Every other quarter, we hold our breath
in anticipation of the next hot new model from market leaders such as Nikon and
Canon. More megapixel, more focusing points, more noise reduction – in other
words, more of the same thing. DSLRs have gotten higher in resolution and
faster in focusing through the years, with better high-ISO noise control to
match, but they are essentially reinventing the wheel over and over again. Just
like how cars are getting better and better with every generation, with more
powerful engines and more efficient fuel management, stiffer chassis and more
electronic driving aids.
That’s a good thing, but it’s still a
car with four wheels. In truth, reading every press release for a new DSLR is
beginning to feel like Groundhog Day.
But isn’t every brand doing the same
thing? Improving on the same tried and tested formula with every generation? It’s
easy to be blinded by the bells and whistles of the brands with the most
powerful marketing budgets, and we tune out the other brands along the sideline
that have been innovating in their own ways. And for the past three decades,
nobody in my opinion has been more active in pushing the envelope of innovation
than Fujifilm.
© Copyright of D.C Watch
If you had only taken up photography in
the past five years, you’d probably only remember Fujifilm for the X100 compact
camera and X-Pro 1 interchangeable lens compact camera. These are but the
latest examples of the innovative and entrepreneurial mindset of the leadership
at Fujifilm. The company has been instrumental in keeping the passion alive for
niche photography and introducing very interesting products for photographers
where photography means something more than just DSLRs and M4/3 cameras…
In a world dominated by digital
cameras, in particular digital SLRs and fixed lens small sensors compacts,
Fujifilm had been remarkably successful in addressing the niche market and
turning in commercial successes even in the face of evident failures. How was
it that Fujifilm could transform and adapt itself to a digital world when Kodak
floundered and failed? How was it possible that a company could continue to
introduce new film-based cameras (some of which are medium format) when they were
considered as dead as dodos? Why is Fuji doing so well in instant film
photography when Polaroid had bitten the dust long ago?
The answer perhaps lies in the words of
the late Steve Jobs - thinking
differently.
The game-changing Fuji X100
Unlike many of the camera companies,
Fujifilm was never really big in the marketing department. Most of their energy
seemed to be focused in understanding the photographers’ mindset and in
research and development. Kodak lost a big lawsuit against Polaroid in instant
film technology, and they were unable to leverage on their film R&D to
expand their portfolio. In contrast, Fujifilm had a trade-agreement in
exchanging Polaroid’s instant film technology with Fuji’s magnetic media
technology (they made floppy disks), and Fuji managed to use their knowledge of
collagen found in their film making R&D to successfully spin off
collagen-based anti-aging cosmetic line called Astalift!
Let’s look at some of the key
innovative products introduced by Fujifilm in the last three decades:
Fuji
medium format rangefinders (1967 onwards)
Back in the 40s to the 70s, many
manufacturers offered medium format rangefinders, but they died out with the
popularity of SLR cameras. Not only did
Fuji obstinately continue manufacturing medium format rangefinders, they
offered an amazingly complete range of sizes, from 6x4.5 to 6x9 formats! They
were not the last word in build quality, but they delivered spades of optical quality
and are still sought after by film photographers today
Fuji
GX680 (1989)
Most people would wince at the size of
a Mamiya RZ67, until they witness the existence of a hulking medium format
camera called the Fuji GX680. The Fuji weighs 4.5kg even with the lightest
lens, making the RZ with lens look like a featherweight at 2.4kg. The monster
medium format is amazing versatile, being able to shoot in 6x8, 6x7, 6x6, or 645
formats. Its claim to fame must be the Fuji GX680’s ability to handle tilt,
rise/fall, swing and shift from the front standard!
Fuji
Velvia 50 (1990)
When you needed punchy colours and high
resolution, there is only one name in the game – Kodachrome. But the venerable
Kodak film had to be specially processed, which leads to long turn-around time.
Along came Fuji Velvia in 1990, and that completely changed the game. Using the
standard E6 slide processing, you could get amazing Technicolor and astounding
grain/details like never before. Photographers, especially landscape shooters,
migrated in hordes to the new King of Saturation & Details.
Fuji
TX/XPAN (1998)
Many manufacturers have difficulty
maintaining image quality at the edge of a 35mm image circle, so it was a shock
when Fuji announced the Fuji TX panoramic camera which covered an image circle double that of a 35mm frame! The same
camera was marketed outside Japan as the Hasselblad XPAN, and received critical
acclaim for its incredible optical performance, and its audacious attempt to
create a 35mm panoramic camera in rangefinder format. No other competitors
today have even matched this feat.
Fuji
SuperCCD sensor (since 2000)
Along
with Fovean, Fuji looked at sensor design differently from other manufacturers.
Instead of using the Bayer pattern traditionally, Fuji engineers angled the
Bayer pattern at 45 degrees to increase the horizontal and vertical resolution
up to 1.4x with the SuperCCD design. Although this “increase” in resolution is
debatable and the success of the SuperCCD sensor has not been spectacular, the
courage of Fuji to swim against the current in offering new and proprietary CCD
technology can possibly swing sensor development in a new direction in the
future.
Medium format film camera in 2009? That's insanity!
Fuji
GF670 (2008)
When Canon and Nikon were busy
launching their EOS 50D and D300 in 2008, Fuji executives were rolling out a
medium format folding rangefinder. In the face of plunging film sales, this
seemingly insane exploit was the result of collaboration with niche manufacturer
Cosina/Voigtländer, who shares
the same zest as Fuji in introducing amazing film-based products. The good
sales results and positive reaction of photographers gave the pair enough
courage to introduce a wide-angle version in another act of madness in 2010 –
the Fuji GF670W.
Fuji
FinePix X100 (2010)
Both Sigma and Leica had attempted
incorporating APS-C sized sensors in a compact camera, but the cameras were not
well received due to high prices, buggy interface, poor handling and various
issues. Fuji stunned the market with the FinePix X100 – a premium APS-C sensor
compact with retro-styling and traditional dials for aperture and shutter speed
controls. The X100’s party trick is its unique hybrid viewfinder that combines
a conventional optical viewfinder with a high-resolution electronic viewfinder,
and even offering advanced digital overlay over its optical viewfinder, making
the X100 a truly innovative and groundbreaking camera.
Fuji
X-Pro 1 (2012)
Emboldened by the success of the Fuji
X100, Fuji launched an interchangeable lens digital compact system based on the
X100. An all-new camera system with a brand new mount and lenses, the Fuji
X-Pro1 replicates the winning formula of analogue control dials and retro
styling. The X-Pro 1 is launched with a set of 3 autofocus prime lenses offering
28mm, 50mm and 90mm equivalents, with Fuji promising more lenses along the way.
It retains the innovative optical/electronic 'hybrid' viewfinder from the X100,
and along with its APS-C sized sensor, makes the X-Pro 1 a very compelling
argument against other M4/3 cameras and even Leica’s digital M system.
I’d say it’s time to give a Lifetime
Achievement Award for Fujifilm.
