Did I Leave Fuji, or Did Fuji Leave Me?

Several readers have noted that I've kind of drifted away from Fuji in the past couple of years. I don't shoot with mine very much any more.

But did I leave Fuji, or did Fuji leave me? I sometimes think it's the latter. There have been plenty of signs recently that Fuji, like other manufacturers, is changing its products to go after videocentric shooters. The switch to a "flippy" screen with the X-T4, although perhaps not a deal-breaker for a sensible person, was at least a tell-tale. The change left me cold. I don't like that style of viewing screen. And it was especially disappointing because I always thought the viewing screen of the X-T2 and X-T3 is the best implementation of that feature anybody ever designed*. Anybody. Ever. And they threw that away. Recent X-H[x] cameras are larger and/or heavier than the original X-T1, more oriented toward extreme performance and either professional users or users whose deepest engagement with photography takes the form of comparison shopping for specs. Not impressed. Lastly, recent lenses have been tending toward larger, more expensive "statement" types rather than the small primes we originally liked.

Note that I'm not setting out a case against Fuji. I like Fuji. I still like Fuji. And since I still have two bodies and a more extensive set of lenses than I've ever owned for any digital camera, nobody can say I've left Fuji behind. But on the other hand, the things I liked Fuji for were:

• The handy, portable bodies for "AdAms" (advanced amateurs) and enthusiasts;
• The classic pseudo-retro dials 'n' buttons gestalt;
• The compact primes;
• The unapologetic emphasis on stills.

Now they seem to care about video shooters more, they're making lenses more like the newer 33mm ƒ/1.4 rather than the characterful, old-school 35mm ƒ/1.4 I love (360 vs. 187 grams, bah!), and the X series has joined the megapixel wars. And starting now they're apparently going to be in a dither about which of their X lenses are 40-MP ready. (:Eyeroll: along with the "bah humbug.") They seem overly anxious to compete with all the FF cameras that dominate mindshare now. Maybe they need to remember Mitch Hedberg's turkey joke.

I'm not saying Fuji shouldn't do what they're doing. And of course a lot of that original goodness is still in there. But it seems to be a subtly different company than they were eight and a half years ago when the X-T1 came out. On the one hand, Fuji went its own way by sticking to APS-C and medium format and skipping over 24x36 (a.k.a. "full frame"). But then, it also has seemed very insecure in that it's been trying to create APS-C cameras that can sorta-kinda compete with FF. The latest move, aping Nikon and Sony, of splitting "high speed" and "high resolution" versions of the same body, is in that spirit. I mean really, 40 MP? Why, when you already offer 100 MP in a larger-than-FF sensor?! Stop racing. You already won.

I never thought I'd say this, about this company in particular, but what Fuji needs is a clearer internal mission statement.

"Somebody needs to tell the turkeys, 'man, just be yourself. I already like you, little brother! You do not need to emulate the other animals. You got your own thing going.'" —Mitch Hedberg

Mike

*Herbert ("Burt") Keppler, the longtime editorial director of Modern Photography magazine whose monthly column was essential reading for photo dawgs and gear geeks in the pre-internet era, warned people like me about this, in an article I searched for in vain for many years and could never find again. He pointed out that the more cameras you review, the more times you will encounter cameras that got one particular feature perfectly right...and then you'll have to watch that perfect implementation vanish beneath the waves again, because everyone (well, except Leica—you can still buy an MP brand new, to this day) moves on no matter what. He's right, it's true. (And don't be a nit, don't buy an M-A.)

My memory is that the article featured a drawing of a "Frankencamera" that incorporated all of the features Burt had loved from many different cameras he had tried over the years. I think I'd have to hire a researcher to find the darn article again.

-

Book o' the Week

Annie Leibovitz. At long last, the unlimited trade edition of the humongous, limited Sumo edition by Taschen. Mind you, this is still a huge book—15.4 inches high, 556 pages, and almost 13 pounds. And the price! (But that's nothing—the Sumo weighed 57 pounds and cost $7,500.) This is the closest ordinary folks (with ordinary shelves) will get to the ultimate Annie.

The book link above is a portal to any purchase at Amazon. You're very kind use our links, as they help support the site.

