. Though the bug can be useful at times, as I could easily soft-crop hundreds of photos in Photomechanic before opening them in ACR with the crop preserved in the same amount of time I might crop ten at most in ACR itself.

Cropping in ACR is the last step in the rendering pipeline, so it was extremely slow if you had vignetting and distortion and local corrections on another long known bug or “feature” , since it was rendering all of these as you were adjusting the crop. If the raw images are accessible I can display incomparably better results out of C1.

It is all about experience and habit. As a long-term C1 user is see lots of space for improvement in the versions posted in this article. As noted early on, the goal for the samples isn’t to get the best-processed image, per se, as that’s more subjective and doesn’t tell me as much comparitively. The objective was to get as close as I could to the same finishing point with both applications, with that finishing point being an already-extant processed image from our galleries, and without any prior knowledge as to the recipe used to create that image.

Here we go with the “incomparable, Earth shattering, mind blowing epoch making superiority” of Capture One. Mike that objective is quite unclear and far from a good starting point. You should compare the best that the two products offer, rarely one tries to get something else but the best out of his images. Fuji is my primary camera system, and I must admit I went looking for a different processor than ACR at first Iridient did a better job, after playing with the adjustments.

However, one can’t send the processed image as anything other than a jpg, and I’ve heard that the catalog isn’t good enough to be a DAM, especially when compared to LR Classic. With the resent changes in ACR, I now use that program almost exclusively. I should add that Mike Tompkins got it right when he stated that Cap One for Fuji could be all a Fuji user needs, even with it’s downsides. How can this be a proper test if you don’t explore what the software can do for you?

Massive timesaver. As alluded to, highlights are the slight time waster though. The software tends to throw away highlight detail but, annoyingly, by a different amount for every image, which means I have become very familiar with the highlight slider! Colour reproduction is fabulous. That comment is referring to the samples in the piece. I tested them, just didn’t use them for the comparisons.

I also discussed how much better Capture One was for noise reduction in the first place:. Yes, I read that but it’s still dealing with default settings. Also, it’s always up to date! I also noted that Capture One only gives you one license per email address for free. Although it’s easy to get more simply by creating throwaway email addresses. Now CO has a subscription for CO Pro, but I am do not know if any functionality is removed if you stop the subscription. AND the ability to upload photos on the cloud syncing across all your devices.

I have more than synced fotos, all available to play with anywhere I go. So that matters. Hardware is necessary! When option available and compelling i will choose the free one. All the best for your photography in Sri Lanka!

I’m happy with it and will get a perpetual Pro license at some point. Adobe lost my business after you know what, I don’t really care what they offer :. Pretty much why i didn’t see a need to upgrade to the C1 v21 when it offers nothing much but ask for more money.

What about a focus stacking in LR? Or maybe high res stacks or stacks for better NR, or stars? LR stack and stitching is far away the best so maybe better concentrate on RAW functionality instead of offering many half backed stuff.

I really like C1 style of doing what it does properly. I use the free for Sony version of C1. It will also convert DNG raw files from my Pentax bodies but won’t allow edits. I have used and continue to use several different PP software. C1 is my go to when removing purple fringing, the bane of my existence. It does it better than other SW I’ve used and will remove it when others can’t.

Interesting that it will convert Pentax DNGs. I actually tried a variety of raw files and IIRC that included Pentax DNGs out of curiosity, and while the Fuji version would import them, it wouldn’t allow them to be processed or edited.

The C! As a loyal Adobe customer–who has tried and rejected DxO Photolab 4 because of its half-baked-interface–I will admit I’ve given up on Adobe’s Auto adjustment as a starting point. Just way over the top, like weird and bad HDR. I’m also flabbergasted each time i try. It used to be much better, then at some point flipped. DxO or C1 do much better auto correction.

To be fair, with ACR you can dial in what you want, but the auto button misses the mark by far. Could have a lot to do with the camera, and more with subjects I’m using an EOS R6, mostly people.

C1 shows ugly artifacts, the micro spots of fake colors, those at a few pixel level. An example of this? Zoom on the gray surface of the violin, and look at both its carbon fiber texture and the light reflections. Similar issue also for the ACR rendering, but this chaotic colors are a lot less evident. At the end the origin of this is caused by these Fujifilm sensors, not compatible with the eyes of those crazy photographers named pixel peepers LOL – How wrong one can be.

If one company doesn’t support X-Trans properly it is actually Adobe. The reason why Fujifilm heavily invested into Capture One in such way that they basically ‘own’ these days was twofold. They wanted to have the GFX supported in the best way possible.

