Most people think of Fujifilm as a camera or film company, but that’s not their main business, and it hasn’t been for awhile now. When film sales collapsed on the early 2000’s, Fujifilm diversified into many different industries: medical, pharmaceutical, cosmetic, tech, and chemicals. While photography is a big part of Fujifilm’s heritage and identity, it is only a small part of their company overall nowadays.
At a recent photowalk, someone asked me if I had seen a large building in Mesa, Arizona, with Fujifilm’s name on the side, and wondered if I knew what it was for. I hadn’t seen it, and I had no idea what it was for. I didn’t think much about it, but then it showed up in my news feed. Curiosity got the better of me, so I did a little research. Fujifilm Electronic Materials in Mesa, is quietly an industrial powerhouse. The facility is not dedicated to film or sensors, but to the ultra-pure chemicals that make modern semiconductors possible. It’s a different side of Fujifilm, one that most photographers never hear about. Yet this plant plays a key role in the digital world.
Sunset Glow & Salt River – Mesa, AZ – Fujifilm X-T5 – Astia Azure
Inside the Mesa facility, Fujifilm produces high-purity solvents, developers, cleaning agents, and slurries used by chip fabricators to polish, pattern, and prepare silicon wafers. These aren’t camera-sensor chemicals specifically; they’re the chemicals needed for nearly every chip you can imagine: CPUs, GPUs, memory, mobile processors, automotive controllers, and, yes, even camera sensors (although only indirectly). Fujifilm is one of a couple handful of companies that supply ultra-clean chemistry for chip manufacturing, and one of a few in Arizona.
Fujifilm expanded the Mesa site only a few years ago, and they’re planning to significantly expand again, due to exploding demand for semiconductors. The CHIPS Act, combined with billions of dollars in private investment, has turned Arizona into one of the fastest-growing semiconductor hubs in the world. Intel has a large footprint, including the massive Ocotillo campus in Chandler. TSMC is building multiple fabrication plants in Phoenix, including a huge campus in north Phoenix. Amkor, Microchip, and more are found in the area. All those fabricators need chemicals—lot’s of chemicals—and Fujifilm is scaling up to meet that demand.
Irrigation Pipe – Buckeye, AZ – Fujifilm GFX100S II – Kodak Plus-X 125
To me, Arizona seems like an odd choice for chip manufacturing. It’s a desert, which means it’s hot and dry, and water is somewhat scarce. Apparently the reasons why Arizona is booming for this industry are available land, business-friendly environments, stable geology, talent (ASU, UofA, and other universities nearby), and—perhaps counterintuitively—the water situation, which is extremely controlled and can support the ultra-pure water required. The dry climate helps with contamination control, and the lack of natural disasters is apparently a big appeal. What was once a small tech outpost has been growing into a full-blown semiconductor ecosystem. Arizona is apparently a new Silicon Valley.
For photographers, this might feel like a distant subject, yet it’s a big part of the larger Fujifilm story: a diverse and resilient company that would not likely be making cameras today if not for things like high-purity solvent manufacturing for microchips. While we’re out with our X100VI or X-T5, Fujifilm is making the unseen materials that help power the digital world our pictures live in. If you happen to pass by that building in Mesa, Arizona, with Fujifilm’s name on the side, you’ll see a facility that helps to shape the silicon heartbeat of modern technology. It’s another reminder that Fujifilm is bigger than cameras. Sometimes the most important parts of a story happen in places we don’t expect.
With so many exciting cameras released over the last couple of years, it’s easy to forget some of the lesser-successful models from the early days of the X-series. With each new announcement, it seems that Fujifilm has hit-after-hit, and it can seem unthinkable that some of their cameras have been sales disappointments. The latest releases have features and advancements that may make older cameras seem obsolete, but they’re not. And why are they not obsolete? It’s because Fujifilm has infused each generation with its own unique charm. If you especially like that charm, the camera can never be obsolete because you need that camera in order to experience it. These three forgotten Fujifilm cameras are full of charm, and are worth remembering.
Fujifilm XF1
If you’re looking for a compact digicam that fuses vintage charm with capable image quality, the Fujifilm XF1 is an excellent choice. Announced in September of 2012, it put the X-series into your pocket. It featured a 12-megapixel 2/3-inch EXR-CMOS sensor (not X-Trans), which was larger than many compact sensors at that time, and a very useful 25-100mm f/1.8-4.9 zoom lens. The XF1 invited photographers to carry something small while still achieving good image quality.