Affiliate Link to B&H Photo

Original contents copyright 2020 by Michael C. Johnston and/or the bylined author. All Rights Reserved. Links in this post may be to our affiliates; sales through affiliate links may benefit this site. As an Amazon Associate I earn from qualifying purchases.

(To see all the comments, click on the "Comments" link below.)
Featured Comments from:

Stephen Scharf (partial comment): "I'm with you on some respects, Mike. Specifically, about putting the flippy screen on both X-H2's. My hope was one of these bodies would keep the three-way articulating screen of the X-T2/XT-3/X-H1. Anyone who has ever tried to use a flippy screen when shooting Architecture or real estate with the camera mounted on an L-bracket on a tripod knows that the L-bracket prevents the flippy screen from being able to 'flip outwards' in landscape orientation, or upwards when shooting in portrait orientation. My guess is Fuji caved to all the 'online reviewers' who kept slagging them for not having a flippy screen. The same applies for the orientation toward shooting video now rather than stills. That being said, I personally really like the somewhat larger, more robust camera bodies of the X-H series. It makes it easier handling the camera when shooting a large tele, e.g. the Fujinon 200mm ƒ/2, especially for motor racing, sports, etc. As I know, and several of your other TOP readers who are working pros and shoot with the X-H1 know, its a very good body for pro work. Rugged, robust, reliable and durable."

[Ed. note: for the full text of "partial" comments, see the full Comments Section by clicking on "Comments (#)" at the very bottom of every post. You can also click on the post title, which has the same effect of adding all the comments to the bottom of the post.]

Dogman: "Somebody once said, 'If it's good, really, really good...they'll stop making it.' What attracted me to Fuji was the Leica-like handling of the X-Pro and X100 models along with their relative simplicity. Gone. At least the X100V hasn't completely gone to hell, but the X-Pro3 is a travesty. I hope my X-Pro2 bodies last forever. I've given up hope that Fuji will ever again make anything for me."

Alberto Bengoa: "I disagree with this take that Fuji is leaving behind their original philosophy. In my opinion they are expanding it, though; with the new X-H2/s they have higher performance/megapixel cameras, and their latest set of lenses are truly great optics. But they have not stopped making the smaller double-digit X-T's, they still have the E line of cameras, they still have the Fujicrons, they very recently updated their excellent and tiny 27mm ƒ/2.8 . None of that has gone away.

"Yes, I lament the flippy screens, but apart from that there's no other brand (I'd wager that there has never been any other brand in the history of photography) that provides such a configurable system—you can use the same excellent optics in a very small package, a rangefinder-like optical-viewfindered body, an old-style SLR-like body, or a high performance modern DSLR-like body. Or a combination of those. It's unparalleled variety, quality and configurability.

"I went with Fuji a decade ago (a Canon expatriate) and I have never regretted my decision—I just got an X-H2s and it's an astounding camera, that works wonders with the same lenses I have been using since my first X-M1 (and that was a small camera, speaking of portability and variety)."

Stan B.: "Most car companies that introduce a nice compact will always spoil it by making each successive model progressively larger. Fuji should have concentrated on getting their autofocus down before adding size and features. They are now larger than many FF mirrorless bodies and making larger, more expensive lenses to very questionably compete with their larger sensor rivals."

Chris Kern (partial comment): "Seems to me Fuji is expanding its product line in an attempt to expand its market—i.e., in order to appeal to people who are trying to make a living from photography. I don’t envy the surviving pros, but from everything I’ve been reading many of them need high-speed autofocus and frame rate as well as video. As an amateur who was drawn to the “old Fuji” for precisely the reasons you mention, as well as for their compact zooms with excellent image stabilization, I don’t get the impression the company has abandoned me at all."

Jim Arthur: "I found a trove of Keppler articles at mikeeckman.com. If you can remember an exact phrase from the article it might help with your quest.

Bridgekeeper: What... is your quest?
Arthur: To seek the Holy Grail.
Bridgekeeper: What...is the air-speed velocity of an unladen swallow?
Arthur: What do you mean? An African or European swallow?
Bridgekeeper: Huh? I—I don't know that. Auuuuuuuugh!

Mike replies: A great scene. Pity there are whole new generations who don't know Monty Python.

