Introduced at Photokina (rest in peace) in 2004, the Epson R-D1 can claim several world-firsts. It was the world’s first digital mirror-less interchangeable lens camera. According to DPReview’s original article on the R-D1’s release, it was the world’s first rangefinder digital camera. It was also the world’s first digital camera to natively accept Leica M and L39/M39/LTM screw mount lenses, the latter through means of an adapter.

What is probably most surprising is that all these camera world firsts were achieved by Epson, a company known more for their printing, scanning, and projector products, rather than a company like Leica. Epson even beat Leica, the king of the “Messsucher” (or rangefinder for the non-german speakers like me), in delivering the first ever digital M mount rangefinder camera for the consumer market; the Leica M8 arrived a full two years after the R-D1, in 2006.

Because the Epson R-D1 was the first of its kind, it has the distinct privilege, at least in my book and another for that matter (Camera by Todd Gustavson, pg 347), of standing out in photographic history as a monument to beautiful, classic camera design while simultaneously stepping forward into the burgeoning bloom of the digital age. 

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Specifications of the Epson R-D1

• Camera Type: Rangefinder mirror-less camera
• Sensor: 6 megapixel APS-C CCD (23.7 x 15.6 mm); Max. resolution 3008 x 2000
• Lens Mount: Leica M
• ISO: 200, 400, 800, 1600
• LCD Screen: 2″ 235,000 dots
• Shutter: Max speed 1/2000 second
• Storage: SD card (2GB max)
• Dimensions: 142 x 89 x 40 mm
• Weight: 610 grams (1.37 lb)

Design

As far as outward appearance goes, if we clad the R-D1 in the legit street photographer livery of black electrical tape over all branding or labels, you would be forgiven for thinking it was a film camera. After all, the body design is based on the Voigtlander Bessa R platform. In fact, the R-D1 was developed in partnership with Cosina, the parent company of the modern Voigtlander brand. So, yes, the Epson feels very much like a film camera.

But once we take that imagined electrical tape off, turn the camera on, see the status dials energize to indicate important details like remaining shots and battery life, and flip that flippy screen around (not for live-view, but to review saved images and adjust menu settings), we realize that this is most definitely a machine with digital innards. 

The R-D1 sports a 6.1MP APS-C sized bayer-arrayed CCD sensor, the same sensor found in the Nikon D100. Its sensitivity tops out at ISO 1600. ISO is selected by lifting the collar of the shutter speed dial, just like many film cameras from the past.

Shutter speeds on the R-D1 range from 1 to 1/2000 second, with a bulb mode labeled “B.” Rotating the shutter speed dial to “AE” allows shooting in aperture priority, which is my favorite automatic exposure mode on any camera, and my preferred method of shooting.

Exposure compensation can be set to +2 to -2 EV with the shutter speed dial. There is also an AE lock button at the back of the camera where the photographer’s right thumb naturally falls. This button also locks exposure so we can be more precise with our metering, but I don’t find myself using it all that often, as I simply trust the center-weighted average meter for most of my shooting.

The camera can capture JPEG images in both normal and high quality settings, but it is also able to record in RAW. The .ERF files can be edited in post and still work in Lightroom to this day. All images are saved to an SD card, but the R-D1 will only accept SD cards that have a maximum capacity of 2GB. The R-D1X is an exception to this as that specific model allows the use of 32GB SD-HC cards.

The R-D1X also forgoes the flippy screen and offers only a fixed screen, making it more akin to a traditional digital Leica M or Fuji X-Pro 1 and/or X-Pro 2. Although I’ve never owned or used the R-D1X, I think I personally prefer the R-D1’s screen implementation because I can flip it away when not changing menu settings or reviewing images. And honestly, that is a good thing, because this screen is not an enjoyable viewing experience. It’s actually quite bad, but it’s hard to fault a 20 year old camera for having a low resolution LCD screen (a whopping 235K pixels to be exact).

There are actually two benefits that I see to closing the screen: 1.) closing the screen discourages chimping, and 2.) closing the screen reveals the awesome focal length equivalence table that is reminiscent of the ASA reminder or ISO selection wheel on the back of Leica M film bodies. For an APS-C crop factor table, it’s quite useful while not looking too out of place.

Even with the screen closed, it’s possible to easily adjust and understand our settings. The R-D1 has a cleverly designed interface that utilizes a lever near the user’s right thumb in conjunction with a jog dial on the top left hand side of the body where a film rewind knob would be on a traditional film camera. By using the lever to select either White Balance or Image Quality size, it’s possible to use the jog dial to make those adjustments without having to dive into the menu. Bravo, Epson! It’s these kinds of small yet intuitive details that impress me and make me grin.

The R-D1 is in my mind the perfect amalgamation of three important characteristics that make for an authentically analog experience for enthusiasts who wish to shoot digital: vintage mechanical precision, tactile handling, and digital workflow. 

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Vintage Mechanical Precision

The R-D1 feels like a proper camera. It is a “modern” image making tool that embraces a tried-and-true (if not very popular) focusing system which gives reliable results in the field.

To some, the rangefinder may seem like a vestige of a by-gone era, but its continued use in the current Leica M offerings, and even the Pixii camera, shows that there are some photophiles out there who appreciate a more mechanical approach and process to connect them to their photography. For people who have never used one, it may take some time to get used to rangefinder focusing. However, once practiced, this focusing methodology can become a very fun and engaging way of capturing photographs. In a world of phase detect autofocus, computational AI subject detection, and myriad tracking options for both animate and inanimate objects, the rangefinder can serve as a pleasant departure from such state of the art conveniences.

The viewfinder magnification of the R-D1 is notably nice. It uses a 1:1 magnification viewfinder, and although that is not unique in the world of 35mm film rangefinder cameras, it might be the only digital rangefinder camera to have one.

It’s often said by Leica shooters that the best way to use a rangefinder is to look with the right eye in the viewfinder and to keep the left eye open to look out into the world. But if the camera in question has a viewfinder with 0.85x or 0.72x magnification, like so many Leicas, doesn’t that confuse things? We’d be seeing the real world in a normal 1:1 magnification in one eye, and the same scene in a completely different magnification in the other (through the viewfinder).

Call me crazy, but I’m not a chameleon, and two different magnifications is hard for me to even think about without getting optically confused.

If you’re a “proper” right-eye dominant shooter, then the R-D1 will be an optically pleasant experience because both your eyes will be seeing the world in the same magnification! Just think, your rangefinder patch will be floating in the center of your real-life view of the world. It may not be the Apple Vision Pro level of augmented reality you were looking for, but a floating rangefinder patch is still pretty nifty if you ask me.

Just don’t ask me; I’m left-eye dominant.

In addition to the coupled rangefinder mechanism, the analog status dials on the top plate are another area where this camera oozes retro cool. For the watch enthusiasts out there, I think it is worth noting that the full company name of the Epson brand is the Seiko Epson Corporation. Yes, that’s correct. Seiko, as in the timepiece manufacturer. That’s probably why it is so satisfying to watch (no pun intended) the gauges snap to position. It’s like watching movements on a quality wristwatch. The dials actually remind me of those found on the Nikon 28ti and 35ti, which just so happen to be also designed by Seiko. 

There are, however, some parts of the R-D1 that might not feel as precise as, let’s say, a Leica.

There’s a tendency for the rangefinder patch to fall out of vertical alignment. My copy’s vertical alignment is slightly off, and I’ve lived with happily. But it’s not perfect.

Then there’s the manual frame-line selector switch. It doesn’t feel loose per se, but it doesn’t give me the same kind of clicked-in confidence as when mounting the same M-mount lenses on a Leica M body. Leica M cameras automatically snap to the appropriate frame-lines when different focal lengths are used, but with the Epson, we have to make sure we select the correct focal length for the right frame-lines to show up in the viewfinder. I can be forgetful every now and then, and have been known to leave the frame-line selector switch on 35mm when I actually had a 28mm mounted. I guess it’s not the camera’s fault, since I’m the one who forgot.

