![]() In so doing, Fujifilm has been able to skip the AA filter. X-Trans loosens the color portion of that pattern in a way that emphasizes luminance data. Bayer sensors have a tight, fixed pattern that can produce moire or color fringing in certain situations if there's no AA filter. This new X-Trans layout is an attempt to mimic the benefits of random film grain, allowing Fujifilm to drop the anti-aliasing (AA) filter over the sensor. Where the "random" comments come from is a mistranslation/misinterpretation of something Fujifilm said at the introduction. The camera uses a sparse repeating pattern, it just isn't Bayer. You'll see a lot of sites writing that it uses a "random" layout of red, green, and blue photosites, but that's incorrect. The new APS-sized sensor is very interesting. The viewfinder is one of those unless you just choose one mode and stick to it, which sort of negates the need for hybridness. When I get into the handling and performance sections a common denominator are things that slow your shooting or reduce spontaneity with this camera. But what I'm trying to point out is that it isn't perfectly optimal in either of its modes. This is tricky territory, as I like the hybrid viewfinder in most respects. True, you've always got the EVF to accurately frame with, but neither the EVF or the OVF are perfect, thus you spend time moving back and forth between them and potentially missing shots. What I found over and over again when I tried to use the optical finder to frame is that I ended up cropping to get what I thought I had framed, which means I was wasting some of those pixels. That's a shame, because the X-Pro1 sports a new 16mp sensor. Unfortunately, the offset of the viewfinder makes parallax a real issue, and the frame lines, like that of virtually all rangefinders, are not nearly as close to accurate as you'd like. This is a big step up from the Leica M9 optical finder, and in some ways better than DSLRs, too. The optical viewfinder mode, like the X100 before it, has a lot of overlaid information (including approximate frame lines), including the ability to see a histogram, grid, and distance information. ![]() The viewfinder eyepiece, like many rangefinder cameras, is at the far left of the back, meaning big noses don't poke into the LCD (assuming you're right eyed). So while the camera is more akin to a rangefinder in size and shape, the hybrid viewfinder actually makes the X-Pro1 a bit more like a DSLR-like camera in actual use (assuming you use the EVF a lot). In both the X100 and the X-Pro1 you have the choice of seeing an optical view of the scene with overlaid frame lines (the old rangefinder-style viewfinder, but without the actual rangefinder focus aid), or an EVF view. The X100 introduced not just retro design but an innovation: the hybrid viewfinder. If it weren't for the LCD on the back, there'd be no clear giveaway that this is a digital camera. The X-Pro1 looks a lot like some of the classic rangefinder film cameras of the 60's and 70's. FUJI CAMERA RETRO PLUSBy retro design, I mean dials instead of buttons/menus to control key attributes, plus a return to 1960's overall styles. The X-Pro1 gets a lot of its design attributes from the X100, Fujifilm's large sensor compact camera that was the surprise hit at Photokina 2010 and which provoked a "retro X" design spree at Fujifilm (X1, X100, X-Pro1, and XS-1). While the Fujifilm DSLRs were all based on Nikon-supplied bodies (and thus used the Nikon F-mount), the X-Pro1 is an all-Fujifilm mirrorless design and introduces a new proprietary lens mount. FUJI CAMERA RETRO PROThe X-Pro1 is Fujifilm's first foray back into interchangeable lens mount digital cameras since the S5 Pro DSLR.
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