The X-Pro 1 and 2 Images Compared: SOOC JPEGS

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Continuing the blog serialisation of my popular X-Pro Series lust/hate/love story:

Part 109: The X-Pro 1 and 2 Images Compared: SOOC JPEGS

I’ve recently written a lot about the comparing the images from the X-Pro1 to the X-Pro2.

You can read that three part essay on the links below:

Part One
Part Two
Part Three

Hacking RAW files and examining the subtle nuances of colour and tone is all very well and good (and it is – despite what you might think 😀 )

But I also wanted to look at the differences between the SOOC jpegs.

Now before I get into this…

There’s some massive caveats that I want to get out of the way.

Not that it really matters, but I’ve used the in-camera RAW convertor for the X-Pro1 image, and the Fujifilm X-RAW Studio for the X-Pro2 images.

(Expect a little write up of X RAW Studio soon)

But the biggest caveat, is that I’m not that much of a Jpeg shooter, and if I do use a SOOC (or tweaked SOOC) Jpeg, then it’s invariably a monochrome one.

There’s blog posts and forum threads galore about the best Fujifilm Jpeg settings

This isn’t one of those.

I also realise that many of you have a preferred series of Jpeg settings, and I can’t really take all of your personal preferences into account.

So, if you’re a SOOC Jpeg shooter, I’m going to assume that you know your way around those settings and if (if…) I’ve provided anything of interest with this post, then you’ll be able to transcreate your own settings from mine.

When I hacked the RAF files from the X-Pro2 to appear to be from an X-Pro1, I noticed changes to the WB and tone curves.

I haven’t looked at tweaking WB in the SOOC images below. But instead focused on what we can achieve with the in-built Jpeg engine’s settings for shadow/highlight tones etc.

So, let’s kick off with our two starter images.

Above is the X-Pro1 image.

Shot in Provia, and the camera was set to aperture priority mode. All Jpeg settings are standardised (Colour/Highlight and Shadow tones/Sharpening and NR are all on zero)

Above is the X-Pro2 image.

Again shot in Provia, and again the camera was set to aperture priority mode. All Jpeg settings are standardised (Colour/Highlight and Shadow tones/Sharpening and NR are all on zero)

We can immediately see quite a big difference.

Now one of the biggest differences between the two X-Pro cameras is how they decide to meter for a scene.

If you leave it up to the camera to decide the metering you’ll typically see the X-Pro2 exposing for shots at values of 1/3 to 1 stop less than the X-Pro1

(Or put another way, the X-Pro2 generally takes darker pictures)

At this point, PERHAPS some of you are reading this and thinking, that’s why I shoot full manual, to be in control and fair play to you – but please bare in mind that if you’re using the camera’s in-built light meter (as opposed to an external one) that you’re still basically relying on what the meter is telling you in regards to the amount of light, even if you’re overwriting it with your own choices.

Anyway, I digress…

In this specific instance the X-Pro2 decided (in round figure terms) to add about 1 stop LESS exposure than the X-Pro1 did.

So let’s see the X-Pro2 with +1 stop added (and no other changes)

Above: X-Pro2, all Jpeg settings at ZERO +1 Stop EV

Wanna see that side by side?

The X-Pro1 Jpeg is on the left

Balancing the exposure between each camera does much to harmonise the two images (funny that 🙂 )

However, we can still see that the colours aren’t quite the same and that the X-Pro1 is still giving us a little more in the shadows (look under the red and yellow broom handles near the top left of the image)

But worse, I think we’ve lost some highlight detail from the pushed-a-stop X-Pro2 image (the top corner of the cream coloured crate)

So let’s try a 2/3 of a stop push instead

Above: X-Pro2, all Jpeg settings at ZERO +2/3rd Stop EV

Wanna see that side by side?

The X-Pro1 Jpeg is on the left

I think that’s a little closer in terms of highlight brightness (remember folks, I did this on a big screen, with the luxury of a 100% view. After compression, and resizing and internet hosting, I rather fear they’ll be a degree of taking my word for it)

Now, as you can imagine… I proceeded to try various different settings on the X-Pro2 image until I got it to look closer to the SOOC X-Pro1 one.

I ended up with this

Above: X-Pro2 with the settings I applied to look like the X-Pro1 shot.

And below the side-by-side with the X-Pro1 image

The X-Pro1 Jpeg is on the left

The settings I ended up with (ie the settings I applied to the X-Pro2 image)

Provia (The same as the X-Pro1 shot)
EV +2/3
Highlight Tone -2
Shadow Tone -2
Colour -1
Sharpness -2
NR -4

I’m NOT saying that these settings will magically make your X-Pro2 make images like an X-Pro1

I DIDN’T try this with all of the film simulations

But if this helps you in any way, or if you’re able to use this as base to make your very own “X-Pro1 Look” X-Pro2 settings, then I’m delighted that my time wasn’t wasted.

A lot of time and effort goes into this site.. Hopefully it’s helped you? Perhaps you’d consider helping me?