But hey if you like the worms you get with Adobe and X-Trans more, who am I to keep you from them. Test done and published on Flickr. I mention I have and use almost all camera brands and sensor formats, including Foveon Sigma and the discontinued Samsung, and expensive flying cameras. Have had and used Fuji, and still have several models, including mirrorless, but not the most recent, starting with the first DSLR FinePix S1, then S2, etc, to temporarily stop with the nice T2.

I mention also that still have two eyes that see very well and just one multitasking thinking brain. I did not say ACR is over-all better than C1, do you have perhaps read this?!

And someone have already replied to another one about the worms breeding of ACR, please go and find it, here down and possible setting solution not verified by me , for Fuji I use another application. I have only highlighted the existence of these ugly artifacts, typical in Fuji photo processing, therefore not even the big C1 is able to eliminate or make it go unnoticed. They are there, anyone can see them, it’s a fact, it’s useless to throw smoke in the eyes of others. You men on this links?

And please remember this is ISO ! To be honest C1 looks much better but it has more NR applied. Anyway it really has same or more details. Like here, where we have worms capturing the buildings and almost every flat surface on them Video-vs-photo yes, the C1 conversion I have talked about is the one with violin at the ground, in the trees: the I see at a glance the randomly color variations of the gray texture almost everywhere, just using a Samsung tablet, no need Photoshop tools.

Video-vs-photo If your eyes can’t see them after a while, move the photo quickly, a little to the right and a little to the left, then you should immediately perceive the segmented colors almost everywhere scattered randomly. In addition there are some more evident micro colored specks highlighted on a crop, but which are also in the rest of the violin. Ok, so on my monitor they are not so evident without amplified colors.

But now I see what you are saying. I do really think we have several problems here in mix not only Fuji, C1 or Adobe fault. I really would like to see same scene shot in parallel with Bayer camera to be able to compare what is going on. But anyway this is not easy shot and the best solution would be just mask the whole violin and remove any color saturation.

There is no color in it anyway. Downloaded RAW file to play around. And it turns out same artefacts are apparent in ACR and affinity. When you dial in more color NR in affinity you are able to remove them completely. Lets say ACR is on 15 and Affinity is on Most probably same case with C1.

But in the article they have just used auto. And what actually does help in ACR to fight with worms is to lower the sharpening. Enhance details is not really doing something very useful. Default ACR sharpening is little over the top even for bayer and seems like much more for X-trans. IMHO Silkypix is interesting as while it doesn’t grab you so much with punchy images it’s all about the natural look , it doesn’t screw up the less important parts of the image to make the featured parts look good either.

Sometimes I don’t get these kinds of articles. Comparing results on a Dell laptop hardly the method to do legitimate editing let alone comparing results of the two. When I look at my photos on a laptop for a quickie followed by actually editing them on my BenQ SWC, it is a night and day experience. The explanation is there are a lot more people editing photos on modest gear like the reviewer’s, especially those whose needs can be satisfied by a free, feature-limited software package like COE.

My computer is even older like most people out there. Not everyone can afford state of the art new PCs. I get that however I find it hard to come to any conclusions regarding color space of a camera or editor when the comparisons are being made on a monitor not capable of achieving the result. People spend so much time on this site arguing about this camera is better than that one and in the end what does it matter if one’s standard is a crappy dell laptop monitor from So, when colour calibrated, is perfectly adequate for photo editing Any JPEG can not have more than 16 million colors as it is a 8-bit container Regardless if you put it into a bit file container.

So either way the output is 16 million colors out of pool of 16 million colours with sRGB or 16 million colors out of a pool of 24 million colors with Adobe RGB. As epambos said, the laptop in question is absolutely up to the task.

And yes, it’s color calibrated. It might not be the fastest around, but it has an excellent display, and was also used connected to a good desktop display. And in terms of performance comparisons, both ACR and Capture One are being tested on identical hardware, so neither has an edge. Capture one lens corrections is very annoying to me. Switching back and forward between original jpeg and modified raw to check my adjustment, I’m distracted by the lens correction shift.

Capture One Express for Fuji is a no-brainer. Great product and does not cost any money. Would be crazy IMO for anyone who owns Fuji cameras and likes to process RAW to not downloaded the software, get a sense of the workflow and explore it’s capabilities.

Otherwise, you’re absolutely correct. As mentioned above: Have you even looked at Process Recipes? The Export mentality is a Adobe addiction.

You can change the raw files reversably into EIP format which stores any editing with the file. Then transfer the file anywhere and you have all edits available. Instead, everything sits in one interface and you toggle through buttons to change functions.

