and a solid white rectangle indicates the AF point's position at infinity focus, with diagonally-offset brackets for close focus. The 'Corrected AF Frame' option in the Shooting Menu changes how the AF point is displayed, to compensate for parallax error between the optical viewfinder and the lens. The frameline shifts right and downwards to correct for parallax error, but if you look closely, the indicated AF point hasn't moved. On half-pressing the shutter, the AF point lights up in green to confirm focus, and the detailed information (including the live histogram) disappears to give a less-cluttered display for composition. The active AF point is indicated by the small white rectangle in the middle of the frame. This is the standard view through the optical finder in detailed view. It's particularly important if you use the 60mm F2.4 Macro lens. This compensates for the inevitable parallax error between what you see through the viewfinder and what the imaging sensor (and therefore the autofocus system) sees through the lens. One feature that's not enabled by default, and we'd recommend turning on the moment you unbox the camera, is what Fujifilm calls 'Corrected AF Frame'. You can customize which of this information you want to see in the Set-up menu (and do so for the OVF and EVF independently).
Viewfinder slides plus#
There's a whole array of information across the top of the frameline covering secondary settings - focus mode, flash, metering, white balance, film simulation, and dynamic range expansion to the left, plus shots remaining, file quality/size and battery status to the right. In this view we've covered the viewfinder front window to obtain a clearer view of the information displayed (and deliberately activated as much of it as possible). On a bright sunny day the viewfinder overlay can be a little faint, but it's still quite visible. The 35mm lens's barrel protrudes slightly, but not obtrusively, into the lower right corner of the view. The overall view through the finder is distinctly wider than the captured area, though, as can be seen by comparing to the EVF view. In optical mode a frameline is shown which covers about 90% of the final image at infinity focus, to allow for parallax error and any change in the lens's angle of view on focusing. The camera can display highly detailed shooting information in both modes, along with a live histogram to help judge exposure, plus configurable gridlines and a virtual horizon to aid composition. For wideangle lenses the magnification is 0.37x for 35mm or longer, an additional magnifier slides in to place to give 0.6x magnification.īelow is the view through the X-Pro1's viewfinder using the 35mm lens, with the information display in its more detailed view - roll your mouse over the buttons to switch between optical and electronic modes. It's evolved and refined from the X100's design, and most importantly offers the choice of two magnifications to handle a wider range of lenses. A number of different manufacturers have produced View-Master, including Tyco Toys and Fisher-Price.The X-Pro1's uses a development of Fujifilm's unique hybrid viewfinder (as first seen on the X100), which projects a 'heads-up display' of all shooting functions into the camera's large direct-vision optical viewfinder. Once sales exploded, View-Master offered slide reels of virtually every major kids’ show and motion picture. View-Master began offering three-dimensional images of the brand new Disneyland amusement park and stills from Disney movies and television programs. In 1951, however, View-Master acquired its main competitor, film-strip production company Tru-Vue, and with it the stereo licensing rights to all Disney characters. Following the lead of its predecessor, the first reels presented views of scenic attractions around the country. They introduced their creation at the 1939 New York World’s Fair and then began selling it through specialty photography stores. By the next morning, the two had made a deal to produce View-Master.
Viewfinder slides update#
Gruber explained that he planned to update the stereoscopes common in 19th-century drawing rooms by producing three-dimensional color slides and a new hand-held viewer. When Harold Graves, president of Sawyer’s Photographic Services, went to the Oregon Caves National Monument in 1938, he saw fellow camera buff William Gruber using two cameras strapped together.