The Complete Guide to Fujifilm's X-t1 Camera

By Tony Phillips

Love your new beautifull-designed wonder camera, but having a hard time configuring it or understanding all of its functions? Then this book is for you. Written for the advanced user (with tutorials and easy explanations in case you're not so advanced), this easy-to-understand yet thorough guide provides a complete instruction manual which explains each feature in plain English and provides hundreds of visual examples as well. There is no better way to learn about and get the most out of your camera!

• Language: English
• Publisher: Lulu.com
• Release date: Oct 7, 2014
• ISBN: 9781312529892

Book preview

The Complete Guide to Fujifilm’s X-T1 Camera

Professional Insights for the Experienced Photographer

Version 1.0

ISBN 978-1-312-52989-2

Published by The Friedman Archives Press

Copyright © 2014 Tony Phillips. All rights reserved. No portion of this book may be reproduced either in print or in any digital format without express written permission. Contact the author at [e-mail]

Gratitude

I would like to thank the following for their invaluable contributions to the quality of this undertaking:

Gary L. Friedman Ron White Mike Hendren

Justin Moriarty Fujifilm Australia

And further thanks to my models, Jayne, Levi, Beth, Ben, Sarah and Lincoln, Steven, Sophie, Miranda.

Simply saying thank you isn’t enough. But I want to thank my wife Lorna for her enormous support. By now, she could surely write a book titled: Chasing the Photographer

For Those of You Who Bought the Printed B&W or E-reader Version

The price of the printed books come with a free, full-color .pdf version of the book. Just send an email to [e-mail]. Attach the receipt of the book you bought (if you didn’t buy it from the FriedmanArchivesPress.com website, then Friedman Archives does not have your customer information), and we’ll send you a download link. (The same thing goes for those who bought this book for a B&W e-reader.)

Android and iOS Readers

If you are reading the .pdf version of this e-book on an Android or iOS platform, your reading experience might be enhanced if you viewed the .pdf file via one of these free apps:

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All Fujifilm content used with permission. Thank you.

Tony is a photographer, author, pilot, teacher, and lecturer, and has a passion for photography. He conducts photographic seminars teaching the fundamentals of digital photography through to advanced lighting.

Anyone can learn to take great pictures if they have the desire. And, it is not so much the equipment (though it is important), as the person, that makes those pictures great.

Tony is widely travelled, a businessman and entrepenuer. He spends much of his time writing, teaching, travelling, lecturing, and hunting great images.

Visit www.TonyPhillips.org to learn more. Or email Tony at [e-mail].

This book is the second of Tony’s Fujifilm books, and one of many.

For many years, the only choice in high-end photography was an SLR / DSLR, or large-format camera. But in recent years that’s been changing. People have been setting aside their heavy equipment in favour of smaller, mirror-less bodies. And now we have cameras like the Fujifilm X-T1 with the same APS-C sensor that was previously the exclusive purview of those larger-bodied cameras – that arguably rivals them in image quality.

Whatever opinion you hold on this, a revolution in how we take pictures is underway. One which I believe is seeing DSLR’s being displaced by smaller, highly refined cameras. And with the advent of the X-Platform cameras, Fujifilm seems well placed in this revolution.

Of course, Fujifilm has a long history in the production of fine photographic film - and more recently in pocket-sized cameras. That is, until the past few years when they firmly set their foot in the high-end arena with the X-Pro 1, the X100/X100S, the X-E1/X-E2, and now, the X-T1.

The X-T1 seemed to pop out of nowhere. At least I wasn’t expecting it. And surprisingly, as good as the previous cameras have been, it seemed to do something they had not. It solved one of the few remaining issues that I needed resolved to be able to carry an X camera with me as a primary camera. It autofocussed quickly. And it put back in my hands external control of the camera. Something I really, really like.

To do that required upgrading technology – technology that was well proven in those previous cameras, and yet capable of delivering more.

It takes a little focus and imagination to drive the X-T1. But when you put in the effort, the rewards are most enjoyable. The X-T1 contains a boat-load of features that cater to the unique needs of photographers, making this a camera for high-end users who don’t think conventionally. (That would be you.)

This Book

Unlike many of my previous books, in this book I make the assumption that you are an experienced photographer, and therefore you don’t need tutorials on downloading images, the basics of ISO, f/stops, shutter speeds, or light and composition (I do include an appendix on this for reference though). Nor do I plan to delve into the software that came with your camera, or how best to retouch images on your PC.

