So, if any of you remember Fuji’s work on their EXR sensors, you’ll know that Fuji isn’t necessarily a believer in traditional sensor arrangements based on the Bayer filter pattern. And, it seems like they’ve put their lab coats back on, fired up the tesla coils,and resumed their mad science ways, because the X-Trans sensor even more completely eschews the conventional wisdom of the Bayer filter, instead emulating the natural randomness present in the grains of silver halide film.

Say huh?

OK, for those not familiar with the Bayer filter, here’s the idea: the pixels on your sensor just see light. White light. They don’t really care about color. Mostly, we do, so, we use a filter over each pixel to limit it to collecting only one of the three primary colors: red, blue, or green. The Bayer filter is the long-standing champ at this, using alternating rows of 2×2 pixel overlays. Then, in the camera, clusters of 3 pixels are interpolated together to form one pixel with all three colors. The Bayer filter looks like this:

Illustration by Fujifilm

And, mostly, the Bayer filter works. But, it has a couple problems. One is that interpolating those pixels causes a phenomenon known as moiré. Moiré is an effect most notable in fine, repeating patterns and shows up as unexpected and (often) undesired random swirls in the photo.

By Flickr user peretzpup

To combat this, cameras employ what’s known as a low-pass filter. This reduces moiré, but also takes a toll on fine sharpness and details, as it averages out multiple pixels. Additionally, this averaging can lead to a slight false color in spots, as it mixes neighboring pixels.

Fuji’s new X-Trans filter uses a 6×6 “aperiodic” arrangement for its pixels, which uses natural random interference to break up the moiré effect, which completely removes the need for a low-pass filter, and–in theory–yields naturally sharper images with truer colors.

Illustration by Fukifilm

Neat, huh? We think so too. Now, though, it’s all down to the proof-in-the-pudding once this thing comes out and see if it lives up to its own theory.

Did you manage to forget it’s CES week? Yes? Well, time to snap back to reality there, buckos. And ready to help ease that sting, Fuji has finally announced it’s long-rumored interchangeable lens system follow-up to the runaway successful X100 compact. Back for more is a seriously retro rangefinder body that almost drips elegance, and an APS-C (1.5x crop) sensor. But this time, it’s got a lens mount and a fledgling lens system (three primes will be available at launch: an 18mm f2.0, a 30mm f1.4, and a 60mm f2.4 macro).

Inside Fuji’s first ILC (or EVIL, if you prefer that old forum term) is a 16 megapixel CMOS sensor, which Fuji is calling a “APS-C X-Trans CMOS sensor.” The X indicates this new system family (including the compacts, we assume), and is reflected in the addition of a new, never-before-seen X-Mount for the lenses. The X100′s Hybrid Multi Viewfinder returns, offering you the ability to switch from an optical rangefinder to a high-quality EVF with the flick of a switch on the front of the camera. There’s a focal plane shutter that tops out at 1/4,000 of a second (only one-stop slower than most professional DSLR bodies). If you guessed there’s probably a 3″ LCD around back, you’d be correct, and it has a resolution of 1.23k dots. Looks like it’ll also chug along at 6fps in continuous drive mode.

As with the X100, everything here is metal, for that rock-solid feel of the rangefinders of yore. additionally, the finish has been changed to a matte black for all you pros out there who like to keep things discreet.

And, where would Fuji, legendary film manufacturer be, without including tone presets that emulate its classic film types, including the legendary VELVIA. Heck, it’s even got a specil film mode brakcet, so you can take the shot in several film effects and pick your favorite later (presumably for those of you not doing a raw workflow.)

The three lenses (XF18mmF2 R (27mm equiv), XF35mm R f1.8 (53mm equiv), and XF60mmF2.4 R Macro (90mm equiv)) will all have manual, metal aperture rings with clicks at each third stop, for modern level control in a retro feel. Apparently a feature of the X-Mount (and thus lenses) is a recessed flange-back distance (up to 7.5mm) where the lenses sits into the body, reducing the overall assembled length.