By the way, a small claim to fame: I took an English course called "Epic and Romance" at Reed college, and actually managed to convince the professor to take the whole class on a field trip to see "Monty Python and the Holy Grail." There are some accomplishments in life of which one remains lastingly proud.

Rand Adams: "You hit a nerve. Fujifilm’s pandering to the vlogger crowd with the implementation of the 'flippy screen' chaps my hide. I agree 100% that the original tilt screen implementation is brilliant. In fact, the X-T3 is the 'end of the line' for Fuji for me for exactly that reason. I bought the little X-10 and in many respects it is a wonderful little camera, but the screen implementation is so off putting that I have to 'get over myself' every time I pick it up."

Mike replies: That was about the way I felt. The flippy screen and also the demise of the EC dial on the X-H1. I was crestfallen (what is a crest and how does it fall, anyhow?) when the X-T4 came out. I knew it was the inflection point that marked the parting of the ways. Ah, Fuji,

How [did] I love thee? Let me count the ways.
I love thee to the depth and breadth and height
My soul can reach, when feeling out of sight
For the ends of being and ideal grace.
I love thee to the level of every day's
Most quiet need, by sun and candle-light.
I love thee freely, as men strive for right. (Elizabeth Barrett Browning, Sonnet 43)

And yet,

Thou hast prevaricated with thy friend,
By underhand contrivances undone me:
And while my open nature trusted in thee,
Thou hast slept in between me and my hopes,
And ravish'd from me all my soul held dear.
Thou hast betray'd me. (Nicholas Rowe, Lady Jane Grey (1715), Act II, scene 1, line 235 ff.)

Some might think that hyperbolic. (Comedian on XM Radio the other day: "I got a massage and a pedicure. And I got to spend some time in the hyperbolic chamber—and it was A-MAZ-ING!!" The audience didn't laugh, but I did.)

Patrick Pope: "Now that Fuji has split the lineup into the X-T and X-H series it would be nice to see the X-T series return to its roots of a stills-oriented shooting experience while the X-H becomes the modern, hybrid option. Unfortunately rumors of the X-T5 don't seem to imply that will be the case. We should know in the next couple days."

Zave Shapiro: "You're so right. For me it was the exposure compensation dial. Shooting in the gloom of dusk? No Problem. Shooting high-key? No Problem. I now have X-H1's (old guy needs IBIS) and can set up a mediocre equivalent. But you know, Mike, the latest Miata has no glove box, no spare tire and it takes six entries to erase a radio station from memory. The feature explosion is infecting many products."

Mike replies: Yes, you are so right, the ND "MX-5" falls somewhat short of pure, alas. A sports car should have no radio. Anyone knows you're supposed to listen to the sound of the engine.  [:Laughing emoji with crying eyes:]

Kenneth Tanaka: "I hear ya, Mike. Over the past 10-ish years I’ve become broadly invested in Fujifilm’s terrific camera systems. My X100V remains among my favorite and most enjoyable to use fixed-lens cameras, beating even the Leica Q2 in my book. My little X-T30 is perhaps my favorite 'street' camera. Coupled with the little kit 18–55mm or the fast 23mm there’s little it can’t catch. My X-T3 is perhaps Fuji’s best APS-C still camera but the more video-centric X-T4 is a bit of a disappointment to me, even with its IBIS. (I’m also not a fan of the fully-articulating narcissism screens.) My GFX100s is a marvel, but it’s in a different conversation.

"Admittedly my own photographic interests and needs have meandered from Fuji's X system since the pandemic. I'm spending more time making fewer, but more deliberate, more complex, and larger images now. I've no interest in video although I can clearly see that video is where Fuji and others needed to go for any growth. The digital still photo market is mature and saturated. So I’ve no real interest in any new X-bodies or lenses. In fact, just last month I sold four Fuji X lenses that I just wasn’t using. Like you, I wish Fujifilm well. But I have all their products that I need or want for the foreseeable future."

Comments

[Albert Smith]

I went "full Fuji" with the X-T2 and XPro2, both sharing the same sensor and processor giving my Nikon D700 a run for its money, in both ergonomics and image quality.

I saw a shift coming that was not to my liking, but the great thing is that the things that made me like Fujifilm still exists and there's no reason to throw out cameras every couple of years because some "new and improved" model gets released.