And lastly, the battery door can be a little fiddly. It does the job of housing the Fuji NP-80 style lithium ion battery, a battery that’s luckily still available from third party manufacturers on Amazon.

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Tactile Handling

The R-D1 utilizes true and accurate film-era haptics and movements for user operations that don’t feel gimmicky. If you’ve ever used a 35mm film camera from the latter half of the 20th century, you’ll feel right at home with the stand out feature of this camera – the film advance lever, or rather, as it is more accurately labeled in the user manual, the “shutter charge lever.”

Indeed, if there was one feature to highlight about the R-D1 in this article, it is the shutter charge lever. Although it does not advance any film through a transport system, as this camera does not shoot film, it’s necessary to actuate this lever to cock the vertically traveling focal plane shutter for each exposure.

For me, this lever is what makes the camera so fun. In a word, it’s fantastic! I don’t think there’s another camera like it, and I don’t think there ever will be again. True, there are other options for cameras with digital sensors that incorporate shutter cocking mechanisms, but they are usually in the form of digital backs that are added to film bodies, making them larger and slightly more unwieldy, and not to mention significantly more rare and expensive.

Off the top of my head, the Leica R8/R9 with Leica DMR back and the Hasselblad 500 series with the CFV digital backs come to mind. But to my knowledge, the R-D1 was the only camera designed from the ground up with a manual shutter charge lever integral to the camera’s function and operation.

Let me put it this way: if you’ve ever shot a Leica M film body and craved that tactile experience but in a digital format, then I think the Epson R-D1 is as close as you’re going to get to that film-like shooting experience. At one point in my photography journey I purchased a used Leica M9 (with an updated non-corroded sensor) and it was a wonderful camera to use for the season that I owned it. And even though it had a wonderful full frame 18mp Kodak CCD sensor that produced beautiful files, I ended up selling it to get the R-D1 instead. I made that decision because I wanted that film feeling when shooting digital.

I admit that I haven’t used any of the other digital Leica M offerings, but in my hand the M9 felt, for lack of a better word, chunky. It just didn’t feel like a Leica M film body (I own an M4-P for reference). The M10-D looked pretty cool when it was announced, but to hear about the shutter lever just being a thumb rest was a major let down.

But I digress. Let me get back to the subject camera.

Smaller design details hearken back to the days of analog cameras. The jog dial, which I mentioned earlier, is able to be pulled up to a raised position for accessing secondary directional functions when reviewing images in a magnified view. It’s probably not something you’ll be using very often, but since this camera lacks a directional pad or any command dials, this small decision to have the jog dial work this way is really cool, without being cheesy. It’s something with which a film shooter would be familiar, too,  since this is a movement was commonly used for opening film backs. 

The main point I wanted to make here is that for photo geeks, like me, who really enjoy how a camera feels and operates in the hand, the R-D1 provides a truly unique analog experience in the digital realm. It authentically feels like a film camera.

And yet, in some ways, it feels better than a film camera.

Digital Workflow

As much as I love analog photography and using film cameras, there are times when I simply want to have a digital image immediately.

Sometimes, I just want to have the photograph right away, instant gratification and all, ready to be viewed, enjoyed, consumed, or shared with someone without having to wait for lab processing turnaround times or home development and scanning sessions. And after our fourth child, the dev and scan sessions have definitely decreased in our household. Also, I think my wallet would like me more if I shot just a little less film and a little more digital. Don’t get me wrong, I still really enjoy film photography. But since I am a casual photophile who wants that same analog experience yet with a digital workflow, the R-D1 scratches that itch.

I believe that there is a place in the market for vintage/retro inspired cameras. The recent release and sales success of the Nikon Zf is a testament to that. And over the years, I’ve been blessed to have been able to use some notable models that exuded that same aesthetic.

I’ve had the privilege and pleasure of owning a Fuji X-Pro 2, the aforementioned Leica M9, and even the Olympus Pen-F. Each of these models are all very wonderful and enjoyable cameras in their own right, but I don’t own any of them anymore. And I think this is why I hold the Epson in such high regard. As great as each of those cameras were, the R-D1 is in my opinion the only digital camera that gave me the most authentic feeling of shooting film without having to shoot film. And I think, for that one reason alone, it has remained in my stable.

Final Thoughts on the Epson R-D1

And this is perhaps where I should conclude my rather verbose sentiments on this singular camera.

The Epson R-D1 makes for a user experience unlike any other. For some photographers, the process and experience of capturing the photograph is just as important as the photograph itself. The act of looking through a real optical viewfinder, composing within parallax-corrected frame-lines, triangulating the distance between the lens and subject, pressing the shutter release, and that ever-so-satisfying flick of the thumb to actuate the shutter charge lever for the next frame – it’s all these little things put together that bring me pleasure. And there’s no other camera that does it all quite like the Epson R-D1.

I think it’s the unique nature of the camera’s form and function that lend to its unicorn-like status. Current market value is somewhat reflective of this, with used prices now looking awfully close to the range of a monthly mortgage or rent payment. Thankfully, I was able to buy mine for a good deal from a domestic seller. Though I had to wait a long time for that good deal to come up.

But there really is no other camera like the Epson R-D1, and I don’t think there ever will be again. The R-D1 was born in a time when digital photography was becoming a real feasible alternative to film, and since many photographers of its time were familiar with the mechanical nature of tactile camera operations, I believe Epson made the right move in incorporating these familiar movements and interaction points into the design of the R-D1. It may not have been a commercial success, but it was the perfect camera for a niche community.

As a photo geek, husband, and father (a dad-tographer if you will), the Epson R-D1 is perhaps my quintessential casual photophile camera. For me, it is the camera that most connects me to the act of documenting the moments that will become my family’s memories.

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Our guest author articles are sent in by amazing photographers and writers all over the world. Today’s guest author is…

Nio Gomez is a husband and father of four hailing from the commonwealth of Virginia. His other occupations include audio/visual technician, bottle preparer, diaper changer, freelance DP, wedding photographer, and all around camera geek. But he is at heart a dadtographer.

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So? Who cares? Has Casual Photophile turned into a personal blog/travel influencer machine? Not quite. I won’t peddle travel hacks or tell the best time of day to see the Mona Lisa (in my opinion, don’t). Nope, I’m here to drag you along for the ride as I reflect on the existential question all photographers ask themselves before a trip – “What camera should I bring?”

One thing you need to know about me before we embark on this adventure is that I’m a self-proclaimed film girlie. My first “serious” venture into photography was a high school darkroom class and while I’m a technical person who works with computers daily, I have never clicked with digital photography (horrible pun not intended). I have no rational justification for it. I just don’t like digital. It’s not as fun as shooting film.

Another thing you need to know about me is: I am but a lowly hobbyist photographer – if it’s not fun, I’m not doing it. Add all of this together and the answer to the original question, which camera should I bring, is obvious. Of course I’m taking a film camera with me on a once-in-a-lifetime trip, right?

Wrong.

I know, it’s crazy and makes absolutely no sense but, I left out some other key info: I’m the cheapest person I know and I’m also a certified X-ray technologist.

If you’re in the film community I’m sure you’ve seen at least one Reddit thread or Instagram story asking “My film was scanned in the airport – is it trashed?” These discussions are riddled with contradicting responses.

“If it’s less than 800 ISO you’re fine.”

“My film was x-rayed 25 times and now those photos are on the cover of Rolling Stone.”

“Why didn’t you just ask for a hand-check?”

I’ve even seen a few responders go as far as suggesting we all haul along powdered chemicals and develop our film at our destination. Insanity.

I’m not going to get into all the caveats regarding film and X-rays. Kodak and others have well-documented the issues seen with the new CT scanners in airports (which are x-ray tubes that spin in circles but deliver a much higher dosage of radiation). As an X-ray tech and the cheapest person I know – all I can tell you is this: I’m not putting a single roll through an X-ray, ever. It’s too expensive. There’s a chance the film will be fine, but there’s also a chance it won’t be. One roll of film can cost as much as $18 nowadays. Not to mention, the photos on the roll itself on a trip like this are priceless memories. I’m not risking it.