For accessories, there’ll be the by-now near-obligatory leather half-case (LC-XPro1), a hand-grip (HG-XPro1), and a dedicated flash unit (EF-X20)

No prices have been announced on anything yet, and we’ll update you as soon as that changes.

Press release after the jump.  Preorder starts here.

FUJIFILM INTRODUCES THE REVOLUTIONARY X-PRO1 INTERCHANGEABLE LENS DIGITAL CAMERA SYSTEM

Featuring the New X-Trans CMOS sensorTM, FUJIFILM original X-Mount and New Hybrid Multi Viewfinder, the X-Pro1 Delivers Outstanding Image Quality that Rivals Current DSLR Cameras

Valhalla, N.Y., January 9, 2012 – FUJIFILM North America Corporation proudly introduces the debut of its newest and most advanced addition to its premium, high quality X-Series digital camera line-up – the FUJIFILM X-Pro1 interchangeable lens digital camera system.

With a brand new, custom developed 16MP APS-C X-Trans CMOS sensorTM, incorporating a newly developed filter array and Fujifilm’s proprietary EXR Processor technology, the FUJIFILM X-Pro1 is poised to deliver superlative image quality that will rival currently available mid and high-end DSLR models. Taking another decisive step into the premium camera market, Fujifilm has taken the X-Pro1 to the next level featuring a New 2nd Generation Hybrid Multi Viewfinder and three prime interchangeable FUJINON lenses.

The FUJIFILM X-Pro1 digital camera not only promises to carve out a distinct position in the premium camera category, but it also promises to reward X-Series loyalists with a camera system that surpasses their expectations.

“Fujifilm puts great emphasis on producing outstanding image quality, and with the X-Pro1, we are proud to offer an interchangeable lens system that performs to the highest professional caliber,” said Go Miyazaki, division president, Imaging and Electronic Imaging Divisions, FUJIFILM North America Corporation. “Each element is the product of Fujfiilm’s commitment to uncompromising quality. With its custom APS-C X-Trans CMOS sensorTM, unique Hybrid Multi Viewfinder and three interchangeable lenses, the X-Pro1 is poised to become the new standard for photographers.”
Setting new standards in image resolution
Fujifilm has developed a new CMOS sensor called the X-Trans CMOSTM. The X-Trans CMOSTM sensor is capable of delivering resolution that is superior to other APS-C sensors and equal to even some full frame sensors.

The new color filter array paves the way for an ideal sensor that does not need an optical low-pass filter. While the optical low-pass filter is indispensable for the reduction of moiré and false color generated by conventional sensors, it also degrades resolution. Fujifilm has developed a new color filter array that is inspired by the random arrangement of fine film grain, removing the need for an optical low-pass filter to solve moiré and false color issues. In the array, RGB pixels are arranged in 6×6 pixel sets with high aperiodicity (randomness). Increasing the degree of randomness eliminates the fundamental cause of moiré and false colors – a problem that occurs in conventional arrays when shooting stripes and other repeating patterns. The presence of an R, G and B pixel in every vertical and horizontal pixel series minimizes the generation of false colors and delivers higher color reproduction.

As a result of using a film-inspired array, a more powerful processor is required to process the image signal data. So Fujifilm has developed the EXR Processor Pro. This technology will maximize the full potential of the X-Trans CMOSTM sensor, delivering high speed and high precision image processing.

Prime FUJINON XF lenses deliver the highest image quality
FUJINON lenses have long been associated with delivering high quality images, with optics used for both broadcast TV and medium format cameras. Now the expertise borne out of this enviable optical heritage has been put into lenses for the FUJIFILM X-Pro1.

