The Online Photographer

Stained Glass Windows

The real price of the Leica M10 Monochrom is $8,379.95, not $20,396,742,085,730,953,837,592,380,750. On Kelly Blue Book, I just looked up the value of my car, an Acura I bought new, and it turns out it's worth between $10,400 and $11,900 in trade-in, or between $12,300 and $14,100 in a private sale. I was actually pleased to see this; the value of used cars has gone up. Three years ago, the same site thought my car was worth considerably less, maybe about the value of the Leica. In any event, I'm never going to spend the value of my car or even half the value of my car on a camera. Just ain't happening.

But that's just me. One thing I've learned over the years is that everyone's price sensitivity is particular to their own situation. There are whole swaths of the world population to whom a nice quartz wristwatch or a new digital camera is so far above their means that it's incomprehensible; and yet, down the road from me, someone just paid a million and a half dollars for a house that will most likely be a Summer home, not a place the owners will occupy year round. There's no virtue in what we each consider affordable. What you can or can't afford just depends on how much money you have and how much of it you're willing to spend.

Still, each of us can have our own standards that serve to ground us. Here's an old story that sticks in my mind.

At the Congregational church I attended during my formative years, there was a plain transparent glass window in the nave above the altar. In size it wasn't imposing or ostentatious; it was proportionate enough, but not large by any means. The proposal was made that the church should commission a glass artist to create a stained-glass window to fill the existing modestly-size aperture in the wall, to dress up the presentability of the nave. The proposal passed, and money was raised for the project—at which point it became controversial. A contingent of the congregation thought perhaps the expense was an extravagance, and that the money could go for something more appropriate to the church's mission. The controversy grew and was debated at length, albeit respectfully and without rancor as far as we kids knew. The discussions went on for months. Finally, the majority of the congregation just couldn't bring themselves to spend so much on something that amounted to decor. In the end, the money went to a mission that fed disadvantaged children in a South American country. The window in the church stayed as it was.

Another example of price standards is an opinion I used to hold when one of my hobbies was being an audiophile. My personal standards of appropriateness were that 1.) you shouldn't have more money invested in your stereo system than in your record collection, and 2.) your stereo shouldn't cost more than your car.

Those were just personal value judgments. They came from knowing people who had elaborate stereo systems but few records, and from a certain stereotype, the (usually single) male who lived an impecunious lifestyle, with a small, shabby apartment and a beater car, but who owned a lavish stereo system and loved nothing more than to argue the relative merits of expensive pieces of gear.

Of course there's nothing wrong with either of those things; free country, to each his own, and all that. Why not? It's none of my business.

I left the audio hobby behind in the mid-2000s, when I bought a particular issue of Stereophile magazine (or maybe it was The Absolute Sound—the two kind of ran together in my mind) in which there were not one, not two, but three reviews for individual components that each cost more that $45,000 (you need five or ten individual components to make up a system). The thought hit me like a bolt between the ears: what in the world has this got to do with me?

The value equation reached back to the stained glass window. Even if I had 5 x $45,000 to 10 x $45,000 in disposable cash to spend on a stereo, I certainly wouldn't spend it on a stereo. If you have enough money for a stained glass window, maybe you have enough money to feed some orphans in another country.

There's another funny/peculiar aspect to my own price sensitivities: I like value. It appeals to me. I get pleasure out of things being utilitarian, plain or at least not too fancy, and, especially, not ostentatious. When I briefly worked at a high-end audio salon, I was much more comfortable in the mid-price rooms than around the price-no-object displays. It's not my nature to want to puff myself up or rub other peoples' noses in their relative misfortune (I mean, assuming I could).

In human terms this is just weird. We're wired to covet status and display it when we have it. I just checked online, and there's now a stained glass window in that church I used to go to! And an organ, even. The entire altar has been renovated.

At any rate, an $8,400 Leica isn't actually expensive. Not unless it is to you. If you want one and it makes sense in terms of your particular price sensitivities, then it's quite possibly merely the correct camera for you.

Mike

Book o' the Week:

The second edition of old friend Bruce Barnbaum's The Essence of Photography is just out. Bruce wrote for Photo Techniques when I was Editor. I always enjoy his insights into the art and craft, even if his technique isn't the same as mine. I still learn. Mastery is fun to read about.

The above is a link to Amazon from TOP. Here's the new edition of The Essence of Photography at The Book Depository. The following logo is also a link:

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:

Joshua Rothman: "I think I have retrospective price sensitivity. Over the past couple of years, I've bought some big, fast primes for my Fuji system; now, I'm looking back at my photos and regretting it. The pictures I've taken with the cheaper lenses (the Fujicrons and the 35mm ƒ/1.4) are perfectly good! I should've stuck with those cheaper lenses to begin with, instead of going on an expensive lens odyssey. I'm actually a little shocked at how I was thinking about value-for-money. Pixel-peeping cast a spell over me, making me vastly overpay for sharpness about which I no longer care."

James: "I can only afford the best I can afford. I started saying this to myself when auditioning stereo in the 1970s, but I apply it to everything."

GKFroehlich: "One solution is to get a more expensive car."

The Universe is Forcing Me to Buy a Camera

Every now and then I make a rash promise. I'll say something like, "if somebody builds a ______, I'll buy one."

And then somebody builds a ______, and...I don't buy it. 

Usually because I'm too cheap. I acknowledge being cheap. Partly because of always feeling poor, and exposed, financially speaking. (When you work for yourself and survive by your wits, you tend to feel exposed, even during periods when you aren't.)

For example, I swore I'd buy the first B&W-only camera that came out. But then Leica was the company that first came out with a B&W-only camera.

I don't buy Leicas. Not because I don't like them, only because they all cost $20,396,742,085,730,953,837,592,380,750. (That number is a close approximation of what all Leica prices look like to me. Just a string of numbers divorced from all reality as well as all possibility.)

At the time I figured, well, it will only be a short time before another company takes Leica's lead and produces a cheaper B&W-only camera, so I'll just wait a little bit.

The Monochrom first came out in 2012. I'm still waiting.

The new Ricoh
But I'm burying the lede here. Bad journalism!

The news is that Ricoh is coming out with a new GR.

It's called the GR IIIx, and the news is that it features "a newly developed GR lens for high-quality street photography at a standard viewing angle." (Italics mine.)

More from the press release, which stands about a 60% chance of being a practical joke aimed exclusively at me:

The RICOH GR IIIx incorporates a newly developed 26.1mm F2.8 GR lens, which harmonizes exceptional image quality with a slim design. Unlike past GR-series models which featured a 28mm wide angle of view for exaggerated perspective, this lens provides a 40mm standard angle of view in the 35mm format, delivering images with a more natural perspective and a more truthful sense of depth for a completely different type of street photography.

Ricoh is bringing out a GR with a 40mm lens. Apparently...I don't think I will completely believe it until I am actually holding it in my hands. It could be a trick. The Universe does tend to play tricks on me.

Anyway, assuming this is something that will come true and not an April Fool's in September, don't you think I have to buy one of these? Forty millimeter equivalent is my favorite focal length, and I've championed the virtues of the focal length in print and online since the '90s. I have to have been at least partly responsible for its increasing popularity.

The kicker is that I've been mulling over the idea for some time now of doing an OC/OL/OY. (One camera, one lens, one year, in case you're new here.) It's not like there aren't other cameras with 40mm-e lenses; I have several. It's not that. Just that the Universe seems to be trying to tell me something.

And the GR IIIx will have IBIS, another technology I like, as I just mentioned yesterday. That settles it—the Universe is trying to communicate.

I think I'm kinda being...forced to buy one of these and do an OC/OL/OY. What do you think? I think I kinda have to.

Unless of course it turns out it costs $20,396,742,085 and I cheap out.

Mike
(Thanks to J. Adam Carlberg)

Book o' the Week:

The second edition of old friend Bruce Barnbaum's The Essence of Photography is just out. Bruce wrote for Photo Techniques when I was Editor. I always enjoy his insights into the art and craft, even if his technique isn't the same as mine. I still learn. Mastery is fun to read about.

The above is a link to Amazon from TOP. Here's the new edition of The Essence of Photography at The Book Depository. The following logo is also a link:

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:

John Robison: "Yep! Don’t know how many times I’ve engaged in that 'they [even though "they" don’t exist]  ought to make a...' And even as the thought forms I know that the R&D alone would be $5 million and the market tiny and…and…I could never afford it anyway.

"But, that said. What is so difficult with not putting a color filter array over a digital sensor? Can’t the chip fabricators just skip that step?"

SteveW: "Yep."

Albert Smith: "The lack of a viewfinder is a deal-breaker for me. Dioptor-adjusted finders are absolutely required in bright sun, as rear LCDs flare out and, for me anyway, require reading glasses to see. Ricoh make an accessory finder à la Leica, but with no confirmation that the focus is on the right thing. It is a good idea though, 40mm-ish lens on a compact camera with good imaging capability. Maybe that's why I have the 27mm fused to my X-E2s."

Chris: "List price (I hear) is going to be 999 dollars. Not cheap, but not Leica expensive.... I believe it's going to be a stunner in terms of performance—Ricoh never plays around with their GR lenses. And it will fit in a pocket. I always hoped Ricoh would do this, but I never really believed that they actually would. Well done, Ricoh/Pentax."

Bahi: "I was preparing to write to you in excitement about this. It's the first digital GR that I'm interested in. Would love a digital viewfinder accessory that shows focus and a histogram but perhaps that is asking too much. It looks fantastic."

Bob Rosinsky: "But what about a brand new Sony A6600?"

Gilly: "I have the GR III and absolutely love it. The 28mm focal length is great and I have the wide angle lens as well when I need it. A 40mm would round out my lens choices perfectly. Two small cameras would be all I need for my basic photography."

Moose (partial comment): "OC/OL/OY has always struck me as like being The Man in the Iron Mask, with only one eye hole, or perhaps a form of torture in one of Dante's circles of Hell. I was recently wandering through a great botanic garden and old-growth redwood groves. I was carrying three cameras, covering 10mm to 1120mm FF equivalent. That was just about enough. (This photo this small is a crime.) Would I be allowed to process the endless supply of Raw files on my computer, while I abstained from photography for a year?"

Mike replies: Funny. One man's meat is another man's poison!

Gary: "I agree with James. I quite like my GR III which takes wonderfully sharp images with its APS-C sensor. It's a really versatile camera, to my surprise. And so small and light! I call it my Mighty-Mite. Yes, the lack of a viewfinder is a drawback but ya know there are compromises and you learn to live with them. The 40mm (equivalent) lens will make this camera even better for my uses."

Tam: "It’s like they knew I’d literally just sold my GR Digital II."

Trevor Johnson: "1.) It easily fits in your pocket, shorts, trousers etc. An iPhone Max doesn't very easily. 2.) It is much easier to hold and compose than an iPhone, unless you add stuff to the iPhone which makes it even bigger. 3.) Monochrome conversion is lovely."

David Raboin: "I've owned a GRIII for almost two years. I love it—sharp lens, great sensor, and wonderful ergonomics.

"If you do go for this new GR, prepare yourself for a learning curve. Using a GR is a totally different photography experience than what you're probably used to. First and foremost is the lack of viewfinder and small-ish LCD. The LCD is significantly smaller than a phone screen. With a phone, you kind of see what you're getting when you shoot. With the GR, you almost have to imagine the finished shot, especially if you're in a rush and don't have time for perfect framing. To me, this isn't even a hindrance, but it means I shoot and think differently when using the GR. It's one of those limitations that actually fuels creativity.

"On the strictly plus side, the GR is small. It can go anywhere. Get in the habit of carrying the GR in your pocket and soon it becomes an extension of your body.

"The ergonomics are fantastic. This camera is made for one-handed operation. Your phone camera will feel clumsy and awful after you get used to the GR.

"In a nutshell, the GR is my favorite camera of all time. It doesn't do everything, but it's just so much fun. I like to build up a month's backlog of images on my GR's memory card and then I'm always surprised by a few gems when I finally get around to uploading the pics into Lightroom."

Fred Haynes: "I bought a GRII two years after it was introduced. I started to salivate for it after Gordon Lewis posted a mini review on TOP. I never bonded; it was to be not a street camera, but a city camera. My wife and I love wandering the streets of Manhattan, and this camera was easier to carry then my Olympus. But without image stabilization and no finder, it became a camera that worked best with brightly lit indoor settings.

"I don’t go to the city like we did, I’m older and less capable. But when I need a camera with me, it’s back to the OMD. The IIIx is 1,000 dollars, a lot for a camera with no finder. If you get this as your camera to carry, you might be disappointed. In my humble opinion!"

Arg: "I think it is Nowhere Near to what an A6600 with FE 28mm ƒ/2 lens (or Sigma 30mm ƒ//1.4) would give you. So, if spending $900 on this would be the end of your A6600 future, I call it a poor trade. Sure it's pocketable, but since when has that been your top priority? In exchange you lose 1-to-3 stops of lens speed and object separation, vastly lesser AF, slightly lesser IS, and the option of other lenses (even if only to do sequential OCOLOY projects with different lenses, LOL)."

