It took a while for my second post in my comparison. The last couple of days have been busy. I’ve had the chance to shoot the three cameras at some social events here and there – running into many low-light situations. So my next point of comparison is:
I love the way all three cameras look and handle with all those external controls. And I love the excellent lenses – particularly the Fujinon 35mm 1.4. However, I am again and again frustrated by the performance of the autofocus. From my experience, there is no difference between the Fujifilm X-E1 and the X-Pro1 in terms of autofocus performance with the latest firmware on both cameras. Similar findings have been made elsewhere. Autofocus struggles in low light and with backlit subjects. I came from using manual lenses on a Sony Nex-7, so I am not a “spoiled” DLSR-user, but I somehow feel I am missing much more shots with the Fujifilm X-Pro1 and X-E1 than with manual focussing on the Nex-7 (using focus peaking). I had several situations where the AF (slowly) hunted and my subjects were getting impatient. Of course I am really talking low-light here – shooting around ISO 1600 to 6400 with the lens at 1.4. Quite surprisingly, my impression is that the Fujifilm X100 actually seems to struggle less with autofocus than the other cameras (comparing those with the 35mm 1.4). Maybe the reason is just that the X100 needs to move less glass, so hunting is possibly quicker. Nevertheless, I felt less frustrated with the X100 than with the other two cameras. I would be very interested hearing other peoples thoughts on this.
From the point of view of autofocus performance, I would definitely keep the X100, because the main purpose of that camera (to me) is that it can always with me. For such a camera, I don’t expect lightning fast AF performance. However, I would expect a little more from the X-Pro1 and the X-E1.
Autofocus for me is really the one reason that sometimes makes me doubt, whether switching to Fujifilm X system was really the right decision, considering that a small DSLR (e.g. Pentax K-5 II) would just give me much more reliable autofocus. Autofocus is perfectly OK if you shoot outdoors and shoot mainly static or slowly moving subjects. So for one part of my photography this is perfectly OK. However, shooting my children outside, at home or at events is currently another big part of my photography. So I would really like to own a main camera system that can cover both needs……
See full article on www.fujifilm-x-opinions.net
The Fujifilm X-E1, as a concept, is irresistible. Whoever drew up the design spec for the X-series was either a photographer, or really understood them. As the furthest evolution of the X100 to the X10 and the X-Pro1, the X-E1 and the XF lenses stand as a testament to knowing what photographers want: Small body, large sensor, access to controls, fast lenses and beautiful image quality.
In translating that spec to reality though, some things seem to have been lost in translation. AF performance has improved, but not yet to the level of today’s best mirrorless cameras, i.e. current generation Micro Four Thirds or Nikon 1 cameras (at this point, we think Fujifilm should just license the technology from somebody). Changing AF points is a chore, just as it’s always been.
The X-Trans sensor giveth and taketh away. It provides exceptional clarity, the kind you can’t get with an AA filter in your way, plus exceptional high ISO/low noise performance which easily ranks it among the cream of the APS-C sensor crop. At the same time however, color smearing and edge glows (which might be part of the same phenomena) can happen, so you’ll need to decide if the increased acuity is worth the potential trade-off. The RAW image workflow also presents a challenge; if you shoot RAW and work in anything other than Fujifilm’s Silkypix, then you might have to consider how best to process your images.
So while we think the X-series is one of the most promising mirrorless systems for photographers, we also think it still has some way to go. The X-E1 is certainly a fine camera which will produce a lot of beautiful images, but it’s not perfect by any means. Its faster AF speeds over the X-Pro1 make it an easier camera to love, but it’s still a camera for a considered, slower pace of shooting than something with a wicked fast AF like the Olympus E-M5 or a DSLR camera.
And the camera is certainly not for someone who wants to shoot video, while it can shoot 1080/24p video with stereo, you’ll notice that there are no video controls placed front and center. This is really a stills camera geared for the stills photographer.
Now, price. The X-E1 is cheaper than the X-Pro1, but it’s not cheap by any means. The X-E1 with the XF 18-55mm kit lens will set you back S$2099, while the body alone is S$1499. The X-Pro1 body alone was S$2399. Lest you think that’s a massive discount, consider the competition. An XF prime lens will cost you S$899 per lens. If you go body alone with a 35mm f/1.4 prime, that’s a retail price of S$2398. Not exactly competitive in a landscape full of mirrorless system cameras going for less. If the retro look and AA filter-less APS-C sensor appeals to you, then maybe. If not, there are other cameras that can get you, if not as good, but good enough image quality for less money.
