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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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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Despite my glowing review, I didn’t purchase the X100V for myself, as it wasn’t quite justifiable for me in terms of practicality and budget. If I was going to shell out my hard-earned cash, I wanted to invest in the versatility of the full Fujifilm ecosystem—bodies, lenses, and all. I considered the X-T30 and the new X-S10, but neither of those quite fit the aesthetic I was after. There was also the X-E3, but after using the A6000 for so long, I wanted the latest and greatest technology Fujifilm could offer. Finally, in early 2021, Fujifilm delivered my ideal photographic companion: the X-E4. It’s aesthetically attractive, the perfect size, and performs on a professional level. Don’t tell my wife, but I think I’ve fallen in love for a second time.

What is the X-E4?

The Fuji X-E4, announced in January 2021, is an overdue update to Fujifilm’s often overlooked X-E line, the last iteration of which (the X-E3) was released in 2016. The X-E4 is a rangefinder-style, interchangeable lens APS-C camera with an appealingly compact form factor. In fact, with the right lens attached, one might say it treads along point-and-shoot territory. With this new iteration, Fuji has included its latest 26.1 MP X-Trans sensor and X-processor, same as their more professional offerings, as well as reimagined the camera’s design with a more minimal approach than its predecessor. 

Often described as the X-Pro’s little brother, the X-E line is basically a slimmed down version of that series—no OVF, smaller size, slightly lower specs than the Pro, but more affordable. This latest entry also shares relation to the X100V, particularly with its clean design and small form factor. Despite being classified as a younger sibling, the X-E series enjoys a sort of underdog cult following among Fuji X-photographers, and rightfully so, as the latest iteration is definitely capable of punching above its weight.

The X-E4 is marketed toward the everyday, enthusiast shooter, falling in the same category as the X-T30, and X-S10. It’s also Fuji’s cheapest offering, coming in at $850 for the body only or $1050 for the kit including the updated version of the XF 27mm f/2.8 pancake lens. Today, the camera can also be found on the used market. I see the X-E4 is an alternative for those who like the idea of the X100V, but want something more budget friendly that offers the versatility of interchangeable lenses.

Minimal Aesthetics, Robust Build Quality

Like most of Fujifilm’s offerings, the Fuji X-E4 replicates the look and feel of a classic film camera, which is one of the main draws for the company’s products. The aesthetic of the camera alone beckons photographers to use it on a daily basis. Consequently, this little guy is distractingly handsome, and it seems like every time I steal a passing glance, it almost always finds its way into my hands and up to my eye. 

The X-E4 clearly shares a similar aesthetic to the X100V, sporting sleek straight lines with some subtle curvature. You can get the camera in either a matte black or silver finish, both of which come wrapped in a black, TPU leatherette that feels grippy to the touch. The top and bottom plates are made of high-precision molded magnesium that feels robust and adds a bit of heft to the total package. Uniquely, the top plate of the X-E4 features a set of flat strap mounts, which I think adds an extra bit of flair to the camera. The materials used certainly feel premium and durable, though I have some concerns about the paint job, especially the black version, as I can already see some wear on the bottom plate from putting the camera down on hard surfaces. Instead, I think they could have added some rubber nubs to give the bottom a bit of cushion, but that’s just a minor detail. 

The internals feel densely packed into the chassis, giving it a solid feel in the hand. Nothing about the X-E4 rattles around or feels hollow. However, the port and battery doors are noticeably lacking in quality compared to the rest of the camera, as they feel plasticky and have a bit of wiggle to them (on my copy at least).

This detail reminds me that the X-E4 is not weather sealed. It would have been a nice feature to have, but it’s a trade-off to keep that budget friendly price tag. Full disclosure, I’ve taken this camera out in a light drizzle (cautiously) and I’ve seen no issues. Don’t quote me on this, but I think most electronics these days are built to withstand a light drizzle anyway. As long as you’re not digging this thing into the sand or walking around with it in torrential rains without caution, you’ll be fine. Ironically, most of the lenses that fit best on the X-E4 body (like the bundled 27mm and the f/2 “Fujicron” primes) are weather resistant, so when you’re using those lenses at least the front of the X-E4 will have some degree of protection from the outside world.

The Fuji X-E4 falls in line with that tactile goodness Fujifilm cameras are known for. The dials are made of the same precision machined magnesium as the top and bottom plates and are satisfyingly click-y with knurled surfaces for added ease of use. The function buttons are also subtly tactile, though the two buttons below the joystick feel unusually shallower than the others, which I suspect has to do with the configuration of the camera’s internals relative to its size. With a total of eight function buttons and three dials, the control layout is concise and well organized for intuitive operation. I think the minimal, organized look makes the camera that much more inviting.

While this camera’s design shares some similarities with the X100V, Fuji had a more minimal philosophy in mind when creating the X-E4. In fact, Fuji’s motto for the X-E4 campaign is “make more with less.” With this new vision, Fujifilm revisited the X-E design and removed a few familiar features that it deemed unnecessary to the general operation of the camera. While the omissions have stirred up some negative reactions from the Fuji fan-base, overall, the X-E4 still retains the same tactile experience you expect of a Fujifilm camera. Personally, I think Fujifilm did a wonderful job of making the X-E4 look slightly more approachable (from a minimalist’s perspective) without making it feel any less capable than their other cameras. Even if you’re not a huge fan of the minimalist approach, it’s not hard to get used to operating the X-E4, especially for those who are new to the Fuji ecosystem.