Three compact XF FUJINON fast aperture prime lenses will be available at launch. The “XF18mmF2 R” (27mm equivalent) f/2.0, “XF 35mmF1.4 R” (53mm equivalent) f/1.4, and “XF60mmF2.4 R Macro” (90mm equivalent) F/2.4 are all bright and compact and designed to deliver sharp, clear images of uncompromising quality. They offer precise control over depth-of-field and deliver excellent bokeh effects thanks to the design of the molded aperture diaphragm blades. The blades are curved to create a circular image at all aperture settings, while the very edges of each blade are meticulously rounded off rather than simply cut off, which delivers a sharper image. In addition, the solid feel of the high-quality metal barrel and detailed exposure setting in 1/3 step increments using the aperture ring fuel your desire to capture more photos with every shot.

FUJIFILM original “X-Mount” maximizes lens performance
Specifically designed to maximize the mirrorless design of the body the X-Mount has a short flange back distance of just 17.7mm. This means the rear lens elements are as close as possible to the sensor. The wide opening allows the lens to be mounted deeper within the body – up to 7.5mm (approximately) from the mount surface – reducing the back focus distance of each lens to the minimum possible, thus achieving high resolution all the way to the edge of the image

Hybrid Multi Viewfinder – seeing is believing
First introduced in the FUJIFILM X100 digital camera, Fujifilm’s revolutionary Hybrid Viewfinder has the ability to instantly switch between an Optical Viewfinder and Electronic Viewfinder. The Hybrid Viewfinder has added a new dimension to the pleasure of composing photographs. For the brightest viewing image, and to keep shutter lag to a minimum, users should choose the Optical Viewfinder. Those wanting focus confirmation, exposure information, white balance information and depth of field indicators should switch to the Electronic Viewfinder.

The Electronic Viewfinder provides an excellent “Live View” of your composition. This fusion of technologies allows users to enjoy composing their images through a bright viewfinder, but has the option to overlay vital picture taking information should this be required.

Changing between the two viewfinders is simple, thanks to the switch on the front of the X-Pro1 body. When attaching a FUJINON XF-series lens on the X-Pro1, both the viewfinder magnification and bright frame size automatically switch to support the lens focal length. Viewfinder magnification switches to 0.37x for the 18mm lens, and to 0.60x when the 35mm or 60mm lens is mounted, letting you compose your shot with the bright, crystal clarity of an optical image. The X-Pro1 also gives you the freedom to manually set a focal distance and switch between viewfinder magnifications.

Cutting edge technology in a beautiful camera body
The X-Pro1′s magnesium alloy chassis and improved user interface is a testament to Fujifilm’s unyielding attention to quality and the photographic needs of the professionals. From the exact and deliberate placement of the buttons to the precision milled dials, the X-Pro1 beautifully encompasses all that is needed to deliver high quality photography.
The top and base are made from die-cast aluminum alloy which, combined with high quality touches like precise engraving on the top-plate and hand-enameled lettering on the lenses,
illustrates how the entire X-Pro1 system was designed and built without compromise.

This eye for detail extends to the shutter speed dial and exposure compensation control that is precision milled from solid metal. Details like the shutter speed dial lock mechanism and the recessed exposure compensation dial are designed to prevent accidental movement of settings. The knurled finish on the sides of the dials feature rows of minutely milled squared pyramids for superb grip and confidence.

As a well-known mark of quality, the “Made in Japan” printing confirms that every part of the construction has had to meet Fujifilm’s highest standards.

The lightweight, precision-milled lens hood (included with the lens) has been exclusively designed and machined from aluminum for the FUJINON XF lens. Its compact size delivers superb light shading performance in a design that perfectly matches X-Pro1 styling. Diameters of the aperture ring and focus ring of the three FUJINON XF-series interchangeable lenses are only slightly larger than the barrel for sleek uniformity of design. Precision machined from metal, the reassuring click of the aperture ring at each setting and the comfortable torque resistance when operating the focus ring enhances the shooting experience.