While many of the explanations of the X-T1’s features and functions are tutorial in nature with plenty of examples (a hallmark of my previous books), about half of this book is reference – allowing you to delve into every function and menu feature and learn all about it.

Arnold Newman said We do not take pictures with our cameras but with our hearts and minds. If you want a camera suited to taking these kinds of pictures, you’ll find it hard to better your X-T1.

I hope you enjoy this book.

By DSLR standards the X-T1 is small, looking so much like those long-gone last-century SLRs. It has an APS-C sensor and is covered in buttons and dials – so not much like your average menu-driven DSLR at all. So what’s the attraction?

It would be this….

What kind of photography is the X-T1 best suited to?

Travel - delivering outstanding image quality with lighter kit than ever before.

Street photography and photojournalism. Combine the X-T1 with the 27mm pancake lens, and you have a fast-focusing uber-discreet camera much like the X100S on your hands.

Studio - create outstanding portraits. Have you seen the 56mm F1.2 lens? Put this body with this lens, and you can do anything in the studio. And the other lenses are no slouches either.

Landscape. Switch to the 14mm F2.8 prime, the 10-14mm F4 OIS zoom, or even the 23mm F1.4 prime, to capture wide vistas. Works great shooting architecture too!

Photographers with old glass. Got some outstanding lenses lurking in your cupboard? Grab yourself an adapter and get them doing what they were designed to do.

Wedding photography – well unless you think they won’t take you seriously because your camera’s not big enough. It happens!

Now if that sounds a bit like I just said everything, you’d be right, and not quite. The dials themselves not only control how you control the camera, but they also regulate your workflow with the camera. So if you frequently change ISO for instance, you might find the ISO dial actually slows you down a bit.

The X-Platform of cameras, and the X-T1 especially, delivers a certain shooting style that differs from most modern, menu-driven cameras, and it is something to be mastered through practice if you want to be smooth when you’re under the pump.

Let me be bold and share with you what I like most about this camera:

Image quality! What else is a camera if it isn’t about capturing the image you want? So this one is always at the top of the list! It is nice Fujifilm resisted the marketing urge to throw in more pixels, and concentrated on image quality above raw resolution alone (you don’t really need more pixels for better images). This quality comes about largely through the combo of sensor, processor / processing and lenses.

Focusing speed/accuracy. Fujifilm make some big claims about the X-T1’s focusing speed. I know from experience that it holds up alongside DSLRs, unbelievingly eclipsing even supersonic motor lenses – which means it can be taken anywhere with confidence.

Camera handling. I like having external access to those direct analogue primary controls (aperture, shutter, EV) without needing to dive into menus to get the job done. And the huge, bright, fast EVF viewfinder with shooting information, accurate image preview and playback is a delight to use. I even enjoy the flip LCD screen that saves my knees and keeps me (mostly) up out of the dirt!

Bygone good looks. All this comes nicely packaged in a handsome SLR look with a faux pentaprism hump, so reminiscent (as you’ve undoubtedly heard everyone say) of cameras from a bygone era (Figure 1-3).

But of course, that’s not all there is to it. So let’s dive right in.

It’s not hard to find a quick survey of the top features of the X-T1. They’re in every review you read, so I don’t intend to simply ply you with a quick list of what’s important about the X-T1. I assume you’ve read the reviews and know the list. Rather, it might be helpful in a book of this nature, to delve more deeply into the oft-mentioned keynote features, and understand why they’re significant to getting the most you can from your investment.

16 MP X-Trans Cmos II Sensor

While this is probably a dangerously boring place to start, understanding X-Trans sensor basics can give you an appreciation of how the camera produces such high-quality, low-noise images; what the benefits of this particular sensor are; and how to get the most from your images when shooting with this sensor.

At the heart of the X-T1 is Fujifilm’s latest iteration of their X-Trans sensor (Figure 1-4). This sensor has seen service in previous X-platform cameras, and is now well-proven technology.

Modest Megapixels

It is popular marketing to cram more pixels onto a sensor. But all this really does is lull the unwary into thinking one product is superior to another. Yet anyone who studies the results knows this is a flawed premise. True, you generally get greater sharpness from higher resolution, and you can obviously print larger images with additional megapixels, but there are significant drawbacks too – like added noise. So 16 megapixels in the X-T1 is both modest, and wise, and one of the reasons the resultant image quality is so good.

