Fujifilm X-Pro1 Digital Camera Review

Color

Another very impressive test for the X-Pro1. We recorded an error value of only 1.99 from this sensor, and since lower values are better in this metric, that places the camera far ahead of the 3.00 average. Looking over the gamut, we notice that errors, when they do appear, are restricted almost entirely to bright yellows and bright blues. It's possible this was intentional on Fuji's part, in order to reel in flesh tones and blue skies. All other shades are nearly dead on. Saturation is very slightly under, by about 3.5%, which is only barely noticeable. More on how we test color.

NOTE: Because of the way computer monitors reproduce colors, the images above do not exactly match the originals found on the chart or in the captured images. The chart should be used to judge the relative color shift, not the absolute captured colors.

Colors are so accurate in fact, that they surpass the mighty Canon 5D Mark III, as well as Sony's excellent NEX-7. Also note the drastic difference between the X-Pro1's color score and the aging Fuji X100, quite an improvement for only a year or so.

Color Modes

Fujifilm offers "Film Simulation" settings in place of color modes. They're the same thing, except they carry the brand names of the company's old film products. Like all new Fujifilm cameras, basic options like Provia (standard), Velvia (vivid), Astia (soft), are available, plus a few extras for monochrome and sepia. The X-Pro1 also contains two exclusive film simulations: Professional Negative High and Standard. Both are accurate but Professional Negative Standard is the most accurate of all, and we used this setting for all other tests.

White Balance

White balance performance should be considered strictly average for this camera. As is often the case, the X-Pro1 struggled with incandescent tungsten light, but fared better under daylight and fluorescent, though not better than competitors did. While we imagine most buyers of this $1700 camera will do their color balancing in post-production, if that's not the case we recommend bringing along a white card.

Automatic White Balance ()

In shots captured using the automatic white balance system, rendition was roughly 1900 degrees Kelvin too hot under tungsten light, however that figure drops to 267 K and 151 K under fluorescent and daylight respectively. All automatic white balance errors resulted in warmer color temperatures than ideal.

Custom White Balance ()

Using custom white balance, things are a little bit better. Tungsten light errors average only 268 degrees Kelvin on the cool side, a totally acceptable and printable figure. Daylight and fluorescent are even better, clocking in at only 120 K and 138 K errors respectively. Oddly, most custom white balance errors make the scene extra cool, the opposite of automatic white balance.

White Balance Options

White balance settings are available from the second page of the main menu or the upper right corner of the quick menu. Seven presets are available, including three separate fluorescent varieties and an underwater setting for use with an optional enclosure. You'll also find the custom option here, which uses is simple and legible interface. Direct entry is degrees Kelvin is also possible, and white balance shift is available with all modes.