A Simplified User Experience

The Fuji X-E4’s form factor is a major draw for me. I wanted a camera that encouraged me to take it everywhere, not just on my travels, and the X-E4 fits that bill, especially with the low-profile 27mm pancake lens attached. In fact, it’s compact rangefinder-esque form reminds me of the highly-lauded Minolta CLE, which makes me enjoy using it that much more. 

The X-E4 is a hair more compact and lightweight than the X100V, coming in at around 446g with the 27mm lens attached (364g body only). While it’s not quite pocketable, it’s easy to throw the camera in a jacket pocket, purse, or sling bag while you’re on your way out, and light enough that it won’t weigh you down during all day outings. In fact, my X-E4 has pretty much become a staple item in my every-day carry kit, allowing me to capitalize on fleeting opportunities as they arise. In addition, paired with smaller lenses, I’ve found that the compact form factor gives the X-E4 a certain charm (read: cuteness) that makes it unimposing, borderline inviting, to my subjects. This makes it an ideal tool for documenting organic, candid moments anywhere you might find yourself.

As I mentioned, the control layout is very minimal and organized, and I think that’s a strong suit for the X-E4. The minimalism makes operating the camera feel less overwhelming, especially for new-comers. You’re provided with everything you need and nothing you don’t. All the exposure controls are positioned within comfortable reach, exactly where you’d expect them. To start, the shutter speed and exposure compensation dials flank the threaded shutter release/On-Off switch combo in a familiar formation on the top plate, which features a slight difference from the previous version. 

The auto switch featured on the top of the X-E3 has been replaced with the dedicated program auto (P) position on the shutter speed dial. The fact that Fujifilm adds a dedicated auto mode on the camera always struck me as redundant, considering you can just turn the shutter speed and aperture dials to A to achieve the same thing. But in practice, flicking one dial to activate the P mode is indeed faster than two. However, it might be relevant to note here that the shutter speed dial can’t turn continuously like the exposure comp dial, which can be slightly annoying in certain situations.

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In terms of controlling exposure, the Fuji X-E4 retains the same basic, hands-on exposure mode setting configuration as most other enthusiast and pro Fujifilm cameras (bar the X-S10, which replaces shutter speeds with consumer-friendly markings for PSAM). The hands-on exposure method might lend the camera a bit of a learning curve for new-comers, as there are no clearly marked consumer-focused auto modes that allow just anyone to pick it up and get great results. But there’s always the dedicated P mode, which is a nice fallback for beginner and seasoned photographers alike.

Staggered between the main controls are the quick menu (Q) button as well as an unmarked function button that is set to display your ISO settings by default (because there is no physical dial for ISO settings). I would have liked to see the same ISO dial implementation as the X100V, but I personally prefer to set my ISO to auto and forget it. Traditionally, Fujifilm places the Q button in a position on the back of the camera near the thumb, but by combining the auto mode switch with the shutter speed dial, Fuji made space to move the Q button to the top plate. This isn’t as uncomfortable as it might seem and prevents you from unintentionally launching the Q menu, which I’ve seen Fuji users complain about with other cameras.

The back of the X-E4 has a total of six function buttons including the navigational joystick. I know a lot of Fuji-X users miss the D-pad, but I personally prefer the joystick as I find it faster for navigation. Gone are the days of the back dial, which has been removed from this iteration of the X-E line-up. This was one of those features that Fujifilm decided was not necessary to the operation of the camera, and contrary to popular belief, I haven’t really missed it. When I tested the X100V, I reconfigured the back dial to utilize back button focusing (BBF), but due to the X-E4’s smaller form factor, it seems Fuji removed the dial in order to allow the thumb ample real estate to rest on the back. And honestly, it’s not a bad trade-off considering that the AEL/AFL button is now within comfortable reach for BBF.

Controls on the front of the camera are scarce. There’s the command dial, which can control a couple things depending on your settings, and the aperture ring on the lens (if it includes one). That’s it. Usually, the front would also be home to the physical focus mode switch, but this is another feature Fuji removed in light of its minimalist approach. This omission in particular seemed to throw Fuji-X users up in arms, with many considering it a deal breaker. Personally, since I use back button focusing, my focus mode is almost exclusively stuck in continuous focus, which (with the BBF method) can act as both single AF and continuous AF without actually changing modes. So, I only ever change my focus mode to manual when I adapt a legacy glass. But if you do switch focus modes often, you can still use the Q menu, remap one of the available buttons, or set a touch screen gesture for quick access to the focus mode setting. While I’m not as passionate about the removal of this switch, I do think that they probably could have left it for that extra bit of tactility or speed of use when needed and utilized the same switch design as the X100V.