I love photography, but again I’m a hobbyist. I just want to take an amazing vacation and document the memories along the way. I don’t want to be anxious in the security line and spend my precious PTO arguing with a foreign agent that my film absolutely must be hand-checked because *mY qUaLiFiCaTiOnS*. I also don’t want to carry around a heavy digital camera worth a thousand, or even hundreds of dollars through cities I’m not familiar with. None of that sounds fun.

So what’s a girl to do? I say, bring on the digicams.

Digicams! They’re small, cheap, and unassuming. Now, I know what you’re thinking – “You trusted once-in-a-lifetime memories to a tiny sensor that’s 10+ years old?”
Yes. Yes, I did. And I don’t regret it.

In the winter, when I was deep in my “I don’t know what camera to bring” crisis, I stumbled across one of KingJvpes videos in which he and a friend walked around town and pitted a Ricoh GR III head-to-head against an old Canon S95. I initially thought all the same things you’re probably thinking – “These kids today. Why not just use your cell phone if you’re going to use a camera with such a crappy, old sensor?” But as I watched, my main takeaway wasn’t that the photos were indistinguishable between the two cameras – they were obviously very easy to tell apart. But I did realize that the old Canon S95 really held up much better than I thought it would and it was only $100.

As I did more research by endlessly scrolling through photo examples on Flickr, I found that the older pre-2010s digicams with their CCD sensors produced photos that had a unique look to them that I really liked. They felt a bit more “vintage” to my eye. I’d heard people in the photography community say that digicams “are the new film” and give a “film look.” I personally don’t think that’s true, but I do feel they provide a certain nostalgic look to photos that younger Millennials and Gen-Z would attribute to their childhood eras. It’s definitely a look that resonates with me more than the super crisp amazing digital sensors that are out there today.

So, off I went down the rabbit hole of DP Review’s camera feature search (kudos to onemonthtwocameras on Youtube for that gem) and filtered for cameras that had all the features I was looking for: RAW capabilities, “larger” 1/1.7 inch, 10-megapixel CCD sensor, and an optical zoom. I came away with two options that I was personally interested in: the Canon S90 and the Panasonic Lumix LX5. I cross-referenced prices on eBay and other used retailers and they were each around $100 at the time so, against my frugal heart, I bought them both and planned to sell whichever one I liked the least.

After testing for a few months before my vacation, I ultimately decided to bring both cameras along. Each camera had different ergonomics and I couldn’t decide which files I favored more. They’re both so small and light, they took up less space and weight in my bag than one of my 35mm SLRs would have anyway. In the event one of them got lost or broken, I’d have a backup. It was an easy decision.

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In Japan, Digicams are the New Film - Guest Post by Johnny Yokoyama

I’d like to introduce a new photography trend. Welcome to the exciting world of “Digicams.” Wait! Don’t roll your eyes just yet!

I had the time of my life. I kept one of the digicams on me at all times during the trip. They easily stashed into my little travel purse. I never felt weighed down by my camera or felt the need to leave it back at the accommodation. I didn’t worry that someone was eyeing me up as a potential target for carrying a bunch of expensive camera gear. I never thought twice about plunking my bag up on the belt to be x-rayed a million times. I was carefree and living my best life. The digicams did exactly what I needed a camera to do for this trip – get out of the way and let me take photos.

Since I carried a camera with me everywhere, I got a lot of great shot opportunities that I might not have had if I’d opted to bring along a bigger camera. The RAW capabilities and manual settings made shooting feel more like actual photography than simply using my cell phone, which for me is not an enjoyable photographic experience. I’m very happy with the decision to use digicams for this trip and I’m confident that the 10-megapixel files will have plenty of detail to print the photos into a memory book.

With that said, I want to reiterate that this trip wasn’t an African safari, Paris fashion week, or a destination wedding that I was being paid to shoot. It wasn’t even a photography-focused leisure trip. I didn’t take the most ground-breaking, iconic photos ever. But what I did do is have an amazing time traveling and get to sneak in some fun, low-stress photography whenever it was convenient.

So, if you’re a frugal-to-a-fault hobbyist photographer with a love of film and all things vintage but don’t want to deal with the hassle of flying with film (or heavier, bulkier cameras) and you’re taking a trip that isn’t photography focused, I encourage you to give digicams a try. They’re great little companions. Lastly, thanks for making it to the end of this long-winded article – why are you still here? Just bring whatever camera you want. Don’t let anyone tell you what to do. Happy shooting!

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Of course, to satisfy the requirements of the nifty fifty, Nikon had to keep an eye on size and cost. For this reason, the Nikkor Z 40mm naturally lacks some of the finer features of the more expensive lenses in the system, and though it has let me down in a couple of ways, on the whole, the Nikkor Z 40mm is a remarkable lens and a worthy successor to the traditional nifty fifty.

Just try to ignore that it’s not exactly a fifty.

Specifications of the Nikon Nikkor Z 40mm f/2

• Focal Length: 40mm FX (full-frame sensor cameras); 60mm DX (APS-C crop-sensor cameras)
• Lens Mount: Nikon Z
• Optical Design: 6 elements in 4 groups
• Focus Type: Auto focus, user-selectable manual focus
• Minimum Focus Distance: 11.4 inches (29 cm)
• Angle of View: 57°
• Maximum Aperture: f/2
• Minimum Aperture: f/16
• Diaphragm Blades: 9, rounded
• Image Stabilization: No
• Filter Size: 52mm front-mounted filters
• Size and Weight: 2.8 x 1.8 inches (70 x 45.5 mm); 6 oz (170 grams)
• Price: $276.95 (B&H Photo affiliate link)

Nikon NIKKOR Z 40mm f/2 Lens

Buy Nikon NIKKOR Z 40mm f/2 Lens featuring Z-Mount Lens/FX Format, Aperture Range: f/2 to f/16, Two Aspherical Elements, Super Integrated Coating, Stepping Motor AF System, Programmable Control Ring, Rounded 9-Blade Diaphragm. Review Nikon null

Why this 40mm Matters

Before the Nikkor Z 40mm, Nikon offered a number of standard prime lenses compatible with their full frame mirror-less cameras, but none satisfied the criteria of the nifty fifty. None were a standard, affordable, every-day lens. I’ve tested them all.

The Nikon Nikkor Z 50mm f/1.8 S came closest to the traditional nifty fifty’s basic specs, but it’s a big lens, and priced high at $620.

The Nikon Nikkor Z 50mm f/1.2 S was a beautiful piece of kit, but it’s simply enormous, and costs $1,900.

The Nikon Nikkor Z MC 50mm f/2.8 macro is a special lens indeed, and one that adds versatility and utility to the nifty-fifty formula. But, predictably, it’s bigger than the traditional 50mm, and costs $600.

None of these 50mm lenses satisfied the needs of someone seeking a traditional nifty fifty.

But then, at the end of 2022 Nikon released the Nikon Nikkor Z 40mm F/2. While not exactly the same as the nifty-fifties of old, the Nikkor Z 40mm delivers on the promise of the nifty fifty; it’s a truly compact standard focal length lens with high performance offered at an incredibly low price (in fact, it’s the least expensive full frame lens in the entire Z series ecosystem – tied with the Nikkor 28mm f/2.8).

First Impressions

The most instantly notable trait of the Nikon Nikkor Z 40mm f/2 is its size and weight. It’s tiny. At just 1.8″ long it feels exactly like the compact manual focus lenses of the olden days, and since it’s entirely made of plastic, it weighs very little (just 6 oz). Mounted to my Nikon Z5 it feels perfectly sized and perfectly balanced.

Next we notice the build quality. While lightness is a benefit in portability, usability, and comfort, it can also lend a sense of cheapness. I get a bit of that with this lens, even though I tested the Special Edition version, which is styled to look like the old manual focus Nikkors of the film days. It just doesn’t feel as dense or solid as the pricier, fancier lenses.

