MASTERING THE FUJIFILM X-PRO1 PDF
It can't match Rico's “Mastering the X-PRO1“(Kindle Edition) (Apple iBook And check Fujifilm's lenses and accessories catalogue here (PDF). X-Pro1. Owner's Manual. Thank you for your purchase of this product. This manual describes how to use your FUJIFILM X-Pro1 digital camera and install the. Rico Pfirstinger Mastering the FUJIFILM X-Pro1 V Foreword Do you really need a second handbook for a camera like the FUJIFILM X-Pro1? Doesn t the owner s.
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Photographers who are upgrading from the When this mode is turned on, the X-Pro1 functions quietly and inconspicuously. If you attach a lens with a focal length of 35mm middle or 60mm right , the superimposed right rectangle adjusts to the actual image frame by becoming smaller—at a focal length of 60mm, the display is hardly practicable.
The camera errs on the side of caution and frames some- thing like 85 percent of the actual exposure area. This high-contrast test scene features a foreground with a dark tree trunk, a much brighter empty field, and a sky with very bright clouds. The most common tool for mirrorless system cameras such as the X-Pro1, however, is the live histogram, which delivers useful guidance in every exposure mode except manual.
Page 28 Exposure and Metering experience. The histogram also does not produce reli- able results with very dark subjects in the three other exposure modes Image By using the live histogram you can identify over- and underexposed areas of an image—and make the corresponding compensation adjustments—before you press the shutter-release button.
Page 29 Automatic exposure bracketing Combined with the Compensation dial: For this rain forest idyll, I mounted the X-Pro1 to a small table tripod. In order to slow down the shutter speed, I attached an ND1. Page 32 AF frame completely with your targeted object. With this option activated, the camera Page 37 This horse was trotting toward the camera at a rate of around 12mph.
Un fortu nately, I m speaking from personal experience here. If you spend any time in the relevant online forums, you ll discover that there s hardly a debate that generates more discussion than the question of whether it s better to shoot in RAW or JPEG format.
Since this back-andforth has been raging for years already, you can assume that there s no single right answer. For this reason, I don t have any intention of trying to resolve the question, but I would like to address it specifically as it relates to the Fuji X-Pro1 and reassert my earlier recommendation that you keep your cake and eat it too by shooting with both formats: Conventional Viewfinder top row and Multiview Viewfinder bottom row: If you attach a lens with a focal length of 35mm middle or 60mm right , the superimposed right rectangle adjusts to the actual image frame by becoming smaller at a focal length of 60mm, the display is hardly practicable.
The multiview capability of the viewfinder solves this problem bottom row. For lenses that have a focal length of at least 35mm, the OVF automatically switches to a higher magnification level, enlarging the entire viewfinder image instead of shrinking the frame.
The rectangular indicator for the image frame of a 35mm lens middle fills up the viewfinder, and the frame for the 60mm lens right also appears noticeably larger. You can manually switch between the two magnification levels by holding the viewfinder selector for a couple of seconds while the OVF is activated. The optical viewfinder offers an instantaneous view of reality and helps you to decide when to pull the trigger in the critical moment.
The fact that the viewfinder offers a field of view that is larger than the actual image area is also extremely helpful the OVF window area is larger than the digital frame. This allows you to discern and react to moving subjects that appear in your viewfinder before they are in the actual image frame. You can also see everything through the optical viewfinder when a strong neutral density filter blocks out substantial light to the lens e.
This is because it lies on a different optical axis from the lens, creating a parallax error that all optical viewfinder cameras exhibit. Human vision is also based on input from sensors on two different optical axes: This trait allows us to illustrate the parallax effect with a small experiment. Hold your pointed index finger at a short distance from your nose.
Now view it alternately with your left and then your right eye and you will see how your finger appears to jump from one side to the other. Next, move your finger farther away from your face and repeat this test. The difference between the appearance of your finger as seen with your left and right eye should be much smaller now. The X-Pro1 also experiences this effect since the lens and the optical viewfinder are on different optical axes.
This characteristic gives rise to two undesirable phenomena: The white image frame that you see in the optical viewfinder doesn t correspond exactly to the actual image frame that the camera exposes.