Two things ultimately made the XF1 flop, and hence forgotten. First, it required a somewhat awkward twist of the lens to power on. Second, it was released at a time when pocket digicams were going out of style, particular thanks to advancements in cellphone cameras. Fujifilm never made a followup. Thanks to a resurgence in digicam popularity, cameras like the XF1 are cool again. In fact, this camera is recently seen in Ballad of a Small Player on Netflix. While the XF1 is a compact digicam, the character is very much Fujifilm—yet it has a unique quality that I haven’t found on any other X-series model. If you want a stylish pocketable camera that delivers enjoyable images with personality, the XF1 is definitely worth considering.
Another pocketable X-series camera similar to the XF1 is the Fujifilm XQ1. Announced one year later in 2013, it has a 12mp 2/3-inch X-Trans II sensor. It also has a 25-100mm f/1.8-4.9 zoom lens. In a lot of ways, the XQ1 is the same as the XF1, but it is notably updated and improved, and feels more refined. The XQ1 was a bigger success than the XF1, but it also came during a time of market declines for its class. One-and-a-half years later Fujifilm released a nearly identical successor: the XQ2. After that, the line was discontinued. If Fujifilm has ever considered resuscitating this series, now would be a great time—people would buy it up in droves.
For an interchangeable-lens APS-C model, the Fujifilm X-M1 deserves a look. Announced in June of 2013, it has a 16mp X-Trans I sensor combined with the X-Processor 2, but scaled back as an entry-level model—yet with some advancements like tilting LCD and WiFi. It was a unique model in the X-series, but sales were sluggish, and it was soon discontinued and forgotten.
If not for the X-M5 released last year, which has been quite popular, the X-M1 might still remain largely lost to time. Nobody expected this camera to ever have a successor—it was a shock! It goes to show that 1) timing is everything and 2) any camera line can be revived at any moment. The X-M1 is still surprisingly decent in 2025 considering it was a low-budget model when it came out more than 12 years ago. I can certainly understand while some still use the X-M1 all these years later.
A common question I get is, “Which Fujifilm X-series camera should I buy?” With so many options, it can be difficult to figure out which one is right for you. Some models are quite alike, with overlapping features and similar price points, which can be confusing—especially if you’re new to the system. Each camera in Fujifilm’s lineup has its own role to play, and understanding that role makes it much easier to choose the right one for you. To help you out, I’ll break down each X-series camera below and explain its purpose in the lineup—what it’s best at, who it’s for, and why Fujifilm made it. With that foundation, you’ll be better equipped to make your decision.
Fujifilm X-H2s
The Fujifilm X-H2s is Fujifilm’s most premium X-series camera—the flagship model. It’s designed for speed, which makes it the most ideal option for videography, as well as sports and wildlife photography. It’s the only X-series camera—and only APS-C camera—with a stacked sensor, which allows it to be faster than other models. Interestingly, a large majority of the official Fujifilm videos (found on their various YouTube channels) are filmed on this camera—if you want to know what you can do with it cinematically, there are tons and tons of excellent examples online. Because the X-H2s is the top-of-the-line option, it is also the most expensive at $2,799 (after the recent price increase across the Fujifilm lineup).
A couple of possible downsides to the X-H2s are that it’s the largest (along with the X-H2, which shares the same body), which might make it less ideal for travel or walk-around photography, and it doesn’t have the traditional tactile exposure controls that Fujifilm is known for. This is a PASM model that’s specifically intended to be appealing to those coming from Canikony brand cameras, who might not appreciate Fujifilm’s retro-styled bodies. It’s weather sealed and has two card slots (one for CFexpress Type B). The rear LCD screen is vari-angle, and can twist many directions. I find it fascinating that camera reviewers often compare the X-H2s to full-frame models; those are somewhat unfair apples-to-oranges comparisons, but you see it often, which just goes to show that this camera punches above its weight class.
If you really need speed, the Fujifilm X-H2s is your best bet. It’s the top X-series option for video, sports, and wildlife. This is the most “pro” camera in the lineup, if that’s important to you. I have never used this camera personally.
Fujifilm X-H2
The Fujifilm X-H2 is nearly identical to the X-H2s. The main difference is that, instead of a 26mp stacked X-Trans V sensor intended for speed, it has a 40mp non-stacked X-Trans V sensor intended for resolution. It’s not quite as quick as the “s” version, so it’s not as ideal for video, sports and wildlife; however, it’s still snappy, and still excellent for those situations—it’s a great hybrid camera. You simply trade a little speed for megapixels, while saving $600. You get basically the same camera for significantly less money. If you need the fastest X-series model, the “s” version is the one to get; if not, the X-H2 is quite compelling, especially if you are moving over from one of the “big three” brands. I have not used the X-H2 personally.
