Convincing the big publishers to take on photography books has always been a challenge
A curious thing happened the other day. For the first time in a long time I had to find an original image in my archive of 35mm transparencies.
Just prior to this issue going to press Canon announced its long-awaited entry into the compact system camera (CSC) category.
Some things seem to be taking a very long time to happen. I mean, for example, where’s the Canon EOS-1Ds Mark IV or the Nikon D4? Where’s Canon’s compact system camera… which we’re all pretty certain is going to happen, but when? And what about the higher-end or even pro-level Olympus Digital Pen that’s been hinted at for quite a while?
In all my years (nearly 30 now, incidentally) of writing about cameras and camera design have I seen any model have quite the impact of the Fujifilm FinePix X100. I imagine something similar must have happened after Leitz and Barnack showed off their first 35mm rangefinder camera or when Victor Hasselblad took the wraps off his box-form 6x6cm SLR, but in the digital era the X100’s reception has been quite unprecedented.
D-SLRs from entry-level to pro. It’s the latter that’s been creating the most debate given the whole ‘convergence’ thing is a minefield for professionals on either side of the frames-per-second divide.
It’s probably a minor concern compared to the huge loss of life in the earthquake and subsequent tsunami which hit the Tohoku region of northern Japan on 11 March, but production at a number of factories making imaging products has subsequently been severely disrupted.
If you were to sit down and pen your ideal digital camera, there’s a good chance you’d come up with the Fujifilm FinePix X100. The undisputed star of Photokina 2010 ticks so many boxes and Fujifilm announced it as “our first professional digital camera since the S5” so it’s being very precise about the primary target market (although the bulk of sales will still undoubtedly be to enthusiasts).
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