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The X100 didn’t hit the shelves until early 2011 but it generated interest from the moment it was announced. Photo: Andy Westlake |
As part of our twenty-fifth anniversary, we’re looking back at some of the most significant cameras launched during that period. Without question, the Fujifilm FinePix X100, announced fourteen years ago today, is one of those cameras.
It wasn’t the first large-sensor fixed lens compact: that honor goes to Sigma’s DP1, which squeezed one of its 20.7 x 13.8 mm Foveon chips into a small, minimalist body, but it was the first to really catch the collective photography imagination.
Back in 2010, the first Mirrorless cameras were arriving, so you could buy a Panasonic GF1 with the company’s 20mm F1.7 lens or an Olympus PEN, also with the Panasonic 20mm F1.7 if you had any sense. But those were the only options if you wanted a small camera with good image quality. Both were, at that point, very obviously a technology and lens system that was still developing.
Beyond these you only really had two choices: you could buy a DSLR if you wanted a Four Thirds sensor or anything larger, or an enthusiast compact based around a Type 1/1.7 chip (7.4 x 5.6mm), which was, at best, one-fifth of the size. Maybe a Type 2/3 (8.8 x 6.6mm) if you were really lucky, but that’s still a two-stop difference compared with the smallest-sensor DSLR, simply because the sensor is no better than 1/4 the size. But even the smallest DSLRs weren’t particularly small, especially once you put a lens on them.
Read about the subsequent history of the Fujifilm X100 series
With its APS-C sensor and F2 lens, the X100 had an immediate image quality benefit over any existing compact camera, and its self-contained nature meant it made more sense as a second camera for DSLR owners who didn’t want to have a foot in two lens mounts by becoming a Mirrorless early adopter.
Then there were its looks. These may not play a part in the end images (though the “is that a film camera?” response from bystanders wasn’t a bad way to raise the idea of taking their photo), but they made the camera look and feel a bit special. And who ever said photography is a pursuit based on cold rationality?
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This is probably what people mean when they refer to ‘classic styling.’ Photo: Andy Westlake |
So the X100 had appeal on multiple levels: it was one of the smallest cameras to offer such high image quality, it would work alongside other systems without complicating your commitments, it looked good and took really good-looking photos.
It was also, at launch, recognizably a work in progress. Our original review had a page dedicated to bugs and odd behaviors, many of which got ironed-out over a series of firmware updates. It was slow, it was quirky and yet it caused an awful lot of photographers to fall in love with it.
I still have my original X100 and will sometimes still use it (which probably wouldn’t have been the case were it not for the significant improvement in autofocus that came nearly three years after its original launch). After fourteen years it really shows its age, and my experience is somewhat spoiled by having spent a considerable amount of time shooting with its five successor models.
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The X100 (Rear) has long ago been superseded but its most recent descendent, the X100 VI (Front) is still very much in demand. Photo: Richard Butler |
We’ve seen many attempts by other manufacturers in this space: Leica’s APS-C X series pre-dated the X100 but seems to have been superseded by the full-frame Q models, while the 28mm equiv Nikon Coolpix A and X70 and XF10 from Fujifilm seem to have fallen by the wayside. Only Ricoh’s move of its much-loved GR premium compacts to APS-C seems to have had anything like the longevity of the X100 series. And, while there’s plenty of skepticism from people who aren’t 35mm equiv fans and those put off by its recent five minutes of fame on TikTok, the X100 started a series that’s still very much in demand, fourteen years later.
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This article comes from DP Review and can be read on the original site.