Fujifilm X-Pro5
There is not currently an X-Pro5. The last camera in this series was the X-Pro3, released in 2019 and discontinued in 2022. A successor is overdue, and likely to come next year (my prediction is in the spring, but that’s merely a guess). Nothing is known about the camera (not even the name… “X-Pro5” is speculation); however, it probably won’t be too dissimilar from other X-Pro models. The X-Pro series offers classic rangefinder styling, a hybrid EVF/OVF, and durability (other than the rear LCD cable on the X-Pro3… that’s another story, and probably why that camera was discontinued). X-Pro is top-of-the-line out of all the retro-styled X-series models. These cameras are beloved, they’re classics—the Leica of Fujifilm, so to speak. There’s not much to say about it at this time other than it’s coming someday, and it will likely be over $2,000 (maybe well over) when it does come. I wouldn’t be surprised if Fujifilm kicked off the sixth generation with this camera. Whenever it is released, you’ll know, because it will definitely make headlines. The picture above is of an X-Pro1.
Fujifilm X100VI
The X100 series is legendary. It’s probably the most iconic Fujifilm line, with a beautiful retro rangefinder design, including a hybrid OVF/EVF. Pairing the 40MP X-Trans V sensor with a fixed 23mm (35mm full-frame equivalent) f/2 lens, the X100VI is perfect for street, travel, and documentary photography. This iteration is the first in the series to have IBIS. The leaf shutter, built-in flash, and built-in ND filter are three especially great but often overlooked features. The X100VI is compact and discreet, yet eye catching—no wonder it is the most viral camera of all time!
Because you cannot change the lens, this camera is not for everyone; however, it can inspire you to see differently because you’re limited to one focal length, which can force you to think more creatively. The Fujifilm X100VI is my “desert island” camera—if I could only have one model for the rest of my life, it would be this one. With that said, I find that the X100-series tends to pair really well with an interchangeable-lens model, for when the 35mm-equivalent focal length just isn’t the right choice. The X100VI isn’t a point-and-shoot; it’s a premium compact, which is reflected by the $1,799 MSRP (after the recent price increase).
Fujifilm X-T5
If there’s one quintessential interchangeable-lens Fujifilm camera, it’s probably the X-T5. It closely embodies Fujifilm’s retro styling and tactile controls, while packing in their latest 40mp X-Trans V sensor and processor. You get IBIS, a three-way tilting LCD, dual card slots, and weather sealing—all in a body that still feels compact. It’s basically an X-H2, but smaller, lighter, better-looking, and cheaper. This is a premium stills-centric model, yet it’s no slouch when it comes to video capabilities. A lot of comparisons have been made to the Nikon Zf, which is a full-frame camera (not necessarily a fair equivalence), yet the X-T5 holds its own pretty well, (again) punching above its weight class.
The X-T5 is a workhorse that can do a bit of everything. It seems well suited for landscapes, portraits, travel, etc., etc.. I used this camera extensively for about a year-and-a-half, then my wife, Amanda, used it for a year (mostly portraits, theater, and video), and now I have it back, and am enjoying photographing with it again. As a stills-centric yet good-for-everything camera, it’s easy to recommend. With an MSRP of $1,899, it’s under 2K but definitely not cheap.
Fujifilm X-T50
The Fujifilm X-T50 is the little brother of the X-T5. It has the same sensor, processor, and IBIS—it’s basically the same internally as the X-T5 and even the X-H2—but lacks weather sealing and dual card slots. It’s smaller and lighter, with a little more plastic. This was the first camera with a Film Dial, which adds a bit of aesthetic versatility, and is great for exploring which Film Simulations you might like best. This is Fujifilm’s mid-range retro SLR-styled camera, but is just as capable as the higher-end X-T5.
Because this camera is smaller and lighter, it’s a little better for travel or walk-around photography. The X-T50 is a bit more beginner or enthusiast orientated than the X-T5, but you can grow with it, since it’s just as capable as the higher end model. At $1,699, it’s only a little cheaper than the X-T5. If size and weight are a priority, that might be a reason to choose this camera, or if you want a slightly less complicated camera; otherwise, the X-T5 is the better option. I really like the X-T50 personally, particularly because of the Film Dial.
Fujifilm X-E5
The Fujifilm X-E5 is the newest X-series camera. It’s basically an X-T50, but in an X100VI-like body. It’s as close as you’re going to get to an interchangeable-lens X100VI, especially when paired with pancake lenses. It’s Fujifilm’s smallest camera with an EVF, which makes it especially great for travel photography, or just everyday carry. It’s also the only model where you can program up to 11 Recipes into it. The X-E5 is the most premium camera in the X-E series, and is solidly mid-tier, with improved build quality over its predecessor. I have no doubt that this will be a big hit, even with the $1,699 price tag. If you like retro rangefinder styling, this is the interchangeable-lens camera to buy.