Baked-In Phase Detection Pixels

One of the most-heralded features of the X-Trans II sensor is the Phase Detection Pixels baked right into the centre area of the sensor – and the meaning behind the ‘II’ designation in ‘X-Trans CMOS II’. See Figure 1-5.

The obvious benefit of Phase Detection over Contrast Detection is faster autofocusing speed – especially in low-contrast compositions (low light, indoor shooting), and the system works quite well – as long as your subject is in the centre of the frame (See Figure 1-6). Of course, if you are a ‘focus-recompose shooter’, this won’t phase you a bit.

According to Fujifilm, the X-T1 achieves autofocus in 0.08 of a second, using 145,000 phase-detect pixels covering 40% of the sensor! (Figure 1-6)

Putting phase-detect pixels onto a camera sensor is a work of genius – and a Fujifilm innovation back in 2010. One of the best explanations I’ve read came from dpreview.com at the time and makes interesting reading: http://tinyurl.com/acr4no7.

Because these PDAF pixel pairs gather some light, you don’t see holes in your image as a result of masked pixels overlaying the sensor (Figure 1-5).

Optical Low Pass Filtering

You’ve probably read the X-Trans CMOS II sensor eliminates the need for an Optical Low Pass filter. So how does that improve image quality?

Let’s start with something simple. If virtually every other digital camera uses an Optical Low Pass filter (film does not have this issue), what does it do?

In the simplest sense, the regular 2x2 Bayer arrangement of Red, Green and Blue (RGB) pixels on a sensor creates moiré patterns (colour bands) in the image. You’ve probably seen these in some pictures, on TV etc. They’re especially noticeable in clothing with fine repeating patterns and the like. Placing an anti-aliasing Optical Low Pass filter over the sensor reduces these patterns – but at a cost. It robs the image of clarity by blurring away the fine detail that leads to these moiré patterns. So if you could remove the filter, you’d have sharper pictures, but unwanted colour banding.

To eliminate both the filter, and the resultant moiré patterns, Fujifilm engineers changed the regular 2x2 arrangement of pixels in the RGB colour filter array to the less-regular 6x6 pattern seen in Figure 1-7. (Recall that Fujifilm have been film experts for quite some time, and film has a random grain structure – which is the logic behind the 6x6 color filter array.)

This unusual Color Filter Array means the OLP is no longer mandatory. And this, in turn, leads to sharper pictures with lower noise.

Large Pixels and Micro-lenses

The modest number of pixels on the large APS-C sensor means large pixels. And large pixels lead to lower noise. Additionally, if you place a carefully-crafted lens on top of each pixel (nobody said making sensors was easy!), you can improve light gathering ability markedly, even in the corners where digital cameras are traditionally at their weakest. The X-T1’s 16 megapixel sensor was constructed just this way (see Figure 1-4), contributing to, amongst other things, improved edge to edge image sharpness (See Figure 1-8 and Figure 1-9).

Low Noise

Fujifilm says the 16 MP X-Trans II sensor has an excellent S/N ratio – meaning it has significantly lower dark noise – especially at high ISO’s (Figure 1-10) than the previous sensor.

Dark noise is unwanted signal induced into an image by electronic circuitry (primarily the sensor) - and obviously it is not part of the intended composition. It is random, meaning it does not show up in the same place in every captured image, and as the sensor heats up from frequent use or long exposures, so dark noise increases too. You can easily see dark noise if you shoot with a lens cap on. You still get noise even in this kind of black image – and it’s especially visible after long time exposures.

Dark noise is a huge issue for astrophotographers who employ a method called dark frame subtraction to eliminate this unwanted signal from time exposure pictures. Put simply, dark frame subtraction uses a dark picture usually taken with the lens cap on, immediately after a time exposure so the sensor is at its hottest. Any signal in this black image is subtracted, or removed from the desired light frame image in software, thereby reducing noise in the final picture.

So in this case, less is better. And the result of these signal to noise improvements is your camera produces lower noise images (most visible in low light, high ISO situations). Which is something you knew already, of course.

