Fuji X-Pro 1 Announcement
Tuesday, January 10, 2012 at 19:44 ;)
Tentacles │ GH2 + Lumix 20mm F1.7 │ 20mm F4.0 1/500s ISO160Every notable camera comes with a set of compromises, in the end it's just a question of whether you can live with them. Fuji's X-Pro 1 will be no different despite the wave of euphoria enthusiasts are greeting their newest baby with. The enthusiasm reminds me of the waning days of August last year when Sony launched the NEX-7. At that time the NEX-7 was the best thing since sliced bread; an enthusiast photographer's dream come true. Since cameras started arriving on reviewers desks as well as out in the real world, reality has been chipping away at that dream. In the end, the new X-Pro 1 won't be any different. Think back to the long list of “Bugs, quirks and eccentricities” that followed dpreview's review of the Fuji X100, a sort of predecessor to the X-Pro 1.
Fuji is promising impressive image quality from its new sensor technology and the 3 prime lenses that were launched alongside the camera. Based on the image quality that the company's X100 is capable of (and I've experienced first hand), I'd tend to say that there is a good chance that the X-Pro 1 will indeed be able to produce excellent files. But that still remains to be seen.;)
Convergence │ GH2 + Lumix 7-14mm F4.0 │ 7mm F4.0 1/2000s ISO160With the X-Pro 1, Fuji is continuing its design philosophy of basing the look and control interface on historic rangefinder cameras. Whether that aesthetic appeals to you or not is subjective. But there are some pitfalls to this strategy. Designers may choose to sacrifice certain features because they compromise the retro look they're after (like a tilting screen). Worse, they are forced to tack on current features that didn't exist at the time of the camera they're trying to emulate (like a screen or a multi-controller). I look at the back of the X-Pro 1 and I'm a little dismayed by the various raised plateaus to accommodate features like the screen and viewfinder. The cluttered look doesn't stop there either: the thumb grip takes the form of an odd cylindrical projection growing out of the exposure compensation dial. Overall the rear of the camera looks like various elements have been stuck on as an afterthought rather than integrated with the design. Let's hope that this configuration will at least work ergonomically where it fails visually.;)
Interference │ GH2 + Lumix 20mm F1.7 │ 20mm F4.0 1/400s ISO160Fuji's design approach is very different from the path that Sony took designing the NEX-7. Not constrained by trying to emulate past designs, Sony was free to choose their aesthetic. It's a thoroughly modern and minimalist design that's basically composed of a slab, grip and cylinder (lens) with very little to distract from those iconic shapes. All the features and controls are integrated into those shapes unless function necessitates a deviation (so you can access a control, or pry the screen away from the side of the body). Personally, I'm more of a fan of this approach, although which camera offers the most efficient method of changing settings or the best ergonomics has yet to be decided. I'm willing to bet on the Sony though.
For me there are a number of other issues I have with the X-Pro 1. The camera is a little larger and bulkier than I want. In fact the X-Pro 1 body weighs as much as my Panasonic GH2 (around 450g). I was glad to be able to reduce that weight down to the 350g body of the NEX-7. The size and weight of the lenses is also an issue, but that depends on the exact make-up of your kit. I could maybe live with a larger camera again if its other advantages compensated for the additional weight. But I would have a very difficult time accepting a camera without a tilting screen. At least half of my photos these days are framed from the hip using the tilting screen. It's a shooting style that's worked very well for me and one I wouldn't want to be forced to abandon. But that's just me.
;)
Waves │ GH2 + Lumix 7-14mm F4.0 │ 7mm F5.6 1/320s ISO160These photos were taken with the GH2 on Soure, Marajo Island, Brazil in October 2011. While I won't necessarily miss the GH2, It'll be hard or impossible to replace the spectacular Lumix 7-14 wide angle zoom.
Brazil, Fuji X-Pro 1, Marajo, Sony NEX-7, Soure
Reader Comments (16)
Hi Bjorn
A lot of truth in what you say regarding the launch of the new X PRO 1 I enjoyed reading it.
I must say I was really impressed with your photos...GH2 and 20mm lens...you are really tempting me!
Well said. Call me a minority, but I've never been particularly fond of the aperture ring on the lens. I like to keep the lens supported with my left hand and use my thumb and index finger to turn the focus ring. Turning the aperture ring on a lens has always felt awkward and has made me lose balance of the camera by distorting my left fingers to turn it.
ISO is another control which I feel should be given as much importance as shutter speed and aperture. I like how it's another dial on the NEX, something I would often change, where as the Fuji has it a bit more tucked away. Not that it's hard to do, I just think that it's a control that is more important today than it was in the film days and the design of the camera should reflect that.