The X-Pro1′s leather-like finish is designed for a quality look and durability. The synthetic leather offers resistance to the elements and high durability, while an original manufacturing process produces a texture with the look and feel of authentic leather. The X-Pro1 has also been designed with the photographer’s comfort in mind. The natural fit of the eyepiece provides excellent shielding from light leakage, and an optional dioptic adjustment lens can also be attached.

Extending Fujifilm’s photo film legacy
In film cameras, capturing multiple exposures is the unique photographic technique of superimposing one image on another by double exposing a single frame of film. Through advanced digital processing the X-Pro1 can simulate this technique by simply selecting the Multiple Exposure mode and taking the first shot. By viewing the image via the Hybrid Multi Viewfinder or on the LCD screen, you can see how the finished multiple exposure will look and then precisely frame the second shot.
Further enhancements have been made to the Film Simulation modes with the new Professional Color Negative Film Modes (Pro Neg. Std and Pro Neg. Hi) designed for X-Pro1 users working in the studio. The X-Pro1 also offers Film Simulation bracketing, along with AE, Dynamic and ISO bracketing; plus the ability to capture the colors and tonal qualities of popular FUJIFILM emulsions through the vibrant colors of Velvia, the softer skin tones of ASTIA and the natural look of PROVIA.

Replicating the effects of monochrome film photography the X-Pro1 lets you use color filters to expand your photographic interpretation. Heighten contrast with the yellow filter and red filter, or brighten greens and deepen reds with the green filter. Just as professional film photographers once selected a filter and printing paper to complement their creative vision, you can easily fine tune image quality with these filters. For those after a more nostalgic theme there is also a sepia filter.

Premium Accessory Lineup
The FinePix X-Pro1 has these additional premium accessory options that are sold separately:

Hand Grip, HG-XPro1 – Giving you more secure and balanced handling of the camera, the X-Pro1 accessory grip smoothly molds to the lines of the camera body for a uniform look. The grip helps balance the weight of the camera body, allowing for a more comfortable hold.

Shoe Mount Flash EF-X20 – Designed to match X-Pro1′s distinctive styling, a single dial lets you choose between two modes: AUTO – automatically optimizes flash for both outdoor daylight and dark indoor shots; and MANUAL – for hands-on control. In addition, the built-in flash diffuser has an easy one-touch process to soften harsh flash effects.

Leather Case LC-XPro1* – Beautifully molded to protect the X-Pro1, this leather case is designed to allow fast access for easy shooting. Attention has been given to every detail, from the color and spacing of the stitches to the use of a hidden magnet rather than a snap for closing the case. The premium case is complete with the authentic leather neck-strap and hood case.
Protector Filter 39mm and Protector Filter 52mm – These protection filters have high transmissivity without affecting the visible light, and the Super EBC coating effectively controls harmful borrowed light. The frame of the filters has a semi gloss black finish, keeping with the high sense of design, while the inner filter ring is finished in a matte black in order to minimize reflections.

Pricing and Availability
The FUJIFILM X-Pro1 will be available in February 2012, and the price will be announced in late January 2012.

The X-S1 is a sort of superzoom, except the built-in lens uses a knurled zoom ring for manual zoom, a la DSLRs. This type of camera used to be more common, notably in Olympus’ old Camedia UZ series cameras. The X100 used a fixed lens and APS-C sensor, the X10 switch to a 2/3″ sensor and moved up to 4x zoom. The X-S1 is the superzoom pal to the X10 in that regard, it also uses the 2/3″ sensor, but pushes the zoom factor up to 26x with a 24-624mm f2.8-5.6 lens.

You look at things through a high-rez EVF with 1.4 million dots, or on the 3″ tilting LCD with 460,000 dots. To help justify its high price tag, the shutter lag is reported to be a mere 0.01 seconds, and you’ll get image stabilization, PASM, raw, and SD, SDHC, and SDXC support too.

The X-S1 will be available around this month-ish, and cost right around $800 to add to your own kit.