It’s entirely made of plastic. This includes the filter threads, lens barrel, control ring, and worst of all, lens mount. I imagine that Nikon’s engineers in the lab were really feeling the pressure from the bean-counters at the office. There’s not an engineer or designer on Earth who would willingly choose to make a lens mount out of plastic. But I’m sure it shaved a dozen (or so) dollars off the price.

And then we get to the important part – the shooting.

Controls and Focus

Unlike the more expensive lenses in the Z series system, the Nikkor Z 40mm has few controls. In fact, it has just one, a large multi-purpose control ring encircling the lens barrel. This control ring’s default control parameter is focus – by spinning it, we can focus the lens manually. For this purpose, it works well, automatically activating manual focus even when the camera is set to auto focus.

Manual focus is precise and refined, and of all of the focus-by-wire electronic manual focus systems that I’ve ever used (and I’ve used them all) Nikon’s modern system is the best. It’s smooth and responsive, and it acts progressively (more aggressive spins yields faster focusing).

It’s also possible to change the function of the control ring so that it no longer controls focus, but rather controls other settings, such as lens aperture or exposure compensation or ISO. This is particularly useful in certain shooting modes for users who don’t care about manual focus. The ISO control, in particular, is nice.

In auto focus mode, the lens works beautifully. There’s no external moving parts, and focusing is snappy and responsive. There is very minor focus breathing, but it’s not bad enough to really impact anybody, including video shooters. (Focus breathing is defined as a measurable optical change in the image when focusing from far to near.)

Image Quality Pros

The Nikkor Z 40mm makes really interesting images that combine the technical excellence of modern lens technology with a dash of old film-era lens character. This film-era character comes largely from Nikon’s desire to keep down cost and size by using a somewhat archaic optical formula – it’s made of 6 lens elements in 4 groups. Just compare this lens’ formula to the massive and expensive Nikkor Z 50mm F/1.8 S lens – that one has 12 elements in 9 groups.

But such a stark contrast in quantity doesn’t necessarily result in a similar drop in quality.

The Nikkor Z 40mm has two aspherical lens elements to limit aberrations and distortion, resulting in high sharpness and accurate rendering. The lens also uses Super Integrated Coating to suppress flares and ghosting, to improve contrast and render accurate colors.

This blend of minimal optical formula and ultra-modern lens technology creates a very interesting dynamic. Images are crisp, clean, sharp, and punchy. There’s no flaring or ghosting. Chromatic aberration and color bokeh are virtually non-existent. So we achieve most of the most desirable benefits of a modern lens.

However, the relatively simple optics also create images with fundamental flaws (which I call character).

The center of images are super sharp at all apertures (including wide open), but corner and edge sharpness and contrast decline to certain degrees at varying apertures.

Wide open at f/2, we see a very classic rendering which will feel familiar to shooters who remember the days prior to manual focus. As we stop the lens down, all of the optical issues smooth out greatly, as expected, until f/8. Above f/8 we begin to lose sharpness and quality due to diffraction.

This blend of old and new style image quality lends itself best to everyday shooting, street photography, travel, and editorial photography. Users who focus on these types of photographic styles will adore the rendering of this lens.

Landscape photographers and portrait artists will likely find fault (though a 40mm lens likely won’t be on these photographers’ wish lists anyway).

I should also quickly mention that the lens suffers no distortion and very little vignetting. In fact, the latest firmware update for this lens updated its lens profile to further correct any native flaws (the camera does some electronic magic to correct our photos before they’ve even finished writing to the SD card).

Image Quality Cons

Bokeh is not bad, for a 40mm lens. But if we’re comparing it to the other standard lenses in the range, it’s really not great.

The out of focus areas are a bit busy. Bokeh highlights aren’t perfectly round. And the transition from in-focus to out-of-focus elements of an image is a bit abrupt and lacks subtlety. That said, get close to our subject and it’s possible to make some nice subject isolation and decent bokeh. (Especially at this price point!)

Which brings up the next little complaint. Focusing close tends to lessen sharpness at all apertures. This is most noticeable at f/2, as one might expect, but it’s present through the range of f/stops.

Image Samples

Final Thoughts

Right now, the Nikon Nikkor Z 40mm F/2 is a special lens. There’s no other directly comparable lens for the Nikon Z system.

I reviewed the 40mm Voigtlander lens not very long ago. However, that lens doesn’t offer auto focus. And there are a couple of Chinese-made 40mm Z mount lenses, as well, but these are made for APS-C cameras, not full frame.

There are plenty of 35mm lenses, but these aren’t directly comparable, often they’re manual focus only, and often they cost more money. The 50mm lenses mentioned earlier don’t fit the bill, and there are none others that offer the performance to value that this Nikon 40mm offers.

In short, it’s an amazing lens. For Nikon Z series users who want an every day lens with superb performance at a wonderful price, a lightweight travel lens, or a fond reminiscence of the old days of cheap nifty fifties, the Nikon Nikkor Z 40mm F/2 is it.

Nikon NIKKOR Z 40mm f/2 Lens

Buy Nikon NIKKOR Z 40mm f/2 Lens featuring Z-Mount Lens/FX Format, Aperture Range: f/2 to f/16, Two Aspherical Elements, Super Integrated Coating, Stepping Motor AF System, Programmable Control Ring, Rounded 9-Blade Diaphragm. Review Nikon null

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Circumstances, however, made pulling the trigger on this relatively old digital camera a little more interesting. I recently acquired a small system of half-frame lenses for my Olympus Pen FT which, in theory, could adapt well to the similarly-sized APS-C sensor size of the Fuji X-T1. And seeing as the X-T1’s price dropped considerably since its release in 2014, I thought that it could (in theory) combine with the already economical half-frame Pen FT to provide a perfect solution for the constantly rising cost of shooting film, without sacrificing anything of the analog-based processes that I love.

Before long the humble, workmanlike Fuji X-T1 quickly became the centerpiece of my photographic world. It accomplished something very rare among digital cameras – it provided a real analogue (no pun intended) to the process and workflow of shooting film, and even provided a meaningful lineage and continuation from the classic camera designs I love.

And perhaps most important to film shooters in our inflation-riddled, price-gouged future of 2023, I’ve discovered that the combination of Fujifilm X-T1 and Olympus Pen FT is perhaps the most economical film/digital setup out there.

Why the Fuji X-T1?

For devoted film shooters like myself, the arrival of the Fuji X-T series (as well as Fuji’s entire line of digital cameras) was a godsend. Finally, there was a practical alternative to the cynical devotion to the same old function-over-form black blob DSLR/Mirrorless design of the Nikon D-series, Canon EOS series, and Sony A-series cameras of the day, laden with multi-purpose sponge buttons and bottomless menus. Here was something that felt like it had a lineage to the manual focus cameras we loved, without it feeling like it was pandering to the people who loved them. The Fuji X-T series was (and still is) the answer we’d been seeking.

From the jump, Fuji X-T1’s design reminded me of (and bore an uncanny resemblance to) two of my very favorite SLRs; the Nikon F3 and Nikon EM. The camera fit in the hand as easily as the compact EM and shares much the same dimensions, and the control layout almost nearly mimics that of the F3. The angular design punctuated by small ergonomic finger rests is straight out of the F3’s playbook as well, and also recalls cameras like the Pentax LX, Olympus OM-4, Canon A-1 and F-1, Minolta XD and Leica R4. As somebody who has an affinity for this specific era of SLR design, the X-T1 feels like a true spiritual successor.

Where the X-T1 starts to separate itself from other retro-chic cameras is in the purpose of its execution. It doesn’t overdo or rely on its reference points, nor does it make the reference The Point. Yes, the control layout features a big ol’ shutter speed dial, an ISO dial, switches on the front, and an on/off switch integrated into the shutter button surround, just like the F3, but it doesn’t present itself as a hodgepodge pastiche marketing exercise. The presence of these tactile dials, levers, and buttons do recall a simpler time and have some retro-chic appeal, but they primarily streamline and make simple the myriad options and controls available for digital cameras.

