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Capture One Fujifilm Express and Pro. What to Choose for Fuji Photographer?

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At least, for the Astia, Provia and Velvia film simulations. With that said, results differ quite a bit if you let either application automatically adjust your images. Adobe gives you a single-button auto control, and tends to make bigger adjustments to exposure. It holds onto shadows and highlights significantly better, but also tends to oversaturate for a more consumer-friendly look.

Its auto white balance tends to do a better job, and its other auto algorithms also tended to yield more realistic colors in general than did Adobe.

I found that last point especially true for skin tones, foliage and blue skies. As you can see in my examples, Adobe’s skin tones has tended to make subjects look just slightly sickly, whereas Capture One’s skin tones are more lifelike.

And there was a similar advantage in foliage and skies, which also look more natural with Capture One. Adobe’s algorithms also apply more sharpening by default, but can introduce slight but noticeable haloing. Capture One doesn’t halo by default, but its results appear less crisp. Capture One’s default noise reduction levels are also a good bit higher than those of Adobe Camera Raw, particularly as ISO levels increase. The good news, though, is that I couldn’t see any noticeable loss of detail as a result.

With absolutely no fuss beyond letting the automatic algorithms do their thing, Capture One consistently gave me significantly cleaner images. Given the smaller APS-C sensors still used by Fuji’s X-mount cameras in an increasingly full-frame world, that’s definitely great news! Of course, both applications also allow noise reduction to be dialed back significantly from their defaults.

As for lens corrections, neither application’s results was quite identical to those of in-camera JPEGs, but Adobe seems significantly closer than Capture One.

Results from the latter were mostly still fairly close, but occasionally differed quite noticeably. That was also true of vignetting correction, where Capture One sometimes made rather larger exposure corrections near the corners than did either Adobe or in-camera JPEGs.

Capture One also has an occasional tendency to crop images if distortion correction was enabled, even when its “hide distorted areas” setting was unchecked. With all of that said, both Adobe Camera Raw and Capture One offer a lot of scope for correction, and provide a good set of controls. I’ve found Capture One to be a pretty good match for its Adobe rival, and it’s far more pleasing to use than any other free, manufacturer-provided software to date, making it quite easy to get the look I wanted with relatively little work.

I have to admit, the results of my testing were a bit of a surprise. Given the relationship between Capture One and Fujifilm, and the fact that the latter actually offers the software for its own users, I expected its results to more closely mirror those of in-camera processing.

But in truth, it was generally Adobe that got closer to the in-camera results. Capture One suppresses noise much more so than Adobe does by default, but without losing any apparent detail. Colors from Adobe were generally good and matched the out-of-camera JPEGs better, but occasionally inn my testing I found that skin tones could make people look a bit ill.

When it comes to the selection of controls on offer and their ease of use, both ACR and Capture One are pretty close. Some other differences are in their distortion correction and auto adjustments. For distortion I think Adobe has a slight edge, but for auto adjustments I definitely ended up preferring Capture One over ACR’s more punchy, consumer-friendly look.

I was also impressed with Capture One’s performance. Sure, Adobe still rules the roost in this respect — and its most recent update looks to have taken another step forward — but it’s also payware software being pitted against a completely free alternative.

And Capture One gets far, far closer in terms of raw speed than any other bundled software I’ve yet tried. If cost is a primary concern for you and you don’t need to work with multiple camera brands, then I think it’s a no-brainer. Using Capture One Express Fujifilm could save you enough over the lifetime of your camera to buy a lens or accessory while still providing good speed, good image quality and a healthy selection of controls.

If you want the maximum possible performance, support for multiple camera brands or the extended features offered by Lightroom or Photoshop, though, then I think an Adobe Creative Cloud subscription remains your best bet. Images for this article were originally posted in this gallery. Please do not reproduce any of these images without prior permission see our copyright page. C1 had excellent customer survive in my experience, I think that is worth talking about in a review like this.

C1 seems to make lighter images which should not matter as it will be adjusted manually anyway , but geometric lens correction seem bad in C1 – images BULGE compared to LR. Maybe lens profiles function was not set correctly?

Performance comparison was not very clearly presented; which one was more responsive? Final render speed does not matter much compared to UI performance.

I’m fed up with Adobe’s bloated offering and hogging of my PC’s resources. It took close to an hour to uninstall the Adobe crap on my pc and to be sure I was rid of it I used a registry cleaner to take care of the rest.

I mostly agree with the reviewer. But before that the only let down from C1 is mostly related to lens corrections. Only missing local corrections from C1 express, but it is free and way better than Fujifilm X Raw Studio.