The minimalism of the X-E4 will disappoint photographers expecting a high degree of customization. There are only three fully custom buttons on the X-E4: the Q button, the unmarked function button, and the AEL/AFL button. The front dial is semi-customizable as you can select whether it controls the aperture, shutter speed, program shift, or exposure compensation based on your dial settings. For example, you can adjust your shutter speed incrementally when you’ve set the aperture ring to A for shutter priority, or you can adjust exposure when the exposure comp dial is set to C. But it won’t do much more than that. The lack of custom buttons forces users to utilize the X-E4’s touch screen gestures.

The 3-inch articulating touch screen offers four extra ways to access your more frequented settings. Some might not like it, but I have no qualms against utilizing this less tactile method. In fact, I found the touch screen to be very responsive and useful for quick operation of the X-E4, though at times, prone to accidental touches that can activate the AF functionality. The screen is really nice to use and is a significant upgrade from the X-E3’s fixed LCD. The new version sits flush with the camera body for a clean look, it’s bright enough to use in direct sunlight, and with the same specs as the X100V, X-T4, and X-Pro3 (1.62 million dots), it displays photos with beautiful color and detail. To add to that, it’s able to tilt up to 180 degrees, allowing for easy waist-level, over-head, and selfie shots.

On the other hand, Fujifilm left the EVF unchanged from the previous version, but it’s still on par with competitors in the category. With the exact same EVF as the previous X-E3, we’re getting an OLED panel with 2.3 million dots, 0.62x magnification, and a diopter adjustment. Nothing more, nothing less. The eyepiece is a bit small, but it’s not so small that it’s difficult to use. It’s clear and bright, making for a good alternative when it’s too sunny outside to use the touch screen. In fact, I use the EVF more often to compose my shots than the touch screen mainly because the X-E4 is so reminiscent of a classic camera that it feels natural to pull it up to your eye in almost every situation. In real world use there’s not much difference between the X-E4 and any of the higher rated Fuji cameras’ EVF. However, I did find the EVF on my copy to be a bit oversaturated out of the box, as it didn’t seem to match the color of the touch screen, but you can easily adjust details like that in the menu.

Menu organization beats my A6000 by a long shot. But one thing I didn’t notice in my time with the X100V was the implementation of the My Menu. My Menu is a fully custom menu panel within the main menu that allows you to add settings from all categories that you might need occasional access to. It’s set to open by default when you press the Menu button, which basically eliminates any need for menu diving entirely.

A Note on Ergonomics

In line with the minimalist approach, Fuji chose to omit any sort of grip, rest, or grooves from the X-E4. This seemed to be a major point of discontent in all the reviews I’ve read and watched regarding this camera. Well, I’m here to say that it’s not a deal. The X-E4 is easy to hold, particularly due to its weight, and will have a familiar feel in the hand to those who are used to shooting with classic cameras that feature little to no grip. Many classic cameras were boxy and often accompanied by add-on accessories to improve the ergonomics of the camera if needed. And this seems to be the same approach Fujifilm has taken with the X-E4, which is basically just a flat rectangle. 

My hands are on the smaller side, so the X-E4 is a nice fit, and because I’m used to shooting with analog cameras it just feels natural. The light weight of the camera means I never felt like the camera would slip out of my hands at any point. Holding it one-handed might require a slightly tighter grip, but you get used to it, and the textured TPU material that covers the body provides a little extra security under the fingertips.

If you are so inclined, Fujifilm does offer some accessories to improve the way the camera feels in the hand. Some might consider this a money grab, but the indirect focus on ergonomics makes sense to me considering the target audience and the minimalist philosophy of the camera. Nevertheless, you can always purchase Fujifilm’s hot-shoe thumb rest for $69.99 and/or the attachable hand grip for $89.99. The native accessories are quite expensive and add a bit of extra heft to the camera, but they do help inspire more confidence for those who need it.

However, I’m not entirely convinced that the accessories are necessary. I own both attachments, and based on my preferences, I found them to be minor improvements except for specific use cases. For example, if you have big hands, the hand grip will definitely help you out. But if your physical features agree with the form factor of the X-E4 and you intend on mainly using smaller prime lenses like I do, I don’t think the additional grip is needed. I think it’s most useful as an add-on when you plan on using larger, heavier zoom lenses on the X-E4, as the camera is easily thrown off balance in this type of configuration.

The thumb rest does add noticeable comfort to the camera, but it can make operation feel a bit cramped, particularly when you’re accessing the Q menu or turning the shutter speed dial. For those who plan to use the AEL/AFL button for back button focusing (BBF) like I do, the thumb rest does block a bit of the surface area along the top of the camera, so you might find it cramped there too. It bothered me at first, but I’ve since acclimated to operating the camera with the thumb rest and it stays on permanently. I think the thumb rest is most useful if you don’t use BBF and/or you plan on using manual focus and manual focus lenses.

Overall, the X-E4 feels just as good in my hands naked as it does with the accessories attached. If you feel the need for extra comfort, I think most people could get away with either the grip or thumb rest. You probably don’t need both. And to save an extra bit of cash, I recommend looking at third party manufacturers, as the prices of the native accessories are a bit outlandish for what they are.