The Fuji GFX 50S II: "Rebel"?

Lowest Price: Various cameras set price landmarks in passing. The one I remember is the Canon Digital Rebel, also called the EOS 300D. Introduced at roughly this time of year 18 years ago(!), it broke new ground as the very first DSLR under $1,000. Less memorable now but important at the time was the Sony A850 (a stripped down version of the A900 I've passed along to my son), which was the first "full-frame" camera to break the $2,000 barrier. That one came along in 2009—yep, also at about this same time of year. Now, the Fuji GFX 50S II is the very first "medium format" camera (O, unhappy terminology) to come in below $4,000.

It's a weird sort of distinction: a cheap expensive thing. Four thousand dollars is still a lot of money to most people. It is to me, anyway. Jumbling our clarity about it is that those landmarks are arbitrary: $4,000 now would have been only $2,700 the year the Canon Digital Rebel came out, and the Digital Rebel's $900 body-only price in 2003 would be $1,335 now. No longer nice round numbers. (Round numbers are false landmarks anyway, but think about the origin of the term "landmark": you have to choose something as a landmark if you're going to navigate successfully.)

Anyway. The Fuji GFX 50S II is, as of this writing, the least expensive medium-format digital camera ever.

Twins: And its biggest new feature: well, first we must mention that the 50S II body is identical (or as near as I can tell) to the existing GFX 100S, the less expensive version of the 100-MP GFX 100. Same weight, too.

IBIS: ...Now we move along to the biggest thing the 50S II has that the 50S doesn't: in-body image stabilization (IBIS), which the lookalike 100S has also and which the 50S II seems to have inherited from that camera along with its looks.

I have a strange relationship to IBIS these days. It's one of the camera features that made the biggest impressions on me in my whole life; in the 2004 Konica-Minolta 7D (called Dynax in Europe and Maxxum here), the camera with which I took those two pictures of Lulu I posted the other day, it was a revelation. Its practical advantages as expressed in that camera were very clear to me. It gave me confidence and I had great trust in it, and I became a strenuous advocate of the technology.

Strangely, perhaps, I have to admit that I have never had another camera that made me feel the same way about IBIS. It worked inconsistently in early Pentax DSLRs (most of the ones I used were pre-production models sent to me by Pentax); in some other cameras such as the Panasonic GX7 the feature seemed almost not to work; and it certain other ones it frustratingly worked on some shots and not on others, which inspired the opposite of trust.

But I still have a provisional allegiance to the feature, and I'm always glad to see it available.

We'll continue our tour of the new Fuji after B&H comes back from Rosh Hashana and you can actually preorder it again.

Mike

Book o' the Week:

The second edition of old friend Bruce Barnbaum's The Essence of Photography is just out. Bruce wrote for Photo Techniques when I was Editor. I always enjoy his insights into the art and craft, even if his technique isn't the same as mine. I still learn. Mastery is fun to read about.

The above is a link to Amazon from TOP. Here's the new edition of The Essence of Photography at The Book Depository. The following logo is also a link:

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:

Ken Bennett: "Hey, Mike, I have a GFX100 (the big one), and also the original GFX50S, and the IBIS in the larger camera makes a huge difference, especially for handheld portrait photography. Given the slow flash sync speed of these cameras, I can't count how many photos were ruined by small amounts of camera shake with the 50S. Even at 1/125 sec., using the 110mm lens, there is a lot of movement that is totally corrected in the newer cameras with IBIS. So I am a big fan.  :-)  "

Mike replies: Thanks for chiming in Ken. It's great to hear the opinion of a pro who actually owns both those cameras. 

Albert Smith: "And so it begins...again: 'Fujifilm Announces Delivery Delay for GFX50S II with GF35-70mm Kit Due to Pre-Orders Exceeding Expectations.'"

Mike replies: Yes, that's why I rather hurriedly posted on Sunday, so people who are interested could get their pre-orders in before B&H closed for Rosh Hashana.

Fuji GFX 50S II

The Fuji GFX 50S II

Fuji recently made a flurry of new product introductions. All save one serve to tidy up the catalog. That is, they groom and rationalize the product lineup, keeping it logical and balanced and up to date (and no company is better at keeping its lineup logical and balanced than Fuji).

When a manufacturer constructs a product lineup, it has to consider all sorts of things—tiers and prices and overall completeness (that is, there should be neither "holes" in the lineup nor unnecessary duplications). And consumer tastes and expectations, naturally. But the manufacturer also has to deal with time. Individual products don't stay in stasis over time. Their place in the lineup and their suitability to their target niche changes, relative to competitors as well as to the company's own mix of offerings. Their meaning changes, you might say.

The original Fuji GFX 50S is a good case in point. When it came out in September 2016 it was Fuji's first and only 33x44mm ("medium" format or larger-than-FF, hereinafter referred to as large-format digital) offering. Accordingly it was a deluxe product with lavish features like its high-quality interchangeable viewfinder, and it had an initial price, $6,500, that was suitable for all it offered.

As the years went by, however, other Fuji large-format digital cameras followed. First, two years later, the then-price-leading GFX 50R, with its rangefinder-style body shape; then the ceiling-shattering high-megapixel GFX 100 in May of 2019; and most recently the more compact and less expensive "everyman" version, the 100-megapixel GFX 100S, in January of this year. Forward strides.

Weird limbo
Those later introductions gradually relegated the original GFX 50S to a weird sort of limbo in the lineup. Despite a considerable price adjustment, at $5,500 the GFX 50S was only $500 cheaper than the GFX 100S that has double its pixel count, and the GFX 50R, with the same pixel count, is not only newer but $1,000 cheaper—enough to make most of us stop and think. So while the GFX 50S made perfect sense in the lineup in 2016 and 2018, well, the times, as they say, changed.

I don't know sales numbers or popularity firsthand (Yr. Hmbl. Ed. just stands outside the shop window looking in), but Fuji has said that the GFX 50S sold greatly in excess of expectations at first. With the other three models now in the lineup, I imagine that situation probably reversed itself recently. Up till last week you could simply do better with your $5,500 even within Fuji's own lineup, never mind outside competition.

The Fuji GFX 50S II with its new 35–70mm kit lens

Hence the GFX 50S II. The revised model is interesting on its own, but a big part of its purpose is to adjust the position of the model within Fuji's current large-format digital lineup. It's now merely the "SLR-style" body shape version of the 51.4-MP-sensor tier in the line. Gone, along with its status as the one and only, is its position as the top of the line—and thus, gone as well is its deluxe viewfinder (a good reason to keep your GFX 50S if you already have one).

At $4,000 to start with, it's also the cheapest Fuji 33x44mm large-format digital body yet.

Of course, there are many of the upgrades one would expect after five years, and a tasty new feature the original didn't have. Y'all know what it is. But we'll get to that next.

Mike

P.S. This is the month that B&H Photo has a lot of closings, starting tomorrow. So if you want to get your name on the list for the new GFX 50S II, better do it today! (You can't pre-order when B&H is closed.)

Camera of the Week:
The full-frame mirrorless Canon EOS R6 features the same 20-MP CMOS image sensor and image processor as the EOS-1D X Mark III, and most of the up-to-the-minute features that anyone but a dedicated specialist could want. Plus native access to Canon's latest R lenses.

The above is a link to Amazon from TOP. Here's the new edition of our most recent Book of the Week, Bystander, as a link to The Book Depository. The following logo is also a link:

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:

Dan: "This 'sort of big' format is just not doing it for me. I don’t see what the combination of this sensor and the slowish lenses Fuji has offered can do that differs from a good 35mm sensor and fast lenses. I’ll wait for the inevitable introduction of a reasonably priced true medium format camera. A 6x6 sensor at $6k or less would have me at 'hello.'"

Mike replies: Well, I have three comments, for what they're worth: first, we'd need to compare actual cameras and results to see if 33x44 differs, and how much, from various FF offerings. I don't shoot FF and medium format, so I'm not keyed in to the real-world differences enough to speak confidently about them.

Second, it's always been a useful seat-o'-the-pants rule of thumb for me that you have to skip a sensor size to see appreciable differences. (I got that from Ctein, I believe.) Thus, in my experience, FF is not really all that much better than APS-C; I mean, I can see it, but it's a little too subtle to really nourish my enthusiasm. This rule of thumb would predict that 33x44 might also be a little too close to FF. What you have to remember, though, is that Fuji's mainstream line is the X-series, which use APS-C sensors. So in that context, 33x44 is two sizes larger than APS-C and hence the GFX line provides a useful counterpoint to Fuji's other line. For Fuji to make APS-C cameras and 33x44 cameras makes a great deal more sense than for the company to make APS-C cameras and FF cameras. I like their choice, myself.

Third, remember that several very formidable industry players and lots of happy customers are invested (in several senses of that term) in FF, and thus it serves their collective interests to encourage and spread the notion that 33x44 doesn't really have any advantage. The larger format would be vulnerable to such rumors, too, because so few people have direct experience with it. My advice: stay open minded and trust your own eyes, not the popular conventional wisdom which might or might not amount to a subtle sort of brainwashing.

Greg Heins: "The 50S is truly one case where that accessory viewfinder makes the camera. I love it."

...And About the Camera

...And about the camera, I just really want an A6600, but I can't do it. I already have an X-T1 and an X-H1, and they'll do everything I need a camera to do, and, therefore, I can't pull the trigger on a $1,400 camera I don't have the lenses for and don't need. Just can't do it. Just. Cannot. Do it.

It's a psychological problem more than anything else. It just seems too wasteful and impractical. I have a whole Fuji system—two bodies and six lenses. If I sold the bodies and bought an X-Pro3, that would make enough sense, I think.

Do you ever run into problems with this? The most common one, I suppose, is buying too much, spending too much, indulging yourself too much. But I often have the opposite problem...difficulty letting go of the money. When I started teaching photography in 1985 and I suddenly had an income and a place for an enlarger, it was still very difficult for me to buy the enlarger. It took me months of struggling with it before I managed to place the order.

Ninety percent of this stuff is half mental, Yogi Berra allegedly said. The image that usually comes into my head is of the great golfer Ben Hogan, whose yips took the form of not being able to draw the putter back to make a putt. He would stand there at address, frozen, unable to move. Very, very mysterious, the way the brain sometimes works. 

Mike

Product o' the Week:

Ringlight for Zoom, Facetime, vlogging, streaming, video recording, remote working or remote learning. Holds a phone, or you can set it behind and above a desktop computer with a built-in camera. The following image is also a link: 

Original contents copyright 2021 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.

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

Dan Gorman: " A few years back, I suddenly developed a near-complete inability to hand-write the capital letters W and M. Only with great effort could I make my pen/pencil move. Once the first stroke was finally under way, it took tremendous concentration to form the rest of the letters, and generally came out pretty badly mangled. A year or so later the problem disappeared on its own. I still have no idea what caused the problem, or what caused it to go away. All good now, but the episode did give me a new sense of my own vulnerability."

Mike replies: Wow, that's fascinating. I'm very interested when I see things like that happen in myself. For example, when I was 45 or so I started occasionally transposing letters as I typed. I had never done it before. Then, for a few years, I'd be typing along, and just one random word would come out with all the letters mixed up...the proper letters and the proper number of letters would be there, but jumbled. If I were trying to type "mixed" what might come out was "dxemi." And just one word amongst all the rest.

Now that never happens any more. What the...?!

Have you ever read The Man Who Mistook His Wife for a Hat? It's Oliver Sacks' engaging recounting of a wide variety of neurological disorders. A fascinating, memorable book, I thought. 

Mike: "Take the stuff you have, all of it that you don't or won't ever use, and trade it in for the stuff you want. Simple. Take the hit, get what you like and stop whining.  ;-)  Seriously, it's only money. Use what makes you happy. Then go out and take some pictures with the new stuff that you want to have and use. It's not like you want a Leica SL2 and a 50mm Summicron!"

Mike replies: I almost never allow any form of the word "whiner" in the comments, but in this case I have to allow it.  :-D

Jamie Pillers: "Mike, have a look at the Fuji X-S10. It has all the guts of the X-T4, including IBIS. Thus, better performer than the X-H1. And it's tiny! Have a look at CameraSize.com and be surprised. Another feature I like about the X-S10 is it has the type of flippy screen I like...you can fold it around so that the screen doesn't face out. Thus the camera has more of a feel of a film camera and it promotes 'anti-chimping'. And...the cost is very nice! And...it's lighter than the A6600.  :-)  "

Sroyon: "Yes I know the problem you describe. In 2011, a camera store in Tokyo let me handle a film Leica (I had already told them I wasn't in the market for one, just wanted to see what it was like). I had never handled a Leica before, nor even a rangefinder. Of course Leicas are beautiful and finely-engineered and all that, but what I remember most vividly is focusing on a shelf across the room. I was used to focusing with an SLR, but seeing the double-image come together, the rangefinder suddenly felt like the easiest, most natural way to focus.