BTW, comparing default settings in test does not make sens – it says nothing what each program can do. Please enlighten us about the original colors you saw when the photos were taken. How do you know it isn’t the Adobe product that shifts colors?

It would be nice to see Darktable covered. It is not a manufacturer-provided software but neither is Capture One Express. I liked the attention to detail in your article, but was surprised to see no mentioning of local adjustments. I understand Capture One Express, unlike the full “Pro” version, does not support local adjustment, which is a major downside in my view. I’m also wondering whether LR managed to provide good X-trans support.

It had issues at finest detail level in the past whereas C1 was praised in that regard. There could also be a mention of all the extra features LR offers even beyond what the full Capture One “Pro” version offers.

Having said that, I find a choice between either the free “Express” version and the paid LR a bit artificial. Before choosing LR, I’d advice anyone to have a good look at the C1 “Pro” version which offers comprehensive UI configurability and some very nice features like the “Skin Tone” tool. Elsewhere I also find Adobe rendition more natural with the exception of the giant teapot example where Capture One is more natural.

My preference is not to emulate in camera jpgs but to have a more natural starting point for edits so on that score Adobe comes out top most of the time. DNG converter is free It’s the same download for the free express or pro version for Fuji, Nikon and Sony.

You just have to choose during installation what you want. You can always check the correct upgrade price from your express to the unlimited fuji, Sony or Nikon version from your capture one account. The pro version for all camera makes is the most expensive. The cheaper unlimited function versions for Nikon, fuji and Sony are the same, but just limited to this specific camera manufacturer. Note that the installer file contains all Capture One product variants. However, you will need a license key to activate any of those starting from Capture One To get the license key for activating days fully-featured Capture One trial or Capture One Express, proceed with the links below.

I prefer the C1E default look and the appearance of the highlights which as you note have more contrast. Excepting the excessive default noise reduction C1E applies. This was all screen output? Although I appreciate these are Raw conversions, I would be curious as to how the printed output would appear.

I just organize in Bridge and work in sessions. I don’t keep images that aren’t print worthy. I don’t see the problem. It is best to import and move folders using LR because the catalogue needs to know where the files are. Outside of that you can use any other developer you like and it won’t effect LR edits.

If you are going to move folders around what is the difference between using the OS or LR. Same amount of steps. I wish Capture 1’s catalog system was better. Wish dxo photolab, and all the manufacturers software had good catalogs. Could just be habit.

I’ve been using LR from the beginning. It’s fast and easy for me. As is working on images. I’ve tried several different software solutions, capture one, DXO, aperture, and all the software that comes with my cameras. I’ve tried to stick with one that was easiest for me and learn it best as I could. I still use the others sometimes to take a look at results. I almost always come back to what I know best. For basic edits, The free C1 option is worth looking into.

Of course if you’re an Adobe user looking to dump your subscription, the learning curve is a bit higher, but easier than starting from scratch. It can be limited though, but maybe pairing it with something like Affinity might be a good combo. I often saw the “free” or Express versions as very basic, for basic adjustments — exposure, highlights, shadows, etc, and sharpening and cropping but lacking some of the more advanced options like some local adjustments.

So there’s a trade-off. Darktable is completely free, has no feature limitations, a plethora of tutorials on YouTube, works with downloadable LUTs for example Fuji film simulations, but also a huge number of others, as it supports multiple common file types , styles, and plugins for example for blending , and supports both advanced and beginner-friendly workflows.

You just have to set it up. You can apply customised settings at importing in C1, please note I have the paid version, not sure if this apply to the free version. This is the reason for the decreased detail Mike notices in the higher ISO comparisons. I use Passport profiles for all my lenses and bodies If there is please let me know how.

I know C1 has pre figured profiles, but they are not my camera and lens combos. I recently got the datacolor eqivalent, but do not understand how they are supposed to work yet. It creates XMP files which would seem to me to not be the same. There does appear to be some trade-offs in doing so, but not always in Adobe’s favor. On the whole, manufacturer’s software is pretty darned good, especially for free.

This isn’t “mfr” software though. It’s just an alternative to the other paid options. However, if you work with other people collaborate Adobe might be a better choice as it’s more widely used.

It’s “manufacturer offered software” and it’s free for use with specific cameras. It, along the others software tested so far, is a viable option for many people.

It won’t be viable for ALL however. Here, we have worms capturing the buildings and almost every flat surface on them I feel like in my tests worms went away awith simple adjustment to sharpening. I use Phocus for conversion for prints C1 Express is free basic RAW editor. And also has some features better than paid LR. For example you have Levels and much more usable curves! HSL is also much better, you can edit color range. Histogram is more usable also. WB is usual better as noted in the review more natural and selectable auto adjustments.