I still use my first two Fuji cameras and will continue to do so. I also bought two X-T3 bodies which for a while might have been one of the best deals in photography when they released the basic version without battery charger. Those X-T3s are my last cameras.

Is Fuji abandoning its base? I hadn't noticed.

[Jeff]

You’ve told us the Keppler story before, along with related axioms/laws. Remember, there can be no perfect camera. (Would you have ever drawn the Sigma fp, with attachments, as your perfect “Frankencamera”?)

https://theonlinephotographer.typepad.com/the_online_photographer/2016/12/the-improvement-law-and-the-resignation-imperative.html

[John Krill]

They're also cutting back on silver lenses. I hate the all black trend because black just sucks up all the heat from hot desert days here in Southern California.

All the Fujifilm lenses I have purchased have been silver. But now the new 27mm 2.8 is black only. I can see Fujifilm cutting back completely to black only. Cost saving?

My X-E4 is silver top and bottom plates. But I fear everything, lenses and camera bodies, will all be black in the future.

[Homo_erectus]

I'm in the same boat. Been using Fuji exclusively since 2016.

I love my X-T3 and X-Pro 2. The 90mm and 100-400mm are both great lenses that I use daily.

I rented an X-H2s this summer and it was okay. Fine really. It's well made, physically speaking. The object was clearly made by people who know how to make camera shaped objects. I didn't like it much as a camera. And the grip hurt my hand. The camera looks really great through, like a real camera.

I did find the Custom modes to be useful. It was easy to set them up and it was convenient to have presets for my most common shooting situations just a click away.

That's the extent of what I liked.

The autofocus is not much improved over the X-T3 at least in my hands for what I shoot which is my dog running around, birds, and my wife. It sure is exhilarating to watch the camera drawing little green boxes on the eyes, face, head, and body of the subject. It really gives you the sense that the camera knows what the subject of the photograph is.

It's a shame that the camera isn't able to focus a lens on a subject as reliably as it can draw green boxes over the subject.

My photographic interests have changed since 2016 and I'm wanting some lenses that aren't available on X mount. So, I find myself looking at other systems to see who offers lenses in the focal lengths that I want.

Micro 4/3 seems to have the lenses I want and the OM-1 seems to be a good match for my dog and bird photography. On the other hand, it's a lot of money and my X-T3 works fine. I'll probably just use it for a few more years.

Meh. It's a good thing that I like taking pictures even more than I hate dealing with the equipment needed to take pictures.

[Stephen Scharf]

I'm with you on some respects, Mike. Specifically, about putting the flippy screen on both X-H2's. My hope was one of these bodies would keep the three-way articulating screen of the X-T2/XT-3/X-H1 on one of the bodies. Anyone who has ever tried to use a flippy screen when shooting Architecture or RE while the camera mounted on an L-bracket on a tripod knows that the L-bracket prevents the flippy screen from being able to "flip outwards" in landscape orientation, or upwards, when shooting in portrait orientation. My guess is Fuji caved to all the "online reviewers" who kept slagging them for not having a flippy screen. The same applies for the "heavy" orientation for shooting video now rather than stills.

That being said, I personally really like the somewhat larger, more robust camera bodies of the X-H series. It makes it easier handling the camera when shooting a large tele, e.g. the Fujinon 200mm f/2.0, especially for motor racing, sports, etc. As I, and several of your other TOP readers who are working pros and shoot with the X-H1, its a VERY good body for pro work. Rugged, robust, reliable and durable. These "Design for X*" quality attributes are not "exciting" and never get mentioned in "reviews", but they're very important for working pros.

This isn't to say my requirements are more valid than yours or anyone else's, rather that each of our respective requirements are equally valid. This principle, though, is not something the online reviewers seem to understand...they continually put forth the view that....it's all about them. Cheers.

*– Design for X: All the "-ilities": Reliability, Durability, Serviceability, Repairability, spare parts Availability, etc. Online reviewers NEVER discuss this because they're not "sexy", but they're very important in the real world, where we all actually live.