Familiar Image Quality

I don’t want to get caught up on image quality in this review because the Fuji X-E4 features the exact same 26.1 MP crop sensor and processor combo as the X-S10, X-T30, X100V, X-T4, and X-Pro3. That’s one thing I really like about Fujifilm as a company. The inclusive philosophy they follow for their image quality formula means that photographers can choose their camera based solely on their preferences for budget, form factor, and style without compromising on the quality of the images the camera can produce. Needless to say, for half the price of the X-Pro3, the X-E4 can produce the same stunning results that feature the same deep dynamic range, stellar ISO performance, and renowned color science as Fuji’s flagship offerings.

In my X100V review, I mentioned how Fuji’s color science made me rethink my photography workflow by potentially skipping any post processing entirely. This still holds true for me with the X-E4. It’s hard to put a finger on it, but there’s something special about the JPGs that come straight out of these cameras. The 18 film simulations, including the newly added Eterna Bleach Bypass, help make the experience feel much more like shooting film in the sense that the photos have an intentional look to them the minute I actuate the shutter. I still shoot JPG + RAW, so that I have the option if I feel the need to make modifications in post. But since trading my A6000 for the X-E4, I’ve been more inclined to make my modifications ahead of time through the in-camera image quality settings. By messing with settings like White Balance, Clarity, Grain Effect, and Tone Curve, you can build off Fujifilm’s existing film simulations to create “recipes” unique to your personal taste. Or you can experiment with the numerous recipes that strive to replicate different classic film stocks shared within the Fuji community. Either way, the results straight out of the camera are sure to instill pause at the idea of post processing.

It’s also worth noting that the ISO performance of the X-Trans sensor still surprises me. Coming from the Sony A6000, it seemed like anything over 1600 ISO looked too noisy and smudgy. With the X-E4, ISO capabilities range from 160 to 12,800 natively and expands from 80 to 51,200. I’m happy setting my auto ISO up to 6400 and confidently snapping away. I’d even venture up to 12,800 to get the right shot. Something about the way in which this sensor renders noise makes it look very film-like and pleasing to the eye.

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Real-world Performance

I have no complaints about the auto-focus performance of the Fuji X-E4. And I expected nothing less considering it sports the same sensor as more expensive Fujifilm cameras. Personally, I’ve never used the X-E3, but with the new X-Trans CMOS 4 sensor, I can only assume the auto-focus performance has improved over the previous iteration, with Fuji claiming an auto-focus speed as fast as 0.02 seconds. The latest sensor includes 425 hybrid auto-focus points across the frame (up from 325 on the X-E3) as well as the ability to detect contrast and movement down to -4.0 EV and -7.0 EV respectively. In real-world use, that basically means the X-E4’s auto-focus is pleasingly snappy and accurate even in less-than-ideal situations. For an APS-C sensor, I see no concerning issues when shooting indoors with lower light, though it’s not impervious to focus hunting in extremely dim situations.

The X-E4 retains the standard AF modes (single point, zone, wide/tracking) seen in all of their other cameras, so there’s not much to talk about there. I like to keep my AF mode setting on ALL, which basically allows me to cycle through the modes just by pressing the joystick and flicking the front command dial. When it comes to tracking performance, the X-E4 offers face and eye detection, both of which work fairly well for my use case. Maybe even a tad better than I experienced in my time testing the X100V. Tracking can be a bit jumpy in more fast-paced situations (due in part to the 27mm’s external focusing mechanism), but overall, it does a good job of detecting subjects and sticking to them. Luckily, I have not experienced the X-E4 locking focus on faceless subjects, a phenomenon I experienced in my time with the X100V. 

The camera is capable of shutter speeds up to 1/4000th mechanically and 1/32000th electronically, so it can capture images with shallow depth of field in practically any lighting. For the burst shooters out there, the X-E4 can take photos as fast as 8 fps with the mechanical shutter, which is respectable for a camera in this range, though there are faster cameras on the market (for example, my 7-year-old A6000 can shoot up to 11 fps). Electronically, the X-E4 can shoot up to 20 fps, which is significantly better, but can cause the rolling shutter effect when capturing fast moving objects. Also, can’t forget the dedicated sports mode which allows you to shoot up to 30 fps with a slight crop. Honestly though, I think the native performance of the mechanical shutter is enough for the average person’s needs. While the X-E4 does a decent job with continuous shooting, some might be let down by its relatively shallow image buffer. Because the processor is limited to a single UHS-I memory card, it takes some time to write burst shots to memory. But the X-E4 is not exactly intended for professional sports photography, so it certainly won’t be that noticeable for those just looking to freeze everyday candids on the streets or at home.

Speaking of street candids, the Fuji X-E4’s focal plane shutter has a subtle sound to it, though it’s not nearly as whispery as the X100V’s leaf shutter. It has an affirmative, pleasing sound that’s not obnoxious or sharp (like my A6000), but it’s not necessarily unnoticeable either. While it might not be as discreet as a leaf shutter, it’s subtle enough that I still feel comfortable shooting street photography with the mechanical shutter in normal public settings without anyone noticing. For quieter surroundings, I do like to switch to the electronic shutter to remain as stealthy as possible.

The X-E4 lacks IBIS, but that shouldn’t be a deal breaker for a stills shooter. In low light situations, I can happily capture photos with little to no camera shake just by pushing my ISO up to 6400 or higher. In addition, you can also activate electronic shutter mode to remove the possibility of shutter vibration. Personally, I’ve been able to take photos at shutter speeds as low as 1/15 of a second with my 35mm f/2 lens, but I might have a steadier hand than others.

