FUJIFILM, Nikon, OM SYSTEM (formerly Olympus), Leica, and Panasonic have all launched retro-styled hybrid cameras in recent years. As the hybrid revolution progressed, most still-oriented cameras gained impressive video capabilities, and dedicated filmmaking tools moved towards still camera design. Alongside the hybrid revolution, the vintage-retro design trend also gained traction, leading to our current reality when cameras designed specifically for still-capture also enable high-end and sometimes class-leading video performance. In this article, I’ll review the vintage-modern hybrid camera – the advantages, compromises, and pitfalls of this weird match of form and function. Hop in!
FUJIFILM and Olympus arguably started the trend with the X100, followed by the X system from the former and the OM-D E-M5 from the latter. The X-Pro1 and OM-D E-M5 were announced in 2012 and were noticeably successful, encouraging other manufacturers to join the fray. Panasonic may have been the first manufacturer to combine vintage design and operation with 4K recording with their innovative LUMIX LX100 (2014). FUJIFILM introduced their first 4K capable X system camera in 2016 – the X-T2, with the addition of F-Log recording, taking their first steps into what would later be a formidable hybrid line.
Time went by, and other manufacturers added retro-inspired models of their own. Leica and Nikon added some full-frame sparkle, and OM SYSTEM added the most recent entry – the OM-3, essentially a rehoused OM-1 Mark II flagship. However, as more vintage hybrids join the competition, we’re also seeing some companies quietly step away from this unique niche. But first things first:
What is a vintage-modern camera?
My definition of a vintage-modern or retro-designed camera is one that is designed to resemble either the look and/or the operational nature of old cameras. As someone who appreciates the basic concept of form following function, I strongly prefer cameras that go the extra mile to provide us with a vintage experience in addition to the exterior design.
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I’d draw the line between vintage-looking cameras and vintage-operating cameras according to the main “OS.” – If it’s a PASM main dial with two function wheels, the camera essentially operates like every other modern camera in retro clothing. If it has a shutter speed dial and an aperture ring, it’s a “true” retro experience in terms of operation. The first group includes some Olympus / OM SYSTEM cameras, the FUJIFILM X-M5, arguably the X-S20, and the Sony a7C models.
The second group includes most of FUJIFILM’s X cameras, the X100 series, Panasonic’s LX100, the Leica Q models, and more. There are some cameras walking the (rather blurred) line between them. Here, we can find Nikon’s Zf-C and Zf, with both a shutter speed dial and a PASM-based operation. Most “true vintage” cameras may also operate in a more modern, PASM-like fashion once we set the dials to “A” or “C” (or other assigned letters). From that point, exposure control will follow the function dials or the camera’s decision.
What is a hybrid camera?
As we’ve seen, the definition of a modern-vintage camera is quite blurred. It’s nothing compared to the definition of a hybrid camera. Things used to be simple. If a camera could shoot both video and stills, it would be a hybrid camera! But these days, when each and every camera (aside from one) is graced with various levels of video features, some raise the bar, suggesting that a true hybrid should be equally adapted to both video and stills.
Personally – I’m not a hardliner. If a camera can provide decent video features next to awesome stills capabilities, it’s fine by me. My personal camera is the FUJIFILM GFX 100s, which I gladly define as a hybrid camera, though its still-imaging is leaps and bounds beyond its very decent video capabilities. For other examples – I’d easily include the likes of the Leica Q3, FUJIFILM X100VI, Nikon Zf, and more as hybrid cameras.
What’s the problem with the vintage-hybrid form-function?
The form associated with vintage-looking cameras was designed specifically for still photography. One of its most important features, the shutter speed dial, is hardly relevant for motion capture, especially as we are seeing more and more cameras with a shutter-angle control. While they are all very nice and compact, these cameras may miss some key control points, function buttons, and more. That’s probably why we’ve seen FUJIFILM, the most prominent herald of this design philosophy, withdraw it when designing their professional hybrids, the X-H2s, X-H2, and GFX100 II. Aside from that, even the PASM-based models, like the recent OM SYSTEM OM-3 feature extremely slim bodies, no auxiliary info LCD, few function buttons (and a big dial with no available customization). So why should a video-centric creator opt for such a camera? Well – mostly because cameras are more than their spec lists, and unique design offers some unique advantages.
Unique advantages
Photography is a nostalgic practice at times. Nostalgic design may very well promote sales as FUJIFILM, Olympus, Nikon, and others have proven again and again. It can also promote a unique workflow and user experience that may change our perspective and spark creativity.
Cameras and the workflow they dictate affect the filmmaker, but a camera can also affect our subjects—especially a camera with a unique look. When approaching an actor or the subject of a documentary film, the camera rig may greatly affect their response to us as creators. It may dissolve objections, it may make us appear less serious, hence less threatening. It may sometimes spark a conversation or inspire a certain intimacy. Sure, it’s not for everyone and far from catering to every filmmaking need, but it may just be a part of what sets you apart.
Do you use a vintage-hybrid camera? Are you considering moving to such a camera or adding one to your kit? Share your thoughts in the comments.