While using the X-E1, we never felt at any point that it was a diluted version of the X-Pro1. Rather, the X-E1 feels to us like a smaller, concentrated version of its more expensive predecessor, with all its strengths as well as (some) weaknesses.
See full review on www.hardwarezone.com.sg
Today attention for the FujiFilm X-E1 or as I call it the Sexy-1.
It’s no secret that I absolutly love the FujiFilm cameras. It all started when was handed an FujiFilm X100 during a Photowalk and although at that time I did not like the focus etc. (was solved later) I fell in love with the fact that it felt like a real camera…. now what do I mean with a “real camera”. In most smaller cameras you are getting a camera that feels like a digital brick that can take photos, but the whole feel of a camera is gone. Want to change the exposure compensation? go into the menu, want to change the zoom? press a few buttons and it zooms, want to change ISO? go into the menus, want to change … etc.
In other words I love a camera that has a more real camera feel and the FujiFilm cameras have this.
For example the Exposure compensation is right on top of the camera (where it should be), setting the aperture is on the lens itself, zooming (even on the X10) is done on the lens and not via a weird feeling button system, also shutterspeed etc. is all set on top of the camera and if you want everything to be auto… no problem set both on A and you’re in auto mode. So now that this is out of the way, let’s look at the “sexy-1″……
Frank is an international Fashion and Glamour Photographer and born in Amsterdam (Netherland). He still conducts magazine and advertising shoots, with a particular interest for artists and high fashion, however his main focus is teaching workshops throughout the world.
See full review on www.frankdoorhof.com
I like this camera, more than I thought I would. After a bit of time with the Olympus E-M5 and Sony NEX-7, I really see the Fuji X-E1 as a clear winner in the IQ and usability areas. It would outright lose in an AF battle, so keep that in mind if that is truly a deciding factor for you. It does seem to be a slightly sexier (physically and IQ wise) option than any of its current competitors. Being the optical viewfinder kind of guy that I am, I would still go for an Fuji X-Pro1 over this (especially with the recent price drop!). But, if squeezing out an extra $400 really isn’t an option or you don’t care for the hybrid viewfinder on the X-Pro1, this camera is the most viable option on the market for serious shooters looking into the mirrorless market and craving a true manual control experience with a good EVF built right in. Also, if you are one of the millions who are adapting older lenses for use with the X-Series, this camera really is a better choice over the X-Pro1 because of its improved EVF would be much more usable in manually focusing those gorgeous Summicrons. All in all, I would totally see this camera in my bag in the near future, but only after there’s an X-Pro1 in there first.
See full article on weeder.org
Google Translater (ENG): http://bit.ly/12h3TBQ
Ich verkomme langsam zum Fotografie-Technikblog. Mein Problem ist im Moment, dass ich zwischen diversen Stühlen sitze. Aber eines nach dem Anderen. Ich schrieb in den vergangenen Monaten häufig davon, dass ich eine Kamera suche, die GPS und Wifi eingebaut hat. Jetzt habe ich die X-E1 gekauft, die ohne beides daher kommt. Wie passt das zusammen?
Da ich das Gefühl habe, die Geschichte in letzter Zeit immer wieder zu erzählen, hier nur die Kurzfassung: Meine Canon EOS 450D ist de facto hinüber. Ende Dezember/Anfang Januar bin ich in New York und brauche eine Kamera, also bestellte ich die Canon 6D vor. Amazon sagt aber, die kommt zu spät. Also sondierte ich den Kameramarkt.
Vor einigen Wochen platzte mir dann der Kragen und ich bestellte einfach, was meiner Vorstellung von einer kompakten Kamera am nächsten kam, die Sony Alpha NEX 5R. Obwohl sie mich in Teilen überzeugte, war sie nicht das Richtige. Die Bildleistung war in Ordnung, aber nicht überragend und die Bedienung fühlte sich nicht wie eine Kamera an, sondern wir eine Mischung aus einem Mobiltelefon und einem frühen Telespiel.
Dann las ich von der Fujifilm X-Pro1 und deren Chip, der durch den Verzicht auf einen AA-Filter und eine neue Pixelanordnung knackscharfe Bilder auf Augenhöhe mit einer 5D MarkII machen würde. Dann las ich weiter, dass Fuji den gleichen Chip in der neueren und kompakteren X-E1 verbaut. Das hat mir gereicht und ich habe es ausprobiert…..