Battery life is pretty average. Fujifilm claims the X-E4’s NP-W126S battery has enough juice to fire off around 380 shots per change. It’s not best in class, but it does just fine for everyday carry. I tend to be a conservative shooter, so I can easily get through a full day of shooting with just enough charge. But I like to keep a spare or two on me for longer outings to be safe. For power management, Fujifilm implements an auto power off setting in their cameras to help save battery, which is nice, but with this enabled, once the camera automatically powers off, you have to flip the camera off and then back on to wake the camera up. This can be a bit annoying at times, and I think a simple sleep mode would be a more welcome option. I’m also very happy to note that the X-E4 doesn’t experience any internal overheating like its cousin the X100V.

Embracing the Minimalism 

The Fuji X-E4 sits in a grey area. It keeps in line with the form factor and price of the previous X-E models, takes aesthetic inspiration and performance from the X100V, and yet utilizes a minimal philosophy of its own that might throw seasoned Fujifilm users for a loop. For some, this might represent a step back for Fujifilm’s X-E line. For others, it’s a near perfect digital camera.

The X-E4 is not exactly a niche camera like the X100V, but I do feel that it’s minimalist user experience would be best appreciated by those who don’t necessarily need all the bells and whistles of Fuji’s more expensive cameras. 

While the X-E4 produces professional quality results, the camera’s minimalism might not lend well to professional shoots and client work. (Though, I can see how it could be a good option for professionals who need a B-camera.) I think the minimalism of the X-E4 best suits photographers just looking for a daily-driver camera they can use for personal or artistic works. It’s an especially wonderful companion for those interested in street, documentary, and travel photography, as it carries discreetly and looks unassuming to subjects. When paired with Fujifilm’s smaller lenses, the size and weight of the X-E4 makes it a perfect everyday carry option for photographers looking to capture organic, candid moments for themselves. 

Those looking to break into the Fujifilm ecosystem, especially those who are already familiar with analog photography, should also consider the X-E4. These newcomers are more likely to appreciate the minimalist philosophy that drives the X-E4’s operation and design, as the experience exudes a familiar spirit to the limited features of classic cameras. In addition, the tactility of the X-E4 manages to mix the intent of analog photography with the instant gratification of digital, while the film simulations provide straight-out-of-camera results that imitate years of beautiful Fujfilm colors. Not to mention the classic camera styling of the X-E4 make it an ideal candidate for adapting legacy glass which will make the shooting experience feel that much more film-like.

Having picked up film photography in light of losing interest in the digital medium, I learned that aside from the tactility, the simplistic experience of the process is also a major draw. When shooting with a classic camera’s lean feature set, you realize there’s a certain charm in their limitations. But as the industry progressed into digital photography, companies kept innovating and adding on features—various digitally enhanced exposure, focus, and metering modes as well as the menus, buttons, dials, and switches needed to accommodate them. While these advancements made cameras more capable and productive, they also made them fiddly and, at times, more confusing. Consequently, when shooting with full-featured digital cameras, it’s easy to get caught up in selecting the perfect combination of settings for the moment, rather than focusing on the moment itself. 

But the minimalist philosophy of the X Series, and by extension the Fuji X-E4, feels like a conscious effort by Fujifilm to reclaim a bit of the simplicity we’ve lost with the departure from classic to modern cameras. While omitting features from a modern camera might sound like a step back, I can vouch that the minimal operation of the X-E4 revives an element of the simplistic charm provided by classic cameras. And I love that.

Though I would have liked to see Fujifilm do some things differently, I’ve fully embraced the minimalism they’ve employed with the Fuji X-E4. This, along with Fuji’s recreation of analog tactility, has created a winner in my book. All aspects of the camera—from its compact form factor, to its minimal, yet tactile operation—encourage me to shoot more freely, capturing ordinary and extraordinary moments alike. And by fiddling less with my camera, I find myself emphasizing the value of the moment as I do while shooting film. At the risk of echoing my review of the X100V, it seems that the “make more with less” ethos of the X-E4 has truly rekindled my relationship with digital photography.

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As my pinkie slips under the camera’s body and my other fingers desperately clutch at the cold, ridged bump referred to on most cameras as a grip (in this case I intentionally avoid referring to it as such), I get flashbacks. I’m reminded of the endless list of criteria I compiled years ago before deciding on my first proper digital camera. I won’t bore you with the details, but this much can be said- the Leica TL that I’m currently holding would not have stood a chance. It does look good though. Really good. And it does things to me no camera has ever done before. It makes me feel special, yes, but more importantly it’s the only camera that makes me want to shoot in automatic exposure mode.

If you were to detach the lens and just walk around with the body in one hand, people would assume it’s a chunky iPhone. The construction from a single block of aluminum and the glass surface on the back expanding over the actual touchscreen make it just as much of a sleek accessory as it is a very capable camera. It is elegant and refined, but to me this beauty comes with a certain amount of metaphorical and literal pain. The Leica TL doesn’t have a viewfinder and it’s really uncomfortable to hold.