Given that this is only the second iteration of their top-end imaging sensor, my guess, is this X-Trans II sensor is just another of Fujifilm’s steps along a pathway that will largely replace DSLRs in the hands of many photographers. When a camera of this size can produce DSLR quality images at DSLR speeds, with a fast, bright viewfinder, no mirror, and phase detection for fast focusing, many, many photographers will be asking what some now are: Why have a DSLR at all?

EXR Processor II

Like all other forms of personal computing, the processing power in cameras continues to increase (almost exponentially, it seems). And with it comes the capacity to add new ‘features’ – new ways of processing raw data to optimize it for the sensor and lenses on the camera. And to do some pretty tricky in-camera post processing for great results too. (Figure 1-11)

Like some of the previous X-platform cameras, the X-T1 has the proven EXR Processor II which Fujifilm say it is twice as fast as its predecessor. So what does that mean for photographers?

The Need for Speed

A fast processor leads to a fast camera. Remember when you had to wait for a camera to be ready to shoot? This is not an issue with the X-T1. It starts up rapidly – (around half a second) – so it is pretty much on tap all the time.

Speed benefits show up elsewhere too. Shutter lag is minimal (just 0.05 of a second) for instance, and shot-to-shot time is just half a second! This leads to faster features like Continuous High burst mode - which pops off a very useful 8 pictures per second. A most welcome speed when you’re shooting anything other than sleeping kids and animals (who clearly don’t understand the concept of posing for a good picture ).

While we’re on speed, EVF lag has dropped dramatically. Fujifilm says it is 1/10th what it was in previous X cameras – and is now just 0.005 second! It certainly gives that impression.

Low Noise

I always love speed of handling in a camera, but perhaps more significant (to image quality at least) is how Fujifilm have used the in-camera horsepower to minimize image noise. I’ve already mentioned sensor dark noise, but examine Figure 1-12 which shows the lower S/N ratios we saw in Figure 1-10, with the additional benefits of putting the processor to work to further reduce noise.

If you’re wondering what the processor’s doing, consider this. While the X-Trans II sensor delivers less dark noise, it also produces quite unique data – and it is the job of the camera’s processor to crunch this data, and deliver it as an image onto your memory card. Optimized processing algorithms coupled with added processor speed mean the EXR II can chew through data more thoroughly, more quickly, to deliver additional noise reductions.

LMO - Lens Modulation Optimizer

Fujifilm says: "Lens Modulation Optimizer overcomes the limit of [the] optics. By modeling optical phenomenon such as diffraction and aberration, it minimizes the phenomenon by digital processing and achieves better sharpness than before."

In essence, putting a lens and aperture in the light path (which cameras must do), induces a variety of aberrations and diffractions. Most of us are familiar with chromatic aberration – where colours bend by differing amounts, but there are a host of other similar issues as shown in Figure 1-13.

If you know how your camera/lens combo induces aberrations, and you have enough on board computing power (which we do), you can essentially post process data in-camera, and write corrected, (and therefore clearer/sharper) JPEG images to the memory chip as the final captured image. Enter LMO!

LMO processing is applied to aperture diffractions also. Figure 1-14 demonstrates that diffraction varies according to aperture size, and it gets stronger as the aperture gets smaller. Which is partly why f/16 (or greater) for many lenses is far too soft.

Incidentally, diffraction is not your enemy. This same Huygens-Fresnel principle is gainfully employed in the front diffuser of accessory flash units to scatter light for even coverage. In fact, it’s so widespread, you can find it in many applications – such as the tail-lights of your car.

Earlier I mentioned that LMO works for known lenses. But what about unknown ones? If you use lenses the camera does not recognize (such as those I talk about starting on page 470), it really doesn’t matter whether you turn LMO off or not. The camera simply ignores LMO settings for non-Fujifilm lenses – even lenses mated to the camera with Fujifilm’s M-mount adapter.

For that reason, and since LMO doesn’t touch RAW files (only JPEGs are impacted by this setting) I always leave LMO on. You can set this via: MENU --> 3--> Lens Modulation Optimizer --> On.

And, now you know another reason why JPEG images from the X-T1 are so sharp – and why LMO is geekily cool .

14-bit RAW

More bits are better, right? The X-T1’s imaging sensor outputs 14-bit RAW (16,384 tones). This is generally a feature found on higher end DSLRs. I’ve included this in the processor section of this book because only the fastest processors can handle the large volume of data produced by the additional bits.