Rico Pfirstinger. Mastering the FUJIFILM X-Pro1
In reality, the X-Pro1 exposes a slightly larger area than what appears in the optical viewfinder s digital rectangular frame. The camera errs on the side of caution and frames something like 85 percent of the actual exposure area.
The measuring field for the autofocus shifts in the same way that the image frame itself shifts as a result of parallax error.
This creates the possibility that you target a specific usually small object in the OVF, only to have the camera actually focus beyond the object by a hair s breadth.
Light Metering Methods: This example illustrates how the X-Pro1 s three different light metering methods work. This high-contrast test scene features a foreground with a dark tree trunk, a much brighter empty field, and a sky with very bright clouds. When using multi metering top , the camera analyzed the contents of the image frame and decided on a somewhat lazy compromise: Spot metering middle honed in directly on the dark tree trunk and assigned it a middle gray value.
This resulted in a tree trunk that is artificially light while the remaining elements in the image are even brighter. This method resulted in several areas for which the sensor couldn t capture any detail at all.
Average metering bottom assigned greater value to the large bright areas of the image than to the dark tree trunk. The result is a much more conservative exposure and a darker image.
Here we see detail in the sky for the first time, but the tree trunk now appears underexposed.
On first glance you might not agree, but the average metering produced the best results in this instance, despite the underexposed areas. While blown-out highlights are impossible to fix, blocked-up shadows can be rescued with image-editing software.
Download [PDF] Mastering the Fujifilm X-Pro 1 Full Book
More on this in the following pages. The camera displays the level of compensation on the exposure scale found near the left edge of the viewfinder or monitor display. Unfortunately, the digital indicator for the compensation correction is not particularly conspicuous at least as of now , which means that often you will inadvertently forget to change the correction setting from one shot to the next. Make a habit of checking the indicator in the viewfinder or the actual compensation dial before snapping each new exposure not least because it may happen that the compensation dial was accidentally shifted in your equipment bag or when you were changing out a lens.
In reality, we often have to improve on the camera s best effort. To some degree this is a question of experience: The most common tool for mirrorless system cameras such as the X-Pro1, however, is the live histogram, which delivers useful guidance in every exposure mode except manual. The live histogram is available to you in the custom viewfinder or monitor display. The live histogram reveals the approximate distribution and frequency of tone values in an image before the sensor captures it.
The left side of the histogram shows the black and dark tonal values and the right side, the white and bright ones.
The spaces in between correspond to the various intermediate values. The higher the levels for each area of the graph i. Remember that the live histogram doesn t work properly in the manual exposure mode M. In this mode, you ll need to rely on the exposure scale and your own.
The histogram also does not produce reliable results with very dark subjects in the three other exposure modes P, A and S. By using the live histogram you can identify over- and underexposed areas of an image and make the corresponding compensation adjustments before you press the shutter-release button. The example on the left shows a well-balanced exposure: The example in the middle is another story: This is a clear indication of overexposure, as is the clear gap on the left side of the graph where the shadows are indicated.
In cases like this, it s necessary to reach for the exposure compensation dial to move those mountains from the right. The example on the right corresponds to a conservatively exposed image. In this case, you need to ask yourself whether this effect is intentional as it might be, for example, if you re shooting a dark subject that shouldn t look artificially bright. If it s not, then you can correct the exposure using the steps described above to balance out the distribution of tonal values.
In particular, photographers who work with external RAW development software can counteract these exposure conditions with the compensation dial. The live histogram reveals the brightness distribution for your subject.
Let s look at this detail for the three images I shot using the different metering methods, with a particular eye toward the respective playback histograms. For this rain forest idyll, I mounted the X-Pro1 to a small table tripod. In order to slow down the shutter speed, I attached an ND1. This focusing method has several advantages over the phase detection autofocus PDAF method used by single-lens reflex cameras: CDAF systems are very accurate and require no adjustment.
There are no front- or back-focus issues in contrast to DSLR cameras. AF frames can be defined in almost any number, shape, size, and position. This allows you to focus directly on your desired target without needing to retarget the camera. They re also not able to track objects that move toward the camera or away from it.