It is about as small as most other APS-C cameras with an interchangeable lens mount and weights roughly the same as Sony’s a6 series bodies, but the extraordinary shape makes the TL much more awkward to hold. The front grip is smaller and there’s absolutely nothing to rest your palm on. Because the back screen is all touch-controlled and very responsive, there’s a high chance you end up entering and exiting the camera menu or changing the display info repeatedly when holding the camera only with your right hand. The designers at Leica definitely expect you to clutch onto the camera body with both hands as if you were holding the holy grail. If you do so, the Leica TL actually feels alright, but having your left index finger beneath the body to support it like you would with a Leica rangefinder makes little to no sense because the TL doesn’t have a viewfinder. Holding it like an M camera will fool you into thinking you can lift it up to your eye and look through the viewfinder (a thing which it doesn’t have) but I nevertheless tried countless times. This aluminum brick is more of a casual shooting device than a serious tool. Having to hold it like a serious tool therefore feels odd to me.

Once you’ve learned to not touch the screen when you don’t intend to, you’ll learn to appreciate how big and bright it is. Thanks to the easy touch and focus functionality and the option to have the camera take an image as soon as you’ve set the focus point, the Leica TL is quick and discreet. It’s an innovative Leica offering lots of unusual features without compromising on its most striking quality: elegance. The pop-up flash is well hidden without being flimsy when extended, the strap lug system is ingenious, and so is the battery removal process which is identical to the one found on Hasselblad’s X1D series.

But while the hardware is well put together I have a serious issue with the software on this camera. I understand that hiding the camera settings makes the screen less cluttered, but why would you then show them to me when I half press the shutter button and am about to finalize my framing? This is annoying because the settings are displayed on a half-transparent black border along the top of the screen which covers up part of the image I’m about to make. The TL’s screen is very minimalist except when it really needs to be.

So is the Leica TL just looks? Honestly, yes. Because not only does the body look gorgeous – so do the photographs. The Leica TL has a CMOS sensor that produces beautiful JPEGs which I don’t have to retouch at all. It can also capture DNGs if you want a little more wiggle room, but only in combination with JPEGs. There’s no way of capturing only raw files, which I first thought would greatly annoy me. But then the TL put a spell on me. A spell that not only made me accept lousy six-and-a-half megabyte JPEGs but also kept me trusting the camera’s algorithm to the point where I didn’t even bother switching to manual mode, opting instead to keep it on full auto-pilot.

I don’t check for the SD card anymore either since the 32 gigabytes of internal memory are plenty to house all of my photographs from a day out. At the end of the day I just plug the camera into my computer via USB or send the files directly to my phone using the super intuitive FOTOS app. The TL is essentially my most expensive, most capable point-and-shoot.

An important requirement I usually have for point-and-shoots is a somewhat decent autofocus system. The TL does deliver in this regard. Having used Olympus’ OM-D cameras for many years before making the switch to Sony I’m well accustomed to the contrast detection autofocus system. It’s not the quickest and tends to hunt quite a bit before locking onto the subject, but when it finally does, it is accurate. That’s especially important considering the high quality glass Leica offers for its APS-C lineup. I only have the 23mm f2 lens as of now, but I am already considering the 18mm f2.8 having seen how good its slightly bigger and longer sibling performs. Of course, you can fully expect sharp images with any Leica lens, but it amazes me just how good these somewhat tiny files (at least by today’s standards) look coming straight out of camera. The TL makes a clear case for the irrelevance of file size.

The post The Leica TL (I Trust You, Baby) appeared first on Casual Photophile.

Introduced in 2018, the Sony E 18-135mm f/3.5-5.6 OSS lens is a relatively new APS-C zoom lens that covers a highly versatile focal range equal to 27-202.5mm on full-frame. The focal range of this lens puts it in the “all-in-one” or “super-zoom” lens category, which makes it useful for all types of photography genres and compositions, from wide-angle landscapes to isolated portraits. Zoom lenses like this tend to get a bad rap for making quality concessions in the interest of convenience, and yes, Sony did have to make some compromises to make this lens what it is.

But then again, convenience is exactly why this lens stays attached to my camera. Why complicate my photography experience by cycling through multiple lenses when I can have one lens that covers it all? Everything about the 18-135mm seems like it was built to be that go-to travel lens. It’s versatile, compact, and budget-friendly compared to other E-mount zooms on the market.

Those invested in the E-mount system know that there’s been some neglect regarding Sony’s APS-C lenses. And the available lenses on the market aren’t exactly easy on the wallet. Most zoom options are either full-frame oriented and/or have pro spec’d glass that will easily run the cost up to and over $1,000. However, the 18-135mm retails for about $550 new, which is already significantly cheaper than other zooms in the E-mount system. But because you can get this lens bundled with the A6400, A6500, or A6600, you can easily find it being re-sold used on eBay for significantly less than its retail price. At this price-point, the lens is geared towards consumers in search of convenience, so I wouldn’t recommend the lens for professional gigs. However, it’s definitely a worthy option for budget-oriented enthusiasts or beginners looking to travel minimally, while still retaining the image quality of multiple prime lenses.

