Fun with the X-Pro1

Section Ⅲ
Fun with the X-Pro1
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35
Film Simulation Reversal Film
Section III Fun with the X-Pro1
PROVIA / STANDARD
Velvia / VIVID
ASTIA / SOFT
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 world—flowers, new leaves,
autumn colors—and 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.
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36
Film Simulation Color Neg. Film/ Monochrome /Sepia
PRO Neg.Std
Section III Fun with the X-Pro1
PRO Neg.Hi
Sepia
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.
Monochrome(Normal)
Monochrome + Yellow filter
This option simulates the palette of
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.
Monochrome + Red filter
Monochrome + Green filter
The defining feature of these options is the rich tone range that one would expect of Monochrome film. Choose these simulations to enjoy naturallooking 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.
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37
Film Simulation BKT　Film Simulation Bracketing
PROVIA / STANDARD
Velvia / VIVID
Selecting Film Simulation Bracketing
Pr e s s t h e D R I V E
button.
Section III Fun with the X-Pro1
ASTIA / SOFT
In film 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.
Choose FILM SIMULATION BKT
from the list of drive options.
Choosing Film Simulation Bracketing Settings
Press MENU/OK.
←CONTENTS
Select FILM SIMULATION BKT
in Tab 1 of the shooting menu.
Choose film simulations for
films 1–3.
TIPS
38
Film Simulation BKT　Film Simulation Bracketing
Section III Fun with the X-Pro1
Other Bracketing Options
TIPS
[ AE Bracketing ]
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.
[ Options ]
±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.
[ ISO Bracketing ]
PROVIA / STANDARD
± 0EV
＋ 1EV
Velvia / VIVID
－ 1EV
ASTIA / SOFT
The camera varies ISO sensitivity in the range ISO 200–ISO 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
In film simulation bracketing, pressing the shutter
Selecting Film Simulation Bracketing
you are photographing moving objects. Note: The camera varies aperture and shutter speed.
button creates three images, each using a different film
simulation. You can choose the simulations used and the
order in which bracketing is performed.
[ Options ]
±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.
ISO400
Choose FILM SIMULATION BKT
Pr e s s t h e D R I V E
[
Dynamic
Bracketing
button.
from Range
the list of drive
options. ]
ISO800
ISO200
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%
the third.
Choosing
Filmfor
Simulation
Bracketing Settings
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%.
DR100％
[ Options ]
Select FILM SIMULATION BKT
Press MENU/OK.
100% 200% 400%
in Tab 1 of the shooting menu.
←CONTENTS
DR200％
Choose film simulations for
films 1–3.
DR400％
TIPS
38
Section III Fun with the X-Pro1
FUJICHROME
PROVIA100F
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, I’ve used it—
either normally or intensify, according to the
situation—in 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
KLASSE W
←CONTENTS
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39
Section III Fun with the X-Pro1
FUJICHROME
PROVIA100F
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, I’ve used it—
either normally or intensify, according to the
situation—in 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
KLASSE W
←CONTENTS
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39
Film Simulation PROVIA
Shooting Data
←CONTENTS
Section III Fun with the X-Pro1
Review
40
Film Simulation PROVIA
Shooting Data
←CONTENTS
Review
Section III Fun with the X-Pro1
XF18mmF2 R　Program AE（F5・1/450 sec）　-1/3EV
WHITE BALANCE / Fine　ISO200　FILM SIMULATION / PROVIA：Standard
40
Film Simulation PROVIA
Section III Fun with the X-Pro1
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 it’s possible to get to the colors seen by
the naked eye.
Shooting Data
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Review
40
Film Simulation PROVIA
Shooting Data
←CONTENTS
Section III Fun with the X-Pro1
Review
41
Film Simulation PROVIA
Shooting Data
←CONTENTS
Review
Section III Fun with the X-Pro1
XF18mmF2 R Program AE(F2.5 1/1000 sec ) -1/3EV
WHITE BALANCE / Fine ISO200
FILM SIMULATION / PROVIA Standard
41
Film Simulation PROVIA
Section III Fun with the X-Pro1
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 go—somewhere 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
woman’s face.