Fujifilm X-S20
The Fujifilm X-S20 is the little brother of the X-H2s. It’s a hybrid model that’s especially good for video, but is no slouch for stills. It uses the “old” 26mp X-Trans IV sensor paired with the new X Processor 5. It is not weather sealed and has only one card slot. It’s not necessarily retro styled, and lacks the traditional tactile dials found on most Fujifilm models; instead, it has PASM controls similar to the X-H2s and X-H2, and it has an articulating rear LCD screen. It’s intended to be appealing to those coming from Canikony brand cameras. It only has C1-C4 and not C1-C7 like many other Fujifilm cameras, for those who use Film Simulation Recipes. There are two X-S20’s in my house: one belongs to my wife, Amanda, and the other belongs to my son, Jonathan. They both really love it—in fact, my wife chose the X-S20 over the X-T5. At $1,599, this is a mid-tier camera, but it is slightly more affordable than the X-T50 and X-E5.
Fujifilm X-T30 II / X-T30 III
The current entry-level X-series camera with an EVF and retro tactile controls is the Fujifilm X-T30 II. It has the 26mp X-Trans IV sensor and X Processor 4; however, it was the very last fourth-generation model, so it does have some options that the earlier 4th-gen cameras lack, making it seem a bit less dated. At $999, it is definitely more affordable than the options above, making it a compelling choice, and probably the best overall value right now—a great beginners camera. It doesn’t have IBIS, and may not be the best option for video—although, with a gimbal or tripod, it’s certainly capable of recording quality clips.
The X-T50 was not this camera’s successor, but a whole new highly similar line that is a bit more premium. Fujifilm is about to replace the X-T30 II with (what will likely be called) the X-T30 III. Because of this, the X-T30 II can be a bit tough to find in-stock, as I believe Fujifilm has stopped production of it. If you want the best affordable Fujifilm camera, be sure to buy an X-T30 II—that is, if you can find one. Fujifilm is expected to announce the X-T30 III later this year, likely in the fall. I anticipate it being nearly identical to the X-T30 II, just with the new X Processor 5, possibly with a Film Dial like the X-T50, and perhaps a couple hundred dollars more expensive. In all likelihood, the X-T30 III will be the last fifth-generation X-series camera.
Fujifilm X-M5
The Fujifilm X-M5 is the bargain basement entry-level X-series camera, with an MSRP of $899. It has a striking rangefinder-like retro design, but lacks traditional tactile controls (it has PASM instead) and lacks an EVF. It’s the smallest and lightest interchangeable-lens model in the lineup. Like the X-S20, it pairs the 26mp X-Trans IV sensor with the X Processor 5. It’s touted as a hybrid camera that’s excellent for video, but it lacks IBIS. In a sense, X-M5 is the little brother of the X-S20, and in a sense it’s the X-E5’s smaller sibling. If you have a tight budget or if you prioritize size and weight, this camera might be for you. Between this and the X-T30 II, if you are primarily a videographer, the X-M5 is your best bet, but if you are primarily a stills photographer, I recommend the X-T30 II. It seems like a good option as your very first camera, or else as a second camera for when your larger model isn’t ideal. I’ve never used the X-M5 personally.
Fujifilm X half
Last and maybe least is the Fujifilm X half. This is technically an X-series camera, but it’s not X-Trans, and isn’t APS-C, either. It has a 1″ Bayer sensor orientated vertically, with a fixed 32mm-equivalent f/2.8 lens. It’s essentially a digital version of half-frame cameras, like the Fujica Half, Olympus Pen, Kodak H35N, and Pentax 17. The X half has as much in common with the Instax Evo line as it does the X-series, and bridges a gap between the two systems, with a foot in both camps. It’s a heck-of-a-lot of fun, but definitely less serious than all of the options above. This could be a toy for the photographer who has everything, or a casual camera for events and vacations, or a first camera for your child that shows an interest in photography. You’re unlikely to capture portfolio-worthy pictures with the X half, but for social media or scrapbooks, this camera is quite excellent. Both my wife and I enjoy using it (and have fought over it), but neither of us would chose it as our primary model. At $850, it’s a bit expensive for what it is.