Build and Handling

Design-wise, the 18-135mm isn’t anything special. It’s basically just a matte-black cylinder that tapers down slightly towards the mount end of the lens with an unassuming front glass element and a 55mm diameter filter thread. It’s got a generic look to it that keeps it in line with most kit lenses I’ve seen on other cameras. Looks aside, the real draw of this lens is its size and weight. In fact, this lens is even smaller and lighter than a can of your favorite brew.

Weighing in at 11.5 oz (325 g) with a diameter of 2.75 inches (67mm) and length of 3.5 inches (88mm) unextended, the lens is impressively tiny compared to other super-zooms. For comparison, its closest competitor, the Sony 18-105mm f/4 G lens, is about an inch longer and 5 oz heavier.

To make the lens so compact and light, Sony made two trade-offs: they used lightweight plastics to make the barrel (don’t worry, the lens mount is made of metal), and they gave it a variable aperture. Despite being made of plastic, the lens feels pretty solid, and when mounted on one of Sony’s APS-C cameras, the whole package feels well balanced (though its matte black paint job doesn’t exactly match with the glossy finish of the A6000). Regardless, combined with the camera body, the combination is compact enough to fit in a small side bag or purse, and light enough to keep slung around your neck all day. Its ultralight form-factor alone makes this lens my go-to for outdoor and city adventures that require significant travel on foot (though I have to be conscious of weather conditions as this lens does not sport any type of protection from the elements).

On the center of the barrel is the zoom ring, which takes up a large portion of the real estate, and in front of that sits the electronic focus ring. Both rings are smooth in operation and textured with a ribbed rubber that’s easy to grip. The zoom throw is fairly short—about 90 degrees of a full turn—so it only takes a couple seconds to zoom from 18mm to 135mm and back. Extending the lens fully to 135mm adds about an inch to the barrel’s original form-factor, but it still feels balanced on my A6000. The zoom itself is nicely dampened, and helped in part by its lightweight nature there’s no zoom creep to worry about when shooting at an upward angle.

Additionally there’s an AF/MF switch on the left side of the barrel. This feature is convenient for when you want to switch between auto and manual focus on a whim. I don’t use it much, since I use Direct Manual Focus most of the time, but it’s a nice little bonus to have in a pinch.

Image Quality

The most obvious caveat about the Sony E 18-135mm f/3.5-5.6 OSS is that it’s a variable aperture lens. The lowest aperture value shifts between f/3.5 and f/5.6 based on the focal length. At its widest, the fastest aperture is f/3.5, but halfway through the zoom range (55mm) the aperture shrinks to f/5.6, which remains constant through its longest focal length. This might be off-putting to many (it was for me personally), especially since there are competitor lenses with constant apertures on the market, but after using the lens for some time, I’ve learned to work around this limitation to create some images that I’m really proud of.

The lens utilizes seven aperture blades to create a circular aperture, but because it’s a slow lens, don’t expect dreamy out-of-focus areas in your shots. While bokeh from this lens is a bit harsh, you can achieve some decent separation by zooming in and getting as close to your subject as possible. Luckily, the lens has a surprising ability to focus as close as 1.5 feet at all apertures, which helps to make up for its relatively harsh depth of field rendering. With that said, I find that this lens performs best outdoors during the day (when its variable aperture doesn’t make too much of a difference) and shines most when used at lower apertures (f/5.6-f/11) to provide a deep depth of field for travel and landscape type photographs.

Despite being primarily a day-time use lens, the 18-135mm can produce some decent results in low light thanks to the stabilization technology (Optical Steady Shot (OSS)) integrated in this lens. As someone who absolutely hates carrying around a tripod, OSS (in combination with higher ISO settings) allows me to handhold the camera at lower shutter speeds than I initially expected. OSS makes capturing handheld shots very easy, canceling out any possible camera shake you might experience once you enter the telephoto range of this lens. Personally, I’ve taken handheld shots as slow as 1/50th of a second zoomed to about 80mm with no visible camera shake. Unfortunately, the lens does not include a dedicated switch to disable OSS, but you can easily dive into the menu to disable it when necessary.

In combination with its compact footprint, the sharpness of this lens is another reason that I can so honestly recommend it. For a lens of this class, a kit lens which  can “do it all” at a minimal cost, it’s remarkably sharp from 18 to 135mm across the frame, even shot wide open. For pixel-peepers, I’ll concede that there can be some softness in the extreme corners when you’re shooting wide open at 18mm, but either stopping down or zooming in a bit easily clears this up. Regardless, this lens is consistently sharp in the center (where it really counts, ‘cause who’s really scrutinizing the extreme corners?). Despite a minimum aperture of f/22, I typically avoid stopping the lens down to apertures lower than f/11 to ensure the sharpest photos possible and to prevent diffraction, which can lead to some softness in the frame.  

If it means anything to you, the glass is constructed of 16 elements in 12 groups with one aspherical and two extra-low dispersion elements. With that said, the glass used in the 18-135mm can be considered inferior to more pricey zoom options, so there are some optical imperfections to be expected. Most notably, the lens displays significant vignetting and distortion, which is strongest when shot at the widest and longest focal lengths (18 and 135mm). However, closing the aperture down a couple stops from the max and/or zooming to one of the mid-range focal lengths almost entirely helps to mitigate the distortion (though there’s still a bit of vignetting). You’d honestly probably never notice these imperfections because the in-camera software does a fantastic job of eliminating optical issues for immediate viewing, which is particularly good for JPG shooters.

