X-Pro1 Photographer`s Guide

FUJIFILM X-Pro1 Photographer's Guidebook
1
Professional tool X-Pro1
When 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-Pro1’s
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 manufacturer’s drive and passion.
Yoichi Sone
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Interview in Macao
【 Part 1 】　Impressions of using the X-Pro1 in Macao
Section Ⅴ　Inteview
Notes about using the X-Pro1 in Macao
by photographer Yoichi Sone
I was able to capture natural expressions because the X-Pro1 is not
intimidating
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 subject’s 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 doesn’t 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.
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Interview in Macao
【 Part 3 】
Impressions of using the X-Pro1 in Macao
Section Ⅴ　Inteview
Notes about using the X-Pro1 in Macao
by photographer Yoichi Sone
The X-Pro1 is a camera that lets you appreciate photography
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 didn’t 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.
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XF18mmF2 R　Program AE（F8・1/350sec）　-2/3EV WHITE BALANCE/Fine　ISO200　FILM SIMULATION / ASTIA：Soft
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XF18mmF2 R　Program AE（F2・1/50sec）　-1EV WHITE BALANCE/　AUTO　ISO200　FILM SIMULATION / Velvia：Vivid
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Interview in Macao
【 Part 2 】
Impressions of using the X-Pro1 in Macao
Section Ⅴ　Inteview
Notes about using the X-Pro1 in Macao
by photographer Yoichi Sone
The sync terminal is evidence that this is a professional camera
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.
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The Allure of the X-Pro1　─ Film Simulation
Interview in Macao
【 Part 4 】
Impressions of using the X-Pro1 in Macao
Section Ⅴ　Inteview
Notes about using the X-Pro1 in Macao
by photographer Yoichi Sone
Film simulation is a function that pros can use in their work
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.
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Film Simulation PROVIA
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
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Film Simulation
ASTIA
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
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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
Enlarge
XF18mmF2 R Program AE(F8 1/350 sec ) -1.3EV
WHITE BALANCE / Fine ISO200 FILM SIMULATION / PRO Neg. Std
XF18mmF1.4R Program AE(F5.6 1/150 sec ) -2/3EV
WHITE BALANCE / Fine ISO200 FILM SIMULATION / PRO Neg. Hi
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The Allure of the X-Pro1　─ Fujinon XF lens series
Interview in Macao
【 Part 1 】　Impressions of using the X-Pro1 in Macao
Section Ⅴ　Inteview
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.
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. I’ve 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.
*18mm：XF18mmF2 R
35mm：XF35mmF1.4 R
60mm：XF60mmF2.4 R Macro
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XF18mm F2 R
Section Ⅳ　XF Lens
XF18mmF2 R Program AE(F2 1/30 sec ) -1EV
WHITE BALANCE / AUTO ISO1000 FILM SIMULATION / Velvia Vivid
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XF35mmF1.4 R
Section Ⅳ　XF Lens
XF35mmF1.4 R Program AE(F4.5 1/140 sec ) -2/3EV
WHITE BALANCE / FINE ISO200 FILM SIMULATION / PROVIA STANDARD
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Fujinon Lens
Its history began in 1940 /　The long history of Fujinon Lens
Section Ⅳ　XF 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
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Fujinon Lens
Its history began in 1940 /　The long history of Fujinon Lens
The day I met the Fujinon lenses
Section Ⅳ　XF Lens
Professional Voice │ Yoichi Sone
In 1976, I joined without hesitation the third class of Daido Moriyama’s
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 4x5inch sheet films wasn’t 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
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