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CAMERA

Fujifilm X-E1 - A Retro Camera That Inspires (Part 16)

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6/27/2013 3:41:00 PM

Resolution Chart Comparison (JPEG and RAW)

Images on this page are our standard resolution ranking which provides for measurement resolution up to 4000 LPH (Lines per Picture Height). A value of 20 is equivalent to 2,000 lines per picture height. For each camera we use the appropriate fixed lens (along with what we used for all previous trials in a specific assessment). The chart is taken at a full aperture range and the sharpest image chosen. Studio lighting, the cameras set the aperture priority (optimum aperture selected), image parameters default. Exposure compensation set to provide approximately 80% luminance in the white areas.

What we would like to show here is how well the camera is likely to process the detail in our standard test ranking compared with the maximum resolution of the sensor according to the theory, which for our charts captured is easy to understand - it is simply the number of vertical pixels along (ranking shows the number of single lines per the image height, in terms of theory, it is limited to one line per pixel). Exceeding this limit (which when talking about line pairs is often understood as the Nyquist frequency) the sensor cannot precisely record image detail and aliasing occurs.

This limit is rarely achieved, because the majority of sensors are equipped with anti-aliasing filters. Anti-aliasing filters are made to reduce unpleasant moiré effects, but doing so, they also reduce resolution (the relative quality and length of the filters are different among the cameras). The X-E1 employs the unique X-Trans CMOS sensor of the Fujifilm and therefore does not need an anti-aliasing filter, which means that in principle it can provide a resolution close to its Nyquist limit, compared with a Bayer camera with the same number of pixels. Nyquist is pointed out in the crops with a red line

On this page we are taking a look at both of the JPEG and RAW resolutions. We usually convert the latter using Adobe Camera Raw, but in the case of the X-E1, this creates plenty of processing artifacts, therefore instead of that, we have selected to use the Raw File Converters. We have the processing flow for this conversion:

·         Download the RAW files into Raw File Converter

·         Set sharpening configuration to 'No Sharpness' (all sliders set to 0), all other settings default.

·         Save file as a TIFF format

·         Open file in Photoshop

·         Apply a Unsharp mask adjusted to the camera, here 120%, Radius 0.6, Threshold 0

·         Save a JPEG file with the quality 11 for download

JPEG (4896 x 3264) and 3.4MB RAW (4896 x 3264) 3.2MB

JPEG (4896 x 3264) and 3.4MB RAW (4896 x 3264) 3.2MB

Vertical resolution

JPEG

JPEG

RAW

RAW

Horizontal resolution

JPEG and RAW

JPEG and RAW

Like the X-Pro1, the X-E1 expresses significantly higher resolution in this trial ranking compared with a usual 16MP Bayer-type camera such as the Nikon D7000, or even the Sony NEX-6 (which has a remarkably weak AA filter). Indeed, in terms of resolution, the Fujiflim is very close to the 24MP Sony NEX-7 or the Sigma SD1, which uses a 15MP Foveon X3 sensor to record full color information at each pixel, and thus (like the X-E1 ) does not use AA filter.

These ranked photos also show very little wrong color, we'd expect from a Bayer camera without AA filter – there is a bit on the RAW version, just around the point where the X-E1 begins wrestling to correctly handle the lines on our chart, but there is nothing in the JPEG format. This reinforces Fujifilm’s announce that the X-Trans CMOS is less sensitive to moiré than a Bayer sensor. Last but not least, the JPEG processing of the X-E1 can provide the same resolution as the RAW converter. We were very impressed by the X-Pro's and X100's JPEG handling, and the X-E1 is lively with the same standards.

As we usually see for a camera without AA filter, the X-E1 keeps on showing the line structure on its Nyquist limit. As usual this is wrong detail (For instance, it does not accurately represent ranking) but using in practice, it regularly helps bring up an impression of increasing detail anyway.

