![]() Ultimately, let’s put aside the timidity of the Fujifilm marketing and the limitations of digital technology of that era. Interestingly, each company printed the Nikon and Fujix names on the body but see how Fujifilm rendered the word "Nikon" unreadable on the cover of the marketing brochure. Fujifilm made the electronics and sensor while Nikon made the body and F-mount lenses. ![]() The DS-505A was co-produced by Fujifilm and Nikon. But even the larger of these two cards could store only five uncompressed images! The camera has a 1.3 megapixel sensor, maximum shutter speed of 1/2,000 second and continuous shooting rate of 1 per second. Its photo file-handling system is revolutionary (at the time) – so much so that Fujifilm called the DS505A a “digital card camera”, the word “card” being a reference to the removable PCMCIA cards which had 5mb or 15mb storage capacity. Its reflex viewfinder system is radical but flawed – creating so much light loss that the maximum aperture is reduced to f/6.7. The shape of the body is impressive but ungainly – the right-hand side of the body seems to have been sliced away. “The real-image viewfinder works exactly the same way as the one in your 35 mm SLR, and the other functions are similar as well.” All these years later, we can see why this is such an audacious digital camera. “The first surprise will be how familiar it feels,” it continues. The blurb verges on being apologetic about digital photography – a feint endorsement indeed. Well, it takes only a few moments reading this brochure to realise that serious photographers needed a lot of persuading to abandon their 35mm SLRs in 1996. Fujix DS-505A (1996) “It takes only a few moments to forget everything you’ve heard about digital photography,” says the Fujifilm brochure about the Fujix DS-505A. ![]()
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