[Eduardo Cervantes]

About Kepler's warning, I feel the same disappointment all the time. Just when I feel I will get the perfect camera for me in the next iteration, one, two or three features vanish to give space to the features missing in the former model. Conspiracy belief or not, sometimes I think camera manufacturers have a classified department with people in it just brainstorming on how to produce the next camera improving upon the current model but leaving one or two primordial things for yet another next model. It's been now many years since I bought a camera that at the time, had nothing to be desired (but of course I knew back then it was a camera for 3-5 years only). It didn't matter and that camera was the Canon 5DMkII. After that, it's been a disappointment after a disappointment. I'm getting tired of this, really. Is it our fate as shutterbugs to live forever under this industrial tyranny? Photography is supposed to be for fun and relaxation.

[Bill Giokas]

Perhaps the answer it the iPhone which takes wonderful stills which everyone carries but video is their way of selling more cameras.
Bill

[Jez Cunningham]

“I think I'd have to hire a researcher to find the darn article again.”
We’re not falling for that one again - provoking your entire readership into doing your internet trawling for you! Oh what - another commenter has already found the link?! Unbelievable!

[Well it didn't work last time. Can you blame me for trying again? --Mike]

[Dan Khong]

For a while, I shot with my Fuji X-E3 and multiplied non-Fuji lenses by the 1.5x factor. I lost a lot of finger prints of those vintage lenses in the adaptation process.

When I acquired my highly affordable Canon EOS-RP, its full frame won over and I cannot imagine how I would want to shoot with my Fuji except with Fuji lenses.

[Chris Kern]

Mike: . . . the things I liked Fuji for were:

The handy, portable bodies for "AdAms" (advanced amateurs) and enthusiasts;

The classic pseudo-retro dials 'n' buttons gestaltz;

The compact primes;

The unapologetic emphasis on stills.

X-Pro3? X-E4? And an X-T5 reportedly will be announced in November. Besides, aren’t all those Fuji “compact primes” still shipping?

Seems to me Fuji is expanding its product line in an attempt to expand its market—i.e., in order to appeal to people who are trying to make a living from photography. I don’t envy the surviving pros, but from everything I’ve been reading many of them need high-speed autofocus and frame rate as well as video.

As an amateur who was drawn to the “old Fuji” for precisely the reasons you mention, as well as for their compact zooms with excellent image stabilization, I don’t get the impression the company has abandoned me at all.

[Chris Hunt]

Ouch, I own an M-A. :)

Could one not argue that it was the model whose features did not pass beneath the waves? Who needs stinking batteries and a meter anyway?

[Wait, what did I say? I meant the M-A is the one to get. :-] --Mike]

[Charlie Ewers]

An X-T1 with IBIS would be just about perfect.

[Jamie Pillers]

Once I saw Nigel Danson's comparison of large prints made from X-T3 file vs Nikon full-frame file, I lost my 'itch' for full-frame. His video is here: https://www.youtube.com/watch?v=zZNr24yVD9s

I have the X-T4 and have come to accept the flippy screen. I really love having the ability to flip the screen toward the body, protecting it from the elements (primarily the buttons on my shirts).

So... X-T4 with the original 18/2, 35/1.4, and 60/2.4 is a really excellent still photography kit IMO. And I've never used it for video, so.. it very much emulates the specs I once had with my Nikon F3 and Nikkor primes.

[Doug Anderson]

I agree with you about the X-Tx and X-Hx cameras and newer lenses. I occasionally use a relative's X-H1. The IBIS is nice but otherwise I prefer my X-E2. The X-Pro3, X-E4 and X100V still have the traditional controls, and Fuji still catalogues the older smaller lenses.

[Ricardo Cordeiro]

Not sure about Fuji moving on the direction of video or big expensive cameras.

One might say so observing the recent announcements, but the X-H2 and X-H2s are objectively a restart on Fuji professional line of cameras (after the failure of the X-H1) while all the other cameras in the lineup are more enthusiast-oriented.

There’s still the X-S10, X-T30, X-E4, X-Pro3. They’re taking time to get an upgrade, probably due to the semiconductor crisis but also due to Fuji learning from past mistakes and releasing the professional line with upgraded tech first to then make derivations of those for the mid-range and lower-range models (with the X-H1 they made the reverse).

Regarding the sensor, I don’t care about the extra resolution as long as the sensor is equally good or better than the previous generation (like it’s been happening in the past). I remember people complaining about the same with the jump from 16 to 24 MP, but the truth is that the new sensor was significantly better. Sure with 40MP I would like to be able to choose various tiers of resolution in camera (something like 40, 24 and 16 MP), my computer storage would appreciate that.