"I could afford it—I was a finance lawyer at the time, in fact I was earning more than I currently do as an academic—but I just couldn't bring myself to buy it. Photography is just a hobby for me; I had a perfectly good film camera and a perfectly good digital camera already, and spending that much on a camera just felt...wrong.

"Anyway seven(!) years later, my girlfriend finally got tired of hearing me carry on about how amazing it was, said 'Right, let's get you one for your birthday.' And we got an M3 and 50mm Summicron from an estate sale (she paid half, most expensive birthday present ever). I will always be grateful to her, because I unreservedly love that camera, and if not for her prodding, I would never have got it for myself."

The New Nikon Z fc

If I had a dollar for every time I've heard someone say some variation of "Why can't they just make a digital FE2/FM2/FM3a?", it would pay for a Snowflake.

Well, maybe not quite. But I've heard that a lot over many years, starting two decades ago and more.

Have you ever said it, or something like it? Be honest now.

So now that it's here, what are you going to do about it? This is it, the new Nikon Z fc, and it's exactly what all y'all were asking for.

The top plate is the most "FE/FM" thing about it. Beautiful!

Back down to earth
Of course, it's another retro Nikon. And the last retro Nikon, the Dƒ, was an absolute horror. I mean, it was a pretty good camera—it did a few useful things, like work with manual focus Nikkors, and it had a very nice sensor. Owners actually tended to like it. But they had to avert their eyes to buy it. The factory hit that thing hard with the ugly stick. Conceptually, it was a Frankenstein—retro styling cues troweled on awkwardly all over it, with exactly the authenticity of a very bad fake Elvis, toupée and all. On a camera that looked like its designers had no freaking idea what it was supposed to be, or to whom. (I'll be honest, the Dƒ permanently changed my feelings toward Nikon. I still have respect; just not quite as much as I used to.)

And dammit, Nikon, you just can't throw us a bone, can you? Not even when you're throwing us a bone!

Because there it is on the top plate, in the upper right hand corner, that little red video button. The marketing materials show the allegedly retro thing being used on a selfie stick as a vlogging camera, on a mini tripod for web streaming and conferencing, and with an external mic—you know, just like an intrepid PJ back in the day. Not.

With watches, there are things called "time only" watches. They just tell time. Three hands, sometimes just two. Nothing else. And you know what all the other bells and whistles are called? The things time-only watches don't have? "Complications." I love that. Could we possibly have just one simple "picture only" camera, no complications?

The answer is, of course, no. The bottom line is that you can't escape the age you're in, and you can't escape the fashions of the day. That's life on life's terms. There's actually no such thing as retro.

'She's a Rainbow'

...Except maybe in the realm of style!  :-)

Climbing Mt. Fuji
On the good side, maybe it's intended to be a Fuji X-T4 killer—a knobs-'n'-dials APS-C of agreeable size. (Here they are side-by-side at Camerasize.) I'm not going to close my mind to the Z fc. It could be great. I certainly like the direction.

Takashimaya Historical Museum

Mount Fuji by Takeuchi Seiho, 1893

Although it's a long way to the top of that mountain.

So what do you think? What's your initial reaction to the news? Boy, I am looking forward to hearing what you have to say about this. Unless all those guys who used to pine for this very thing—this very thing—have all suddenly mysteriously up and evaporated.

Hold up!
Tomorrow, the lens. If you have a comment about the lens(es) you may want to wait.

Mike

Original contents copyright 2021 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.

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

GKFroelich: "For what it's worth, I've shot with Nikon single-digit F models since the F2 (never had an F nor an F6), and with their digital counterparts since the D2 variants (no D1 nor D6). These days I shoot primarily with Nikon D5s, D500s, and D850s (and I have a couple of D7200s lying about here somewhere). The essential (to me) controls have for the most part been consistently placed, and have operated in the same manner, across all of these models.

"The only mirrorless camera I currently own is a Nikon Z50, with its two kit lenses (I had the V1 back when it was current). The image quality is great, the camera and lenses are small and lightweight, and they provide a compact 'rig' that covers lots of contingencies (I add the now-discontinued 5T and 6T doublets for macro capability with the tele-zoom). But the controls are scattered all over the place, and many are buried in the menus or behind some inscrutable tiny icon on the rear touch screen. The whole experience is very un-Nikon, and I've missed a few photos as a result. As long as I shoot in fully (or mostly) automatic modes, it's not much of a problem, but at times it can be frustrating, even infuriating.

"The new Z fc appears to be a Z50 packaged in a more Nikon-like body, with actual Nikon-like controls on its exterior. I won't pull the trigger until I've learned more about it, and maybe read (or viewed) a couple of reviews, but based in its appearance, I'm a future owner of one!

"Now let's see what they do with the Z9."

Christopher May (partial comment): " I think this will do better than the Dƒ did. That was a quirky camera but I think it would have been a bigger seller had the price been lower. The Z fc comes with a price tag that's going to make it a lot more popular than the expensive Dƒ."

Doug Chadwick (partial comment): "If I could have gotten this instead of my first digital, a D80, I certainly would have. The control layout would have eased my transition somewhat. However 2007 is now a rather long time ago."

Al C.: "I dunno. The front wheel, the ridiculous name (huh? Z-fc?), and the non-serious fonts ruin it for me. And that's in black, never mind the rainbow! I am sorry, but frisky is not in the Nikon gene. This is embarrassing."

Thomas Rink (partial comment): "As I see it, the nostalgia for film cameras like the Nikon FM2 is due to their simplicity and ease of use. This camera, on the other hand, is as complicated as any mirrorless digital camera, but with an even more complex user interface—in addition to the retro-style dials, it also has front and rear command wheels. My Fuji X-T20 suffers from the same flawed design, but at least there is a lens lineup for it."

Alex Mercado: "Without a Prontor-Compur connection; nor a threaded shutter button; and the sensor is below 100MP—this has to be tHe WoRsT nIkOn EvAr!!! Okay, all joking aside, I like it a lot."

Yoram Nevo: "They forgot the 'Auto' setting on the ISO dial. Well that's a real bug. I should know since I'm a software engineer and write bugs for a living."

Stéphane Bosman: "I'm sure there is a market for it, but it is not the people who have known and taken pleasure in using the FM, FE, FM2 and FE2 cameras. As you said, those were simple and a delight to use. My current handheld cameras are an FE2 and an F3, and this new Nikon leaves me much colder than my Fujis."

almostinfamous: "It has everything I want in a camera except IBIS. I am interested in the colourful ones too, actually—might get a few of my former students to actually consider Nikon."

Hugh: "Retro camera. APS-C, therefore limited use with my Pre-AI Nikkors. Complaining about it shooting video is missing the point entirely. Thirty seconds with some superglue would fix that red button so it never shot video again, and you could even stick black tape over the red button like a cool kid with a Leica. Fortunately Canon make the RP, which is full frame, costs about the same, and works beautifully with manual focus vintage lenses…and Fuji make APS-C cameras with matching lenses."

Steve C: "In plain sight Leica is staking a monopoly on simple user interfaces. The Typ 240 brought video, but let you render the button completely inoperable. (Love!) The subsequent next model removed it completely, and the one after struck two more buttons from the camera. When their product director was interviewed about the S and SL's spec-sheet competitors he said 'Yes, but they're covered in buttons. If you want only four, this is the only one.'"

Fujifilm GFX System: We Hear From Tokyo

A while ago I sent several questions about the GFX 100S to Fujifilm, and yesterday afternoon received answers from the company in Tokyo.

I should mention that I have to be a little careful with my wording here, so as not to imply that the company said anything it didn't...no playin' around here, Mikey! 'Kay.

If I refer to larger-than-FF with fly-by-night names, for instance, that's me, not Fujifilm. I'm just not liking the status quo on that, is all. The middle format already has its settled name, which is "full-frame." Then, the conventional term for larger-than-FF is medium format, which makes sense exclusively in legacy terms. It was in the middle between small, 35mm cassettes, and large—sheet film—hence medium. The term applied to digital makes sense no other way.

As George Lakoff eloquently and simply explained, how you frame an issue (frame in the sense of formulating the concept and defining the terms) is a large part of the debate. Full-frame currently wins the framing sweepstakes, hands down.

To my way of thinking, legacy terms are irrelevant now. The past is past. Medium format was a niche even back in the old days. Now, calling the smaller middle format "full" and the largest-sized formats "medium" is actively misleading. It makes no sense at all.

I'm digressing already here, but if it were me I'd call anything larger than full-frame some name like "maximum format." Max format? "Large-format digital" serves the purpose pretty well I guess. In any case, I'd be stomping out the brushfire of "medium-format digital" like a mad dervish. I think Fujifilm is trying.

But enough of that—on to GFX!

How it's going
First, the GFX system as a whole is doing great—selling much better than Fujifilm initially expected it would. The latest body in the system, the GFX 100S, is the best-selling body in the system, and it experienced much larger initial demand than Fujifilm anticipated. In fact, the GFX 100S is supercharging (my word, there) the sales of the entire system: for example, the average number of lens sales per body is still three, but lens sales are up across the board because of the high numbers of sales of the GFX 100S body.

Second, the success of the GFX system is not regional or driven by any particular market. It's selling well everywhere across the globe, including major markets such as China, the U.S., the Euro Zone, and the home market of Japan. (No ranking implied in that list.) This matters because sometimes cameras will do better in specific markets than in others. I've heard of many examples over the years—for example, rumors that a certain high-end product was particularly in demand in China or that a certain product was much more popular in Japan than elsewhere. Not the case with the GFX stuff, Fuji tells us.

Fujifilm thinks the GFX 100S ($6,000 at B&H) might be be getting part of its boost from its dramatically (my adjective) lower price-point than the GFX 100 ($10,000).

Big nugget
But the big nugget, so to speak, the key takeaway, seems to be this: sixty percent of GFX 100S buyers are either new to the GFX system or new to Fuji as a whole. That indicates that many photographers are shopping the GFX system against the proliferating full-frame alternatives and are taking the plunge into Max format in appreciable numbers.

(You see what I did there.)

In other words, the GFX 100S is making converts.

In a big way. (Ooh, did it again.)

Rational
This all pleases me, by the way, because I just love the thoroughgoing rationality of Fuji's choices. To me, being fully committed to a large and complete system in the practical size of APS-C yet balancing it with large-format digital is a sensible and thoughtful—and above all a practical—solution. It just makes no sense to me for any company to be in APS-C and yet not be committed to it and not offer complete systems. Smaller formats make so much sense for so many tasks—as pocketable walk-around or backpacking cameras, for macro, for supertelephoto. Yet when ultimate image quality and ultra-large print size are wanted, you want to be able to go after that too—and nothing currently beats 102 megapixels in a larger-than-FF sensor. I could go on at some length about the advantages—to us—of Fujifilm's balanced approach. But it's a post for another day.

Anyway, I put in a call to my friend Izzy at B&H Photo and requested a GFX 100S and GF 50mm ƒ/3.5 (40mm-e) lens for review. If they can't provide it, Fuji says they can send me one soon. (When new products are hot, smaller outlets have to wait in line for review units.) So hopefully one way or another I'll have a review before the end of the Summer. It won't be the first camera I've ever reviewed that I can't consider buying. I'm looking forward to the education—to acquainting with Maximum format. (Am I calling it that now? I dunno....) It's one of only a few photographic formats I have almost zero experience with so far.

My thanks to Fujifilm for its assistance with this post.

Mike

P.S. No new post tomorrow, I don't think (lots of posts in the past couple of days) but I'll be actively moderating comments.

Book of Interest this week:

Ralph Eugene Meatyard: American Mystic (Fraenkel Gallery, 2017). An excellent introduction to Meatyard's quirky, spooky worlds. "Photography is a dream of awaking to a world still dewed in sleep." And Fraenkel Gallery's productions are always a cut above. The link is a doorway to Amazon.

Also sponsored by...

Original contents copyright 2021 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.

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

Sharon: "If we lived closer, you could try one of ours. I absolutely love the 100S. It is a heavy system but I walk around town with the 110mm on a lot. It's a beast but I forget all about the weight when I'm shooting, and I have serious issues with my hands. The in-camera stabilization is amazing. We shot after sunset, handheld, and the files are sharp. What I love most is that any failure of the photograph will be an artistic one on my part, not because of any technical shortcoming of the camera."

Rob de Loe: "The data from Fuji on new adoptions make sense to me. My anecdotal evidence is the wave of new members to the DPReview Medium Format forum. People seem to like posting there that they are now in the club, and why. The why part is the GFX 100S, almost without exception."

Thom Hogan: "Not sure '60% new to GFX system or new to Fuji' is a meaningful statistic. GFX is a relatively new system to start with, so that number would be high no matter what.  ;~)  . And it's down from the 100% that would have happened with the first entry four years ago. To make sense of any such statistic, we'd need volume numbers, both past and current. Makes a big difference as to whether they've sold 50,000 units or 150,000 GFX units so far."

Peter: "Here's my vote that 'Maximum Format' will be your second addition to the worldwide photographic lexicon (#1 being Bokeh, of course)."