The design and layout of these macro-controls is so effective that there’s almost no need to menu dive; all angles of the exposure triangle are available in a simple physical form. Its analog-inspired aesthetic doesn’t just simply act as a dog whistle for the film geeks among us (remember when Leica made a digital M with a fake film advance lever?); it actually forms the bedrock of its utility, which may be Fujifilm’s greatest design achievement to date.

The camera’s user interface also happens to recreate the manual film camera experience so well that it feels tailor-made for the use of legacy lenses. Though the X-T1 was praised early on for the quality and speed of its auto-focus, its user interface seems meant for an old manual focus lens. Adjusting aperture and shutter speed feels exactly as it does on manual focus cameras, and even the focusing aids feature a fun black and white digital rangefinder which mimics the split-image rangefinders of yore. The resemblance is a little uncanny, but oddly comforting, and I actually prefer it to the focus-peaking mode, and massively prefer it to the dinky glass viewfinder with no focusing aids found on most DSLRs.

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My experience with the X-T1 and Legacy Lenses

Despite some initial hesitation, the X-T1 proved itself a real digital alternative to my favorite-ever cameras, and a platonic digital ideal for the film and manual-focus obsessed. With the X-T1, Fuji successfully recreated the very process of shooting my favorite cameras without ever resorting to cheap nostalgia, something I previously thought was impossible.

Revelatory though the X-T1 has been for me, there was one huge caveat that came with it and nearly all of Fuji’s cameras that initially prevented me from using them in the first place – the APS-C crop sensor. Debates about sensor size and image quality versus full-frame sensors aside, APS-C sensors still crop the crap out of the 35mm legacy lenses I love. Speedboosters purport to solve this problem (and they do, to some extent), but I don’t love the idea of throwing more glass elements at the cropping problem, nor do I love the idea of spending $700 USD for the privilege. No matter how good, the crop sensor of the Fuji X-T series really holds back raw, native adaptability between it and the full frame legacy lens systems many film shooters build their photographic lives around.

It’s this very issue which makes the Olympus half-frame lenses such a simple solution on the APS-C sized Fuji X-T1. While the Olympus half frame is still very slightly bigger than APS-C, it is the closest one can get to a native vintage legacy lens specification for the Fuji X-T series.

When used in tandem, the Fuji X-T1 and Olympus Pen FT lens system operate as one of the most elegant film/digital systems in photography, and the ideal combination for those unwilling to compromise on the film shooter’s workflow. The entire system (both bodies plus three lenses) is small and portable enough to fit in just a small bag, and one can switch from the Fuji X-T1 to the Pen FT in a couple of seconds. If it’s the real film experience one wants, the Olympus Pen FT offers one of the genre’s finest shooting experiences, and if it’s flexibility and versatility one wants, the Fuji X-T1 is there to grab everything else.

But aside from lens compatibility, there’s one thing which puts this entire system above the others – the Fuji X-T1’s film emulation. Despite being from the olden days of 2014, these film emulations still do a stellar job of approximating some of Fuji’s classic films. Fuji Pro 400H, Provia, Velvia, Acros, and even freakin’ Fuji Astia are represented in these film profiles, which can be applied both in-camera through JPEG processing, and in post-processing image editing software like Lightroom and Darktable. As somebody who doesn’t like the endless post-processing required to get RAW digital photos to look less flat, both the instant in-camera processing and the simplicity of applying a tailor-made film profile in post is extremely appealing, and even closer to the set-it-and-forget-it analog workflow.

It should also be noted that the age of these emulations has also given rise to third party improvements upon them, namely the so-called “film recipes” for different Fuji sensors. These recipes provide different in-camera JPEG processing settings for emulations of specific films, ranging from the now-extinct Kodachrome to the hyped and consistently sold-out Cinestill 800T. Whatever lingering qualms one might have about the age and quality of the built-in film profiles and sensor can be soothed by these new user-made film recipes. If it isn’t ever enough, a real film camera is only a lens swap away, and the RAW files will still be there anyway for your editing pleasure.

This brings me to my final, and perhaps most timely, point – the system could very well be one of the best solutions to the problem of rising film costs. The older Fuji X-T1 can still be had for less than $500 USD new and less than $400 on the used market, and provides quite literally an unlimited number of exposures in every different variety, while the half-frame Pen FT automatically doubles the amount of exposures possible on a single roll of 35mm film, thereby halving processing costs. Shooting without financial pressure or worry is valuable for any and every shooter, and helps us enjoy and explore the art form we love more freely.

But what’s truly special about this Fuji X-T1-based system is that it accomplishes everything in a way that’s familiar to film shooters. The Fujifilm X-T1 itself is a wonderful and actually functional tribute to every classic film SLR I love, while the Olympus Pen FT provides me one of the best real film shooting experiences out there without blasting a hole in my wallet every time I finish a roll of film. And after years and years of shooting film nearly exclusively, being disappointed with the design philosophies of the digital world, and being priced out of consistently shooting film year after year, I couldn’t ask for a simpler, more elegant solution.

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Surviving 2020 with an Olympus Pen FT

Josh reviews the half-frame 35mm Olympus Pen FT in this review that's much more than just another camera review.

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Clearly I’m no Socrates, but contemplating the many buttons, dials and sub-menus on digital cameras, I often feel the way he felt. How many things I can do without! Indeed, how many things I’d be better off without!

I’ve used a Nikon DSLR for the last ten years, but in December last year, I bought a Fujifilm X-E4 – a mirrorless digital camera with interchangeable lenses and an APS-C sensor. This article, however, is not about the much-debated topic of DSLR versus mirrorless (a debate which we’ve weighed in upon here). Nor is it a proper camera review (we already did that, too).

Instead, I’d like to reflect on minimalism and its paradoxes, using the Fujifilm X-E4 as a jumping-off point. And since this is a website about photography, not philosophy or aesthetics, I’ll link those ideas back to cameras. You might even learn a bit about the Fujifilm X-E4 along the way. All I’m saying is that this is not necessarily a conventional review.

Paradox 1: Less is more

A paradox – a statement which seems contradictory but expresses a possible truth – lies at the very heart of minimalism. “Less is more” is the mantra of minimalists everywhere, practically a definition. It sounds so catchy and contemporary – an Instagram caption par excellence. But in fact, it’s much older than that. “Well, less is more, Lucrezia: I am judged,” says the protagonist of Robert Browning’s 1855 poem, Andrea del Sarto.

Fast-forward to 2021, and Fujifilm launched the X-E4 with the tagline “Make more with less.” Is that marketing guff, or do they really mean it? Less of what? And can we really do more with it? To answer these questions, first we need to understand what the X-E series is all about.

When it comes to models and series, Fuji haven’t exactly embraced the less-is-more philosophy. There is an almost overwhelming array of X-series cameras. If you want to get to grips with it all, this 2018 F-Stoppers article is still the best overview I’ve come across (it’s outdated, so you’ll need to supplement it with some independent research on the models which have been released or discontinued since then).

For present purposes, suffice to say that Fujifilm’s X-series cameras fall into two main camps: SLR-style (e.g. X-T5, X-H2) and rangefinder-style (e.g. X-E4, X-Pro3 and the fixed-lens X-100 series). The SLR-style cameras have a “hump,” and a centrally-positioned electronic viewfinder (EVF). The rangefinder-style cameras have a flat top, and the finder (as seen from behind) is offset to the left.

Of the bodies with the famous Fuji X-Trans sensor, the X-E models are typically the cheapest. As such, they lack various other features found on higher-end cameras. Let’s compare it with the Fujifilm X-Pro3 – another interchangeable-lens, rangefinder-style camera, and the latest of its line. The X-Pro3 boasts weather-sealing, dual card slot and a hybrid optical/digital viewfinder, all of which are missing in the X-E4.

But for my money, the X-E4 was a better choice. I can make do with one card slot, and I rarely shoot in rain or snow. The hybrid viewfinder is a marvel of technology; I still remember trying it for the first time in a London camera store, ten years ago, and it blew my mind. But in practice, I can get by without it. In fact, I’m arguably better off without it, because it’s one less choice to make when I’m out taking pictures. I use the EVF and occasionally the LCD, with no temptation to switch to the optical finder.