I personally find the hybrid viewfinder to complex. It seems to have many moving parts, and thus, prone to failure. I personally want my camera as light and solid state as possible so I can take it out in the field and have lesser chances of it failing on me.
I also don't like how the tripod thread is really close to the battery compartment which means you cannot attach anything to the thread without preventing the opening of the battery/memory card compartment.
I also don't like the weight. NEX is not only lighter, but it look a lot more comfortable with that nice grip it has. Of course this is all subjective since I never used either camera - but I have a good feeling :)
Another little tidbit - I like how the lens is towards the right side of the body in the Sony. This means that my left hand has more space to grip the camera without cramping against the lens. The Fuji is wider, but making the lens mount a bit more left makes more sense to me.
BTW - where is the movie mode in the Fuji? It's a deal breaker for me if it isn't as easy to access as the NEX 7.
I could go on and on.. but there are things i love about the Fuji. I bet the sensor rocks and the image quality is great. I like how the mount allows the lens to go deeper into the body. I wonder what this enables and if the sony mount has this forsight to allow the lenses to be smaller and sharper. I bet Fuji will make fantastic lenses - it just seems like they know what they are doing regarding that department.
The one major thing I'd have to say that Sony can learn from Fuji - look at their menu. From the Fuji video I saw, the menu is very well organized with muted/professional colors. I just think Sony has too many cute looking icons and does seem a little unorganized. I also like that Q button in the Fuji where you can quickly see and change all the major functions without hitting the menus. Sony needs something like that which I can program into one of the buttons.
In the end, I still await my Nex 7!
Hi Bjorn,
I am absolutely fascinated by the thoughts you share with this post, in particular your comments on the ergonomics of the latest Fuji design. The question is: to what extent is the design of the modern digital camera dictated by optical and/or mechanical requirements and to what extent is it driven by the need (or perceived need) to avoid a tectonic change that will frighten away customers? Of course, it is the latter.
Do I need to wave a small box of electronics around in the air in front of my nose? No. For the simple end of the spectrum we could just as easily see camera technology integrated into (for example) the bridge of a pair of sun-glasses, with controls built into a phone handset. [ Look at the sophistication of the camera in an iPhone 4S to see what can be done with miniature technology...]
For more advanced kit the answer is not so clear. I have 4 Canon L-Series lenses that represent an investment of multiple thousands of pounds - too much to abandon. For this reason I am inclined to want to use a system that enables me to build on that. Given the size and weight of an L-Series, I don't want a tiny or lightweight body to attach it to, or the camera loses it's balance. [ So I use a 7D, which is nice and chunky without the needless bulk of a 1D variant]. But I most emphatically *don't* need weight and bulk for the sake of it...
Where this gets interesting is the middle ground - the Nex-7, the M43 families, even the capable compacts like the Powershot G12. Where do these models go? With camera phones catching up from a quality perspective, and any gain in weight or bulk likely to attract unfavourable comparisons with SLRs, what selling strategy will work? I think the recent Fuji models are your answer? An attempt to wrap modern tech in something that looks nostalgic. But your summary said it right - the result is always going to be a poor compromise.
Digital image processing has allowed us to do more with photography than anyone could have thought possible. So why do we cling so hard to such out-dated thinking on the box that it sits in? What a shame...
All very interesting and thoughtful observations. As an X100 owner, I deal with the crashes and weird issues because it's a specialty "lens" for me that I use almost like a point and shoot because it creates great JPEG files (yes, blasphemous I know to not shoot RAW only). I'm not sure I'd be willing to deal with a system that had those issues. Having said that, I will stay tuned until I'm able to try one live to make any personal conclusions. Still, if it is US$1700 body only as "estimated", whatever that means (likely maybe 1700 Eur too - sorry!), then it might be back to the regular scheduled programming of the NEX7 for me as a future upgrade for the 5N, assuming the NEX native lens line-up really does improve.
Steve,
I'm surprised you admit so openly that you shoot JPEGs :-) I surrendered to the abysmal quality of Panasonic's JPEG files long ago and started shooting RAW exclusively. Suspecting the worst and being so accustomed to the RAW workflow, I've never looked at a NEX-7 JPEG either. From the brief time I borrowed an X100, I would say that the Fuji doesn't only shoot great JPEGs (I'll take your word for it as I didn't think to look at them before hitting the delete key) but also excellent RAW files. The lens seems not only to be very good optically but also optimized for the sensor in the X100. As to the weird issues, I'm willing to give Fuji the benefit of the doubt that they're not going to risk permanently damaging their reputation by releasing another high end camera with buggy firmware. The price of the X-Pro 1 is steep, but not unexpected. But as the price goes up most consumers become more critical, so they better get a lot right.