Also the preoccupation of the older lenses being able to deliver the goods at 40mp is, from what I’ve read, marketing bs.

Totally agree about the lenses though. The focus on smaller primes or revising older designs that need modern tweaking seems not to be on their radar for quite some time (with the exception of that lazy 27mm MkII revision).

[Lex]

Mike,

I am somewhat puzzled by your misgivings regarding Fujifilm’s current direction, and potential abandonment of the type of Fujifilm technology you admire. Isn’t it likely that Fujifilm is merely expanding their product base to broaden its appeal to potential new users, including videographers and those who require larger lenses. I do not think this necessarily means they will abandon their smaller camera bodies and compact prime lens line, which currently includes 6 lenses, with an additional one planned for next year.

You stated: “Recent X-H[x] cameras are larger and/or heavier than the original X-T1, more oriented toward extreme performance…”. While true, does this necessitate that they will abandon their smaller camera bodies (including the X-Tx and X-Tx0 series) and compact primes? Seems unlikely. In fact, the X-T5 is rumored to be announced next month.

You stated: “recent lenses have been tending toward larger, more expensive "statement" types rather than the small primes we originally liked.” Again, updating their ultrafast lenses does not necessitate that they will abandon the compact primes.

Finally, you stated: “Now they seem to care about video shooters more, they're making lenses more like the newer 33mm ƒ/1.4 rather than the characterful, old-school 35mm ƒ/1.4 I love…”. Actually, Fujifilm have indicated that they are keeping the 35mm ƒ/1.4 lens in production, and adding the 33mm ƒ/1.4 as an alternative, not a replacement.

You may be right regarding the direction Fujifilm is pursuing, but it seems to me a bit premature to make that assessment based on the current evidence.

[Objections noted, but note that I also said "I am not setting out a case against Fuji" and "I still like Fuji." --Mike]

[Thomas Mc Cann]

BMW have the same problem. Successive versions of the 7 dropped features I enjoyed on previous versions. If it ain't broke don't fix it.

[David Kennedy]

I too have lost my enthusiasm for Fujifilm cameras. It’s been clear recently that a more simplified UI was the trend and this has been exemplified by the XE-3 to XE-4 transition, the XT-3 to XT-4 transition and the recent GFX models. As Mike says, the “quality” lenses, more suitable for the new 40mp sensor, have been getting heavier and larger. So, the convenience and portability of Fuji cameras has been compromised which makes them no different from full frame mirrorless cameras. Some of the mirrorless lenses, though,such as the Nikon Z24-70 F4 and Nikon Z 50mm, are quality but relatively compact lenses. Needless to say, I have transitioned away from Fuji, only keeping the X100V.

[Alex Mercado]

A crest is the heraldic badge on a kanigget’s helmet. It is typically fallen when they are defeated in combat. Sir Robin was not crestfallen only because he bravely ran away.

[Alex G.]

My X-T1 hasn’t changed at all. It’s literally the same camera I bought when it was new. And it still makes a gorgeous 12 x 18” print. It IS looking pretty ragged, it’s heavily “brassed” except, of course, it’s not brass. Someday it will fail me and I’ll bump up to something more recent. But I’m still on board with Fuji.

[John Krumm]

I love my wife's new used 2000 Miata with slightly growly exhaust and... an antenna that slowly rises up when we turn on the radio.

It's ok to move away from stuff. I like to send a box of goodies away to KEH knowing they will soon delight someone. I've also given gear away. We even gave a car away once (someone, amazingly, gave us the Miata, so we passed on our used Prius of similar value to a young family we know).

There arise occasional regrets, like when I re-process a photo from a camera I no longer have, and it seems to have a look I can no longer get. That's probably your advice to never sell a good lens. But if I did that, I'd just have a bunch of amazing, never used lenses.

[Bob Johnston]

What on earth is all the fuss about? When the X-T5 is unveiled (probably next month) it might not have a flippy screen. Let's wait and see. Fuji still have a full line of smaller cameras. What is wrong with them making some for video as well? They have to make money to survive.

[Miguel Tejada-Flores]

I sort of agree with you, Mike, and I also sort of don't.