Jim Simmons: "Oh come on, Mike, you're a wordsmith, you know better. 'Large' format worked because the word is flexible. 'Maximum' implies it's the biggest, and that is impossible to know."

Christopher May: "Sometimes a point of reference remains the reference point long after it's been swept away into the dustbin of history. Witness railroaders saying they're 'highballing' when they receive clearance to move their trains. This stems from a type of signal with large balls raised and lowered by pulley. When the ball was raised, the train was clear to go. This type of signal was already mostly obsolete at the turn of the 20th century but 'highballing' is still an almost universal term in railroading today. I think the fate of 'medium format' may be similar. It originally made some sense when digital backs were attached to medium format film cameras like the Mamiya 645AFD and Contax 645. The Fuji cameras may have little to do with those cameras or their associated film format but the terminology remains."

John Dougan: "I'm an American living in Russia, and I just got rid of my Sony A7R IV to get this camera. I was so impressed, that even though I bought Sony's 135mm ƒ/1.8 just three weeks before the purchase of the GFX 100S, the image quality was enough to convince me to take the loss. And my God, is this an amazing camera. One thing that I learned though, for long exposures on a tripod, make sure you shut off the image stabilization or you'll be left scratching your head wondering what went wrong. Here's my first night of night photography with this camera."

Kirk Tuck: "Why words? Why not numbers? Start with 35mm (full frame) as 1X and then everything bigger is whatever the size difference might be. Such as a 1.25X, 1.50X, 2X etc. And, in the other direction an APS-C would be a .5 and smaller sensors a .25 etc. I'm sure camera makers will eventually make an array of image sensors bigger than the current Fuji ones and it's a quick and easy way for people to understand the difference in sizes."

darlene: "After 30+ years of shooting professionally, people ask me what I currently shoot with, so I started slowly working on a page that will show the gear. The categories go like this: Large Format (Sinar, Linhof, Cambo) Medium Format (ALPA, Hasselblad, Mamiya) Small Format (Fujifilm, Nikon, Minolta). Most pro shooters I know refer to camera sizes as Large, Medium and Small. The lenses covering the formats make us distinguish things even further when need be. Currently I have three digital backs in-house; (2) 44x33 sensors and (1) 49x37 sensor and they are for my Medium format and Large format cameras. If I had a Fujifilm 50R (want one), it would fit into the medium format category. Why? Because of its real estate. I like the KISS principle!"

richardp_london: "Full Frame goes up to Fuller Frame. Beyond that are Impressive Frame, then Excessive Frame. In the other direction Full Frame goes down to Sufficient Frame, Adequate Frame, Scant Frame, Inadequate Frame and finally Insufficient Frame."

Mike replies: That actually does about nail it! I've shot with Insufficient Frame, and an 8x10-inch sensor would clearly be Excessive Frame. I usually shoot with Sufficient Frame and Adequate Frame.

Spectacular Dud

Figures. The alleged "new Sony APS-C flagship" will be nothing of the sort; and it won't be coming in May as originally expected, either. Sony Alpha Rumors now predicts that it will be called the "ZV-E10." They say journalists have had it in their hands for a long time now and are just waiting around for the NDA to expire, that it will have no viewfinder and the same old 24mm sensor (Seinfeldism: not that there's anything wrong with that), and is to be positioned as a vlogging/streaming camera.

In other words, nothing to see here, move along. By the way, did you know that the venerable RX100 series 1" point-and-shoots have morphed into the ZV-1 (below), a version specifically made for vlogging?

More videos of me!

Bleh. Maybe I'm crotchety this morning*, but I'm tired of camcorders oppressing cameras. I don't want a camcorder. I'm a photographer. I like "stills cameras," previously known throughout most of history as "cameras." It might be old-fashioned, but I grew up pointing cameras away from my head.

Sorry, I'll stop now. Nothing against vloggers; it's a cool thing to do and it's a dynamic arena right now. My only gripe is that I don't want my bow-and-arrow to also shoot bullets. At least not all the choices. Actually, what's probably happening is that Sony wants to push serious photographers into its full-frame product lines, and not-so-subtly discourage buyers from thinking that "little" 1-inch and APS-C sensors are appropriate for anything but video.

Anyway, so much for my attempts to soften the ground for a review of the new top-o'-the-line.

And by the way, this is a good example of why I don't typically talk about products that aren't here yet. There's plenty of time to talk about products after they're out in the sunlight. 

Dogs and Dawgs
Most people know the expression "Pavlov's dog." Russian physiologist Ivan Pavlov was studying in the 1890s how dogs salivate when presented with food when he noticed that the test animals began to salivate when they heard the footsteps of the assistant approaching with the food. He became fascinated with what became known as "classical conditioning" and spent the rest of his life studying this kind of learning.

We Photo Dawgs are not above that...we've been conditioned to salivate, figuratively speaking, over the next new thing, the enthusiasm for which I once called neomania. I don't know about you, but I'm actually kinda tired of neomania and the constellation of conditioned behaviors surrounding it in Internet culture...all the breathless speculation, wish-lists, ultimatums in advance ("It better have x or I'll..."), arguments over what the coming product will or will not have (when all you need to do, all you can do, is wait and see), and the inevitable let-downs. I don't know why I still get snared every once in a while...it was a lesson I learned in the early '90s waiting for the Nikon N8008s! Boy, how I admire people who just find a box, learn to make it do what they want to do, and get on with it. It ain't the golf club, it's the swing that counts.

Anyway, I'm getting an A6600, because I want to explore the Sigma Contemporary Trio on APS-C. But that's a different subject, about which more later. Sorry for the wasted bandwidth earlier in the month.

Mike

*I used to call myself a "curmudgeon in training," but I finished my training and got my certificate....

Book of Interest this week:

Ralph Eugene Meatyard: American Mystic (Fraenkel Gallery, 2017). An excellent introduction to Meatyard's quirky, spooky worlds, and Fraenkel Gallery's productions are always a cut above. The link is a doorway to Amazon.

Also sponsored by...

Original contents copyright 2021 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.

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

John Krill: "Re 'I don't want a camcorder. I'm a photographer.' YES. That's why I love Fujifilm. When I read reviews of the Fujifilm X-E4 that mentioned poor vlogging experience I knew I made the right choice. Because I'm a still photographer not a videographer or whatever they call themselves. P.S. The X-E4 has turned out to be a better camera than I thought it would be."

Stephen Scharf: "Camera companies, YouTubers, and as audio reviewer Hans Beekhuizen calls it, 'the social media,' spend an incredible amount of time and resources to convince you that if only you'll buy the latest and greatest camera, you will be a better photographer. This is bullish*t.

"As you mentioned in an article you posted back in 2008 entitled 'Big Sticks' (remember that one?), it's not about the size of the bat you use, it's how hard you swing it that matters. At the end of the day, you're gong to find that an A6600 doesn't take photos that engage with your viewers any more than your X-H1. Or your X-T1, for that matter.

[Ed note: Jeff S. and DavidB found that post—here it is. Featuring Stephen's great shot of Chris the V. Thanks, Jeff and David.]

"Just give me a camera with excellent shutter life, a fit-for-purpose AF system (Canon 1D MkII-level), a proper-sized grip, and a stiff and strong lens mount on a durable and rugged body, and I'm good to go. How successful my photographs are is overwhelmingly due to how well my vision and execution can realize my intention, rather than having eye-AF or 30 FPS. And, having the discipline to show up for the shot."

Mike replies: But Stephen, the X-H1 is no longer new. (Kidding.)

My Fujis are not going anywhere.

Albert Smith: "Re 'I don't want a camcorder. I'm a photographer. I like "stills cameras," previously known throughout most of history as "cameras..."' Yes, yes, yes! I have several Swiss Army knives and Leatherman multi-tools, and if you need a screw driver or a small file in a situation where you don't have a proper tool box, they can really bail you out. But you wouldn't use them for serious work under the hood of your car or home repair. Why use a Swiss Army camera?

Mike replies: Ah, I'm going to steal that term, if you don't mind.

Thomas Walsh: "Amen to Stephen Scharf's comment."

Sony A6600: Is the Price Premium Worth It?

First, I know I joke about how it rains every time I get a camera to review, but it's a little freaky and I really don't like it. I have the A6600 here for a week, and the last three days have been more or less constant rain. I left my tea mug outside yesterday morning and this morning there's an inch of rainwater in it. I've still been shooting every day, but dang, cut it out.

Sony is just about to replace its high-end APS-C camera. According to various rumors, none confirmed, the new camera will resemble the A7C in design and have a higher-resolution sensor. Can we assume it will sport the latest Bionz XR processor, and therefore inherit the overhauled menu system that debuted on the A7S III? Don't ask me; there's nobody in here but us chickens. But that would certainly be a sound move, as the current menu system is of the HM type. (HM: hot mess). My guess on price: $1,598. Just a guess.

The A7C has a PASM dial on top of the top plate, which makes more sense than an inset one, and it has a secondary control wheel tucked into the back which allows the main control dial to be dedicated to exposure compensation.

In the not even two years since its introduction, however (it was announced in August of 2019), the A6600 has commanded a hefty price differential above and beyond its lesser siblings. The series has several tiers: the A6000 has been a price leader for years and is still available in kits; the new base model, the A6100, is currently $750 at B&H Photo, while the intermediate A6400 is $900, or combined with a kit lens for $100 more. The A6600, meanwhile, is back up to its regular price of $1,400 from the recent sale price of $1,200, although the price might differ on Amazon.

I'm here to tell you that in my opinion the A6600 is absolutely worth the price disparity. It's not a perfect camera (despite a myriad of attempts over 182 years, that hasn't been accomplished yet), but the build quality is special. Everything about it exudes quality and care in construction. In fact, the "gestalt" of the camera reminds me of nothing so much as the day I unwrapped my much-awaited Leica M6 in the parking lot of a Post Office many years ago—it has that same super-solid, overbuilt, quality-foremost, carved-from-a-single-block feeling. The grip is wonderful, I really like the card slot position (which on the A6000 is fiddley for my large fingers) and the knobs 'n' dials 'n' buttons are smooth, tactile, and pleasing.

These kinds of things matter on a camera, to me. The A6600 is similar to the other A6xxx-series camera, present and past, but it's really a different camera, because of the build quality.

Now as to the new one just being loaded into the starting gate: it will no doubt have some changes I would like, and it will get some things wrong. I ran into a fellow on a forum who was just ranting and railing about the fact that Sony would launch a new APS-C camera when what he is waiting for the A7 IV (I think...I get them mixed up). He was very bitter and couldn't stop perseverating on his disappointment. I really felt like giving him a paternalistic lecture, but then I realized we each have to learn our own lessons. If there's one thing I've learned about the camera marketplace over the years, it's this: never put your faith in vaporware. Any new camera that comes out is never going to be exactly what you think it should be. I'm sure a few of the things I like about the A6600 will be missing in action, or (needlessly, in my opinion) changed, on the new one. That's just the way it always is.

In fact, it's almost like it's a law: every new camera introduction will have some feature or other that you are convinced the manufacturer got wrong, or some conspicuous (to you!) weakness. (That's the "If only it had..." rule.) Just like every old retro camera will have at least one feature that would have to be modernized to make it fully usable now. It's always something.

The best thing about the A6600, though, imperfect as it may or may not be for any given user, is its absolutely deluxe feel and build. I love it. It's up to you whether that would be worth paying for, but it's a perfectly good reason for it to cost more.

Mike

Book of Interest this week:

The Education of a Photographer, Edited by Charles H. Traub, Steven Heller, and Adam B. Bell, Allworth Press, 2006, 256 pages. A small but rich gold mine of short essays and interviews by and about photographers. Also available from The Book Depository with free shipping worldwide.

Original contents copyright 2021 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.

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

JOHN B. GILLOOLY: "I've been using the A6600 alongside the A9/A9II since it was released. I like to have the two form factors as they have different strengths and expand my lens versatility. The A6600 operates and performs parallel to the A9II—you don't feel like you are going to a 'lesser' body when you use it—just a different body."

Dan Khong: "Mike, I think you will eventually evolve into a test driver of weather-proofed cameras and lenses. Just sayin'."

Mike replies: There ya go. When life gives you lemons, make lemonade, right? Anyway the sun is shining now.

Eric Rose: "Exceptional build quality seems like such a waste these days since digi cameras generally don't stay in the hands of the first owner for more than five years. Unless the owner is shooting professionally the average digi owner can get away with something that's less elegant and not built to withstand a nuclear attack. So IMHO the price differential is a waste of money and does not increase the likelihood the user will take any better photos than a cheaper model."

Mike replies: A fair point, but to me build quality is about more than longevity. It increases my pleasure when I'm using the camera.

Huw Morgan: "I had an A6600 for a year before succumbing to GAS and buying an A7c. The A6600 was a gem. You've mentioned the build quality, but the battery life and the autofocus were also superb. My only complaint was that Sony dropped the useful built-in flash."

Canon v. Canon

The other day in the "Competition from Used" post I said, "It's almost like we're in the exact opposite situation of the one we were in at the turn of the millennium." Which got me to thinking.

