@Robert Wise, if you want the simplicity, just do what I did: buy a DSLR (second-hand in my case), don't bother reading the instructions, use Manual mode and switch off/don't look at the LCD screen. I could even use manual focus and keep my zoom lens at a specific focal length. Or have I missed the point?
Just being ironic. These are amazing cameras and I am sure, in the right hands, the results can be fabulous. But there is a lot of fetishization going on here. I would still hesitate to buy one of these even if I had the money. Each to his or her own.
Sad Joe: Lecia Lust - got me bad ! Come on Fuji bring out a X100 BLACK and blow this away….
PicOne: I see the comparisons to other compact cameras, including G1X, but missing mention of eg. the Sigma DP2 Merrill (which is smaller than G1X). Isn't the sensor in one of these about 3-4x larger than the RX100, at a price not that much different (I think about a $50 difference)? .. Since sensor size seems to be the justification for the $750 price tag
The DP2 Merrill is perhaps not a fair comparison, as this has a fixed lens.
This looks like Fuji understand how to put together a clear, rational product strategy. There is something for all users of its X system cameras - from serious/professional to casual /hobbyist. It also looks as though they have invested in developing a strong range of lenses to support this.
Of course, they are now competing more directly with Sony Nex and Olympus MFT, in terms of product range and flexibility, but that bodes well for us consumers. Bravo Fuji.
Leica, are you watching? The X-M1 is what the Leica "Mini M" could have been.
In the video Shubhankar Ray says it was about "how little design you could add" - well, that pretty much sums up what Leica did with the Panasonic LX7 in the first place. He also said that rather than redesigning the camera they wanted to "reimagine" it. What a load of rubbish!
Yet again, Leica does nothing to enhance its reputation with this new model (see X Vario). They should either concentrate on their rangefinder and X2-type cameras; or produce limited edition, small production runs of novelty luxury cameras, so at least the person buying one has something that might appreciate in value. Then again, so few people will ever buy a $1300 camera that could be bought for $300- $500 that it will be a collector's item in its own right.
Nice leather case, though.
Bizarre product management at Leica. This offering has clearly baffled most of us. It neither enhances the Leica brand, nor does it offer something the market needs. I was expecting to see a fixed lens, full frame compact, like the Sony RX1.
If you want a Leica APS-C, then a second hand M8 is beginning to look like good value. Alternatively, the Sony NEX 6 or Fuji XE-1 with their respective kit lenses seems more sensible. Heck, even my Sony NEX F3 offers more than this, with its articulating screen and stabilised lens.
Genius, Leica, genius.
Kevin Sutton: Excellent article but I find I tend to agree with the 1950's American publishers regarding the photos. Some of the subject matter would have been much more interesting if it was in focus and not blurred etc. Maybe I just don't understand Art...
I recently went to an exhibition of Klein's photos at Tate Modern, in London. Some of them I didn't "get" either and looked blurry, under-exposed, meaningless, pointless, even. But then some of them completely blew me away. So it is with all art. We don't all need to understand or even appreciate an artisit's work, for them to be revered. We just need to appreciate that some people can draw inspiration and pleasure from what someone else has produced.
raincoat: If I turned up on a forum with these kinds of photos, would I be hailed as a genius, or booed as a noob who is still using auto mode?
Klein doing blurry misfocused images is acceptable not because blurry misfocused images are acceptable. It's because he's Klein and he's famous, so what he does is acceptable.
@Raincoat, in the essay Klein was saying he was deliberately trying not to get a "perfect" shot, but set out to "break the rules". A noob using auto mode would certainly have got technically better photos, but never the same level of composition or even that close to his/her subjects.
Also, I suspect Klein was shooting this way before he got famous.
KL Matt: Hire a native speaker (of English!) to translate your press releases Panasonic, this is embarrassing.
@KLMatt, I think your remarks are a bit harsh. Dpreview have a consistent editorial approach, it seems to me: 1) they post an announcement, with the company's press release and pictures; 2) they do a preview, based on a short amount of the spent with the new equipment; and then 3) they write a full review and do numerous comparisons. This approach means we readers can get some information as soon as possible, without the delay and cost of putting a journalist on the story. I'm happy with this approach. It also means the DPR cannot be accused of "spin" when a manufacturer issues a press release that includes inaccuracies about a new product, which are subsequently corrected.
Besides, for what we "pay" for DPR, I think we get astonishingly good value.
Valterj: Looking to these photos... I'm not impressed!
Latest gear, lots of money invested... and in a few years new bodys and lenses to buy...
Photojournalists have some privileges that other photographers don't have!
Also bear in mind if you are a pro you either get gear from your employer or pay for it as a tax-deductible expense if you are freelance. Just like any other professional who buys equipment for their trade.
There are some funny, provocative, a few sensible and a few dumb comments here. The bottom line for a pro photographer and his/her equipment is: does it get the job done? Anything less than that and you are not a pro - because you won't get paid for your images.
I have some sympathy with those who believe they can achieve pro results with consumer gear. This may well be true in benign conditions, with control of the environment - food, studio, portraiture, still life, for example. But in challenging, fast action environments, if i were a pro, I would not want to take the risk. See John Lok's picture of the guy jumping off the burning boat - that's all about the fast responses of the photographer and his camera, working in perfect harmony. And he has to be able to do that time and time again. Just thinking about the shutter lag you get on most consumer cameras, never mind the AF speed, would make this near impossible.
Just my 2 cents.
GaryJP: Not only do I not share the experience of "good service" some claim here, I considered myself lucky if I ever met a salesperson who gave a da*n about photography.
I have to agree with this: a good camera shop employs knowledgeable, enthusiastic photographers, who are usually willing to advise their customers, rather than trying to up-sell the extended warranty. The reality, however, is that it is more expensive to employ and retain these type of people, who are making a career in the photography business, than the average spotty young adult who just needs the cash and don't care whether they are selling laptops or headphones.
Thank you to everyone who voted :-))
Maybe I should have changed the title... :-p
This was at the Notting Hill Carnival, Europe's largest street carnival, in London. A fun day out and great to see the sheer joy and enthusiasm on the faces of the carnivalistas.