Right-click options and short-cuts abound, and like Photoshop many of the tools have a number of other options when you right-click on their buttons. Here the film strip is on the bottom, similar to a Lightroom layout. Making the transition from Lightroom? Simply put your filmstrip on the bottom panel and the adjustment panels to the right.

You can even assign the same keyboard shortcuts to Capture One Pro as you use in Lightroom. This is particularly awesome if you have an established workflow and know what you use the most. All this being said, the high learning curve often has me frustrated. Simple things like renaming files or switching from grid to single image view are different in Capture One and they all take some getting used to.

Capture One Pro is feature-rich with just about everything a photographer needs in an editing app. As far as photo editors go, there are a couple of places where Capture One just rocks it. Here are a few of the other advantages of using Capture One Pro over Lightroom, or most of the other image editing softwares out there:. Each brand has their own special recipe for rendering RAW files, but Capture One has long been known for being exceptional.

Take a quick look at the video below to see how the photographer uses Capture One Pro to edit high-end fashion portraits. As far as the level and selection of standard adjustment tools are concerned — exposure, contrast, shadows, highlights, white balance, and so on — Capture One is up there with the best.

Some things are done differently, however. To edit straight-up saturation you need to go to another tab. Capture One Pro comes with an excellent Keystone adjustment. Pro only, not Express. You need to select the images you want to post-process. This will send physically move on disk the currently selected image to the Selects subfolder that was created with your Session. This also makes it difficult to compare a selected image with a non-selected image as Capture One does not allow you to show images from multiple folders at the same time.

It is for this reason that I choose to use colour tags to rate my images. You could also use star ratings to the same effect. For me, this is a more efficient way of working. After your images are imported into the session Step 1 , create a new Session Album and drag the images you want in that album there.

This will allow you to quickly filter to images from just one set. It is important to note that these albums are just references within Capture One. You are not physically moving files on disk by doing this.

From here, you can follow the steps above to make your selections within those Albums. If you like to clean up your rejected images as you go, there are two ways to delete files in Capture One Sessions. This deletes them the same way your operating system does. This will move them to the Session Trash subfolder. For developers, the Capture One Plugin SDK—available as a free download—will provide access to the broad base of passionate professional and enthusiast photographers that use Capture One.

Developers are now able to create solutions that leverage the image-editing and organizational prowess of Capture One, and the added capabilities of third-party resources. The initial Capture One Plugin SDK allows for plugin development, and can be leveraged for common tasks like sharing, sending files to external editors, and allowing images to be opened in other applications, and more.

Fujifilm X-Series and GFX-series cameras feature Film Simulations, which are in-camera tonal adjustments that faithfully reproduce the color and tonality of classic Fujifilm photographic films.

Sixteen Film Simulations are available, ranging from color stocks like Provia and Velvia to black and white film like Acros. These simulations give Fujifilm users the ability to digitally capture images with the feel of beloved photographic films.

These in-camera settings have been faithfully reproduced in Capture One, to provide an identical experience when working with files, resulting in images that appear the same as if the Film Simulation picture profiles were applied in-camera. Capture One provides users with the most accurate and powerful image editing available, and the wide-ranging support of cameras and lenses is a hallmark of the software.

For enthusiasts and professionals alike, Capture One continually evolves to handle the newest cameras and lenses. In addition to the RAW support for more than cameras, Capture One also provides profiling and image correction support for more than lenses. Like with the RAW file interpretation, Phase One carefully measures the optical characteristics of each supported lens and builds correction algorithms that compensate for the various optical imperfections of various designs.

As a result, Capture One can correct for numerous common optical issues such as vignette, and chromatic aberration as needed for each of the supported lenses. Pound for pound, Lightroom often offers support for new cameras and lenses much faster than Capture One 12 does, but what do you expect from a company that profits at the massive amounts that Adobe does. Adobe Lightroom has also had these features mentioned for a long time now. To that end, Capture One is playing catch up to Lightroom when it comes to features.

Capture One was always much more streamlined in terms of what it was supposed to do. Alexander Svet — professional photographer and specialist in image processing.

Alexander Svet — Professional photographer and photography instructor. Type above and press Enter to search. Press Esc to cancel.

Facebook Twitter Instagram. What to Choose for Fuji Photographer? Which version of Capture One is it better to choose for Fuji photographer? Where to find free Capture One tutorials? How to get a discount for Capture One Pro Fujifilm? Capture One Fujifilm. Alexander Svet Alexander Svet — Professional photographer and photography instructor.


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