Fujifilm X-Pro3

Timeless Design.

X-Pro3 isn’t all about its exterior, but its aesthetics does take a huge lead among all APS-C cameras. It is one of the most beautifully designed camera I’ve ever held.

Line subtly slides down to the side on the top metal body, stealthy yet elegant, reminding me of some Giugiaro’s classic boxy sports car designs. The long, straight muscular line on the X-Pro2, which carves across the front of its body, is replaced by a smaller, more organic, more ergonomic carving, maximizing using experience while minimizing its presence.

Same Core.

X-Pro3 uses the same old X-Trans CMOS 4 and X-Processor 4 from the X-T3 models.

In fact, Fujifilm’s cheaper X-T30, the younger X-T4, and the new born X-S10 also use those exact same CMOS and processor.
Does it matter? Of course it does, to some people. These 5 models can take identical photos with intentionally setting everything up to be the same.

But I don’t think any normal photographer could produce similar results with these 5 models in real situations, because their different designs will lead to different outcomes.

Different Outcomes.

Fujifilm’s product lineup is the golden example of “specs don’t mean everything.” People say it’s about the precisely distributed performances. I say nay, it is the designs. It is always about the designs.

X-Pro3’s retro, rangefinder-like design conflicts with the familiar interactions in the digital era. While these designs could all seem confusing, X-Pro3 only wants to bring users back to the time of the films, when people guess the compositions and could not check photo after shooting one.

This behavior design guides X-Pro3’s using experience to a whole new level: it becomes a slow, quiet, careful process, which could be fairly anxious to modern people.

The Mutant.

X-Pro3 is no regular rangefinder- like camera, it has an EVF built in the OVF, which works like cars HUD while using that OVF. It is not an comfortable experience for both pure RF users and pure EVF users at first. But people get used to things eventually.

The design of a tiny screen, showcasing film simulation and main settings on the back of the body, appeals to be a very extra piece, a waste of feature to who don’t understand. But to some people, especially to the film enthusiasts, it is the statement it’s making, the attitude it’s showing, a language X-Pro3 tries to communicate through this retro design. Something’s better than nothing, isn’t it?

Classic Returns.

Unlike XT series, X-Pros aren’t profession/work focused models, but more of an emotional/enthusiastic type.

With X-Pro3’s announcement, Fujifilm launched 2 “new” film simulation mode which later became the most popular ones and loved by everyone: “Classic Chrome” and “Classic Negative”.

Don’t know if it’s X-Pro3’s unique algorithm or my problem, but the image quality and color textures from X-Pro3’s film simulations I tested are way richer, deeper, and more consistent through the day compared to Fujifilm’s new X-S10 which equipped with the same CMOS and processor.

Overall

Fujifilm X-Pro3 is an unique camera. It provides Fujifilm’s flagship level performance while extending senses of emotions by building up an unique physical user interface.

I almost hated it during the fist day of using. But soon I sat down and looked at this beautiful brick in my palm, and the good pictures it provided during the day. I felt how much me and many people underestimated X-Pro3, and how much Fujifilm didn’t care.

X-Pro3 doesn’t speak too much, wise and quiet. It’s artistic temperament can only be appreciated if you search into its design and the weight of history, and you’d be surprised with that richness you found.