Shooting Data
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Review
41
Section III Fun with the X-Pro1
Velvia100F
The Velvia entered the market with only one
speed—ISO 50—and 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
KLASSE W
←CONTENTS
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42
Section III Fun with the X-Pro1
Velvia100F
The Velvia entered the market with only one
speed—ISO 50—and 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
KLASSE W
←CONTENTS
Enlarge
42
Section III Fun with the X-Pro1
Velvia100F
The Velvia entered the market with only one
speed—ISO 50—and 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
KLASSE W
←CONTENTS
Enlarge
42
Film Simulation Velvia
Shooting Data
←CONTENTS
Section III Fun with the X-Pro1
Review
43
Film Simulation Velvia
Shooting Data
←CONTENTS
Review
Section III Fun with the X-Pro1
XF35mmF1.4 R Program AE(F5.6 1/340 sec ) -1/3EV
WHITE BALANCE / Fine ISO200 FILM SIMULATION / Velvia Vivid
43
Film Simulation Velvia
Section III Fun with the X-Pro1
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 Westernstyle 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
←CONTENTS
Review
43
Film Simulation
Shooting Data
←CONTENTS
Velvia
Section III Fun with the X-Pro1
Review
44
Film Simulation
Shooting Data
←CONTENTS
Velvia
Review
Section III Fun with the X-Pro1
XF18mmF2 R Program AE(F2 1/40 sec ) -2/3EV
WHITE BALANCE / Fine ISO200 FILM SIMULATION / Velvia Vivid
44
Film Simulation
Velvia
Section III Fun with the X-Pro1
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.
Shooting Data
←CONTENTS
Review
44
Section III Fun with the X-Pro1
ASTIA 100F
ASTIA’s reputation as a “soft-toned portrait
film” unfortunately meant that I didn’t 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
KLASSE W
←CONTENTS
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45
Section III Fun with the X-Pro1
ASTIA 100F
ASTIA’s reputation as a “soft-toned portrait
film” unfortunately meant that I didn’t 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
KLASSE W
←CONTENTS
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45
Film Simulation
Shooting Data
←CONTENTS
ASTIA
Section III Fun with the X-Pro1
Review
46
Film Simulation
Shooting Data
←CONTENTS
ASTIA
Review
Section III Fun with the X-Pro1
XF18mmF2 R Program AE(F2 1/170 sec ) -1/3EV
WHITE BALANCE / Fine ISO200 FILM SIMULATION / ASTIA SOFT
46
Film Simulation
ASTIA
Section III Fun with the X-Pro1
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
←CONTENTS
Review
46
Film Simulation
Shooting Data
←CONTENTS
ASTIA
Section III Fun with the X-Pro1
Review
47
Film Simulation
Shooting Data
←CONTENTS
ASTIA
Review
Section III Fun with the X-Pro1
XF18mmF2 R Program AE(F5.6 1/280 sec ) -2/3EV
WHITE BALANCE / AUTO ISO6400 FILM SIMULATION / ASTIA SOFT
47
Film Simulation
Section III Fun with the X-Pro1
ASTIA
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.
Shooting Data
←CONTENTS
Review
47
Film Simulation
Section III Fun with the X-Pro1
PRO Neg.Hi/PRO Neg.Std
PRO Neg.Hi
Shooting Data
←CONTENTS
PRO Neg.Std
Review
Enlarge
Shooting Data
Review
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48
Film Simulation
Section III Fun with the X-Pro1
PRO Neg.Hi/PRO Neg.Std
PRO Neg.Hi
Shooting Data
PRO Neg.Std
Review
Enlarge
XF18mmF1.4R Program AE(F5.6 1/150 sec ) -2/3EV
WHITE BALANCE / Fine ISO200 FILM SIMULATION / PRO Neg. Hi
←CONTENTS
Shooting Data
Review
Enlarge
XF18mmF2 R Program AE(F8 1/350 sec ) -1.3EV
WHITE BALANCE / Fine ISO200 FILM SIMULATION / PRO Neg. Std
48
Film Simulation
Section III Fun with the X-Pro1
PRO Neg.Hi/PRO Neg.Std
PRO Neg.Hi
Shooting Data
PRO Neg.Std
Review
Enlarge
Shooting Data
Review
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Prints from negative color film have a glossy feel and unique intensity.
A view of Macau Tower taken through the trees at the Pena Church
increased by adding PRO Neg. Hi and PRO Neg. Std to the available
differences in contrast make it a difficult subject insofar as choosing
The scope of expression available with digital cameras has been
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.
on a hill in the western part of the Macau Peninsula. Although the
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.