That’s a lot of announcements, so, let me just talk about a couple highlights from the crop:

First up, the top of the compact line, the Finepix F770EXR. This is the top model in a line-up of three closely related siblings, and it features a 16 megapixel 1/2″ EXR sensor, 25-500mm 20x optical zoom lens, 3″ 460,000 dot LCD, built-in GPS, and raw. Also on board is sensor-shift image stabilization and 1080 HD video.

It’s got a metal body in black and red, and will run somewhere around $380.

Up next we have the HS30EXR, the top model in Fuji’s new superzoom line-up. This particular series of superzooms stick to the older “bridge” camera aesthetic that more closely resembles a DSLR than the expectations of a point and shoot. As suggested by the category name, the HS30EXR has a massive zoom, a 24-720mm equivalent 30x monster strapped to a 16 megapixel 1/2″ EXR sensor (just like the F770EXR). The HS30EXR has a .26″ electronic viewfinder with 920,000 dots of resolution, a 3″ LCD with 460,000 dots resolution, and it can record raw. It’s got a smaller brother that’s similarly spec’ed but lowers the viewfinder quality and uses AAs. Both bodies record 1080 HD at 30fps and have sensor-shift image stabilization.

The HS30EXR will run right around $500 when it hits the market.

Next up is the Z1000EXR, which is the update to a line I’ve always been a bit fond of, if for no other reason than their style. While the looks are no longer as unique and striking as they were back in the first and second generations, the Z series remains a well-spec’ed line of  deck-of-cards style compacts.

If you hadn’t guessed form the name, that 16 megapixel EXR sensor is found here, too, this time married to a 5x optical zoom. There’s a 3.5″ touchscreen LCD running the show around back, and it’s got some wifi capabilities that can share photos to any Android or iOS phone or tablet running their free transfer software.

No word on price here yet, but there’ll be four colors: pink, green, white, and tan.

Last up on the highlight-o-rama is Finepix FP150, top of the waterproof, rugged trio. The XP150 is dustproof, waterproof to 16.5′, shockproof to 5′, and freeze proof to 14 degrees Fahrenheit. all that protects a 14 megapixel CMOS sensor and a 28-140mm 5x optical zoom with dual image-shift stabilization. There’s a redesigned double lock door protecting your card and batteries (and, presumably, all the other guts too). The XP150 ups all that by adding GPS and an electronic compass into the mess, and you’ll be able to pick it up for around $280 in black or “holy crap where did I lose that?” orange.

If you want the firmware update, hit the link below. If you want to read through the roughly translated list of changes first, hit the read more button to see the press release. If you’d just like to get your hands on one at all, don’t worry, you’re not nearly alone.