Nikon first introduced 14-bit imaging in 2008, and many users found it hard to see any benefit at all. Maybe this is true for you too. In fact, the only time you’re really likely to notice the extra bits is if you’ve underexposed by quite a way, and you’re hoping to recover shadow detail.

Not that you’re likely to notice this on either a computer monitor or printer – since these devices simply don’t display this nuance in tonality, even though 14 bit images can withstand much more aggressive editing than 12 bit images.

These two articles written by a Nikon owner will give you some insight into just how little difference this makes in the real world:

http://tinyurl.com/2e4nss and http://tinyurl.com/4enno8).

World’s Best Electronic Viewfinder

This isn’t hyperbole. The X-T1’s EVF is second to none! It is large, bright, and fast (0.005 sec lag time). Of course, if you’re an X100/S or X-Pro user, you might be frustrated with the notion that you have an electronic viewfinder at all, – or that you only have an EVF. But this tiny camera body (in fact mirrorless cameras per se) are only really possible because of these kinds of innovations in technology.

As you can imagine, I handle my share of cameras – some with and without electronic viewfinders – so when I first picked up the X-T1, I was already wary of the hype. But I’m pleased to say that this is one of the best implementations of an electronic viewfinder you could imagine. Not only that, it brings new thinking to the EVF with shooting information now rotating into portrait mode when you turn the camera on its side. It seems simple, but given EVFs have been around for quite a while now, I, like other voices before me, can’t help wondering why no one thought of doing it before. Turn this on via: MENU --> 1 --> Screen Set-Up --> EVF Autorotate Displays --> On. Surprisingly, the LCD doesn’t have this feature, so if you frequently swap between displays you must to get used to looking in different places for the relevant information – which is the only argument I can see for ever turning this off.

Of course, the big deal with an electronic viewfinder is you see a live view of what you are shooting, overlaid with relevant shooting information you usually only have on a rear LCD screen – except the EVF has much higher resolution. This works in all shooting modes.

The EVF shows playback image too – reducing chimping (moving the camera from your eye to view your last capture on the LCD), since you can see it right in the viewfinder. For this to work, set the review option via: MENU --> 1 --> Screen Set-Up --> Image Disp. --> (Continuous, 1.5 sec, 0.5 sec, OFF) to review your images in the EVF.

What makes the electronic viewfinder so good? It’s an Organic L.E.D. (OLED) display – the same kind used on high-end smart phones. They’re brighter, have a wider color gamut, and have a faster refresh rate (and resolution) than the camera’s rear LCD.

Like some other X models, this camera’s OLED EVF sports 2.36 million pixels – meaning everything is crisp and sharp in the viewfinder. But it now does it with a larger (0.77) magnification, meaning you have a large, bright, fast viewfinder. In fact, one that competes with the largest viewfinders currently available in any DSLR!

The EVF isn’t perfect though. Eyeglass wearers shooting outdoors on a bright day sometimes have to shield the sun when it shines between their face and the eyeglasses. And if you’re panning the camera quickly to track a subject, you might notice some lag as the camera feeds those high resolution images onto the EVF screen. In practice, I have experienced little problem with either of these issues.

One benefit the EVF brings to outdoor videography is you don’t have to strain your eyes looking at a sun-washed LCD on a bright day. Simply switch to EVF instead!

There’s a neat Dual View display screen only available when focusing manually, which shows the full image frame on the left and a smaller focus peaking/digital split image on the right. This allows fine tuning for manual focus without losing sight of the entire frame. Of course, Digital Split Imaging relies on the hybrid sensor’s phase detect pixels, so it only works in the centre of the sensor (frame), meaning if you want to focus on something then recompose your shot, you can do it from this screen quite easily.

Other manual focusing aids (focus peaking and Standard magnified view) allow you to select which area of the frame you want to focus on or enlarge by moving the focus frame in the normal way.

There’s one interesting quirk I wasn’t expecting in Dual View. When you half press the shutter button prior to taking your picture, the zoomed frame in the Dual View vanishes! Now it’s probably not right to call it a quirk, but it caught me by surprise the first time it happened.