One way you could help me is if you want to buy from Amazon, if you do so using the links below, then I will receive a small percentage of your expenditure, and you will pay NO MORE than you would have paid anyway.

Shop at Amazon USA
Fujifilm X-Pro2 ¦ Fujifilm X-Pro2 Handgrip ¦ Shop for Fujifilm X-Pro ¦ Shop for Fujifilm X-T ¦ Fujifilm XF Lenses ¦ Fujifilm XF Acessories

Shop at Amazon UK
Fujifilm X-Pro2 ¦ Fujifilm X-Pro2 Handgrip ¦ Shop for Fujifilm X-Pro ¦ Shop for Fujifilm X-T ¦ Fujifilm XF Lenses ¦ Fujifilm XF Acessories

If there’s a different product you’re considering, then perhaps you’d drop me a line and I can send you an associate link for it?

Another way you could help, is by making a donation. The donate button can be found on the link below


Thank You Very Much!

The X-Pro Series Content: Referenced and All In One Place

11 Replies to “The X-Pro 1 and 2 Images Compared: SOOC JPEGS”

  1. Good morning from (finally) northern Virginia USA. It has been wet, humid, hot, ugly. But we are promised one day of sunshine and this is it. So why am I typing to you. Hmmmm!

    This was a good comparison article and in reality makes it easy to set up a custom SOOC for let’s say any simulation more or less.

    What is interesting and fact, in all my 39 years of actually working for camera companies in sales and tech, it was always a known fact that all film slr cameras were set up to meter at two thirds of a stop under exposed and was generally based on slide films like Kodachrome and ektacrome. Of course Fuji films as well.

    So in reality I am not surprised that Fuji like other current digital manufacturers have reached back into their old bag of tricks and are doing exactly the same thing and have cast aside the digital rule of shooting for the highlights. So what you have done, and correctly so is added back in the exposure of 2/3 just like the X pro 1 was designed to shoot at to provide a more balanced expsure.

    Well done Adam.

    If you want me to post all of this as a comment I will but I wanted to pass it by you before doing so.

    Hope all is well!


    Sent from Elliot’s iPad



    1. Thank you very much Elliot,

      Here in Portugal today it’s 92 with zero wind/rain and a humidity of 48%, which is about the upper limit of my comfort zone!

      I don’t doubt that cameras seek to preserve highlights and that this carries over from the film days.

      I’d personally be wary about suggesting to anyone that they always over expose by xyz.

      The metering looks at the scene and makes a decision based on what it ‘sees’ and this may or may not be quite close to the ideal exposure.

      Fuji further “complicate” (sic) the metering with the various film sims, it’s appreciably easier to blow the highlights in some film sims, but not others

      For my HUNCH/OPINION the biggest real difference between the X-Trans i/ii sensors and the X-Trans iii is the size of the pixels, smaller pixels by their nature fill up with less light, so the algorithms probably take this into account when calculating the exposure parameters

      I think the only true way to harmonise the output between camera A and camera B is to always take both cameras with you, shoot the same scenes and then match one to the other in post

      What I hope my suggested settings do here is to dial back a bit the aspects of the X-Trans iii images that are quintessentially digital, the sharpness and the hard contrast.

      I’m really pleased that you enjoyed the article, thanks for letting me know 🙂


  2. Adam it would be interesting to see what would happen if first in the Xpro2 you made the settings a custom simulation profile and then shot first using the profile and then the normal simulation.

    Then do the same thing in the Xpro1 but this time with a new simulation profile that would reflect how the Xpro2 shoots.

    It would be interesting to see if there are any variances.

    Also in the tests you did and the settings you came up with, what was the meter set to. MNultipattern, center weighted, spot. It would be interesting to see what the variances between the two cameras would be using your settings.

    Sent from Elliot’s iPad



    1. I’d hope for continuity that I set both the cameras matrix metering, I think that one is the best!

      That’s a good idea for an article, to actually do side by side X-Pro2 images that show the effects of the various settings

      I need an idea for Sunday’s article, sadly the light today is so hard and tough that you’d think it grew up in the Bronx 😉


  3. Adam, I did a test this morning using your exact settings outlined. Then, duplicated the scene using my old settings using Velvia and slightly different other values. There is no question that your settings are spot on and produce a better range of tonal values, a more pleasing image. I am using your suggestions as my base going forward. Thanks,


  4. Hi Adam,
    Very interesting article. I tried your settings and find the results pleasing. As you said, less digital.
    I’ve been following you for quite some time now. I have been interested in the XPro for some five years now. Two months ago I managed to aquire a good second hand one.
    I must say the hybrid vf helps in composition and the camera itself slows you down and lets you make more deliberate photo’s. In my case much needed!
    Thank you for all your info. It helps me mastering the beast and lets me move on to higher levels in my photographic journey.

    Sincerely yours,



    1. Hi Gert,

      Thank you very much. I’m really happy you find my musings helpful and really happy you’re enjoying the superb X-Pro.

      There’s definitely something about having an optical VF with framelines that aids in composition and makes using a camera a bit special

      Kind regards


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