Back then, Canon had just introduced the D30 (not 30D, but D30) a "reasonably priced" digital SLR that had a three megapixel sensor. It was bigger news in the photography world then than anything at all is now. Photo writers across the globe breathlessly ventured the holy-grail claim—that the D30 it was almost as good as, or as good as, or a little bit better than, the results you could get with 35mm film! This was hotly and happily debated far and wide. I was Editor-in-Chief of Photo Techniques magazine at the time, and at the magazine we offered a selection of "Collector Prints" taken with the new D30 by a guy from Canada I had met a few years earlier by the name of Michael Reichmann. Michael's prints were meant to show off the new Canon and make the case for digital as something that might actually be viable for enthusiast non-pro photographers, an idea to which there was still a lot of resistance at the time.

Now cut to today and compare that situation to this: the Canon EOS M6 Mark II is in its second iteration already and it's hardly even made a blip on my personal radar screen...even though I prefer small cameras and tend to pay attention to them. Lens options are limited, but paired with its standout 32mm ƒ/1.4 normal prime lens, its capability compared to Y2K norms is just insanely good. It's a small carry-around camera no bigger, really, than an original Barnack Leica. (Strange that Leica would let another company call any camera M6, but maybe some kind of statute of limitations has run out.) The little lens, which is about two and a quarter inches long (56.5mm) and weighs just slightly more than eight and a quarter ounces (235g), is nevertheless a no-apologies fast normal with superlative performance—and very nice bokeh I might add. The little camera has a spectacular 32-megapixel sensor (more than ten times as many pixels as the D30, n.b.) and is reputed to be very fast. Any way you look at it, the little M6 Mark II runs rings around the hot news from October 2000.

Despite all this over-the-top goodness, though, the M6 II barely moves the needle in today's world as far as consumer excitement as concerned, at least that I can tell. Certainly nothing like the frenzy of interest in the D30 in 2000.

The lens and camera together cost $1,328, which might be somewhat of an impediment to interest, but then, it's neither a compromised camera nor meant to be a budget alternative. And consider that, adjusted for inflation, that $1,328 would have been only $866 in 2000, the year the Canon D30 came out at $3,000 and DPReview called it an "unbeatable" value for money. Put the other way around, the D30 would cost $4,600 today. That was cheap compared to the digital SLRs that newsrooms were paying $25,000 for only a few years earlier. And by the way, DPReview calls the M6 Mark II "a good bit cheaper" than the Sony it competes against (they must mean the A6600). Of course, you might also want the M6's removable $199 EVF-DC2 viewfinder, but that's up to you.

The M6's only problem? Odd, but it might be a little too old fashioned. Not enough bigger/better than its biggest existential threat and wannabe competitor, the smartphone.

Mike

Book of Interest this week:

How Photography Became Contemporary Art: Inside an Artistic Revolution from Pop to the Digital Age, by Andy Grundberg, Yale University Press, 296 pages. A longtime critic and observer attempts a synthesis. Good reading. Also available from The Book Depository with free shipping worldwide.

Original contents copyright 2021 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.

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Featured Comments from:

Ken Bennett: "Back in the fall of 2000, the university where I work hosted a presidential debate. I was going to cover it shooting all film, of course, but Canon Professional Services offered to loan me the as-yet unreleased D30 digital camera. So I got one and shot some test images, figuring they would be okay for maybe a website, and I was amazed at the overall quality of those photos. I ended up shooting most of the events surrounding the debate and some of the debate itself with that D30. Had a double-truck image in the alumni magazine from one frame, and it looked great. Nothing like today, of course, but easily comparable to or better than the Fujicolor 800 color neg we were shooting at the time.

"Then I had to send it back, which turned out to be a huge blessing. I had shot 1,500 frames and had no idea how to handle them; editing, viewing, captions—none of it. I was used to shooting film and scanning individual images for print reproduction (or making actual prints in a darkroom). So I spent the next couple of months figuring out how to manage all the digital files. Then we got our first D30 that winter, the second one a few months later, and a pair of the original 1D bodies the following year. (Four megapixels! Eight frames per second! Amazing autofocus! Seriously, they were da bomb, and the later 1D Mark II was my favorite Canon ever. Shot a lot of good photos with those.)

"Kudos to Canon for the D30. It changed my life and my career in so many amazing ways. I could go on at length.  :-)  "

Tom Burke: "I use Canon cameras and have for many years, so the M line ought to interest me. However, it doesn't—there aren't enough good lenses (and none from third party suppliers that I know of) and a lot of the cameras are missing viewfinders—I need a VF.

"I was however attracted to that sensor, so I bought the M6's cousin, the 90D, which has the same sensor in an APS-C DSLR body. Yes it's bigger and heavier than the M6 but it's lighter than the full frame camera I had previously. I'm delighted with it, and given the price of Canon's R series, I suspect I've bought my Final Camera. The 90D and my iPhone 12 Pro will do me for the foreseeable future.

"I never had a Canon D30, but I did have its successor, the D60, which I bought used. That was my first DSLR and was the game-changer for me—previously I'd had EOS 35mm SLRs."

R. Edelman: "The Canon D30 made me think of Bill Biggart, the photographer who was killed at the World Trade Center on September 11, 2001. He had some film cameras and a D30. The only images that survived were from the D30. Even though the lens was ripped from the camera, the compact flash card survived. That's one tough camera."

Ed. note: Bill Biggart's website is still up, and contains a picture of his ruined D30 as well as a small selection of his recovered 9/11 images. 

Srsly? The New Pentax

I have to admit I was shocked when I found out the price of the new Pentax.

For those of you not following along with DSLR news (more and more people, lately), Pentax has introduced a newly designed camera that unfortunately has an iteration naming convention because of where it falls in the lineup. And an awkward iteration it is—the K-3 Mark III, or K-3 III. I gather that should be pronounced kay-three-three. Pretty soon Porsche will get to the 911th version of the 911, I guess. I would love there to be a Porsche 911 Mark CMXI. (That's the roman numeral for 911 as you've probably guessed.)

But it's not a refresh, not the old model warmed over. It's all new.

Some intriguing improvements
What's so special about it? Well, I've not seen one, but according to everybody's go-to site for nutz 'n' boltz, Amazon's DPReview, it has a new sensor. An MB sensor. That stands for mo' bettah, which as far as I can tell is how every new sensor is trumpeted on release. Or 90% of them anyway. Maybe I've become inured to marketing hype.

The best glass pentaprism viewfinder ever on an APS-C DSLR. Okay, they've got my attention.

MB autofocus. Goes in the "I'm jaded, show me" bin.

MB IBIS. Okay, that tweaks my GAS a tad too. Wouldn't take much to beat the SR (shake reduction) in the old K-20, but then, that came out in April of 2008, Grandpa. (I was around back then, sonny!)

Big honkin' battery that lasts forever. I admit that this always appeals to me.

All-new, better, longer-lasting (300k actuations) shutter. Okay; like the sound of that.

There's video-y stuff. Don't care, don't care.

The camera looks the absolute business. Reminds me of the Jeep Gladiator somehow. Or the new Bronco. I am not supposed to care how a camera looks, but of course I do. This has always been a strength of Pentaxii; they tend to look like cameras are supposed to look.

It's Ricoh's flagship APS-C DSLR. DPReview thinks it's clear that a lot of genuine clean-sheet engineering effort has gone into this camera, and that is worthy of some respect unless and until we find out differently.

Maybe I should check that out
So I was just thinking, hmm, I used a lot of Pentaxes a decade ago, I should really catch up with them and see what they've been up to recently, maybe I'll request one for review. It can't cost that much, right? It's got a fixed viewing screen. As in, doesn't articulate at all. You know, like Grandpa's DSLR. Hey, at least you won't have to fret about flip-up vs. flip-out.

But then I got grumpy. I caught myself thinking, bah, they'll probably want fourteen or fifteen hundred for it, the way things are going these days.

Then I looked.

Two grand.

TWO GRAND?!? What? Seriously? That's the exact same price as a brand new in-the-factory-sealed-box K-1 II! Full frame, half again as many megapickles, fancy hydraulics all over the viewing screen so you can contort it however you want it K-1 II! That one. It's three hundred dollars more than a Fuji X-T4! That's like John Starks trash-talking Michael Jordan. Same price as the pro Nikon D500! Same price as the full-frame Sony A7 Mark III! Help, I can't stop typing !'s!

Corporations are not actually people, so they cannot actually lie around in the rec room feeling sluggish and useless and puffing one too many joints, but: Ricoh must be high.

Two grand.

Down boy
Well, calm down, hoss. I need to stop applying my price sensitivity level to cameras. It's a bad habit. And it's dumb. There are plenty of people out there for whom the difference between $1,200 and $2,000 for a camera body is not especially meaningful.

Pentaxes look the way cameras are supposed to look.

It occurred to me when I was contemplating the meaning of Erwin Puts's work and relationship to Leica yesterday that my primary allegiance isn't to brands, it's to the people who use the brands. Just because I've only ever owned one Canon doesn't mean I don't like Canon, because I think of Josh H. and Tom B. and all the people I know who have shot with and loved their Canons over the years. My primary attitude toward Leica doesn't link directly to the corporation or even the legend or the lore, it links to Jay B. and Jack M. who both love their very different Leicas. The meaning of Nikon isn't "what do you think of the D850," it's "just think of all the great work that's been done with Nikons by so many different people over the years" from Eve Arnold to Galen Rowell to Peter Turnley.

I haven't always liked Ricoh. (They stiffed me for $2,500 worth of advertising when they bought Pentax. Just said, nah, we're not honoring that, go stuff yourself. Refused to pay the bill.) But I've always really liked people who use Pentaxes. They're the nicest people. It's the users that matter, not the name on the top plate.

So I should just chill out. Two grand means it's out of my price range; it doesn't actually mean it's too expensive.

Here's the K-3 Mark III at B&H. So tell me, how do we feel about the concept of a "flagship APS-C DSLR" in April of 2021, in the era of full-frame mirrorless? Does it feel a little like "most popular mid-size sedan" in the era of SUVs and pickup trucks?

Mike

Book o' this Week:
Accidentally Wes Anderson, the group-sourced book of the Instagram trend, endorsed by the director. Go read about it! <—This is a portal to Amazon; also available at the Book Depository for global delivery with free shipping.

Original contents copyright 2021 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.

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

Speed: "Broadly speaking, camera buyers come in two flavors—those that are already in the system and those that are new to the system. Low prices are designed to lure newbies while high prices are designed to net those with a bag full of lenses who don't want to start from scratch. Exception that proves the rule...useful new features and outstanding performance can demand a premium from everyone. A friend and life-long Canon user sold everything (Canon DSLR plus a bag of heavy lenses) and spent a boatload of money for small and light Sony mirrorless products. His chiropractor was the loser."

John McMillin: "Yes, it's a fearsome price. I paid that much for the K-1 when it came out, and was happy to do it, because other FF options were considerably more. For me, the big draw of FF was getting a full-sized OVF again. This new K-3 III promises a view almost as big, and possibly brighter. It will certainly be faster than the K-1, which suits itself to leisurely contemplation of the scene while the buffer writes to the card. So it will be a more versatile camera, for sure.

"The image quality difference between the two doesn't concern me; I can barely tell my K-1 photos from those of my old K-3 (v.1). Good enough is good enough. As with your truck analogy, we're all awash in excess capacity, with pickups that are too tall to load easily, sporty cars too powerful to ever drive hard, and cameras so rich in detail capture that we need to enlarge to ridiculous sizes to find any differences between them. There is something satisfying about doing the job with less, of having just enough and using it fully.

"The key spec I'm waiting to learn is just what the crop option does on the new K-3 III. The K-1's three-way crop gives me fast access to normal, 1.5x [? I don't know what this means —Ed.] and the classic, elegant 1:1 aspect ratios. I suppose the K-3 offers only a square crop, but if it gives 4:3, the artistic choice, I might sell my Micro 4/3 gear and take the plunge. But in a year or so, when prices have declined due to discounting."

Michael J. Perini (partial comment): "It is just so late to the party. I wish them well."

Steve Biro: "This is Pentax trying to do with DSLRs what Leica did with rangefinders. Leica could not compete with modern cameramaking, so they focused on their heritage at increasingly bespoke prices. And now Ricoh is taking a page out of that playbook. I fully expect the replacement for the Pentax K-1 II to be even more money. I wish Ricoh good luck but I'm not sure that it's going to work. They need a lot of conquest sales because the traditional Pentaxian (and I was one for a very long time) is a skinflint."

robert e: "I think the sticker shock is that much greater because Pentax used to be the value brand for the savvy student or amateur. Seems to me that pro-build SLRs are a niche market at this point, so shouldn't we expect niche prices? The price tag may be more harbinger than outlier. I imagine pentaprisms and mechanical shutters aren't getting any cheaper to make, especially at best-of-breed level. 'Why?' is a different question, and perhaps more salient, but not one I can address.

"The thing I miss most about DSLRs might be decent battery life."