The firmware update Ver.1.10 incorporates the following issues. The contents of the owner’s manual will be partly changed along with this update.Please check them in detail.  1. The following functions can be rocked during shooting by holding down [MENU / OK] button over 3 sec. DRIVE / Flash / White balance / Macro (set on the Command Dial – 4 direction key) 2. “CORRECTED AF FRAME” menu is added in “SET-UP” menu (the last line on menu page 6) to display additional AF frame (corrected AF frame for reducing parallax) which can be effectively used for macro shots. (Factory default value is set to “OFF”) 3. Adjustment in1/3 step increment for shutter speed or aperture setting is enabled in Shutter-Priority AE and Aperture-Priority AE mode, on top of those in Manual Exposure mode. Shutter-Priority AE : Adjustment is controlled by rotating the command dial Aperture-Priority AE : Adjustment is controlled by moving left / right on the command control lever 4. In the post-view mode (display after shooting), focused area is magnified in the LCD (EVF) display when the command control lever is pressed. Cf. “IMAGE DISP.” Setting must be set to “CONTINUOUS”, 5. Setting of the role for “Fn” button is enabled by holding down “Fn” button over 3 sec. 6. Actual ISO sensitivity for shooting is displayed just after pressing shutter button halfway, when “ISO AUTO CONTROLL” is set to ON. 7. When “eye sensor” is activated by pressing “VIEW MODE” button, “EYE SENSOR” is displayed on EVF / OVF or LCD just a while to notice the status. 8. Macro mode ISO sensitivity, Drive mode, Dynamic range, Self-timer mode, flash mode is maintained even if shutter speed setting or aperture setting is changed. Also, even after changing viewing mode into shooting mode or turning of the camera, these values are maintained. 9. The size of focus frame set through viewing EVF / LCD is maintained even after changing display mode between OVF and EVF (LCD). 10. When “SHUTTER SOUND” is chosen, each shutter sound is performed in each menu setting. 11. In viewing mode, the last viewed shot is maintained as even after changing into shooting mode. Cf. After another image is shot after viewing former image, memory of viewing the image is cancelled and the last shot is displayed as the latest image. 12. When the aspect ration of the image size is set to 16:9, the line of bright frame line on OVF is displayed with aspect ratio 16:9. 13. Viewing mode with Photo Information on EVF / LCD is maintained even if another image is shot. On top of this issue, deleting picture directly is enabled even in viewing with Photo information by pressing the command dial up, or MENU operation is also enabled. 14. Occasionally, preview image on EVF / LCD after pressing the shutter halfway might be darker than live view, according to aperture setting or brightness of shooting target. This phenomenon is improved. 15. When “DISP. CUSTOM SETTING” is set to OVF or EVF / LCD, the setting value is maintained even after customizing the menu. 16. Even for only RAW data recording mode, “RED EYE REMOVAL” setting is selectable among ON or OFF. 17. In MF (manual focus) setting with OVF mode, OVF viewing is activated after pressing shutter half way, even if “FOCUS CHECK” (magnifying center of the image) is displayed in EVF by pressing the center of the command control lever. 18. Displaying period after pressing each command dial (Macro / Flash) is prolonged from 1.5 sec into 2.0 sec for confirming correctly. 20. For resuming from AUTO POWER OFF setting, the shutter release button was required to hold down halfway for a few second. For quicker operation, resuming is activated by just pressing the button. 21. Image quality captured by Velvia / ASTIA mode is improved on mainly shadow tone (dark area), when dynamic range is set to 200% or 400%. 22. When “OVF POWER SAVE MODE” is set to ON and “Fn” button is set to “MOVIE RECORDING”, the camera may be unstable occasionally. This phenomenon is improved. 23. Histogram display on OVF during exposure compensation is improved. The firmware up date ver.1.01 incorporates the improvement against inadequate operation shown in the following.1. If the images are shot with ISO Bracketing mode when “QUICK START MODE”(*1) is set to “ON” and turn off the camera,the camera cannot be turned on again even with ordinary operation.  *1 Menu of “QUICK START MODE” is set to “OFF” as factory-default value.

• Precaution  1. If firmware updating fails, the camera may no longer operate correctly in some cases. Carefully read the notes provided here.  2. Always use the fully-charged NP-95 battery when updating the firmware as a basic manner. Never turn the camera off or attempt to use any of the camera controls while the firmware is being overwritten. 3. Firmware updating requires approximately 90 seconds. 4. Once the firmware has been updated, the previous version cannot be restored.

Real 3D W1

Fuji today announced quite the groundbreaking system: a camera, viewer, and printer all aiming to bring true 3D photography to the masses. The highlight of the announcement is the camera, the W1, which manages to perfectly sync two lenses through a 3x zoom range, or you can de-link them and take two 2D images with one click at two different focal lengths.

And it’s sexy. Look at it over there.

Is this a gimmicky camera? Oh my yes. Certainly. Am I gaga over it and expecting quite a few people to be interested in it, you bet. Whether 3D catches on or not will remain to be seen, but you can’t argue that this is one of the most sheerly innovative technologies to hit the compact market in a long, long time.

Word is it’ll come out Septermberish, we’ll have to wait until closer to then to see if we can get our hands on this. Stay tuned, dear readers.