The person who has written often and eloquently on the points you raise, by the way, is Ritchie Roesch, over at his Fuji-X Weekly website. He bemoans the flippy screens, the move towards 'dumber' PASM dials, the occasional crippling of certain Fujifilm cameras in an apparent non-Kaizen like attempt to force the photo consumer into having to buy a new body for upgraded features which once upon a time were included in the many free firmware upgrades Fuji used to frequently roll out, for not just 'some' but almost 'all' of its models.

The other side of the coin though is that one can still buy X-Pro3's with lovely controls - and X-T3's with the lovely tilting screens (and not the flippy ones beloved apparently of vloggers) - and... perhaps I'm a dinosaur but my last two favorite cameras were first an X-Pro3, and then the smaller camera which replaced it, the nifty X-T3. And most Fuji's incorporate, to various degrees (of hardware & firmware) the extraordinary in-camera film like jpeg 'simulations', which, coupled with some of the remarkable analog-film-inspired 'recipes' for X-Trans cameras (many of which are created and published by the aforementioned Mr. Roesch, who is one of the pioneers in that small field), have turned me into a jpeg-simulation-only shooter with my Fuji's.

Moral of the story: though their latest offerings, the X-T4 and X-H2, seem like steps backwards or sideways for many Fujiholics, including yours truly, the fact remains that some Fuji's, especially including the two I've owned, have been, simply, the best digital mirrorless cameras I've ever shot with. Period. And, I know this may sound like sacrilege, but... they're even better than my old Pentaxes.

[Paul Crouse]

Companies that produce cameras need to adapt or die in a rapidly changing world, just like everybody else. They are losing customers every day to mobile phones.
Honestly, I don't need 40 megapixels. I want to upload my photo(s) directly to the internet from the camera, as opposed to trying (and failing) to get the camera to connect to my
phone through Fuji's horrible app. My iPhone pictures are on Instagram instantly... Hmmm...

[Rob Campbell]

Companies make too many different cameras.

The same problem once existed with cars, and only when makers realised their mistake did they cut down variations and concentrate effort and money on a more narrow band. It probably saved many of them from extinction.

Nikon should retire the cut-frames and put all their effort into their FF ranges. They have neglected the small sensor ranges for years, and as they would seem destined to go fully FF, they should lance the boil and do it immediately: there is no gradual easing of pain; instant catharsis is the only route for them. If not, all they garner is a running sore of angry cut-framers wanting lenses they ain’t gonna get.

I think Fuji and others who want a slice of all the different pies are going to suffer: better to become leaders in one format than bit players everywhere. Cellphones are eating camera company lunches; looking elsewhere doesn’t alter that fact, and the sooner someone establishes a definitive ownership of something, as Leica has with popular Mono, the better for their chances of survival.

[Dean Johnston]

Hi.

Stan B.: "Most car companies that introduce a nice compact will always spoil it by making each successive model progressively larger.

Different companies I know, but I was out the other day and saw a modern mini. With a ‘real’ one parked close by. The difference in size was stunning - it literally stopped me in my tracks. I guess I’ll literally add ‘mini’ to my list of awesome meaning changes…

Peace and all that,
Dean

[robert e]

I doubt that there are enough amateur stills-camera enthusiasts who are not dentists to sustain a digital camera division, and Leica of course has the dentists. But I don't believe Fuji has forgotten us. They still make roll film for goodness sakes, both color and B&W (including perhaps the finest B&W film ever made).

Fuji seems focused at the moment on combining their recent camera expertise and their more established cine lens expertise to try to keep up with rapidly changing (and lets face it--shrinking) markets for cameras and lenses. This looks more like consolidation than diversification, at least to someone looking at the bigger Fuji picture.

Yes, the effect could be the same, leading to abandonment of us amateur stills-o-philes, but I suspect that if they do succeed with this strategy that Fuji may return some attention to digital stills, perhaps dedicating the rangefinder body type to that market. But I kinda hope they consider going modular, a la Sigma, as a way to serve multiple markets.

[Ben Rosengart]

I don't really get the dislike for flippy screens. I have always liked them on stills cameras. They're much easier to move around quickly than the X-T3 style, and they can be turned around to make the back of the camera screenless, which is so clean and pleasing to me.