The only way to see the extent of the distortion is by importing the RAW files into Lightroom. At 18mm, you’ll notice that the lens doesn’t fully cover the APS-C sensor it was made to work with. But luckily, Adobe has a dedicated lens profile to easily make the necessary corrections in post. I can see how heavy reliance on software corrections might be off-putting to some purists out there, but personally, I’m okay with adding an extra step to my workflow in order to keep a couple hundred dollars in the bank.

Despite heavy optical distortion, everything else is well controlled on this lens, including chromatic aberration, flaring, and ghosting. Occasionally, I can see some minimal fringing in high-contrast areas of my photos (like where foliage meets a bright sky), but it’s significantly less than the faster E-mount lenses I own. Depending on the conditions, there can be some minimal flaring/ghosting, but you’d have to point it almost directly at the sun. I haven’t noticed anything significant in more normal situations, but I typically keep the included tulip-shaped hood attached to the lens at all times.

The internal autofocus motor in this lens is quick, accurate, and completely silent in basically all kinds of lighting, even indoors. And because the 18-135mm is a native Sony lens, it plays nice with their excellent autofocus system, so you can rest assured that you’re utilizing its full auto-focus potential despite losing light with the lens’ varying aperture.

Quick Notes on the Competition

As mentioned earlier, there aren’t too many all-in-one zoom options for the Sony APS-C system, but there are some other lenses I considered before ultimately deciding on the 18-135mm. Its closest competitor is the Sony 18-105mm f/4 G lens, which costs $50 more and sports a constant f/4 aperture. I was between these two lenses initially, but ultimately chose the 18-135mm based on its size and weight comparisons. The 18-105mm is considerably larger and heavier, and as a stills shooter, its electronic zoom was less than ideal for me personally. If you’re between these two lenses, I say go with the 18-105mm if you’re a videographer or if size and weight are not deal breakers for you. Otherwise, the 18-135mm is equally as sharp and a more ideal choice for travel.

There’s also the Sony 18-200mm OSS f/3.5-6.3, which has a slightly longer zoom, but it’s outdated, more expensive ($750), heavier, and (by all accounts) is not as consistently sharp compared to the 18-135mm. Another close competitor is the Sony Zeiss 16-70mm f/4, which is about the same size, but doesn’t offer as much reach and pushes the budget to almost $900 new. Additionally, many users of this lens suggest that its optical quality is not quite on par with what is expected of the Zeiss moniker.

Even including these honorable mentions, no other E-mount lens on the market offers the same combination of flexibility, cost, and quality as the Sony E 18-135mm f/3.5-5.6 OSS.

Jack of all Trades, Master of None

If there was ever a photography-related embodiment of the “jack of all trades, master of none” figure of speech, it might be Sony’s 18-135mm lens. The versatility of this glass allows it to fill many shoes, but at the end of the day, it’s not perfect. The not-so-premium build quality, lack of weather sealing, slow, variable aperture, and heavy reliance on software corrections will certainly deter buyers in search of pure optical perfection. However, those willing to make some compromises for the sake of convenience might actually consider this lens the perfect companion.

While this lens won’t exactly put an end to your case of GAS, the Sony E 18-135mm f/3.5-5.6 OSS is an excellent solution for photographers looking to simplify their decision making process, and ultimately their photography experience. This includes avid travelers and outdoor enthusiasts on a budget who value minimalism and versatility over optical perfection. From personal experience, the combination of size, zoom range, stabilization, and image quality this lens provides outweigh the caveats in real world use. I am consistently impressed with the results produced by what could technically be considered a kit lens.

Despite the compromises Sony made with this lens, I think the only thing I would change is the price. Personally, I think the lens is just slightly overpriced, and it would better serve its user base if it was listed closer to $450-500. But at $550 for a new copy, I think you get the most value when you buy this lens second-hand or bundled with one of Sony’s newer APS-C cameras. If you already own an A6-series body, and you’re considering the 18-135mm lens, I highly encourage searching eBay and other outlets where you’ll find this lens being resold in abundance for between $300 and $400. Probably the only instance in which its reputation as a kit lens works in its favor.

I’m fully aware of the zoom versus prime lens debate, and while prime lenses produce cleaner results, they just don’t offer the sheer flexibility of an all-in-one zoom lens. Don’t get me wrong, keeping a couple extra primes in my travel kit to complement my Sony E 18-135mm f/3.5-5.6 OSS has turned out to be a good thing, but I feel like sometimes the physical and mental burden of multiple lenses isn’t worth it.

Call me lazy, but that’s what I like about the 18-135mm lens; it just simplifies things for me. I’ve found that limiting my lens options and traveling light helps me mitigate my decision fatigue and enjoy my experiences more. I sincerely think that the real-world performance of this lens far exceeds the expectations of what can be considered a budget-friendly, all-in-one zoom kit lens. And in my humble opinion, this lens deserves more recognition in the E-mount ecosystem as a worthy contender for the best ultralight lens option for Sony APS-C shooters.

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