More than any previous X platform camera, using the X-T1’s EVF will plaster your nose into the LCD leaving obvious marks - and for the first time I really miss the offset viewfinder quite a bit. I found the glass on the left edge of the LCD quite sharp, and for a while, I had a mysterious mark on my nose that popped up from time to time after a lot of EVF shooting (from scratching it on the edge of the LCD glass!).

There is a larger eyecup (EC-XTL) that will help here somewhat, moving your eye further from the rear of the camera. You might also find this helpful if you wear eyeglasses to reduce light influence outdoors. It’s a bit pricey though (for what it is), and given the inclusion of the accessory flash with the camera body, it’s perhaps surprising the additional rubber piece wasn’t included with the camera, allowing you to spend a few moments with a tiny screwdriver to use the eyecup of your choice. To fit the EC-XTL, simply slide the standard eyecup upwards, and replace it with the new one.

The X-T1’s bright, low-lag viewfinder is the third in a tetrad of essential ingredients that bring the benefits of Fujifilm’s design together to make great images. (The four are: the sensor, the processor, the viewfinder, and the controls themselves).

While the EVF is no X-Pro OVF, with it:

You can see how your image will look before you shoot (exposure, white balance and depth of field),

You get a live histogram should you choose,

You have great tools for manual focusing (Focus Zoom, Focus Peak Highlighting and Digital Split Imaging),

You have compositional guidelines and a digital level should you want,

You can display customizable shooting information,

The EVF is not hopelessly dark shooting in low light.

I review the various viewfinder and LCD display modes starting on page 79, and information on the Screen Set-Up starts on page 312.

The Articulated LCD

The articulated LCD screen is one of my favorite features on a high-end camera. I know many people eschew it, but I find it opens up a world of creative thinking where checking a subject from alternate angles becomes so much easier than it used to be when all you could do was put your eye to the viewfinder. (Don’t get me wrong, I’m not discounting the viewfinder. I use it quite a bit!)).

Historically, this is the first implementation of an articulated screen in the Fujifilm X-platform of cameras. It’s a limited implementation, since the screen only flips on one axis (Figure 1-20) – which is ideal for horizontal compositions but not for verticals. To shoot vertically at obscure angles the X-T1’s screen becomes progressively harder to see the further away from your eye-line the camera gets. Of course, that hasn’t stopped me trying – though nowadays, when it gets too difficult, I just switch to Wi-Fi, and put my camera wherever I want.

Unlike some tilting screens I’ve used, the X-T1’s implementation works well for use on a tripod – in that it does not descend below the bottom of the camera when you tilt it, and therefore doesn’t jam against some part of the tripod head and become utterly useless. It's also good for tripod use in other ways, allowing you to drop the tripod down to shoot from a low angle – meaning you don’t need to get in the dirt to see what you’re shooting.

The X-T1’s LCD is a 3.0 inch, 3:2 ratio, 1.04M dots (720x480) LCD screen - so it is much lower resolution than the 2.36M pixel EVF. It refreshes quickly though, and is adequate for the job – though I wouldn’t go deleting in-camera images using the LCD as my sole judgment of colour or focus. I just don’t think it’s up to that task at all.

Q Button

The X-T1 sports a Quick Menu via the "Q" Button. This affords rapid access to common shooting features to reduce the amount of menu-diving you must do (see Figure 1-22). This was applauded when it was introduced on other X-platform cameras, and, let’s face it, all high-end cameras now have a quick menu of some sort for rapid access to most used features. It took far too long to get my thumb to remember where this button is on the X-T1. But once I had that sorted, the Q-Menu became useful once again. Each Q-Menu option is covered in detail in Chapter 5.

Focusing

Autofocus Speed

You wouldn’t believe how many people write to ask why they should buy an X-T1 above their current X camera. And the answer is…

Blazingly fast autofocus!

Finally!

While blazingly might not really be the right word, the X-T1 is clearly the fastest focusing X-platform camera to date. It now autofocuses as fast as a DSLR, and holds up well alongside high-end DSLRs with supersonic motor lenses – which means the camera can truly be the primary camera in many scenarios. Where this doesn’t hold true is for some of the earliest XF prime lenses; and even some of the newest lenses hunt a bit in low light. The 18-55mm kit lens focuses quite quickly on the X-T1.

Fujifilm say the X-T1 has the world’s fastest AF of 0.08 seconds. Whatever you think about that, it is clear is that it is both fast and accurate.

Manual Focusing aids

The X-T1 provides three great manual