So you're back to the NEX trajectory. At least for now, until the rumoured Olympus pro, retro OM sees the light of day in early February ;-) The Sony lens line-up will improve, probably gradually though. I'm hoping the “high performance standard zoom” will be a constant F2.8 and that there will be another Zeiss prime. Wishful thinking, I know.
Tom,
Thanks. I won't be responsible for tempting you :-) Still, I have to say that the compact 20mm F1.7 pancake was my most used lens in 2011. On the GH2, it creates a compact kit with good low light capability. I often left the house with the pancake as my only lens. After a while I found the focal length versatile enough that I didn't miss a standard zoom. The pancake is a good lens, but if you don't mind spending a little extra, maybe you should also have a look at the Leica branded 25mm F1.4 prime. It's a little larger but offers a half stop faster maximumaperture. I haven't used it myself, but would have gotten it if I hadn't made the switch to NEX.
Rishio,
I always like minorities, they're more interesting than the majority :-)
I agree with the points you make when comparing how one accesses individual controls on the two cameras. The NEX-7 puts all the major exposure controls within comfortable reach of my right thumb so that I can support the lens, manually focus or even hold an umbrella with my left hand. Like you say, placing the lens mount to the left of the camera gives the grip the room it needs. The same is true for the tilting screen, which has been moved to the extreme left on the rear of the NEX-7. That gave Sony quite a bit more room on the right for the thumb grip and controls than on my Panasonic GH2.
I hadn't considered that the complexity of Fuji's viewfinder system might lead to a higher incidence of failure. That could certainly be an issue considering the lenses that need to move back and forth to switch between the different magnifications and the between the EVF and OVF.
The relatively deep grip on the Sony NEX-7 is surprisingly comfortable the way it is shaped and moulded around the camera from front to back. I also suspect that the X-Pro 1 won't be as comfortable although the thicker body may make up in part for the for the shallow grip. The movie button is certainly easy to access on the NEX-7; a little too easy in fact as I have activated it accidentally on occasion. I'd like to be able to program it so that you have to push and hold the button for 2 seconds before the camera starts recording. Or even re-assign the button to something more useful for primarily stills shooters like myself. I'd opt for toggling back and forth between spot and multi metering. Still, for photographers that shoot a lot of video, I can see that having the button is very useful.
I also think that Fuji's lenses will probably be excellent. Their focal lengths, maximum apertures and sizes are all very appealing. The tabbed menus on the Fuji do look better than Sony's NEX menu. Sony's Setup menu is an endless list that you have to scroll through. Luckily that's not necessary very often; in my case I use the setup mostly to turn the peaking function on or off and to format the card. Sony has a screen that shows only settings. Oddly though, you can't access any of the settings there to change them. There is room for improvement, but that won't be any different from the X-Pro 1 upon its release.
Clive,
You make an excellent point when you ask to what degree camera design is dictated by the fear of frightening away conservative customers. The supposed sales success of retro styled cameras like the Fuji X100 and Olympus' E-P range will reinforce this strategy at the respective companies. However, there seems to be less adversity to photographic devices that exploit modern technology among the young. On average they have less disposable income, so we haven't seen radical departures from the traditional camera in high end photographic products. But that will change as they grow older. Right now, the dinosaurs still rule.
Being locked into a system makes it impractical to adopt radically new technology, especially when new systems don't yet offer the capability of the established systems. I wonder though how long that will last. I can see digital technology overcoming many of the practical limitations of compact imaging systems. Maybe not some of the aesthetic ones, but how many are going to be overly worried about controlling depth of field when they didn't grow up in the age of the aperture ring?
One day there'll be a rude awakening for the companies clinging on to out-dated concepts. They'll find that an outsider has taken over their market share by doing what they were afraid to do all along.
Bjorm,
Yeah, it just turns out that for me the best way to use the X100 is strictly as a JPG only OOC machine where I've set most things up beforehand. It's my auto transmission vehicle whereas the 5N is strictly manual including lenses. I'm sure RAW works great on the X100 but I haven't had to do so. I completely understand why you felt compelled to shoot RAW for the Panasonics. I did as well. :-)
Steve,
So you're using the camera with a full suite of sophisticated controls in what is essentially point & shoot mode while you use the camera designed wit a stripped down, unintimidating user interface in manual mode ;-)
That speaks volumes about how flexible Sony's UI is.