Finepix F200EXR

Fuji, one of the few major manufacturers that have been absent from our virtual shelves, are soon to find themselves added to our site as special order items, just in time for four exciting new product announcements. We’re working on getting Fuji items, including the existing and well-reviewed Finepix F200EXR, the first camera to feature Fuji’s new EXR sensor which I talked about way back here.

The new products are worth a little breathing room, so I’m going to throw them up as individual posts. But, exciting times when we add new lines.

The point is, and it’s a recurring one here on RAW, there are cameras for those of you who prefer to not stand on the sidelines. For those of you who live near large pools of water, or near a pint glass for that matter. For those who want to shoot in the rain, pool, beach, nearest waterfall, hurricane (not recommended, all the same) and so-on and so-on.

And, these cameras are less and less niche every year. We now have 14 of them (OK, some of them are just different colors, but I know there are over a half dozen good, reliable models that fear not the presence dihydrogen monoxide anymore). We might soon have a couple more if we get some things going we want to. It used to be solely Olympus’ game, but now we see other notables like, oh, Canon, say, and somewhere out there a waterproof Fuji, fleshing out the ranks.

So, this post is for you, makers of fearless cameras. You enhance our beach experiences, and the next time I encounter a young and attractive person flipping hairfuls of water, I shall not stand aside, timid, afraid for my camera, but shall rush in–indeed where fools dare not go. And all shall be good.

Want your own fearless camera for the beach, pool, kid, or pub? Check the gallery below.

Links:

Canon Powershot D10

Olympus Stylus Tough 6000

Olympus Stylus Tough 8000

Olympus Stylus 550 WP

(Note: Pretty Girl Must Be Obtained Separately)

Olympus is now including a micro sd memory card adapter with this and most of their lineup, so you aren’t stuck using the proprietary XD card format that is exclusive to Olympus and Fuji.  Micro SD cards are very available and very resonable on price.

There is a new feature on this and other new Olympus models called the “Beauty Mode” that smooths out complection to give people a more pleasing look.  Sounds gimmicky I know, but I’ve tried it and it really does work.

When you are doing your digital camera comparisons, don’t miss this one!  It looks like it will be a great camera for those wanting a lot of zoom in a pocket sized digital camera.

And if Fuji can follow through on its promises, we might soon have a new breed of camera starting to arise that has to make no compromises and specialize in one of those fields while sacrificing a little of the others.

Announced recently for a compact camera, but with potential application in larger sensors that has a lot of advanced amateurs watching with interest, is the new EXR technology. At the foundation of this technology is a restructuring of the traditional Bayer filter. The Bayer filter is a filter over the sensor on basically every digital camera going and tells the camera how to see the world in color, and not just values of light.

On the left is a traditional Bayer filter. A row of alternating Red and Blue and then a row of Green (turns out our eyes favor green pretty heavily). On the right is the pattern reworked for their EXR technology. You can see there’s still twice as much green as red or blue, but the new trick is that there are two pixels of each color next to each other at all times.

Further beyond that is that one pixel is high gain, it absorbs light very quickly. The other of the two is low gain, absorbing light slowly.

What’s all this mean, especially in relation to low-light, resolution, and dynamic range? What Fuji is saying is that the sensor can be switched between three different “modes.”

On is resolution. You can tell the sensor to use every pixel traditionally, which gives you high resolution.

The next is dynamic range. Those two pixels, the high and the low gain? The high gain lets shadows expose quicker, the low gain protects highlights. It halves the resolution, but should give a fairly notable increase in dynamic range by treating each type (high/low) as a different image and then combining the data, sort of like in-camera HDR.

The third is low light. Since the two pixels side-by-side see the same color, the camera can “bin” them together. This halves resolution, but creates a pixel twice the normal size, which means the picture will have less noise by nature. It sounds like it can do further binning, effectively letting you get unbelievable ISOs at the cost of resolution, not noise.

Time will tell what impact this has on the market, but as far as photo tech goes I think this is one of the neater announcements I’ve seen in some time.