In other words, the camera can t predict where a fast-moving object will be at the moment of exposure. Photographers who are used to shooting with DSLRs will need to reorient themselves and shouldn t expect the X-Pro1 s autofocus to behave similarly to the AF system in a single-lens reflex camera. These two modes are only modestly different because the camera s AF system is not capable of tracking objects in anticipation of where they are going to be.
Mastering The Fujifilm X-pro1 Pdf
The most commonly used mode is AF-S because it offers the most flexibility. There is also the option to focus manually MF. You can tell the camera which mode to use by adjusting the focus mode selector on the camera s face to the desired setting: S, C, or M.
The principle is actually straightforward and hinges on one idea: Imagine you re standing in front of a wall that s been painted with the black-and-white pattern of a chess board. If the wall is not in focus, you won t see clearly defined squares of black and white; you ll see blurry gray areas some lighter and some darker.
The more clearly you focus on the wall, the sharper the edges of the squares will become; the contrast will increase. At the point of optimal focus, the edges will finally be sharp as a knife and exhibit maximum contrast. The X-Pro1 s autofocus works very similarly: The camera doesn t know which direction to focus, so it just guesses.
If the contrast increases, the focusing mechanism continues in that direction. If the contrast decreases, it tries the other direction and continues until it has passed its goal and the contrast begins to diminish again. Then it changes its direction again, iteratively going back and forth until it settles on the optimal i.
It is, however, very precise. The contrast-detection technology works best and quickest when the AF frame is targeted on a highcontrast subject. Whenever possible, avoid focusing on low-contrast, monotone subjects in low-light circumstances and opt instead to target high-contrast objects.
Don t focus on the edges of objects. Instead try to fill up the AF frame completely with your targeted object. When shooting a low-contrast subject in dim lighting, use the X-Pro1 s built-in AF-assist lamp. With this option activated, the camera will automatically shine this assist light in poor lighting conditions, which will lead to noticeably better AF performance for subjects that aren t too far away from the camera.
Do note, however, that this lamp won t turn on when silent mode is activated. The charm of this image depends in part on snapping the exposure at just the right moment.
To achieve this with the X-Pro1 s relatively sluggish CDAF system it is often best to establish and save the autofocus setting for the subject in advance of the actual exposure s.
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Next I set an appropriate size and location for the AF frame and pressed the shutter-release button halfway to focus on the fisherman s head. Now I was free to shoot an entire series of exposures that show the fisherman in various moments. Keeping the shutter-release button halfway depressed now was only for the purpose of saving the exposure settings the focus settings remained constant. With a bit of practice, this process will become second nature and you will only need to run the X-Pro1 s precise but timeconsuming autofocus when you actually need to.
If you use this method, you ll be able to capture critical moments with success more often and you ll be able to apply an optimal focus setting to more than one image in a series. Since it s a good idea after taking a few shots to examine the last focus setting and do some fine-tuning, this limitation is rather unpleasant and another reason to use the fastest memory card available.
The method for manual focusing described here also works when you use the optical viewfinder, by the way. When you use the OVF, the camera automatically switches to the EVF when you activate the magnified viewfinder display.
The focus ring of XF lenses is electronic. This focusby-wire technology means the focus mechanism won t have the immediate response that you are probably used to from working with mechanical lenses. After you turn the focus ring there is an ever-so-slight delay before the camera reacts. Distance and Depth of Field Indicators The distance scale displayed in the viewfinder and on the monitor features a small red stripe to indicate the approximate distance at which the focus is set.
A white bar on this scale gives information about the depth of field for the current exposure; it displays the range of distances from the camera in which objects will appear sharp in the final image. In the MF mode, conversely, the display is always available, but the depth of field bar isn t meaningful until you press the shutter-release button halfway.
This is because the camera when in the exposure mode P program automatic and S shutter priority only measures the final exposure value once the shutter-release button is partly depressed, and this is when the camera chooses which aperture to use and consequently defines the depth of field. Distance and Depth of Field Indicator: This scale is available in all exposure and focus modes. It conveys information about the focus setting vertical red line and the depth of field white bar based on the aperture in use.
