FUJIFILM X-Pro1 Photographer's Guidebook

1

2When you wrap your fingers around the grip of the FUJIFILM X-Pro1, your thumb supports the back

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

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

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

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

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

the basic photographic technique of looking through the viewfinder, but looking through the X-Pro1s

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

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

the manufacturers drive and passion.

Yoichi Sone

Professional tool X-Pro1

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

Notes about using the X-Pro1 in Macao by photographer Yoichi Sone

73CONTENTS

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

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

look at the subjects eyes through the viewfinder when taking pictures of people.

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

shoot using the LCD, this doesnt happen. It puts some separation between you

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

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

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

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

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

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

the amazing resolution.

Section InteviewInterview in Macao Part 1 Impressions of using the X-Pro1 in Macao

Notes about using the X-Pro1 in Macao by photographer Yoichi Sone

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

75CONTENTS

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

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

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

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

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

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

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

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

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

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

When there was a subject that I definitely didnt want to have the periphery, I

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

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

appreciate photography.

Section InteviewInterview in Macao Part 3 Impressions of using the X-Pro1 in Macao

11CONTENTS

XF18mmF2 RProgram AEF81/350sec-2/3EV WHITE BALANCE/Fine ISO200FILM SIMULATION / ASTIASoft

14CONTENTS

XF18mmF2 RProgram AEF21/50sec-1EV WHITE BALANCE/AUTOISO200FILM SIMULATION / VelviaVivid

Notes about using the X-Pro1 in Macao by photographer Yoichi Sone

The sync terminal is evidence that this is a professional camera

74CONTENTS

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

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

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

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

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

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

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

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

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

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

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

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

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

makes me want to take pictures.

Section InteviewInterview in Macao Part 2 Impressions of using the X-Pro1 in Macao

The Allure of the X-Pro1

Film Simulation

Notes about using the X-Pro1 in Macao by photographer Yoichi Sone

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

76CONTENTS

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Section InteviewInterview in Macao Part 4 Impressions of using the X-Pro1 in Macao

Section III Fun with the X-Pro1

40CONTENTS

PROVIAFilm Simulation

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

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

Review ReviewShooting Data Shooting Data

PRO Neg.Hi PRO Neg.Std

Enlarge Enlarge

48CONTENTS

Section III Fun with the X-Pro1

PRO 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

The Allure of the X-Pro1

Fujinon XF lens series

Notes about using the X-Pro1 in Macao by photographer Yoichi Sone

The sharpness and beautiful bokeh. These three XF lens are very enjoyable to use.

77CONTENTS

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

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

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

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

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

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

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

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

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

eye is closed. Ive always liked this angle of view and took many snapshots

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

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

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

a more orthodox shooting

method to shoot in a pan-

focus style. This lens makes

it fun to change the aperture

setting.

*18mmXF18mmF2 R 35mmXF35mmF1.4 R 60mmXF60mmF2.4 R Macro

NEXT

Section InteviewInterview in Macao Part 1 Impressions of using the X-Pro1 in Macao

65CONTENTS

Section XF LensXF18mm F2 R

XF18mmF2 R Program AE(F2 1/30 sec ) -1EVWHITE BALANCE / AUTO ISO1000 FILM SIMULATION / Velvia Vivid

68CONTENTS

Section XF LensXF35mmF1.4 R

XF35mmF1.4 R Program AE(F4.5 1/140 sec ) -2/3EVWHITE BALANCE / FINE ISO200 FILM SIMULATION / PROVIA STANDARD

Section XF Lens

61CONTENTS

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

The day I bought a Fujinon lens

During the second part of the period I spent working as an photograph assistant, we received much more work from photographic magazines. I was asked more often to carry out jobs in place of my mentors and began to think about working independently as a photograph. After I resigned from the studio, I thought I would find jobs as a product photograph for advertisement thanks to my experience accumulated in the studio. However I was asked for collaboration by a photographic magazine focusing on snapshots. This is how I had to delay the achievement of my dream of having a Sinar camera and Fujinon lenses for 10 years. Single lens reflex (SLR) cameras were mostly used then but I was personally interested in compact camera for their portability. As I felt a particular attraction toward Fujifilm brand, I bought a Fuji Cardia Travel Mini Dual-P. It was the prime of SLR cameras and photographic magazines were displaying shoots I had taken with my Travel Mini along with pictures taken with SLR cameras in the same issues. At that time, most people were thinking that professionals would never use compact cameras but the contribution made by my Travel Mini was brilliant enough. Then I could make my dream come true. As soon as I heard about the launch of the Tiara compact camera mounted with EBC Fujinon lens, I bought one. The model I bought featured a single-focal 28mm lens. I was really impressed by the shutter response and its portability and became soon fond of it. I was really productive and sent a great deal of pictures I took with it. Later I fell into such raptures about the newly available GA645/GA645W that I bought two in a row. I could familiarize myself with medium-format cameras thanks to these 2 models. Even if I worked with the GA645W more often, I spent so much time observing different scenes though the EBC Fujinon lens of the GA645 that it became like a part of my body. Even after spending 35 years observing the world through a Fujinon lens, I felt a rare joy when I could acquire a Fujifilm X-Pro1 and start using it the further enhanced Super EBC Fujinon lens.

Yoichi Sone

Section XF Lens

60CONTENTS

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

Professional Voice Yoichi SoneThe day I met the Fujinon lenses

In 1976, I joined without hesitation the third class of Daido Moriyamas course at the Workshop Photography School when I saw its billboard saying Workshop Photography School, last year of teaching. After graduated, I became an assistant photograph in a studio taking mainly pictures of products to increase my photographic skills. Equipment at the studio was mainly composed of Schneider and Rodenstock lenses for 4x5 in, but the two mentors I worked with were using more often EBC Fujinon 210mm F5.6 lenses. For people who were working there at shooting products for advertisement, EBC Fujinon lens was synonym of good lens. During the work, I was standing under the camera installed on the product stand, and was following the instructions from my mentors. I was in charge of moving the products, checking the configuration through the ground glass, charging the shutter and so on. I spent a lot of time manipulating Fujinon lenses while looking at products in front focus. I was authorized to stay alone in the studio and take pictures after work, so I had the opportunity to shoot a same subject with 3 different EBC Fujinon lenses (90mm, 150mm, and 210mm). At that time, the emulsion of 4x5-inch sheet films wasnt stable so we were using them with gelatin filters. But with Fujinon lenses the center of the focal plane was very sharp even without narrowing much the aperture. In addition, colors were reproduced vividly with remarkable color shading. I spent this period as an photograph assistant dreaming of the time I would be able to buy my own Sinar camera and a set of three EBC Fujinon lenses to work as a professional.

Yoichi Sone