The upside? For me, a huge draw of the Fujifilm X-E4 was the size and weight. The X-E4 is smaller than an X-Pro3, and almost 30% lighter – a mere 315g without battery and cards. For a camera which is so capable – it has the same sensor and processor as the X-Pro3, and therefore the same image quality – the X-E4 is ridiculously small and light.

I dislike carrying gear, but the X-E4 with a small prime lens is no burden at all. When going for a night out with friends, or a bike ride along the canal, or simply popping out to buy groceries, I’ll often sling the camera on my shoulder. Call me lazy, but with a bigger camera, this is something I’m much less likely to do. In this respect, less really is more.

There’s also the price. For the cost of an X-Pro3, I could buy an X-E4 and two Fuji lenses. By settling for less when it comes to features, I had more choice in the lens department.

And finally, because I’m shallow, there’s looks. The X-Pro3 is a pretty camera too, but I prefer the X-E4’s cleaner, pared-down aesthetic. I realise this is a big claim, but I find the Fujifilm X-E4 is the prettiest interchangeable-lens digital camera ever made.

So let’s revisit the two questions I asked of the Fujifilm X-E4’s tagline, “Make more with less.”

Less of what? Less features (compared to, say, the X-Pro3). But also less size, weight and cost.

And with that, can we really do more? Well, that depends on your preferences and style of photography. For me, the answer is yes. Socrates approves, and Andrea del Sarto nods along.

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Paradox 2: Excessive minimalism

Minimalism is about avoiding excess, so the idea of “excessive minimalism” feels somewhat paradoxical. But anything can be taken to an extreme, including minimalism.

Philip Johnson’s Glass House, a temple of mid-century minimalism, has been described as “more like an architectural manifesto than a place you could rightly call home.” In summer it was too hot, in winter “almost insufferably cold.” When minimalism becomes an end in itself, we risk sacrificing usability, comfort and basic human pleasures. “All things in moderation,” as the saying goes, “including moderation.” Likewise, the “Less is more” mantra might be applied to minimalism itself – a caution against minimalism run amok.

Was Fuji guilty of this with the X-E4? Many reviewers seem to think so. “Basically, we’re wondering whether Fujifilm went a little too minimalist on the X-E4,” wrote DPReview.

Fujilove found the X-E4 to be “minimalistic and industrial” but “also less ergonomic and functional.”

Ken Rockwell, bless his heart, was particularly scathing. “I can’t find anything redeeming about this camera compared to other Fujifilm cameras. (…) It’s like buying a car that takes away the steering wheel.”

These reactions are not altogether surprising. The Fujifilm X-E4 (2021) replaced the X-E3 (2017). In the process, Fuji did something very unusual – almost unheard of – for a modern camera company: they released a new model that reduced rather than added.

“Budget models” are nothing new. The Leica M2 of 1957 was effectively a down-specced Leica M3. The Fuji X-E series itself is positioned as a simpler but more wallet-friendly alternative to the X-Pro.

But the X-E4 is different – it’s a direct replacement for the X-E3, and only slightly cheaper, yet, Fuji removed the following:

• rear dial
• focus select dial
• view mode button
• auto switch (replaced with P on the shutter speed dial)
• AFL button (merged with the AEL button)
• EF-X8 pop-up flash
• front grip
• rear thumb grip

What was Fuji thinking? Who would choose the X-E4 over the X-E3? Why did I choose it?

First, I should say that the “missing features” list does not tell the whole story. Fuji taketh away, but they also giveth – in this case, a tilting LCD to replace the X-E3’s fixed screen, a 26.1MP sensor (the X-E3 had 24MP), a newer processor, faster autofocus and burst mode, and additional JPEG options.

Most of these additions make little difference to me, and regarding some, such as more megapixels and faster burst mode, I couldn’t care less. But I do love a tilting screen (a fully articulated screen, like on the Fujifilm X-T5, would be even better, but I’ll settle). In fact, a big reason why I didn’t opt for one the earlier X-E models is because they all had fixed screens.

What about the omissions? For my purposes, they improve the camera. But before I elaborate on that, I want to make two quick points about online reviews.

First, as Mike Johnston wrote in a post about another Fuji camera, it seems to be human nature to “improve” products by adding more features, expense, size and weight. From the scare-quotes around “improve” it’s clear that Mike doesn’t buy into the “more is better” philosophy. But for a lot of consumers and reviewers, “more is better” is almost a default assumption. So, a new iteration that does not add but strips away seems like a regression, a folly, an affront to capitalist logic. A paradox, if you will.

Second, most online reviews are written or recorded quickly, after a couple of weeks (or even days) of use. This makes it especially easy to lapse into snap judgments. No rear dial? Must be a bad thing. No front grip? I just can’t even.

But when you use a camera over a longer period, the logic of its design slowly becomes apparent. I’ve had my Fujifilm X-E4 for over three months now – not that long, but longer, I’m sure, than some reviewers had. (To be fair, I have the luxury of not being reliant on ad revenue and having to constantly feed the YouTube algorithm – and in James, I have a very patient editor.) Anyhow, in those three months I’ve used the camera extensively – a couple of paid shoots (dance photography, see below), portrait sessions, on holiday and around town.

For me, the missing buttons and dials don’t make it any less convenient to use. Key to this is the fact that although there are fewer controls on the Fujifilm X-E4, they are intelligently designed and highly customisable.

For example, I mapped my AFL/AEL button to focus mode, so I don’t miss the physical focus select dial. Nor do I miss the view mode button, because the eye-sensor detects when I bring the camera up to my eye and automatically switches from LCD to EVF, and vice versa when I move it away (there is a menu option to override the eye-sensor if we want to use the EVF exclusively).

If there’s enough interest, I can write a more detailed article about how I set up my Fujifilm X-E4. But in short, after a few days spent exploring, customising and refining various controls, I can access the most-used features very quickly – more quickly than I can on my Nikon DSLR which I’ve been using for over ten years, and which has many more buttons and dials.

With fewer controls, my fingers can find them more easily and instinctively. This frees me up to concentrate on more important aspects of picture-taking, such as composition and timing. And it makes the camera look cleaner, which certainly doesn’t hurt.

Of course, there are limits. A camera with just one button would be more minimalist still – but that really would be taking things too far (more on this in Paradox 4). The key is to strike the right balance, and with the X-E4, at least for my style of photography, Fuji has nailed it.

Paradox 3: It takes a lot to be minimalist

In a New York Times article, Kyle Chayka wrote, “It takes a lot to be minimalist: social capital, a safety net and access to the internet.” Henry David Thoreau, an apostle of the simple life, spent two years living in a cabin beside Walden pond. In reality, as Kathryn Schulz pointed out, Thoreau’s life was not as ascetic or self-sufficient as it sounds. The cabin was a twenty-minute stroll from his family home; his mother and sister paid him weekly visits and brought him food.

Or, to pick an example from the world of tech, Apple relentlessly eliminates ports from their devices; their minimalist look belies the fact that they often need to be supplemented with an array of dongles, adapters and other accessories.

Similarly, the light-weight, diminutive size, and clean lines of the Fujifilm X-E4 come at a cost. Take the front and rear grips, for example, which the X-E3 had but the X-E4 does not. Personally, I like this change. I mostly use small prime lenses, and on balance, I prefer the size and weight savings – not to mention the cleaner look – that result from doing away with grips. But I do think that grips make a camera easier to hold, especially with bigger lenses, or if you have large hands. In that case, you would need to buy an accessory grip or thumb-rest, possibly both.

The same goes for the flash. The Fujifilm XE-2 had a built-in pop-up flash. The XE-3 did away with the built-in flash but included a detachable pop-up (the cute EF-X8). The XE-4 has no flash at all.

Again, the no-flash configuration suits me best. But as with grips, an external flash is yet another attachment. If you regularly use on-camera flash, a built-in flash like on the X-E2 would be a better, and arguably more minimalist choice. The X-E4 works for me because I don’t use flash that much, and when I do, I prefer to use one of my Godox flashes, as in the photos below.