See full review on dantz.me
The Fujifilm X (APS-C) “trinity” is complete! Within a couple of weeks I went from having no camera at all (I had just sold my Sony Nex-7 and was waiting for the Fujifilm X-E1) to having the complete set of Fujifilm X cameras with APS-C sensor. Just a quick look back, why this happened:
The Sony Nex-7 was a nice and very capable camera, but it somehow just felt bit more like a computer than a camera and it wasn’t that great at high ISO. It seemed to have just a bit too many pixels for the size of the sensor.
Then I read about the Fujifilm X-E1 and felt that this would be a great camera for my needs. At the same time I had also considered an X100 as a camera to have always with me. However, I couldn’t justify the cost (knowing that the X-E1 was on order). Just one week after I had received my Fujifilm X-E1, I happened to see a great offer for an almost brand new X100 on ebay for something like 500 USD. So I made up my mind and bought the X100 and – as I wrote in another post – fell in love with this camera (more so than with the X-E1). Despite some small quirks, the X100 (with the latest firmware) feels like an extremely well thought-out camera. And in my opinion the X100 is surprisingly responsive. Actually, it feels more responsive than my X-E1 with the Fujinon 35mm – probably due to heavier glass that has to be moved in the 35mm lens. One of the reasons why I fell in love with the X100 was the great optical viewfinder which brought back fond memories of shooting with rangefinder film cameras some 15 years ago. This made me think if the X-Pro1 wouldn’t a better choice for me, because it shares the nice optical viewfinder (OVF) with the X100…..
See full review on www.fujifilm-x-opinions.net
When Fujifilm launched the X system in January 2012, it did so with an unusually high-end body – the X-Pro1. With its unique hybrid optical/electronic viewfinder, solid metal body and analogue dial-led control philosophy, it was clearly targeted towards professionals and keen enthusiasts looking for an updated take on the classic rangefinder concept. The X-Pro1 was generally well-received, but its price was always likely to limit its appeal. Fujifilm’s new baby, the X-E1, aims to broaden the line’s appeal to wider range of enthusiasts, and will compete directly with the likes of the Sony Alpha NEX-7 and Olympus OM-D E-M5.
X-E1 – the more affordable X-Pro1
The X-E1 is in essence a slimmed-down X-Pro1, with the large, complex and expensive hybrid finder replaced by a purely-electronic viewfinder. Not any old EVF though – it uses a 2.36M dot OLED unit, out-speccing the X-Pro1′s 1.44M dot LCD finder. In return its rear screen is slightly downgraded in terms of both size and resolution, to a still-respectable 2.8″ 460k dot LCD – according to Fujifilm this is necessary to keep the camera’s size down. The result is a compact body that’s broadly similar in size to both the much-loved FinePix X100, and its most obvious competitors like the E-M5 and NEX-7.
The X-E1 gets a few new features relative to the X-Pro1, commensurate with its class. There’s a little built-in pop-up flash, a 2.5mm stereo microphone socket for movie recording, and the ability to use an electronic shutter release cable in addition to the signature threaded shutter release button. But otherwise it’s near-identical to the X-Pro1, using the same 16MP X-Trans CMOS sensor and EXR Pro image processor, and almost exactly the same control layout and interface.
See full review on www.dpreview.com
So how do I feel about my new cameras? Well I’m delighted with both of them. I was more or less able to predict how the XE1 would perform based on my ownership of existing X cameras and my familiarity with the brand. But the OMD was something of a revelation, I really didn’t expect a micro 4/3 camera to produce images which were often difficult to distinguish from those of the Fuji, even in low light. There really is very little between them. Fuji grain is quite fine and the images are very smooth, but you really only notice that at pixel peeping level or in very large prints. The native auto white balance of the Fuji is slightly cooler than that of the OMD in bright daylight (and vice versa indoors or under artificial lighting) but both are equally pleasing and can be tweaked to taste in-camera. Much is said of the beauty of Fuji colours and also of the pleasing colour rendition from the OMD. Again, I like both equally and they can be adjusted to suit you, or in my case to perfectly match each other on occasions when I’m shooting both cameras together. It should be mentioned that many OMD images floating about the Internet have a rather orange tinge to them – that is easily managed in camera and can be turned down to suit your needs. Overall I found the image quality of both cameras to be quite close in most scenarios, with the Fuji having a small advantage at very high ISO levels and with fine detail at pixel level (the XE1 lacks a high pass filter). The Fuji applies less aggressive sharpening at standard in-camera settings than the OMD and I will be reducing the in-camera sharpening on the Olympus from now on. The default noise reduction on the Fuji appears less aggressive than that of the Olympus. Dynamic range is a strength of Fuji X cameras and has historically been a weakness of Micro 4/3 sensors – but not any more – even pushing up the in-camera contrast on the OMD and shooting in harsh sunlight revealed no particular weaknesses.