Bjorn -- Crazy isn't it! The X100 has a full suite that is just too convoluted and awkward to use in manual mode (at least for me) yet strangely comes into its own in "auto" mode. Of course, this says something about how good that "auto" mode is (by auto, I effectively mean aperture priority mode, auto iso/wb and shooting jpg only), which also says something important. Agree though that there's something to be said about that NEX. Now that you mention it, I never really think about the NEX UI because it just disappears into the background for me. I only know the 5N fiirsthand, but I'm sure the 7 takes this all to another level. I have to say that my immediate reaction to the actual Fuji X Pro 1 announcement was that the 7 was starting to look mighty impressive and cheap and I'm very brand agnostic as I'm sure you've gathered...
Steve,
I'd call myself brand agnostic as well. If somebody else does it better, then I'm all for it, at least on paper. Having a whole bunch of lenses sitting around can make acting on these convictions impractical. Witness my collection of m4/3 lenses that I now have to sell at a loss.
Having a camera that works well in one's own flavor of automatic can be a godsend as it allows you to concentrate on getting the photo knowing you can rely on the camera to get everything else right. Like you say, it's a crazy world where that camera turns out to be the X100.
The NEX interface does sort of disappear into the background. Part of the reason for that is it's highly customizable as well as context driven. Controls automatically appear as you need them. As an example, I was playing around with the panorama mode of the NEX-7 where the top left dial automatically changes to selecting orientation and direction. It's a very good system, even if it could be improved with a few firmware tweaks here and there.
The aspect that I do find attractive about the Fuji's X-Pro 1 is the selection of 3 bright primes, supposing that they live to expectations. I would miss having a 35mm equivalent though, a focal length which is covered beautifully by my Zeiss 24/1.8. As to the price, if the X-Pro 1 had really excited me, I might have been able to find some way to make it happen. But it doesn't so that problem won't come up.
Dear Bjorn,
when you have some time can you write something about the new-7 and the 5N ?
Thanks very much
A.
Aliant,
Good idea; I'll do that as soon as possible.
I just came across your homepage and enjoy reading the little I have read so far! :-)
Just one observation or thought regarding your comments on the Fuji X-Pro 1. Now, I don't know if I will buy it, but based on the specs it looks promising. I sort of enjoy the retro look, but don't want it to cripple the camera. Like, I prefer the Pansonic GF1/GX1 ergonomics over the Olympus P-E1/2/3 cameras. One thing, however, that neither Panasonic, Olympus or Sony has been able to do with the their camera is reduce the shutter noise. This may seem like a minor thing, but for me it's almost becoming the most importing factor. All three brands produce excellent files (at least if you shoot RAW), their looks are different with different appeal (I don't care for articulated screens), but one thing Fuji has managed is to keep it quiet.
I have the X100 and love the results, but are sometimes annoyed by slow focus or a lousy battery. The menue is fine, but the scroll-wheel is poor. I have been looking at the NEX 5n and the 7, but since there is only two native prime lens (16mm and 24mm), I have a hard time deciding. I don't think I will get the GX1 and return to M43, but the Olympus OM-D may change that. Again, it depends on the small things with the camera. I will keep reading your journal and see how you like the NEX-system!
Thanks for the encouraging words, AskB.
You bring something up that I hadn't considered up until now. It's been such a long time since I've used a camera with a quiet shutter that I've learned to live with the louder variety. But I can see how a quiet shutter can be an additional asset when wanting to shoot unobtrusively. For my personal style of shooting, I still classify a tilting screen as more important, but if I could also have a quiet shutter sound that would be very welcome.
You may get what you want sooner than you think. I think Sony - who already have an electronic first curtain - and definitely Panasonic are working toward a global shutter which is silent. Panasonic has suggested that global shutter technology may find its way into the GH3. I've kept a couple of my favorite m4/3 lenses just in case I can't resist the GH3.
I've shot briefly with the X100 and loved the files it produced as well. I can certainly understand the attraction. It is hard to decide on a system camera. The choice is made even more difficult by constantly improving technology and feature sets. The next best thing is announced even before you're able to buy last month's dream camera. Then there's the uncertainty if the system you choose will eventually feature the specific lenses you need. If you decide to get the Olympus OM-D at least you won't likely have that issue. As far as NEX goes, I have a normal range of focal lengths that serves most of my needs (16/2.8, 24/1.8, 35/2.0 via adapter with a stabilized 50/1.8 on order). I'm still hoping that Sony will release a high quality ultra wide prime or zoom and a bright telephoto option.
But you're right, it is often the small things which can mean that a camera doesn't work for you. Those are very personal.