←CONTENTS
48
Film Simulation
Section III Fun with the X-Pro1
PRO Neg.Hi/PRO Neg.Std
PRO Neg.Hi
Shooting Data
←CONTENTS
PRO Neg.Std
Review
Enlarge
Shooting Data
Review
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48
Film Simulation
Section III Fun with the X-Pro1
PRO Neg.Hi/PRO Neg.Std
PRO Neg.Hi
Shooting Data
←CONTENTS
PRO Neg.Std
Review
Enlarge
Shooting Data
Review
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48
Film Simulation
Section III Fun with the X-Pro1
Monochrome
Monochrome(Normal)
Shooting Data
Monochrome + Yellow filter
Review
Enlarge
Monochrome + Red filter
Shooting Data
←CONTENTS
Shooting Data
Review
Enlarge
Review
Enlarge
Monochrome + Green filter
Review
Enlarge
Shooting Data
49
Film Simulation
Section III Fun with the X-Pro1
Monochrome
Monochrome(Normal)
Monochrome + Yellow filter
XF18mmF1.4R Program AE(F5.6 1/350 sec ) -2/3EV
WHITE BALANCE / Fine ISO200
FILM SIMULATION / Monochrome
Shooting Data
Review
XF18mmF1.4R Program AE(F1.4 1/38 sec ) -2/3EV
WHITE BALANCE / Fine ISO400
FILM SIMULATION / Monochrome + Yellow filter
Enlarge
Monochrome + Red filter
←CONTENTS
Review
Enlarge
Monochrome + Green filter
XF18mmF2R Program AE(F8 1/400 sec ) -1/3EV
WHITE BALANCE / Fine ISO200
FILM SIMULATION / Monochrome + Red filter
Shooting Data
Shooting Data
Review
XF18mmF2R Program AE(F4 1/3500 sec ) ± 0
WHITE BALANCE / Fine ISO200
FILM SIMULATION / Monochrome + Green filter
Enlarge
Shooting Data
Review
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49
Film Simulation
Section III Fun with the X-Pro1
Monochrome
Monochrome(Normal)
Monochrome + Yellow filter
If I’d been asked what filter I was using back in the
days when the default photographic film was blackand-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.
Although is the basic black-and-white film
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.
Shooting Data
Review
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Monochrome + Red filter
←CONTENTS
Review
Enlarge
Monochrome + Green filter
Green filters capture the skin and lips of portrait
subjec ts in limpid 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.
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.
Shooting Data
Shooting Data
Review
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Shooting Data
Review
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49
Film Simulation
Section III Fun with the X-Pro1
Monochrome
Monochrome(Normal)
Shooting Data
Monochrome + Yellow filter
Review
Enlarge
Monochrome + Red filter
Shooting Data
←CONTENTS
Shooting Data
Review
Enlarge
Review
Enlarge
Monochrome + Green filter
Review
Enlarge
Shooting Data
49
Film Simulation
Section III Fun with the X-Pro1
Monochrome
Monochrome(Normal)
Shooting Data
Monochrome + Yellow filter
Review
Enlarge
Monochrome + Red filter
Shooting Data
←CONTENTS
Shooting Data
Review
Enlarge
Review
Enlarge
Monochrome + Green filter
Review
Enlarge
Shooting Data
49
Film Simulation
Section III Fun with the X-Pro1
Monochrome
Monochrome(Normal)
Shooting Data
Monochrome + Yellow filter
Review
Enlarge
Monochrome + Red filter
Shooting Data
←CONTENTS
Shooting Data
Review
Enlarge
Review
Enlarge
Monochrome + Green filter
Review
Enlarge
Shooting Data
49
Film Simulation
Section III Fun with the X-Pro1
Monochrome
Monochrome(Normal)
Shooting Data
Monochrome + Yellow filter
Review
Enlarge
Monochrome + Red filter
Shooting Data
←CONTENTS
Shooting Data
Review
Enlarge
Review
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Monochrome + Green filter
Review
Enlarge
Shooting Data
49
Film Simulation
Shooting Data
←CONTENTS
Section III Fun with the X-Pro1
Sepia
Review
50
Film Simulation
Shooting Data
←CONTENTS
Section III Fun with the X-Pro1
Sepia
Review
XF18mmF1.4 R Program AE(F4 1/4000 sec ) -2/3EV
WHITE BALANCE / Fine ISO6400 FILM SIMULATION / Sepia
50
Film Simulation
Section III Fun with the X-Pro1
Sepia
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.
