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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. It doesn’t overdo or rely on its reference points, nor does it make the reference The Point. Where the X-T1 starts to separate itself from other retro-chic cameras is in the purpose of its execution. As somebody who has an affinity for this specific era of SLR design, the X-T1 feels like a true spiritual successor. 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. 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.

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The Fuji X-T series was (and still is) the answer we’d been seeking.įrom 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.

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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.

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. 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.Īnd 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.įor devoted film shooters like myself, the arrival of t he Fuji X-T series (as well as Fuji’s entire line of digital cameras) was a godsend. 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.īefore long the humble, workmanlike Fuji X-T1 quickly became the centerpiece of my photographic world. 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. I was skeptical, considering my lingering distrust of the practice (see: the Nikon Df) and general dissatisfaction and disillusion with digital imitations of film.Ĭircumstances, however, made pulling the trigger on this relatively old digital camera a little more interesting. I only needed a stand-in digital camera to replace my recently stolen Sony A7, and wanted to see how well one of Fuji’s first tries at the faux-film camera digital camera design had turned out. I wasn’t expecting much when I bought a friend’s old and worn Fujifilm X-T1.

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