Sharpening is good and you have few algorithms for clarity. And basically you get much better starting point for Sony or Fuji!

And this is almost for free. This is much better solution for hobby or low budged PRO usage. Compared to any kind of subscription products even own C1 PRO.

You can chain C1 Express to some free pixel editors like gimp also. I really love Capture One the Pro version for editing my Fuji files. But I don’t understand why they don’t give us a panorama feature like lightroom does. That’s so important! The Nikon RAW files look so oversaturated and colors are just completely off.

That means I have to either try a new editing software or switch back to Lightroom. Or did they improve that in version 21? Even after it was requested by many people since around 9 years. And last year like real joke they dropped some kind of advanced color replacement as revolutionary local HSL tool Also Adobe AI adjustments and selection tools are poorest in the industry. And this is after many topics in the news for their big advancements and achievements in the filed of image editing and AI.

Also could not understand praise about LR Classic interface. This is the most obsolete and not ergonomic interface for work with mouse in any image editing product. If you want to make precise adjustments with mouse you can go crazy chasing after this small tinny sliders. Not to mention PS interface and all over the place effects, filters and adjustments Only really good thing with Adobe is documentation to say something good Also no focus stacking.

So they have just panorama and HDR stacking which is far away from ultimate stacking features. For all else you will need PS.

Video-vs-photo which software do you use for stacking or panorama? I agree with you when it comes to LR interface. The sliders are just too small, it’s so much more comfortable in Capture One Layers are also great there. Still evaluating, do not have favorite for now.

There might still be the spot removal, but local tonal corrections and local sharpening are very important too. If you need all features you can get PRO which has muuuuch better local adjustments compared to the very basic one in LR!

Or you can just chain it with other pixel editor for local adjustments. Video-vs-Photo Agreed! This software allows for good raw development and OK basic photo-management. It is not designed to stop you from buying CaptureOne, proper.

It works fine as a raw developer with output exported to a bit mapped editor of your choice! Capture One Express Fujifilm”. All of them add and remove some features. And there is no free version either. Are you afraid to say Lightroom is not quite there when it comes to professional editing?

I use the full Capture One. The huge advantage for Fuji is the presence of the camera profiles. All the film simulations etc seem to be copied to Capture One.

If the free version has these profiles that may be beneficial. New versions of Capture One added Pro profiles for cameras. Those seem to render skies much better. Timely article, thank you. I’m about to get a X-E4 and have LR6. I’ve tried the demo of Iridient, seems ok not great. My question is, on Capture One express, can you save yr edits a Tiff files so I can edit in other software without losing data? Cheers if u can help. Now it is a little bit of an over exaggeration, but Capture One Express is like a demo of what you can do with Capture One.

It definitely does not give you a full experience of what you can do with it and most of the useful functions have been taken out of this basic ‘free’ version. Capture One Expres is a good way to see if it fits your way of working and to see if you like its color rendering, but don’t expect too much of it. It definitely is not a replacement for your Lightroom, nor is it actually a reference to what you can truly achieve with Capture One.

I would say both apps have their own pros and cons and don’t forget you get Photoshop for free with you Adobe subscription. That said I do like Capture One Pro better. I use the pro version and suppose the free one is similar in this regard. You can select to edit in external program and it exports the file with all edits to TIFF that is then opened by Photoshop. You can select 16 bit color, AdobeRGB color space etc.

You can export in whatever format you like. And yes this is free basic RAW editor. Thanks guys. Think i was hoping for a tiny bit more. I am trying out Capture One Express Fujifilm again. My last time was in , and I immediately deleted it because I am allergic to library and catalog stuff. Surprise, the new install opens up with OK, just found out how to get rid of it. And, by the way it is tuning hardware acceleration with an estimated time of 60 minutes Me too, I just hate this “library and catalog stuff”, I much prefer to arrange my files by myself.

The full version has session option that does not import photos into database and uses sidecar files instead. The article mentions that sidecars are available. So you should be able to work without Catalogue. Kiril – I have not found a Session option in Express so far. I only see “Import Session I just found this on CaptureOne site. You may give it a try. It uses XMP files. So may be quite useful. About Capture One’s con’s You’re kidding right?

There’s good reason you won’t find any Digital Tech’s with any experience using Lightroom:. You can move the browser to any side, top or bottom, re arrange the toolbar and even what’s in it, change every single keystroke, or have the entire interface in floating windows This is one of the main reasons to use C1! I run up to 5 monitors at a time on set. Again, I don’t know what this guy was doing wrong. CO Express versions are feature limited. However, the interesting thing is that all of the images in the gallery use ACR – not one of them show CO Express output.

I can never export my files to any other format none in Capture One. It’s useless. I have a Fujifilm express license and subscription. Any help would be appreciated. Have you looked at process recipes?

