For starters, I found the size and weight to be in that nebulous Goldilocks ideal range: not too small, but not too heavy. It’s all the more frustrating because there’s much to love here. Which sometimes becomesĭo that enough times and the simpler X-E1 starts to make more sense. …so a compose-then-focus motion becomes compose-then-focus-then- recompose. …only to focus and then see that you’re framing this… At that relatively close distance, the change in framing due to parallax is pretty jarring. Let’s say you’re using the 35mm lens and your subject is about a meter away. However, the OVF doesn’t guarantee speed in some situations. Meanwhile, the electronic viewfinder (EVF) provides accurate framing but also a small amount of lag for timing-critical shots, you’ll be happy the OVF is around. The optical viewfinder (OVF) is the looser, more fun side – particularly its Iron Man digital-projection-on-glass display – but suffers from imprecise frame lines. On the other, you’re forced to constantly choose between imperfect options.
Nowhere is that more apparent than its show-stopping piece of tech, the hybrid viewfinder. And while the X-Pro1 clearly draws inspiration from simple, mechanical rangefinders, it’s also a look-at-me! showcase of innovative electronics, a dichotomy that is the source of not only the camera’s considerable charms, but also its numerous frustrations. Aficionados call this “purity of photographic spirit” others call it “lack of features”. One of the most attractive parts of rangefinder photography – in theory, at least – is the ability to create images with a minimum of fuss. I thought about this a lot when I rented a Fujifilm X-Pro1, which acts like a digital rangefinder, but fails. The Long Version: I read somewhere that in comedy, the best way to act drunk is to act sober, but fail.
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