The depth of field indicator is very conservative and only marks the range in which objects retain the maximum focus in the final image even when zoomed to percent. The focus distance indicator vertical red stripe is especially helpful when using the OVF, because you can easily tell if the camera has focused incorrectly with just a quick look.
If you re trying to shoot a portrait of a person who is two yards removed from your camera but the distance indicator displays that the focus is set at eleven yards, then something has obviously gone wrong. Balinese Woman in Temple: Exposure parameters: Don t make the mistake of forgetting to turn off macro mode when you ve finished capturing closeups.
Focusing on Fast-Moving Objects How to focus on fast-moving objects is a hot-button issue that tends to spark intense debate on the Internet.
The X-Pro1 can t live up to those expectations any better than any mirrorless system camera with a large sensor. The oft-made assertion that the X-Pro1 is unsuited for action shots, however, is mistaken.
Taking this type of exposure just puts an added bit of responsibility on the photographer. Option 1: The Autofocus Trick One possibility to capture fast-moving subjects with the X-Pro1 is the so-called autofocus trick. It s best to set the camera to AF-S for this method, which takes advantage of one of the camera s special features: In other words, if you depress the shutter-release button in one quick motion, the camera captures the exposure immediately after the autofocus settles on its target or abandons its search.
Shooting with the Autofocus Trick: This horse was trotting toward the camera at a rate of around 12mph. To capture it with the X-Pro1 s CDAF, I set the camera to AF-S and then tracked the horse s head with my AF frame for seconds while I held the shutter-release button completely down and waited until the camera locked its focus and exposed the image automatically.
Zone Focusing Zone focusing is a variation of option 2. This method also calls for the use of manual focus MF. Instead of focusing on a specific distance, however, you focus on a range of the depth of field scale. In other words, you stop down the aperture until the depth of field is large enough to cover the zone in which you anticipate the action to occur.
This method of focusing is particularly common by representatives of the street photography genre, and it was and still is often used with traditional rangefinder cameras, with which the X-Pro1 at least shares an external resemblance. The X-Pro1 s depth of field indicator, however, is too conservative for many photographers.
If that s the case, it makes sense to rely less on the depth of field indicator in the viewfinder and more on your experience and gut feeling. In the Zone: These settings in combination with the XF60mmF2. Extended ISO Range: Why is this the case? What s hiding behind the extended ISO range? Not much, actually. You can achieve the exact same effect by setting your camera to ISO , turning the compensation dial to 1 EV or 2 EV, and then using the internal or an external RAW converter to push the image one or two exposure values.
Employing the extended ISO values results in an unavoidable loss of quality, so you should only use them in emergencies. You actually retain more flexibility if you. You can see that as long as you don t overly enlarge the picture, this for-emergenciesonly mode still offers quite acceptable results.
Here the process is inverted: Then during the RAW conversion, it brings the exposure down by a value. This process the counterpart of pushing an exposure is called pull development. This method produces images with minimal noise and a high degree of detail, particularly in the shadow. The highlights, or bright tones, suffer dramatically, making ISO also a setting for use only in emergencies for images that don t feature high contrast or important highlight details.
The loss of dynamic range at the high end of the spectrum is easy to see: The exposure warning in Apple s image-editing software Aperture indicated by the red-marked areas in the two smaller images below shows the difference even more clearly: Helpful websites: And newer versions of DSLR are now mirrorless 3 The Parts Your camera is made up of many parts, but there are a few in particular that we want to look at.
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Page 28 Exposure and Metering experience. Experience shows that on this basis farsighted people who wear glasses to read should use a diopter lens with the same correction value as they use for help reading. Image The Test Subject with ISO You can see that as long as you don t overly enlarge the picture, this for-emergenciesonly mode still offers quite acceptable results.
Special Note: Rather than selecting a function in the shooting menu by pressing the OK button, you can press the shutter-release button halfway down to the first stopping point. Since these exceptionally fast cards aren t cheap, I generally use smaller capacity versions with 8 or 16 GB for my X-series cameras and make a habit of transferring my exposures to my computer regularly.
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