You sound as if you are in “Adobe mode” – you need to break out from expecting everything to operate like Adobe. Thank heavens. Can’t imagine how you would navigate different video editing programs if simple photo editing ones give you trouble. This is well documented, but it’s evidently not even on the radar for rectification at C1.

It’s amazingly easy to corrupt a catalog, and then you better hope you have a recent backup that didn’t have issues. The plus of the full version is you can work in Sessions, which is better behaved.

When doing so, the sidecar text files are automatically created and can be archived. C1 does not write development settings to xmp files. C1 writes nothing to xmp files. It will read ratings and colors from them but not write them. Nor will it write anything directly to jpg files. You can export jpg files with metadata, but not save metadata to the original jpg’s. Saying all that, C1 Express is an excellent tool for raw development particularly of Fuji raw files.

So much so, that I bought the full blown version. Development settings can be exported as text sidecar files for arrival purposes. This is not the same as a direct save. Love the imagery, catalogs, not so much. On a Windows box, keep your image count in your catalogs below 30k. If not, things get really weird and slow. CO explicitly states that all adjustments are held in the catalogue or session folders. I have had a catalogue get corrupted a few times, but then I have backups written to off device storage media.

At least I can get back to where I was before the system ate it self. Not all that difficult to recover from if you practice safe computing processes. In the unthinkable event one would want to move from C1 to another app, how does one migrate metadata?

In the open source software options I found RawTherapee easier to use than Darktable. Though I am sure Darktable works well if you can fathom the workflows available, but I spent equal time with each. With Capture One Express existing for Nikon and Sony as well its a pretty good program to standardize on without having a constant tax on your hobby, you don’t really have to relearn anything.

Though of course express versions could go away at some point. Forgot to mention that Capture One has adjustment layers and Quick Edit keys. 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. Draw a rough mask, select Refine mask and that is it:.

Plus, you can copy and invert layers in Capture One. For example, here I have created a mask from skin color yes, you can create masks from color in Capture One to have a layer with a skin mask only. Then I have copied the skin mask to a new layer and inverted it to have a layer with a masked environment. Luminosity masks in Capture One Pro Fujifilm 12 allow you to quickly select only bright or dark areas and edit them with all the RAW editing tools. Also, you can apply presets with saved adjustments to layers and easily change layer opacity.

Like here; I have applied a style to a layer and changed its opacity to find the look that fits this image best. This tool allows you to remove a color cast and get the true and realistic color. BTW, you can use Levels in layers for portraits as well. For example, in this image, I have drawn a gradient mask on the left side of the picture and adjusted the white point:.

Another great tool — Color Balance which allows you to separately color tone shadows, midtones and highlights. For professional photographers, Capture One Pro Fujifilm offers a variety of tools to develop your photography business:. Perpetual license means that you pay for a specific version of Capture One and you can use it as long as you want.

All the updates within a current version are free, upgrade to the next version is paid. Subscription Capture One Pro Fujifilm license is available with three subscription plans:. Subscription license means that you always have an access to the newest version of Capture One. At the moment, this is Capture One 12, but even when Capture One 13 will be released, you will immediately have an access to it.

With the subscription, you can run Capture One Pro Fujifilm on two different computers simultaneously. If you would cancel the subscription, you will not lose your editings and image archives; you will be just not able to run Capture One until you would renew the subscription.

Subscription is a smart choice when a days trial is over, and you feel that you need more time to test Capture One in your workflow. Perpetual Licence is much more profitable in the long-term. Starting with Capture One Pro Fujifilm Pro benefits new users with a lower price tag, but if you already own the license — paid upgrades will be more cost-effective for you. Alexander Svet — professional photographer and specialist in image processing.

Capture One Hidden Features is a collection of more than pro hints to improve your Capture One workflow, structured into an easy-to-read book. You can download four chapters from the Capture One Hidden Features ebook free of charge:. 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?


Free photo editing software from Capture One – Capture One Pro

Creativity comes in ebbs and flows. It will read ratings and colors from them but not write them. One slight oddity if you also use Photoshop in your workflow is that Capture One also embeds editing metadata into its exported JPEG files, with the result that by default Photoshop opens them in Camera Raw, not directly into the main Photoshop workspace. The new lenses remain essentially unchanged from their Sony E-mount and L-mount siblings, which were released earlier this year. It’s a trial version 30 days! All the updates within a current version are free, upgrade to the next version is paid. It’s powered by the same impressive tech that guides self-driving vehicles and can detect and avoid obstacles from every angle.


Capture one pro 12 for fujifilm free


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. Fujifilm has released a number of firmware updates for several lenses and camera bodies.


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