Bill Skones: "Milking the faithful with deep pockets. They almost all do it, and Pentax needs to do it. The price of the Pentax KP dropped almost 20% in the nine months from when it was introduced to the following holiday season. It's probably true most enthusiasts don't need a camera costing more than $1,200 and many would be fine with one costing half that. But every manufacturer needs premium, high-margin products, and for Pentax that includes an APS-C DSLR. I plan to buy a K3 III, after the price drops some if I can stave of the GAS. I like the appearance, operation and handling of Pentax cameras. Hope you will get a review copy and let us know what you think. Of course that would not be time well spent on your part, since it would not interest most readers or get many click-throughs to purchase."

Bill Pearce (partial comment): "If the difference between $1,200 and $2,000 is trivial to you, it's god's way of saying you have too much money."

Alex Sarbu (partial comment): "For me the difference between the $1,200 and the $2,000 camera is very meaningful: the $1,200 one would not give me what I want. Yes, the $1,200 camera would be 'cheaper' but it would be money wasted; the $2,000 one looks like a more cost-effective option (YMMV)."

Zyni Moë: "Think someone at Ricoh realises the end is coming and is trying to extract last profits from declining sales: GR III price was also much higher than GR II."

David Dyer-Bennet: "I guess maybe for an APS-C $2k is expensive. Nothing I've looked seriously at in 10 years has been that cheap, though, certainly isn't today."

Andrew Kochanowski: "You know I'm your Pentax guy, though this comment is late. I must have missed this yesterday.

"The K-3 III was obviously designed just for me. I can't wait to get one. I also think it's a pretty good move for them. With all the talk of DSLRs dying, I think I saw that they still accounted for half of all interchangeable lens camera sales last year. Half is a lot.

"I'd put the $2k price tag in perspective. They aren't going for the working press pros or the sports shooters who already have all the Nikon and Canon gear they need. They are going for the age 45+ amateur and occasional pro who grew up with film SLRs and who know how nice a proper SLR feels. They are selling a premium product like Leica at a still-significant discount from the Leica price of entry. I think the target audience can afford $2k, and think the price point is not a barrier at all.

"I've had the K-5, the K-3 and the KP since 2015 or so, and lemme tell you, they all feel great. Their viewfinders are nice and bright, and I can only imagine how nice the K-3 III will be. They get great battery life, even the smallish KP. If you care about such things (and boy, I do) the rubberized, knurled, and positive tactile feel knobs are great. All of them feel dense, like you're holding a chunk of magnesium covered in nice fake leather (because you are).

"The only knock against these that I ever really saw was the AF. I'm not a sports shooter, and imagine that you'd want the best tracking you could get if you were, but for me, on the street and doing candid stuff, the AF was fine. The new one is supposed to be far better; we'll see."

News Flash: $1000 Off Fuji GFX 50R

This just in—B&H has announced a price of $1,000 off the Fuji GFX 50R body, which they're selling for $3,499 with a free bag and 64GB card. Thought you'd want to know.

Mike

Gear o' The Week:

If I could shoot with any 50mm focal-length-equivalent lens, it would not be unobtanium: it would be the relatively modest, relatively slow, relatively older Pentax 35mm ƒ/2.8 DA Macro Limited on APS-C. I don't know how it measures and couldn't care less. If you care first and foremost about pictures, especially prints, this is one beautiful lens. Luverly. As a normal too. This link is a portal to Amazon, through which most anything you purchase will be credited to TOP. As an Amazon Associate I earn from qualifying purchases.

B&H Photo also has the Magic Macro, naturally.

Original contents copyright 2021 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.

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Featured Comments from:

You Just Won!

[Insert yourself here]

Good news! You just won a contest. The prize is the exclusive use of any Fuji GFX camera and any three lenses of your choice, for five years. You have to turn the equipment in at the end of that time.

Which body will you take?

As sweet as the 100S looks, I'd have to go for the GFX 50R. Something about the layout of that camera promises the kind of simplicity and directness that I've craved. And as much time as I've spent thinking about it, I just don't know why I would ever need the extra ~49 MP of the 100 cameras.

I really need to read some reviews of the GFX 50R to see if that simplicity is real or just an illusion. Oh yeah, wait, I was going to request one for review.

If all my wishes come true, someday my entire camera arsenal will consist of a GFX, the latest iPhone, and a 35mm film camera. (Regarding the latter, I'm not going to say which one because I don't want to risk making it more popular than it is!)

But I reserve the option to keep other film cameras around as showpieces. (I like cameras. Does it bum out anyone else that they hardly ever show cameras on "Antiques Roadshow"? They'll show photographs every now and then, but they obviously don't have a "Camera Table" or any experts on hand. What are we, chopped liver? You'd think that if they have not only a toy person and a plate person and pottery person but a doll person, they could at least have one camera guy. What's that Ben said the other day? About "camera gearhead and amateur photographer" being "pretty invisible culturally"? There are certainly camera collectors out there in the world. And newsworthy collectibles. And interesting and compelling stories. Maybe it's just that collectible cameras just aren't sold in antiques shops, but are the province of specialist dealers.)

The GFX 100S seems like a camera of contradictions to me. It's bleeding edge! But it's also niche. It's remarkably cheap! But also extremely expensive. It's innovative and forward-looking! And tailored to a contracting marketplace. It's a clean-slate new system! But it doesn't have any legacy lenses available. It's small! But it's big. And so forth.

It seems like there are three good reasons to get a GFX 100S, only the first two of which are commonly acknowledged: 1.) If you make prints larger than five feet wide. 2.) If you want the freedom to crop down to even just a quarter of the image area. 3.) If the camera really appeals to you and you can picture yourself using it with great pleasure and getting a lot of joy out of owning and using it.

Point 3 doesn't seem difficult to me, but then I'm a big dreamer.

Because let's face it, all cameras are a combination "I need it" and "I want it" in some proportion or another. This one looks to be pressing the "I want it" button pretty hard. Just sayin'.

Mike

Book o' This Week:

André Kertész, On Reading, the lovingly crafted reprint of the lyrical 1971 classic by an early master of the small camera. (Would make an excellent Valentine, for a person who reads.) The above link will take you to Amazon. As an Amazon Associate I earn from qualifying purchases.

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.

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

Herman Krieger: "Here's an 'Old Camera' table for you, with the expert on hand."

Stephen Scharf: "I'd take the GFX 50R. In fact, I was just looking for used ones on Fred Miranda today (and there aren't any, FWIW). I have a photographer buddy who has produced some beautiful photos with his GFX 50R. The depth and resolution of the tonal range and the fineness of gradation of contrast with both the 50S and 50R is exemplary. Especially on black-and-white photos. The large pixel area on the 50-megapixel sensor GFX cameras don't hurt, in that respect."

Ronny A Nilsen: "100 is not enough.  ;-)  "

Mike replies: Thank you! I meant to include that link somehow.

Frank: "For a hobbyist, reason 3 is the only reason to purchase camera gear. The other two are really extension of number 3—e.g. you want to make five-foot prints or want the freedom to crop. As a hobbyist, this is always a want, and never a need.

"Years ago I went on one of those Pop Photo photo treks—brought along a lower level canon SLR and maybe one out of my three lenses was an L lens. Of course most of the others in the group had professional-level gear. But during that weekend, I saw that some of my photos stacked up well, and the ones that didn't were my fault, not the equipment's. One of my main takeaways from that weekend was that an amateur's camera kit was not a reflection of his/her skill as a photographer, but a function of his/her income, budget, and buying priorities. For a hobbyist, that is all there is to it—to get equipment we love, can afford, and fulfills our desire to make the photographs we want to make."

Mike replies: One of my sly little ambitions when I was young was to photograph with only a beginner SLR, a 50mm lens, and Tri-X, and make better prints than most of the guys who fretted interminably about the latest and best equipment and films. Would have been nice, but as it turns out I'm the worst gearhead I know. But there's something very cool about using basic gear and shooting rings around the toffs with all the latest.

Yonatan Katznelson: "Point #3 is what finally pushed me over the Fuji edge on which I had been teetering for years."

Short Take?

You've probably already seen this. But just in case you haven't...

...Lest you think the companies aren't aware of the fuss about leaks and rumors and so forth.

Very creative. The actors are clearly having fun and do a good job. The line at about the 45 second mark especially (not to give it away) cracked me up.

So tell me, what's your "hundred words or less" short take on the GFX 100S so far?

Mike

Book o' This Week:

Eyes Over the World: The Most Spectacular Drone Photography, by Dirk Dallas. The above link will take you to Amazon.

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:

Rodolfo Canet Castelló: "As a GFX 50R owner, to me the new camera means a reassuring commitment by Fujifilm to the GF system. More pixels I do not need, that's for sure. More lenses, who knows? This is my very short take on the GFX 100S."

Crabby Umbo (partial comment): "Meh...a major error? Trying to make $5,999 seem like three bucks. Might be 'cheap' as medium format cameras go, but more than one-third the cost of my new Kia Soul. This and three decent primes will be more than two-thirds the cost. Not cheap in relation to anything else.... And, if it's like everything else digital I own, probably not more than a five year professional life. Is this targeted to professional photographers, or the upper 10%?"

Edwin replies: "Hi Crabby, Not cheap, yeah. But think Leica S and Leica SL2. And Leica Q2 Monochrome."

Ken Bennett: "The GFX100s is a terrific replacement for the 50S. Slightly smaller, increased resolution, slightly lower intro price. It's not a GFX100 upgrade, no matter how many folks have their knickers in a twist. I won't replace my GFX100, but if I didn't have that, I'd want the 100s."

Kirk Decker (partial comment): " If you want a GFX, get one, but your long term satisfaction or dissatisfaction will come from the camera, the lenses, and the format, not the pixels."

Kenneth Tanaka: "A long-predicted-but-still-astonishing product development accomplishment at such a relatively low price point. Fujifilm continues to hit three-pointers as well as layups. And to more persistently support owners with true-value firmware updates than any other manufacturer. And let’s also not ignore the remarkable newly-announced Sony A1. How much future can PhaseOne or Hassy H have at their price ranges now? Their value propositions as professional commercial tools hang by, what, a leaf shutter? (I’ve no plans to sell my XF/IQ160. It’s a unique full-645-frame CCD beast. But I’ve no intentions on ever upgrading it, either.)"

Peter Wright: "Not needed."

Steve Biro: "The Fuji GFX100S is a lovely camera that delivers fabulous results. More power to those who buy it. But, alas, I cannot afford it and—since I don't print really large (or often)—don't really need it."

c.d. embrey: "How about a fool and his money are soon parted."

Speed: "Not for me but it's good to have choices."

Luke: "It's just what I've been waiting for! But...when is the 200 megapixel version coming?"

PaulW: "<100 words: Want one. Can't afford one."

Tex Andrews: "Clearly the new camera is an excellent digital medium format option at a great price for this sector. I don't see how there's an argument about that. The main issue remains the cost of the lenses you will need to go with it which will quickly bring you to $10K and beyond if you need more than two lenses (the used market for Fuji lenses is small and also expensive, unlike Pentax). So it's not the camera cost, it's the system cost."

Benjamin Marks: "I laughed out loud at the ad for two reasons. The first is my narrow slice of the universe: camera gearhead and amateur photographer is pretty invisible culturally. The humor of the ad is so calibrated to that segment (my segment) that it took me by surprise, which is the essence of humor in my opinion.

"The second thought is that the ad also pokes fun at the ad-hype machinery in the camera world, which I have been saying for years has become more like the fashion industry in its cycle than what it was when I grew up: durable goods. The utter nonsense of 'leaks' and 'rumors' stoking a popular appetite for consumer electronics is, at last, laughable—a mockery of itself. So in that sense, the ad is like a postmodern short film that, once again, is aimed squarely at me.

"As for the camera, I am delighted. I can't afford it, but I feel like I am gaining ground on a camera of this overall capability just be standing in place and watching the world swoosh by. I have written here before that I comfortably occupy the trailing edge of tech innovation. When the 'standard' shifts to 100 MP, it makes the 12-MP Nikon D3's out in the world that much less expensive. And, eventually, I will upgrade to the 100 MP standard—when it has become boring and reasonably priced.

"Keep in mind that every photograph you have ever loved has been made at a lower resolution than this new Fuji provides. To quote our host: just sayin'."

longviewer: "What other comments say is sad but true. The top 20% can now buy a 1% camera, as the Leica reference suggests. Quite clever and clearly geek-driven ad but I'm like many readers here: a priced-out spectator."

Getting a Grip on the New Fuji Offerings: X-E4

Yesterday Fuji introduced five new products, and I spent the day writing an "Open Mike" on a ridiculous subject that, in the cold gray light of morning, made me think what were you thinking? A hoary, stereotyped baby-boom-generation topic. Younger people would have thought, sheesh, you're livin' in the past, boomer.

Many years ago I had a student with the flat-out wonderful name of Lely ("lay-lee") Constantinople. Once, when she stuck her head out of the gang darkroom to look at her print in the light, I overheard her say to herself, "Lely, get a grip." The door swing shut and she disappeared back inside.

Get a grip, Mike.

