quietlight

A few more thoughts, but if you're soft proofing in sRGB, be careful to change the profile to your desired output. sRGB is very accurate for most internet uses, but if you're printing your work and you have not calibrated your printer, do your broad color corrections and all brightness/contrast edits proofed for sRGB, then change your proof setup to the free ICC profile for your printing paper available through the paper manufacturer. The free profile download with also include a readme of some kind with instructions on what paper quality you should set in the print dialogue for your specific printer. When changing your soft proofing from sRGB (internet friendly) to your paper profile (print friendly), watch your reds and blue especially. Your once vibrant red stop sign probably has noticeable cyan added. Then look at your blues. Is there too much magenta in your skies? You'll have to tweak different channels if you print frequently without a custom-calibrated profile, but that is the nature of the beast. For example, if I'm making a print on my Hahnemuhle Photo Rag Ultra Smooth paper with my Canon Pro-10, not only must I use the ICC profile available at the Hahnemuhle website for my soft proofing (and also in the printer setup dialogue later), but also set the paper quality in the printer dialogue to Fine Art 1. I have not yet calibrated my printer, but when using free profiles for my papers, I find the colors are very nearly as they appear on my calibrated monitor. I apologize if you knew all of this already; I’m currently preparing a gallery show of film slide scans and some digital work so color accuracy has been on my mind for the past month. If you didn’t know this, hold tight, you’ll get colors you like…eventually.
 
A great resource for all this color stuff is www.cambridgeincolour.com. They have more tutorials than you'll know what to do with.
 
Good luck!

First and foremost, your adjustment settings in the camera are found: menu / ok > set up (wrench icon) > screen set-up
 
I would venture to guess that it you will never be able to match a monitor very well, there just isn't enough user-accessible adjustments in the camera for that. One method would be to take a photo showing a variety of different colors or even a color chart with the X-Pro2, load it into your computer and open it in Photoshop or whatever your software of choice is, and tune the X-Pro2's LCD color saturation and brightness until it's within an acceptable range. Not great, but better. Also, make sure that your editing software is soft proofing for the same color space that your camera is using. If your X-Pro2 is sRGB, soft proof in sRGB. That will help correct reds and greens especially. As far as the LCD - EVF match, I would get a color checker, by printing one or buying one. The colors don't have to match the manufacturer's specs of what they should be, because it's entirely up to how your eyes perceive them. You can mount your camera on a tripod in an evenly-lit room or outside, and then take a photo of the colors. Display them on the LCD, look at red, greens, and blues first and go back and forth comparing how the colors appear on the EVF and the LCD. It's not an exact science and certainly will not be fool proof, but it can help. Again, color adjustments are limited to brightness and saturation, but it does help some. In my camera, I found that the LCD was far more saturated than the EVF and so I turned the LCD down to -5, and kept the EVF at the baseline 0. Brightness for both is set to 0 and the EVF is set to manual brightness as I didn't like auto brightness.
 
Hope that helps some.

Excellent review. Thanks for the thorough testing and conclusions. I am confident that Fuji will come up with a satisfactory solution, hopefully via firmware. Thanks, EyesUnclouded !

"Nonetheless Fuji! That does not mean your customers should have to live with this. Perhaps optimize the CPU to not get as well or whatever is causing the warmth."  – Aswald
 
Agreed!

Captured by XT-1 and XF 50-140 f2.8

Captured with XT-1 and 50-140 F2.8

There's a dimensional quality to the images produced with the 50-140 that is hard to describe. It's a great lens!

Captured with XT-1 and 50-140 F2.8

Captured by XT-1 and XF 50-140 f2.8