Shooting Data
←CONTENTS
Review
50
Section III Fun with the X-Pro1
Multiple exposure
1. Shoot the first exposure.
Original photo
To retake the first exposure, press
the selector left.
To end multiple exposure shooting
and save only the first shot, press
DISP/BACK.
2. Shoot the second exposure.
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
←CONTENTS
Another Cut
NOTE
51
Section III Fun with the X-Pro1
Multiple exposure
1. Shoot the first exposure.
Original photo
Another
Cut
To retake the first exposure, press
the selector left.
To end multiple exposure shooting
and save only the first shot, press
DISP/BACK.
2. Shoot the second exposure.
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
←CONTENTS
Another Cut
NOTE
51
Section III Fun with the X-Pro1
Multiple exposure
1. Shoot the first exposure.
Original photo
To retake the first exposure, press
the selector left.
NOTE
To end multiple exposure shooting
and save only the first shot, press
DISP/BACK.
2. Shoot the second exposure.
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.
∙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.
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
←CONTENTS
Another Cut
NOTE
51
Section III Fun with the X-Pro1
Multiple exposure
1. Shoot the first exposure.
Original photo
Original photo
To retake the first exposure, press
the selector left.
To end multiple exposure shooting
and save only the first shot, press
DISP/BACK.
2. Shoot the second exposure.
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
←CONTENTS
Another Cut
NOTE
51
ISO　ISO SensitivityISO
Section III Fun with the X-Pro1
TIPS 1
ISO AUTO
ISO sensitivity can be adjusted in
the range ISO 100–ISO 25600,
including low- and high-gain
settings. The normal range is ISO
200–ISO 6400.
Enlarge
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
don’t 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.
High Gain (H)
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.
ISO800
Low Gain (L)
Enlarge
ISO1600
Enlarge
ISO3200
Enlarge
ISO6400
←CONTENTS
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,
The Top
the
Normal
Range:anTaking
Pictures
at ISO
6400
shutter
speedof
can
be slowed
by selecting
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
Including low- and high-gain settings, the X-Pro1 supports ISO sensitivities between ISO 100
shutter speed as possible.
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
TIPS 1
TIPS 2
NOTE
Shooting Data
52
ISO　ISO SensitivityISO
ISO sensitivity can be adjusted in
the range ISO 100–ISO 25600,
including low- and high-gain
settings. The normal range is ISO
200–ISO 6400.
Enlarge
ISO800
Enlarge
Section III Fun with the X-Pro1
TIPS 2
Noise reduction
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.
[ Options ]
HIGH (+2)
MEDIUM HIGH (+1)
STANDARD (0)
MEDIUM LOW (–1)
LOW (–2)
Note: The default setting is STANDARD.
ISO1600
The Top of the Normal Range: Taking Pictures at ISO 6400
Enlarge
ISO3200
Enlarge
ISO6400
←CONTENTS
Including 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
TIPS 1
TIPS 2
NOTE
Shooting Data
52
ISO　ISO SensitivityISO
Section III Fun with the X-Pro1
ISO sensitivity can be adjusted in
the range ISO 100–ISO 25600,
including low- and high-gain
settings. The normal range is ISO
200–ISO 6400.
Enlarge
ISO800
Enlarge
ISO1600
The Top of the Normal Range: Taking Pictures at ISO 6400
Enlarge
ISO3200
Enlarge
ISO6400
←CONTENTS
Including 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
TIPS 1
TIPS 2
NOTE
Shooting Data
52
ISO　ISO SensitivityISO
Section III Fun with the X-Pro1
ISO sensitivity can be adjusted in
the range ISO 100–ISO 25600,
including low- and high-gain
settings. The normal range is ISO
200–ISO 6400.
Enlarge
ISO800
Enlarge
ISO1600
The Top of the Normal Range: Taking Pictures at ISO 6400
Enlarge
ISO3200
Enlarge
ISO6400
←CONTENTS
Including 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
XF18mmF2R Program AE(F2.5 1/110 sec ) -2/3 WHITE BALANCE / AUTO ISO6400 FILM SIMULATION / ASTIA SOFT
TIPS 1
TIPS 2
NOTE
Shooting Data
52
ISO　ISO SensitivityISO
Section III Fun with the X-Pro1
ISO sensitivity can be adjusted in
the range ISO 100–ISO 25600,
including low- and high-gain
settings. The normal range is ISO
200–ISO 6400.