Paradox 4: Minimalism versus simplicity

Minimal is not the same as simple. In fact, as design goals, the two can be in conflict.

Don Norman differentiates between perceived simplicity and operational simplicity. He gives the example of a TV remote with very few buttons. Such a remote may look simple and minimal (perceived simplicity), but if it requires complicated sequences of button pushes to get the desired result, operational simplicity is compromised.

In theory, wouldn’t we all love a simple camera. A camera with few controls, easy to master, which has exactly the features we need and nothing more. That’s the dream.

The reality is we all have different ideas on what those essential features are. Some want to blaze away at 20 frames per second, while others are happy to take one carefully-considered photo at a time. Some want auto-focus which can detect and track a bird in flight, while others like to use manual focus only. What are camera manufacturers to do? There are three basic strategies.

The first is the maximalist approach. Throw simplicity out of the window, pack the camera with as many features as possible, then pile on the buttons, dials and D-pads. You want features? I’ll give you features. You want custom buttons? Here, have half a dozen. Oh and a custom dial too, for good measure.

The second approach is the polar opposite. Toy cameras or Fuji Instax are extremely simple, but you compromise on quality and creative control.

What if you want simple but high-quality? The digital Leica M11 has no autofocus, no video, no EVF, no image-stabilisation. The Leica M-A is even simpler – a 35mm camera with no electronics whatsoever, not even a light-meter. The purity of conception is appealing in theory, but in practice, there are few photographers who would choose such a simple camera for daily use, and fewer still who can afford it.

So, these are cameras designed for a niche, exclusive clientele, and that’s reflected in the price tag. The M11 will set you back almost 9,000 US Dollars, body only. Which reminds me of a New Yorker cartoon – an interior designer telling his client, “Of course, we can do spare and minimalist, but not on your budget.”

The third strategy is a compromise, and that’s what the Fujifilm X-E4 tries to achieve.

Architect Robert Venturi’s gentle manifesto argued for “the difficult unity of inclusion rather than the easy unity of exclusion.” In Living with Complexity, Don Norman says people always ask him, “Why is our technology so complex?” His answer: because life is complex. Good design, he says, “can help tame the complexity, not by making things less complex – for the complexity is required – but by managing the complexity.”

And that, precisely, is what Fujifilm does exceptionally well. The X-E4’s list of features can rival any modern digital camera; the manual runs to over 300 pages, which is not minimalist by any stretch. Nevertheless, its interface remains deceptively simple. With few buttons and dials, the camera scores high in the perceived simplicity stakes. At the same time, especially if you take the time to customise and familiarise yourself with the settings, it is operationally simple too.

As Ariel Diaz puts it, “Truly elegant solutions are the result of fighting through complexity.” The Fujifilm X-E4, in my book, is a truly elegant solution.

Paradox 5: Minimalism is a privilege

Diogenes, the ancient Greek philosopher, was a minimalist to end all minimalists. Some say he had only three worldly possessions, and one of them was a cup. One day he saw a child drinking with cupped hands, whereupon he threw away his cup saying, “That child has beaten me in simplicity.”

Once when Plato threw a banquet, Diogenes trampled on his rich carpets, proclaiming, “Thus do I trample on the empty pride of Plato.” To which Plato rejoined, “With quite as much pride yourself, O Diogenes.” Which goes to show that minimalists have been annoying the rest of humanity since at least the 4th century BC.

Why are minimalists so annoying? Diogenes’ behaviour offers some clues. The assumption that minimalism is a moral virtue, and that its adherents are somehow superior. That they know better than the rest. The condescension and general lack of self-awareness. All of which applies to many modern-day minimalists too.

At least Diogenes was frugal; in that respect, he undoubtedly walked the talk. But minimal doesn’t always equate to frugal; indeed, it’s sometimes the opposite. Kim Kadarshian’s family home, which she described as a “minimalist monastery” is a 60 million dollar mansion. Which reminds me of another New Yorker cartoon: “Only the rich can afford this much nothing.”

As Jenn Sutherland-Miller argues, minimalism – at least as practised by many minimalist bloggers and influencers – is a privilege. The buy-it-for-life movement is all very well, but not everyone can afford high-quality, durable products (the Vimes boots theory applies). Jia Tolentino reminds us that “poverty and trauma can make frivolous possessions seem like a lifeline rather than a burden.”

So while we admire a Scandinavian birch table or a Leica M-A – or even, for that matter, the much cheaper Fujifilm X-E4 – it’s worth remembering that these are luxuries which millions of people simply can’t afford. In fact, as a result of purchasing the Fujifilm X-E4, I now have two digital cameras instead of one, which is not very minimalist of me.

That said, minimalism has its merits. It offers an alternative, perhaps even a panacea, to rampant consumerism and its attendant environmental, social and psychological impacts. Granted, a camera is a commodity too. But if I’m going to use a camera, my preference is for one which is simple, well-designed and intuitive. It keeps me light on my feet, and more engaged with my surroundings.

Robert Venturi turned the less-is-more slogan on its head, asserting that “more is not less.” Photography is an art, and we all have our own way of engaging with it. For some, that might involve studio lights, backdrops and reflectors. For others, big lenses and tripods for astrophotography or wildlife. These are all valid approaches (more is not less). But my personal ideal was summed up by Marc Riboud, who made the iconic photo of a painter on the Eiffel Tower.

The year was 1953. Riboud was walking the streets of Paris on his first visit to the capital, with just his Leica, a 50mm lens and a single roll of film. He noticed the painters high above, climbed up the tower, and made several pictures, among which is that unforgettable image of Zazou dancing with his paintbrush. “I think photographers should behave like him,” said Riboud. “He was free and carried little equipment.”

Fujifilm X-E4 Review - Rekindling my Relationship with Digital Photography

Fujifilm's latest XE4 is a digital mirrorless camera with a simplified user experience and impressive performance.

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casualphotophile.com

Final thoughts

If you want to know more about the Fujifilm X-E4, Clayton D’Arnault wrote a great article about it. But on the off chance that your appetite for reading about this camera is still not quenched, I have a question.

I mentioned before that the Fujifilm X-E4 is cleverly designed and highly customisable. This is one of my favourite things about the camera, and I’m thinking about an article describing how I set it up – or rather, about how I am setting it up, because it’s an ongoing process of constant tweaking. So, would you be interested in such an article? Is there something in particular you’d like to read about? Let me know in the comments, and I’ll see what I can do.

Given the topic – minimalism – it’s ironic that this is one of the longest photography articles I’ve written. The core ideas, however, are simple and few. Minimalism, in cameras or anything else, is inherently neither good nor bad. I personally find it appealing, but it’s not for everyone. For some, less is more, while for others, less is a bore.

Having said that, featuritis is real. If you want a relatively simple but high-quality camera (and are unable or unwilling to pay Leica prices), your options are limited. Camera manufacturers tend to cater to maximalists, and as you can see from the reviews I quoted earlier, making a camera simpler – as opposed to adding more features and controls – is bound to meet with pushback. Fuji deserves credit for their clarity and conviction, and for going against the flow. I hope the Fujifilm X-E4 is not the last of its line, and I’m curious to see what the X-E5 will be like.

Minimalism is also subjective. The Fujifilm X-E4 may be too minimal for some, and for others, not minimal enough. Ultimately, it comes down to your individual preferences and priorities. What do you need, and what can you do without? Graphic designer Milton Glaser said, “Less is not necessarily more (…) Just enough is more.” For me, the Fujifilm X-E4 is just enough.

(The sample photos in this article were shot with the Fujifilm X-E4 and four lenses: Samyang 12mm f/2 (manual focus), and the Fujinon 18mm f/2, 50mm f/2 and 50-230mm f/4.5-6.7. The gear photos were shot with a Nikon D5200. For more of my work, feel free to check out my website and Instagram.)

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FUJIFILM X-E4 Mirrorless Camera (Black)

FUJIFILM X-E4 Mirrorless Digital Camera (Fuji XE4 Camera Body, Black) features 26.1MP APS-C X-Trans BSI CMOS 4 Sensor, X-Processor 4 Image Processor.

