Diglloyd remains starkly negative of Fujifilm's X-pro1 and X-E1 camera sensors, despite the improvements Capture 1 Pro brought in the raw processing front: "Like curing a patient of hemorrhoids by giving him Chrone’s disease."

Diglloyd remains starkly negative of Fujifilm's X-pro1 and X-E1 camera sensors, despite the improvements Capture 1 Pro brought in the raw processing front: "Like curing a patient of hemorrhoids by giving him Chrone’s disease."
Diglloyd remains starkly negative of Fujifilm's X-pro1 and X-E1 camera sensors, despite the improvements Capture 1 Pro brought in the raw processing front: "Like curing a patient of hemorrhoids by giving him Chrone’s disease."

Wow, his must be the most serious case of X-Trans sensorophobia on the whole wide Interwebs. I still have a lot of respect for much of what he otherwise does, but when it comes to the X-Trans artifacting issue he clearly fails to see the sum of the image (heh): As a total, Fuji's sensor produces some gorgeous images, a fact that is stated in confessions and declarations by numerous pro, avid and generally accomplished photographers. I can point you to a zillion galleries and essays, but I choose just one for now and rest my case: Check out Dave Piper's gallery of images he got with the X-Pro1. 

"Why bother with a problematic sensor? Or a company that can’t get its act together and just pay Adobe $250K a year or whatever to deliver exceptional results from ACR (if this is even possible, which I begin to doubt). This dog doesn’t hunt. Get a Sigma DP1/DP2/DP3 Merrill and enjoy real resolution with zero artifacts, totally clean, not even Bayer sensor demosaicing yuck. Or get a D600 or D800E system which isn’t that hugely different in size, but has a full frame sensor. I see no point in investing in a 2nd-tier system with a sensor that forces photographers to jump through hoops."

Thumbnail credit: Crop of 'Homer Simpson in The Scream', oil painting on canvas made by Matt Groening himself many years ago.

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