JPEG tone curves / Dynamic Range

The Dynamic Range measurement system consists of capturing an adjusted Stouffer Step Wedge (13 stops total range), which is backlit using a daylight balanced lamp (98 CRI). A single picture of this creates a gray wedge scale from the camera's clipped white point down to black (the example below). Each step of the scale is the equivalent to 1/3 EV (a third of a stop), we choose a step at the ‘middle gray’ level (defined as 50% brightness) and measure forwards to determine the dynamic range. Thus, there are two aspects of the results, the amount of the shadow range (below middle gray) and the amount of highlight area (above middle gray).

Gray scale

Gray scale

For most people, highlight area is the first thing they think about when talking about dynamic range, which is the amount of highlight detail above middle gray area that the camera can shoot before it crops to white. Shadow area is more sophisticated, in our test, the line on chart stops at the luminance value ​​decreases below the definition of "black point" (about 2% brightness) or the signal-to-noise value decreases below a predetermined value (where shadow detail would be obscured by noise), regardless of which one comes first.

Note: This page highlights our interactive dynamic range comparison utility.

The wedges below the chart are made by our measurement system from the values ​​read from the step wedge; the red lines point out approximate shadow and highlight area (the dotted line showing middle gray).

Default tone curve

Default tone curve

The default tone curve of the X-E1 is the same as the X-Pro1’s, and delivers a good highlight area of about 3.7 stops, with just enough of a roll-off into the highlights to avoid rough-looking cropping. This puts it slightly behind when compared to the names of the Sony NEX-7 and Olympus OM-D E-MF. However, the DR expansion mode of the Fujifilm is particularly effective in the highlights and the DR 400 setting you get nearly has two more stops of highlight area.

Movie modes

The X-E1’s color Film Simulation modes

The X-E1’s color Film Simulation modes

The Color Film Simulation modes of the X-E1 show sophisticatedly different tone curves, which transforms into tangibly real differences. Velvia/ Vivid is really contrasty, cropping both white and black more abruptly, while Astia / Soft echoes Provia / Standard across the highlight area, but it is more contrasty below middle gray; the result is that the shadows are slightly deeper. The Pro Neg Hi mode is placed somewhere between Velvia and Astia in terms of its shadow contrast, while the Pro Neg Std nearly fits the Provia/ Standard. Meanwhile, the diversified Monochrome modes are entirely consistent with the Standard.

Dynamic range expansion modes

Like the X-Pro1, the X-E1 has two dynamic range expansion settings to enhance its highlight range: DR200 (200%) gives an additional stop of information in the highlights, and DR400 (400 %) gives two stops. In terms of technology, the camera attains this by applying less amplification of the sensor’s output than usual, before the AD is conversed to avoid cropping highlight data, then midtones is pulled up to the correct brightness determined in JPEG image processing. This is essentially the same process that Canon and Pentax use for their highlight-expansion modes.

Another way of thinking about this is that DR200 is like exposing under a point to keep the highlights then adjusting the brightness; and DR400 is like under-exposing two points and adjusting much more. Because of this, the minimum ISO is available in each limited mode: ISO 400 at DR200, and ISO 800 at DR400. The flipside to this approach is shown by the standard ISO 100, which has the opposite effect, i.e. ISO200 exposure was too long by a stop and then pulled-down in processing. This leads to the loss of stop of highlight range - for all items and purposes it calculates ​​as DR50, and therefore it is often avoided. (Note ISO 100 is only available in JPEG format).

Impact of DR setup

Impact of DR setup

In this comparison we can see the impact of the DR setting on the highlight range. DR200 provides a huge 4.7 stops of dynamic range, and a DR400 comes towards another stop beyond this, disappearing off the scale of our chart. It should be noted that this advantage is not only for those who shoots JPEG images - it also extends to the RAW format. On paper at least this is actually very impressive; we will see how it is converted into the real results in the final review. The Fujifilm X-E1 also accompanies with the same Shadow and Highlight Control functions like the X-Pro1. You can also read more about the function on our review of the dynamic range of the X-Pro1.

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