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Compared to the entry-level full frame mirror-less cameras of Nikon’s nearest competitors, the Canon EOS RP, the Sony a7II, and the Panasonic Lumix S5, The Nikon Z5 beats them all in both technical specifications and, importantly, price. And while the differences in the spec sheets are in some places marginal, there is a clear winner in the end.

So let’s compare the Nikon Z5 with the very similar cameras mentioned previously, with specific focus on what makes the Z5 the one to buy.

Specifications of the Nikon Z5

• Image Sensor: 24.3 MP FX BSI Sensor, 5.9µ pixel size
• Sensor Size: 35.9 × 23.9mm
• Resolution: 6016 x 4016
• Native ISO Sensitivity: 100-51,200
• In-Body Image Stabilization: 5-Axis
• Processor: EXPEED 6
• Dust Reduction: Yes
• Weather Sealing: Yes
• Body Material: Magnesium Alloy
• Shutter Speeds: 1/8000 – 30 seconds
• Shutter Durability: 200,000 cycles, self-diagnostic shutter
• Storage: 2× SD UHS-II
• Viewfinder: 3.69 Million Dot OLED Electronic Viewfinder
• Viewfinder Coverage: 100%
• Viewfinder Magnification: 0.8×
• Continuous Shooting Speed: 4.5 FPS
• Built-in Flash: No
• Autofocus System: Hybrid PDAF, 273 Focus Points
• AF Sensitivity Range: -2 to +19 EV (-3.5 to +19 EV with low-light AF)
• LCD Screen: Touch-enabled 3.2″ Tilting LCD with 1.040 Million Dots
• Movie Mode: 4K UHD @ 30 FPS, 1.7x crop
• HDMI Output: 8-bit 4:2:0, no N-Log
• Silent Photography Mode: Yes
• Intervalometer: Yes
• Focus Stacking: Yes
• In-Camera HDR Capability: Yes
• WiFi / Bluetooth: Yes
• Battery Type: EN-EN15c
• Battery Life: 470 shots (CIPA)
• USB Standard: Type-C 3.1
• Weight and Dimensions: 590 g (Body Only); 134 × 100.5 × 69.5 mm
• Price: $996

Experienced photo nerds will likely browse that spec sheet and settle on the last line of data – the price. It’s surprisingly low.

That we can get a camera this good for $996 is simply astonishing. And while $996 is a lot of money, no doubt, I can see by the specs that the camera we get for that money could satisfy the image-making requirements of most photographers for a long time to come. With a spec sheet that good, there’s very little reason to upgrade.

Nikon Z5 Mirrorless Camera

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The Nikon Z5 Compared to the Canon EOS RP

Canon has their own entry-level full frame mirror-less camera, called the Canon EOS RP. And it’s a very good camera. But when we really dive into its spec sheet we start to see that it falls just short of the Nikon in a few key areas. Here’s a list.

Nikon’s Z5 has in-body 5-axis sensor-shift image stabilization which works in both stills photography and video modes. The Canon EOS RP does not have in-body image stabilization whatsoever. Instead, Canon offers lenses with built-in optical image stabilization (IS lenses). These lenses are bigger and more expensive than those without IS. When shooting video (but not in stills photography), the Canon uses software-based digital image stabilization. This sounds neat, but it also slightly degrades image quality.

Nikon’s Z5 can shoot 4K video at 30 fps, where Canon’s EOS RP records 4K only at 24fps. While this isn’t a massive win for the Nikon, it’s still a win. Both cameras, incidentally, record 4K at a 1.7 crop factor, which is a big reason to consider upgrading to a higher level camera – but now we’re getting away from entry-level pricing.

The Nikon’s electronic viewfinder has higher magnification than Canon’s, 0.8x compared to 0.7x, and the Nikon’s is made up of 3.69 million dots where Canon’s is 2.36 million. Another win for Nikon.

The Canon only has a single SD card slot compared to the Nikon’s two slots. This is important for anyone who wants to use this camera professionally, as it’s critical to have redundant backups of images that can’t be replaced. Think, weddings, engagement photos, senior portraits – working photographer stuff.

Nikon’s camera costs $5 less than Canon’s. Okay, that really shouldn’t factor. But again, that’s a free cup of coffee or two if we choose the Nikon.

The Canon EOS RP does actually edge out the Nikon in a few lines of the spec sheet. Its LCD display can flip entirely around to a front-facing configuration where the Nikon’s only tilts up and down, and the Canon’s image sensor offers a couple of additional megapixels (Canon’s EOS RP sensor records 26.2MP compared to Nikon’s 24.3MP). Canon’s burst mode fires at 5 FPS compared to Nikon’s 4.5 FPS.

For me, the data points dominated by the Nikon are more critical than those claimed by the Canon. And that’s why I chose the Z5.

The Nikon Z5 Compared to the Sony a7II

The camera that I used professionally before switching to the Nikon Z5 was, in fact, the Sony a7II. And I couldn’t be happier with the decision to switch. While Sony’s camera is excellent, the Nikon is just better. Here’s where we see that on the spec sheet.

Nikon’s camera does 4K video and Sony’s does not. It only shoots as high as 1080p. That’s worse than the Canon and an easy win for Nikon.

Nikon’s electronic viewfinder is better than Sony’s, too. Sony’s EVF has the same resolution as the Canon EOS RP, at 2.36m dots compared to the Nikon’s 3.69m.

The Nikon, as already mentioned, has two SD card slots. The Sony, like the Canon, has one.

Possibly a subjective assessment here, but after years of shooting the a7II I’m comfortable reporting that the ergonomics of the Sony are cramped and painful, especially for extended shoots. The Nikon is an ergonomic dream. Its grip, balance, size, and weight are all perfect, and its button layout is intuitive and clean.

The Sony’s finish and durability aren’t as high quality as the Nikon’s. My Sony’s rubber thumb grip peeled away after a year, and the SD card slot door has always been flimsy and weak.

But most damning of all for Sony’s machine is the price. The Sony a7II has a list price of $1,398. That’s $400 more than the Nikon Z5. So, you pay more for… less?

The Nikon Z5 Compared to the Panasonic Lumix S5

Of all the competition on this list, it’s the Panasonic Lumix S5 that comes closest to toppling the Nikon Z5. But that really shouldn’t be surprising, considering that the Lumix S5 has a list price of $1,997 (nearly double the cost of the Nikon). And even though Panasonic seems to run a perpetual sale on the S5, that sale price still never drops below $1,497 ($500 more than the Nikon).

This higher price point realistically places the Lumix S5 as competition for Nikon’s up-specced Nikon Z6, rather than the entry-level Z5. But I include it in this comparison to better illustrate the point that we get a lot for our money with the Nikon Z5. It even competes with cameras above its class.

When we compare the Nikon Z5 to the Panasonic Lumix S5, the only appreciable difference is that the Lumix can shoot 4K video at 60FPS. If we’re happy with 4K video at 30FPS, the Nikon does that for $500 less.

Sample Images Made with the Nikon Z5

(Just imagine what a good photographer could do with one!)

Final Thoughts

Truth be told, all of the cameras mentioned in this article are amazing machines. As I said to my friend when he asked which full frame mirror-less camera he should buy; nobody makes a bad full frame mirror-less camera. The Canon EOS RP, the Sony a7II, the Panasonic S5, and the Nikon Z5 are all world-class, and any of them would do anything that the everyday photo nerd requires. But if I had to pick one, it’s the Nikon.

If only by a narrow margin, the Nikon Z5 is truly the best value camera on the market right now. It’s more feature-dense than the entry-level full frame mirror-less camera from Canon, and a much better camera (and value) than the Sony a7II. The only camera that could beat it is the Panasonic Lumix S5, but that camera’s priced so high that I find it unfair to measure it against the Z5.

The best endorsement that I can give a product is to use that product myself. The Nikon Z5 is the camera that I chose. And I chose it because, simply put, it’s the best value full frame mirror-less interchangeable lens camera available today.

Nikon Z5 Mirrorless Camera

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