Fuji has re-introduced the X-E series, which had been discontinued some time ago (had you noticed? I didn't think so). This series is Fuji's miniaturized "rangefinder-style" (no SLR hump, viewfinder window in the upper left as you face the camera from the back) cameras that are the same size as, and were meant to compete with, the Sony NEX cameras, which became the Sony A-6000 series, currently embodied by the high-tech A-6600 and the price leader A-6000. For some odd reason, the Sony cameras, which have never had a very complete or sensible APS-C lens line, sell well, whereas Fuji's competing offerings, which do have a complete and sensible APS-C lens line, do not sell well.

On the other hand, the X-E series is basically the interchangeable-lens variant of the celebrated X100 series, and that does sell well. So maybe it all balances out even though it doesn't make any sense.

Anyway: the new rejuvenated X-E4 is almost the same size as the old X-E3. Elsewhere on the Internet you will read that the X-E4 is the "smallest E-series ever," because that's how Fuji's plugging it, but c'mon, Internet, it's one millimeter shorter and has had its vestigial handgrip shaved off, that's all. (TOP serves it up straight, not filtered.) It's also 27 grams lighter, OK, but no one needed an X-E3 to be lighter. (Fuji doesn't give the weight for the optional MHG metal hand grip, but I bet it's more than 27 g.)

As with Fuji's last redesign of the X100 series, the design of the X-E4 is sleeker and cleaner. Fuji seems to have been influenced somewhat by Leica's small-camera aesthetics recently.

The usual range of incremental improvements have been applied; everything's the latest and bestest. It's got 18 film simulations, so this is a camera ideally suited to shooting out-of-camera JPEGs. However it does not have the new "Nostalgic Neg" film simulation that the new GFX 100S has. (Boomers like the sound of "Nostalgic Neg." All people older than 60 are either nostalgic or liars. It's been that way since the invention of human consciousness. Things aren't better because you're young when you're young, but things were always better when you were young once you're old.)

The X-E4 will be available with the new, redesigned 27mm pancake lens for only $200 more. That's in contrast to the longtime "normal" lens for the Sonys, a Zeiss-labeled 24mm that is exceptionally long for its spec and has never not been uncommonly expensive. I love that Zeiss 24mm, but it costs more than the new Fuji lens and this new Fuji camera together, which seems fairly nuts. Oh, and that now-missing grip? There's an add-on grip for the Fuji, so it's your choice. Of course, Sony's A6xxx grips are free; Fuji will soak you for an extra $90 if you want to get a grip on the X-E4.

(You see what I did there.)

On the good side, the grip has a built-in Arca-Swiss plate for your tripod. And no, it's not ridiculous to tripod the X-E4: this camera will be fully capable of providing objectively very high-quality results despite its diminutive size.

There's also a spiffy matching thumb rest.

The new 27mm ƒ/2.8 Mark II pancake lens (41mm equivalent) has an aperture ring. The original one didn't. The new lens is also weather-sealed, and has a new AF motor. Did I mention yet that you should buy the lens with the camera and the camera with the lens? You should.

Will the X-E4 be more popular than Sony's six thousand series? Should be. Probably won't be. That's the way the cookie crumbles.

Mike

Book o' This Week:

Eyes Over the World: The Most Spectacular Drone Photography, by Dirk Dallas. The above link will take you to Amazon.

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:

Dillan: "That X-E4 looks pretty sweet! Why do I want every Fuji camera that comes out? I'm supposed to be a Canon guy. Get a grip, Dillan!"

JoeB: "One thing the new X-E4 does not have is in-camera image stabilization. For this coffee drinker, that, I'm afraid, is what the web calls a deal-breaker. Checks all the rest of the boxes though."

Chris Bertram: "I'm confused, Mike. I though the X-Pro series was the interchangeable lens version of the X100, but you have it as being the XE. Was I wrong?"

Mike replies: Well, I think "wrong" is too strong a word. That sort of thing is all open to interpretation. To me the size of the X-E[x] and X100[x] is very close, and the X-Pro series seems more like the "rangefinder-style" equivalent of the X-T[x] "SLR-style" cameras. But this is just my take on it. I haven't got any special authority.

Kenneth Tanaka adds: "Chris Bertram is correct; the X-Pro camera line is the interchangeable lens answer to the X100 line. Both the X-Pro and X100 have that distinctive and complex hybrid reverse Galilean viewfinder, versus the XE camera line which features a simple off-center EVF located roughly where a Leica viewfinder would be. I also agree with Huw Morgan that Sony's Alpha 6000-series / NEX line was a master stroke. I still have two in a drawer along with a few lenses. They're brilliant, very capable hybrid design forerunners. And indeed, opening the mount for third party lenses made it far more durable in the marketplace."

Mike: Yes, I forgot about the similar X100/X-Pro viewfinders.

Richard Parkin: "Some possibly more interesting Fujifilm news is that in the U.K., the Novavax vaccine, which has just successfully passed its trials, will be manufactured by Fujifilm Diosynth in Billingham, Teesside. (I don’t know where it will be manufactured in U.S. and elsewhere.)"

Which Sony Will It Be?

Since I learned you can get a Sony camera converted to B&W only, I've been looking at Sony cameras.

I already own a conversion candidate...but that doesn't stop me from looking.  :-) 

Speaking of which, there's a sale on Sonys at B&H Photo right now—the stellar deal appears to be an A7 Mark II with a 28–70mm lens and some accessories for less than a grand; or you can choose the more recent A7 Mark III with the same lens. The same split is replicated with the high-res models, where the cheaper A7R Mark III is mirrored by the up-to-date A7R Mark IV (both with no lens but with a card, bag, and extra battery).

But the real dilemma—and a hard choice—seems to be between the top APS-C model, the A6600 (not included in the current sale), and the "standard" full-frame model, the A7 Mark III. The former is more compact and has a "rangefinder style" layout; the latter, which is really still quite compact by today's standards, has the more conventional faux-SLR type of body design.

Deciding between the two would be a hard choice to make I think, whether you're buying yourself or recommending a camera to others.

The Sony A6600 has a larger grip that houses
a bigger battery

For purchase and as a recommendation, I'd personally tend to lean toward the A6600, although I can see how others might do the opposite. I like the ex-NEX line of Sony products, and while I've never owned the A6000 or later cameras, I tested an A6500 at the end of 2017 and liked it. (Of course I have fond memories of my NEX-6 which is now a fossil in digital camera lifetimes.)

I'm resigned to the fact that I'm going to be shooting stills with video cameras for the rest of my life—y'know, you adapt, even if you don't really like it—but in the case of the A6600, all the videocentric improvements and refinements have actually had one effect that stills shooters also really appreciate: namely a bigger, beefier grip and a bigger, better battery. That was done for video shooting I'm sure, but I love a good solid grip and I head out with a single battery nine times out of ten, so there's no harm in having one that lasts longer.

The A6600 in general has been highly refined by this point, and numerous reviews mention the superior finish and apparent build quality of the A6600, and the fact that Sony has revamped the haptics of the buttons, improving their "clickiness," their sound and feel. That's another of those things that shouldn't matter but does to me.

As far as lenses go, it is again a hard choice. Do you prefer Sony's latest G-Master statements, or do you tend to prefer smaller, lighter lenses? Of course they're all the same lensmount and will fit on either the A6600 or A7 Mark III, but most people will tend to match the lens to the sensor. There again, my preference tilts to the A6600. My baseline complement of lenses (for me, not as a recommendation necessarily) is a 35mm angle-of-view equivalent prime and an 85mm-e prime, and I'd love to have one of those beautiful Zeiss 24mm's paired with Sigma's lovely little 56mm ƒ/1.4 DC DN. What a sweet lens that is. They both are.

One thing both cameras have is Sony's Eye-AF focusing, which leads the field and is really a wonder of modern technology. It's a "sufficiently advanced" technology that remains magic. If you shoot people (or want to when the plague years end), it's got to be something you'd want.

There are many great cameras vying to be our "objects of desire." Obviously the list is very different for each of us. The A6600 would rank high on my own list. When I look at it I like pretty much everything I see.

Mike

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.

BOOK of the WEEK
as discussed in this post from last week:

How Not to Diet by Michael Greger
(Links go to Amazon)

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

Andrew Young: "I had a Sony A7R Mark II converted to monochrome last year and really enjoy it. I greatly prefer it to color cameras for black and white images. It streamlines the workflow and looks great. I print using the Piezography monochrome inkjet system, so it is 100% B&W from start to finish. Great fun."

Arg: "Let’s face it: mirrorless cameras are only possible, with a pleasant EVF experience, if the sensor is a video device first and foremost. Even if the camera couldn’t record video, its sensor has to output high-quality, high-bitrate, low-latency video. Hooray for video-oriented sensors!"

Greg K.: "This past summer, I switched from Canon to Sony after nearly three decades of film and digital cameras from the former. I initially expected to buy an A6600 and the 200–600mm lens for bird photography, figuring the extra crop factor would often be very useful.

"Despite all the good technology inside of the A6600, after actually handling it in our local camera store, I strongly disliked the ergonomics of the smaller body. Trying to change settings in shooting position required uncomfortable contortions of my hand to reach the dials and I knew I would not enjoy using that camera body. I walked out of the store that day pretty disappointed because I knew my shopping was going to get a lot more expensive (I eventually bought an A7R Mark IV). The full frame Sony bodies fit my hand better than their APS-C bodies but even so, I still added the battery grip to my A7R Mark IV because my hand started to hurt after long days of shooting. Now, perhaps the balance is different if you are going to shoot with smaller lenses (as is more typical for many other types of photography). For me, the APS-C vs. full frame and newer vs. previous generation decisions were rapidly subjugated to handling considerations, which actually simplified my buying process."

Cyber Monday Deals, a Computer, and the Two Cameras I Covet Most

SONY LENSES on sale

NIKON CAMERAS and LENSES on sale

FUJIFILM CAMERAS and LENSES on sale

CANON CAMERAS and LENSES on sale

Superpowerful superlight: For Apple fans, the MacBook Air with the new integrated M1 chip might not be the best computer, but it's got to have a shot at being the best-yet travel laptop. 0.63 inch thick (1.6 cm) and 2.8 pounds (1.3 kg), with specs that would have sounded implausible to a science fiction writer twenty years ago. All for less than that Sony/Zeiss 24mm ƒ/1.8 lens I like so much (the price on that is never going to come down into the realm of reason).

You can get a hundred bucks off if you preorder the MacBook Pro M1 today too.

[WARNING! Somewhat NSFW illustration past the break]

 

Rangefinder News

So you thought your Z7 was expensive?

This looks like a crummy beat-up old camera, but in fact you're looking at the most expensive Nikon ever sold. Let's just say if you wanted to trade your house for it, you'd better live in a pretty nice house. Two customers connected by phone to the Wetzlar Camera Auction (WCA) at the Wetzlar Hotel Bürgerhof on October 10th got into "an exciting bidding war," and the hammer fell on this old Nikon L, an early prototype rangefinder from 1947–48, at a stunning-to-normal-folks price of 397,900 euros. Come on! Who's the no-cash-having piker who lost that contest? Nikon at the time was working out whether to go with the Zeiss Contax bayonet mount or the Leica M39 screw mount (it went with the former). More generally, collectible cameras, mostly Leicas, have reportedly been doing very well lately.

Mike

[CORRECTION: I am having a bad day! An earlier version of this post discussed a rumor that turned out to be very old—I forgot to check the date on the article. Wiping egg off face! Very sorry for the rookie error, which has been removed. —Mike the Not-So-Good Ed.]

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.

Thanks to all our Patreon contributors!

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

xf mj: "Do rumors ever stop being rumors if they never come true? I'd like to think not. I'm more than happy to keep hoping and wishing for an RD-2."

Mike replies: And the funny thing was, as I was typing that up, I was thinking wow, just like before. I actually remembered back to when the rumor was new.

Is Fuji's X-S10 an Admission that the X-T4 is Too Big?

You must be aware that Fuji has released a new camera model. It's a "Really-New-Not-An-Update" introduction, which puts it in a special class of news these days; many new introductions are refreshes or revisions of previously existing models.

(That isn't a complaint. We approve of refinement—it's one thing that helps make cameras great—and we're spoiled for choice these days. It's not like we don't have enough variety to choose from.)

According to Camerasize.com, the X-T4 is 7% (8.6 mm) wider and 9% (7.7 mm) taller than the new X-S10, and weighs 31% (142g or 5 ounces) more. As you can see from the visual comparison at the link, it's a significant difference. 

It's significant because Fuji is one of the few cameramakers that provides a full range of compact lenses for its lensmount, rather than a smattering of token offerings. (I love the word "smattering.")

It seems to be human nature to "improve" products by a.) adding features, b.) adding expense, and c.) adding size and weight. Have you ever seen an original Honda Civic?! They're about the size of a beachball. I exaggerate, but they're Mr. Bean cars for sure. (In America we ride motorcycles that are bigger than the original Civic.) The current Honda Civic is larger than the original Honda Accord that came to America in the 1970s. The Accord was a "compact" then. These days, after decades of incremental bloat, Honda seems to be struggling to keep the Accord within the "mid-sized" category.