NOTE
Enlarge
ISO800
RAW Image Quality
(RAW, RAW + FINE, and RAW + NORMAL)
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.
Enlarge
ISO1600
The Top of the Normal Range: Taking Pictures at ISO 6400
Enlarge
ISO3200
Enlarge
ISO6400
←CONTENTS
Including 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
TIPS 1
TIPS 2
NOTE
Shooting Data
52
ISO　ISO SensitivityISO
Section III Fun with the X-Pro1
ISO800
ISO sensitivity can be adjusted in
the range ISO 100–ISO 25600,
including low- and high-gain
settings. The normal range is ISO
200–ISO 6400.
Enlarge
ISO800
Enlarge
ISO1600
The Top of the Normal Range: Taking Pictures at ISO 6400
Enlarge
ISO3200
Enlarge
ISO6400
←CONTENTS
Including 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
TIPS 1
TIPS 2
NOTE
Shooting Data
52
Continuous shooting　Section III Fun with the X-Pro1
Select CONTINUOUS
with the DRIVE button
and choose from frame
rates of 3 and 6 fps.
Choice
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. Children’s
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. You’ll want to take all
the burst mode shots you can to find the perfect
masterpiece.
Shooting Data
←CONTENTS
53
Section III Fun with the X-Pro1
White Balance
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 button for quick
access.
Choosing a white balance that matches the light source—say the sun, or incandescent lighting—produces 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.
Shooting Data
←CONTENTS
Another Cut
TIPS
54
Section III Fun with the X-Pro1
White Balance
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 button for quick
access.
XF18mmF2R Program AE(F6.4 1/500 sec ) +1/3 WHITE BALANCE / INCANDESCENT LIGHT ISO200
FILM SIMULATION / Velvia Vivid
Choosing a white balance that matches the light source—say the sun, or incandescent lighting—produces 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.
Shooting Data
←CONTENTS
Another Cut
TIPS
54
Section III Fun with the X-Pro1
White Balance
Another Cut
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 button for quick
access.
Choosing a white balance that matches the light source—say the sun, or incandescent lighting—produces 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.
Shooting Data
←CONTENTS
Another Cut
TIPS
54
Section III Fun with the X-Pro1
White Balance
TIPS
AUTO
Fine
Shade
Fluorescent light
(Daylight)
You
can choose a white balance
Fluorescent light (Warm White)
Fluorescent light (Cool White)
Incandescent light
Underwater
setting from the menus. White
balance can also be selected
using the Q button or assigned
to the Fn button for quick
access.
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.
Choosing a white balance that matches the light source—say the sun, or incandescent lighting—produces 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.
Shooting Data
←CONTENTS
Another Cut
TIPS
54
Processing RAW Images on the Camera　Section III Fun with the X-Pro1
The 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.
RAW CONVERSION: COLOR
RAW CONVERSION: FILM SIMULATION
RAW CONVERSION: SHARPNESS
RAW CONVERSION: WHITE BALANCE
Options
←CONTENTS
55
Processing RAW Images on the Camera　The 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.
Section III Fun with the X-Pro1
Options
RAW CONVERSION: COLOR
RAW CONVERSION: FILM SIMULATION
RAW CONVERSION: SHARPNESS
RAW CONVERSION: WHITE BALANCE
Options
←CONTENTS
55
Recording HD Movies　Section III Fun with the X-Pro1
The 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.
TIPS
Press MENU/OK
to enter standby
mode.
Press the
DRIVE button.
Select MOVIE.
Press the shutter button to start
recording.
Press the shutter button again to
end recording, save the movie,
and return to standby mode.
SAMPLE MOVIE
←CONTENTS
FILM SIMULATION / Velvia
FILM SIMULATION / PROVIA
FILM SIMULATION / SEPIA
NEXT
→ 56
Recording HD Movies　Section III Fun with the X-Pro1
The 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.
TIPS
TIPS
Adjusting Movie Settings
Aperture
Adjust aperture 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).
Press MENU/OK
to enter standby
mode.
Press the
DRIVE button.
Select MOVIE.
Press the shutter button to start
recording.
Press the shutter button again to
end recording, save the movie,
and return to standby mode.
SAMPLE MOVIE
←CONTENTS
FILM SIMULATION / Velvia
FILM SIMULATION / PROVIA
FILM SIMULATION / SEPIA
NEXT
→ 56