So which camera do I prefer? That’s quite a difficult question, both are capable of producing outstanding images. After all, most people do after all judge cameras according to the finer points of the pictures they produce, often at the expense of overall performance. And it’s the latter where the Olympus really excels. A few weeks ago I created a blog post entitled “Fujifilm XE-1 – Will it Be Love?” and in response to that I can say “a fondness”. In the room with the snake the Fuji really struggled to lock focus at times and the slight lag of the EVF added to my frustrations. However the OMD nailed the shots easily (despite having a cheap and slow zoom on at the time). And of course the OMD is not only faster but is also weather proofed which is a great bonus for me, amongst its other performance attributes. So whilst I greatly admire the XE1 for its outstanding images, classic looks and wonderful build quality, it’s rather like a luxury saloon car – pleasurable to handle providing you’re not in too much of a hurry. The OMD on the other hand is a bit like a highly specc’d modern sports car – a little sharper around the edges but your journey will be fast and fun. I can see my infatuation with the OMD continuing and thus far it is the camera I reach for the most, but both cameras have a firm place in my kitbag.
See comparison and pictures on lindsaydobsonphotography.com
This is the X-E1′s, Fuji’s latest compact system camera. It’s an addition to Fuji’s premium X range and is the second camera in the series to feature interchangeable lenses. It features the same 16 million pixel sensor, processor and lens mount as the popular X Pro1. Looking at the two cameras side by side reveals lots of similarities, but the X-E1 is smaller, partly due to the lack of the hybrid optical and electronic viewfinder found on the X Pro1.
Instead, the X-E1 uses an electronic only device. While some may object to not having the option to use an optical viewfinder, in practice we’ve found that the high resolution device is more than adequate, and in fact even preferable in some cases to using the optical finder which is a part of the X Pro 1’s hybrid device.
There’s no mode dial on the X-E1, instead you control various parameters via an aperture ring on the lens, shutter speed dial on the top of the camera and an exposure compensation dial here.
Although there’s no “fully automatic” mode, you can get pretty close by setting both the aperture and shutter speed wheel to automatic.
The body of the camera is fairly large, with a nice chunky grip and an imitation leather covering. These make it pretty easy to shoot with the camera one-handed if you need to. On the back of the camera there’s also a fairly extensive range of buttons. The majority of regularly used settings can be accessed via this Q button. It’s recessed into the grip, which makes the camera nice and sleek but unfortunately can make it a little tricky to find the button when using the camera with the EVF. You can change the drive mode via this button – so you can choose between single shooting, the various bracketing modes and continuous shooting. Right at the bottom here you’ll also find video mode – there’s no direct buttons on the body to activate video shooting, which may be a little frustrating if you like to shoot movies often. This button on the bottom is what you need to use to change the autofocus point. After pressing it, use the arrow keys here to choose the point you want. It’s fairly easy to use – even when holding the camera up to the eye – but a touchscreen would have made selecting a point much quicker. The rear LCD screen is slightly smaller than the X Pro1′s, and a has a much lower resolution at 460 thousand dots. That said, it’s still a good performer with reflections and glare kept to a minimum, even in bright light. It can also be seen from a wide range of angles, so although it’s not a vari-angle or articulating screen, you can still shoot reasonably well from awkward positions. An eye sensor next to the EVF recognises when you lift the camera to your eye to automatically switch off the LCD screen and activate the EVF. Handily, if you hit this View Mode button, you can switch the Eye Sensor on or off, meaning if you only want to use the EVF or the LCD screen for some reason, it won’t keep switching between.
One of the key criticisms of the X Pro1 was its focusing speed. Fuji has addressed that issue with a new firmware version, available for both the X-Pro1 and already installed on the X-E1 as standard. This significantly improves focusing time, making it as quick and easy to use as many other compact system cameras on the market.
We anticipated great things from the Fuji X-E1, since it shares the same sensor as the excellent X Pro1. Happily, we’ve found that the camera is capable of producing images which are punchy, sharp and full of detail. The new high quality kit lens – an 18-55mm optic with a maximum aperture of f/2.8 at the widest end – is a great addition to the line-up and makes the whole system a lot more flexible for use everyday.
See full article on Digital Camera World