Personally, I settled on my "Goldilocks" ideal size long before digital was a gleam in Fuji's eye. It was easy—some cameras felt too big, and some cameras felt too small, so I just figured out where the middle was. Of course it's all individual. Whenever I use my original X-T1, though (I temporarily added the large grip just to see what it felt like and never took it off again), I'm struck anew by how "right-sized" it is. Not too big, not too small. The X-T1 with the smaller Fuji lenses is right there for me.

The X-S10 makes perfect sense for Fuji's lineup, though, which is nothing if not logical. The company seems to like pairing "rangefinder-styled" and "SLR-styled" digital cameras at every market segment. One way you can think about the new body is that the X-S10 is simply the SLR-styled counterpart to the X-100V.

I wonder, though, if the X-S10 might also be Fuji's implicit acknowledgement that the X-T[x] series is becoming a victim of incremental bloat. And maybe feature-creep too.

Mike

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:

David L Glos: "Bloat is the short answer as to how I ended up on Fuji's doorstep. Like many, I started with a Pentax K1000, but my first camera love was a Nikon FM2, received as an 18th birthday present. Simple, extremely reliable, and compact, it was a faithful companion for many years. Eventually I started into Nikon's APS-C digital options, and finally ended up with a D800, which is everything an FM2 is not. Despite tremendous image quality, I just never bonded with the beast. Modern Nikon DSLRs, and companion Wunderlenses, are of a size and weight that I am no longer willing to schlep around for enjoyment. My current Fuji X-T20 based kit is a modern riff on my old FM2 kit, and has become a most agreeable companion. Surprise, I like my cars smaller, simpler, and fitted with a manual transmission too."

RubyT: "If they ever get these fires under control I might have to drive down to Boulder and handle one. It piques my interest, although if they'd give my X-T30 the Classic Negative simulation I'd mostly be tempted by the new lens, for hiking, which takes us back to the fires. Ah, well. It will help keep my holiday budget in check."

Nikon Z6 Original / Crowdsource Review

As you know, the Nikon Z6 is about to be updated: the Z6 Mark II should be out this month.

Still time, then, for us to be on the cutting edge (yes, sarcasm) and review the original Z6. (No link because I don't recommend you buy one before the new one comes out. Wait and see.)

A few years ago, we did a Crowdsource review of a lens, the Olympus 17mm ƒ/1.8. We asked users and owners for their thoughts. We especially wanted their summary opinions of how they felt about it, and we included pictures not to prove any technical arguments but rather to show what kinds of things users were doing with the lens.

Same this time...

Tell us what you think of your Z6, good and bad, and we'll build a group review from your comments. Because who know more about a camera than the people who actually use it?

If you include a link to a picture, you can save me some time if it's 800 pixels wide, sRGB, and a JPEG. Thanks for that—it's a headache to have to reformat lots of pictures.

TOP is off on Saturdays so no new post tomorrow, but if this draws responses you can come back over the weekend and read some of them.

Have at it, Nikon fans! And have a lovely weekend everyone. After an uncommonly beautiful Summer, the gloriously pretty weather here is continuing into the Fall. Yesterday the sky was a spectacle, with more and more varied clouds even than usual. You had to look, but if you did, it was truly a treat. And I watched the full moon set over the bluff early this morning, from the neighbors' dock down by the water.

Mike

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.

Please help support The Online Photographer through Patreon

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

Rod Purcell: "Hi Mike, crowdsourcing camera reviews is such a great idea. So here is my experience of the Nikon Z6. As you will see, I quite like it.

"I have used Nikon cameras for over 25 years. For digital I've used the D70, D200, D300, D600, and D750. Each new model incrementally improved the sensor, viewfinder, AF, etc., whilst iterating the layout and user experience.

"Now it's the Z6. You can trace the evolution of Nikons to this point. You pick it up and it feels smaller, but familiar, comfortable even. The viewfinder is great, the AF is quick, the new S lenses are a step up, and with the adapter the recent AF lenses work, as do the older manual focus AI's. Very effective in-body stabilisation is the icing on the cake.

"Some people complain about the 'missing' second card slot, but for me it has never been an issue. No camera is ever going to be perfect. I have other cameras, but if it's an important job the Z6 is my go-to kit: landscapes, portraits, street, still life, etc., no problem. As a general purpose camera (stills or video) it's rock solid. What else do you need? This photo's from a project on street markets in Kolkata—Z6 with 35mm ƒ/1.8 S lens."

Mike replies: That's beautiful—subtle colors.

John Camp: "The Z6 is a very competent camera that I wish I hadn't bought. People on this forum are sophisticated enough that they don't need to hear all the various pro/con arguments, but basically, what we have in the Z6 is a compact mirrorless camera linked to a heavy full-sized lens system, so it's neither fish nor fowl. It could have been a compact street and travel system with excellent, small ƒ/4 zoom lenses, and maybe two or three really high-quality fast single-focus lenses for specialists. But it's not. In effect, you might as well have a full-sized DSLR. (The Nikon equivalent DSLR would be the D750, which weighs less than six ounces more than the Z6, and if you're already in the Nikon system, as I was, you wouldn't have to buy new lenses—and you'd have that DSLR viewfinder.)

"I will say that the 24–70mm S is an exceptional zoom, and the 85mm is brilliant—but I think perhaps better matched with the higher resolution, and more expensive, Z7.

"My Z6 mostly sits unused, and when I really want to go out and hunt, I most often take my Panasonic GX8 with a 12–60mm (24–120mm-e) ƒ/2.8–4 Leica-branded zoom, which is notably smaller than even the Nikon 24–70mm S.

"As I said to begin with, the Nikon is an excellent camera that I wish I hadn't bought."

Robert Pillow: "Likes: lightweight body; the EVF which makes dim-light compositions and manual focus a breeze; touch sensitive LCD; IBIS; IQ; shutter response to shutter release engagement; ability to adapt third-party lenses; the performance with the FTZ adapter.

"Two dislikes worth mentioning: 1.) The size of the S lenses in general is unreal. I have the 50mm ƒ/1.8 and 35mm ƒ/1.8. Both are very fine lenses. However, they are incredibly large compared to their rangefinder and SLR counterparts. I wish Nikon could find a way to produce optics similar in size to traditional rangefinder lenses. It’s really astounding to me that my Zeiss ZM C Sonnar 50mm ƒ/1.5 joined to a third-party Z adapter is half the size of the native 50mm lens. (This has become one of two favorite adapted set-ups. The other is the AFS 105mm ƒ/2.8 VR Micro/FTZ, but to be honest I’ve been thinking about getting a used AI-S 105mm ƒ/2.5 because the macro lens seems heavy to me for a walking around lens.) 2.) Sometimes, the sensor for switching from EVF to LCD mistakes my stomach for an eye when I try to pretend my Z6 is a TLR. (If you’re wondering, my belly button is covered by a shirt.)"

Mike asks: Can't you turn the latter off? On many cameras you can disable that.

Frank Doring: "I was a bit skeptical because of all the complaints about AF performance and the smaller number of physical controls compared to DSLRs like my (now sold) D810. But I wanted more reliable focusing across the frame with a fastish 35mm lens that I could shoot fully open without reservations. I might have overcome my distaste for Sony’s bodies if they had offered a decent 35mm ƒ/2, but they didn't at the time. The Nikkor Z 35/1.8 S is lovely (if a bit large and heavy). On the Z6, it yields much better results in every way than the 35mm ƒ/1.8G on the D810: focus precision, repeatability, image quality in and out of focus—even after accounting for the resolution difference. The same holds for the new 50mm ƒ/1.8 S vs. the 50mm ƒ/1.4G. I don’t shoot bursts. In non-burst modes, I’ve been very happy with the AF performance. The eye-AF (starting with firmware 2.0) has been working well with the two primes (at ƒ/1.8, torso to almost headshot distance), only occasionally favoring eyelashes over irises.

"The smaller number of buttons compared to the D810 is more than compensated for by the customization options. I find the user settings especially useful. I often alternate between tripod shooting (MF, live view, auto-ISO off, small aperture, bracketing, exposure compensation, shutter delay) and handheld reportage (AF, viewfinder, auto-ISO on, large aperture, no bracketing, different or no exposure compensation, no shutter delay). To switch between the two modes with the D810 is an error-prone dance of button presses, dial spins, and menu settings. With the Z6 (or Z7), it’s a simple dial turn from U1 to U2.

"Of course there are annoyances: the back LCD is cluttered with icons that can’t be turned off; you can’t display the virtual horizon and histogram together; the silly graphic for the virtual horizon blocks the view of the subject (Fuji gets this right); the enlarged view doesn’t show the effect of apertures smaller than ƒ/5.6 (ditto in split-screen zoom view); no button can be programmed to toggle exposure settings in live view (very useful e.g. for biased exposure bracketing); eye- and face-AF only works in auto-area mode and can’t be toggled with a button. But the operational improvements outweigh the annoyances."

Antonio Ramirez: "I have owned my Z6 for 18 months now. I can say without reservation that it is the digital camera with which I have clicked the best. Image quality is top notch, with beautiful colors. High ISO performance is outstanding, bettering my former low light champ Nikon Dƒ. What I like the best, though, is the EVF. After a lifetime of using OVFs in DSLRs, the quality of the EVF, the visibility in low light, and the immediate feedback (WYSIWYG) were a revelation to me. Autofocus is as quick and precise as I need it to be. Eye detect works fine for portraits.

"Two complaints: 1.) No way to turn off all information in the LCD screen, which means it is impossible to get a completely unobstructed view of your scene when framing using the screen. This should be easily fixable in firmware, but so far, they have not done so. 2.) The position of the image review button means I constantly hit it when leveling the camera on a tripod. Really very annoying. The FTZ adapter works seamlessly, although it adds some bulk to the camera. I use my Zeiss ZF.2 primes with the Z6, and with the EVF and focus assist (magnification and peaking) manual focus is way easier than with the DSLRs. It’s a shame it does not autofocus with screw drive AF lenses, but you can never expect total backward compatibility from Nikon. I actually bought the Z6 on a whim, running a Nikon Dƒ, D7200, and a Leica M-P Typ 240 at the time. While I still own all of them, none have seen any use since purchasing the Z6. I expect to continue to enjoy the Z6 for a long time."

Rob L.: "I really loved the Z6—it's a great camera. The lack of non-huge lenses killed it for me. I rented it thinking myself silly for spending money on the rental that I could have put toward the camera, and returned it because it didn't change the main reason I went to Fuji cameras in the first place. And I shoot an X-H1, so body size isn't the issue. If I were only shooting converted Leica glass, I'd likely get it—however, the S lenses, while phenomenal, are huge and overpriced for my needs."

Ken (partial comment): "Lenses are what are keeping me from buying a Z camera."

Mike adds: It's funny, the Z lenses for me are both the main draw and the biggest turnoff. That 35mm looks spectacular from everything I can see online, but look at this—it's also significantly bigger and heavier than my current ~85mm angle-of-view equivalent.

I wish Camerasize would let us compare the 85mm Z lens with the old Olympus OM Zuiko 85mm ƒ/2, a lens especially designed to be short and compact.

Dennis Lee: "This crowdsourcer responds: Z7.

"Not sure why so many love/hate/buy the Z6.... Magic starts happening with the larger resolution. When I first got my Z7 I fell into the same mindset that the medium size files would be fine, sufficient; and they were. They were also a little ho-hum. Honestly I thought I had made a mistake in my purchase. But for the goof on an architectural job I switched to High (Max) resolution and my world changed.

"I would switch my second body (D3s) to a Z7 in a second if I could afford it. There is a difference in color rendering in the large files that I don't see in the Medium res shots. Subtle tones come out, sharpness is astounding, and there's just a quality to the capturing of light that I don't see in the smaller files. Combine these qualities with the ability to dial in perfect exposure via mirrorless and the camera is a Home Run in my opinion.

"I have to imagine the Z6 files are similar to the Z7 medium sized files. I'm not surprised people are bored.

"So I think maybe TOP proposed the wrong question here with asking about the Z6 in regards to the new Nikon mirrorless line. Kinda like asking what everyone thinks about the Chevy while ignoring the Cadillac built on the same chassis in the next parking space."

Any Sakurai: "I own a Nikon D200, D300, and D810—forced into the D810 because Nikon took too long to release a successor to the D300 (the D500)—and a Z6. The D810 is excellent, of course—but for seven years the D300 was my workhorse. The D300 was perfect—the highly capable sports car, compared to the D810 luxury SUV. What I’ve found is that the Z6 is like that D300 sports car—just the right size, fast, and easy to handle. And while the Z6 compares directly to the technical capabilities of my D810, I’ve found that it’s more fun to Compare the Z6 to the D300. I love my Z6 as much as I love my D300. It’s my grab-and-go, take anywhere camera. Modern performance in a Goldilocks-sized package. Interestingly, my walkabout lens is the Nikkor Z 85mm ƒ/1.8 S, a marvelous lens that compares well to my classic AF Nikkor 85mm ƒ/1.4D."