Conclusion
If you’re still unsure which Fujifilm cameras are right for you, let me break it down even more simply. If you are coming from one of the big three camera companies and want the easiest transition, you’re going to look at the X-H2s, X-H2, and X-S20. If you are primarily a videographer, you’ll want to consider those same three cameras, and I’ll throw in the X-M5 if you are on a tight budget. If you simply want the best-of-the-best, the X-H2s, X-H2, and X-T5 are your top options (and the next X-Pro, whenever that comes out). If you are primarily a stills photographer, the X-T5 is top-of-the-line (the next X-Pro will be, as well), the X-T50 and X-E5 are nearly as good (and smaller), and the X-T30 II is the best bargain. The best looking cameras are the next X-Pro (assuming that Fujifilm doesn’t change much), X100VI, and X-E5. If you don’t want to invest in a whole system, and just want to dip your toes into the Fujifilm world, the X100VI is what you should buy. If you don’t have a lot of money to spend, the X-T30 II and X-M5 are the two cameras you need to consider. If you have large hands and/or plan to use long lenses, the X-H2s, X-H2, and X-S20 have the best ergonomics, and I’ll throw in the X-T5 as a bonus. If you want small and lightweight, look at the X-M5, X-E5, X100VI, and (of course) the X half. If you want the most enjoyable, the X half, X100VI, X-E5, and the next X-Pro are the ones to consider. I’m sure I’m missing some situations, but I hope this provides clarity for some of you who are trying to decide which camera to purchase, and are just unsure.
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
Sony surprised the photographic world with the announcement of the RX1R III, a full-frame fixed-lens compact camera. It’s a followup to the RX1R II, which was released 10 years ago. I wasn’t intending to write about it, but a couple people asked for my opinions, so I thought I’d chime in. If you’re interested to know what I think, read on.
Whenever I write these types of articles, invariably someone will get upset. If I criticize any aspect of any camera that’s not Fujifilm, people will say that I’m a hater. If I don’t criticize Fujifilm cameras enough, I’m accused of being a fanboy (meant negatively; I consider it positive). For some people—and they’re found all over the internet but very rarely in real life—I (and other Fujifilm bloggers) must speak only positively about other brands, but at least 50% negative about Fujifilm, or else the opinions expressed are to be disregarded as rubbish. It’s weird. So I think it’s important for me to state right up front where I’m coming from, and if your perspective is similar to mine, maybe you’ll appreciate this article; if not, take all of this with a very large grain of salt, and don’t let it bother you. I like retro-styled cameras (preferably with traditional exposure controls and not PASM) that are compact and lightweight, and that produce excellent straight-out-of-camera pictures that have an analog-like look to them and don’t need to be edited. Fujifilm cameras are by far my favorite, but I have used (and occasionally still use) other brands, including Sony (among others).
Above: Sony a7 IV and the FL “Film Look” profile
To begin with, I think it was smart for Sony to make this camera. It will sell quite well. I have no doubts that this camera will be a hit, and will be a money-maker for them. The specific questions I received about the RX1R III were: how will it impact Fujifilm? Will people leave Fujifilm for this model? Will it affect the sales of the X100VI and GFX100RF? I want to avoid getting into the spec sheet, or criticisms of the rear LCD or things like that—plenty of other people have already discussed those things at length. I’m going to focus more on answering the questions that I was asked.
I don’t think the RX1R III is a direct competitor to the Fujifilm X100VI, but the success of the X100VI certainly influenced Sony to make this camera. And there are enough similarities on paper that one might think they’re competition; however, simply looking at the cameras, it’s obvious they’re significantly divergent in philosophy and design, not to mention price. In my estimation, not many X100VI customers will be lured away by the RX1R III, and not many RX1R III customers will be lured away by the X100VI (probably more will be attracted to the X100VI simply due to cost). I can imagine that some photographers will even have both cameras, although that’s likely going to be a pretty small number. People on YouTube will make the comparison, I’m sure, but overall I don’t see these two models as major competitors.
The RX1R III will more directly compete with the GFX100RF, even though their focal lengths are different. Do you want the bigger, heavier GFX100RF with a larger, higher-resolution sensor and wider but slower lens, or the smaller, lighter RX1R III with a tighter focal length and larger f-stop? Do you want the traditional tactile controls of the Fujifilm, or the PASM and slightly more minimalistic approach of the Sony? Do you want Fujifilm’s renown colors and JPEG engine, or Sony’s better AF and video output? Do you want a striking retro-styled camera, or a more discrete design (to put it nicely)? Do you want to pay $5,100 for the RX1R III, or $4,900 for the GFX100RF? Both have their pluses and minuses, so it really comes down to personal preferences. I’d choose the GFX100RF (and I hope to someday when my budget allows), but that’s just me, and I can see this being a tough choice for some.
Above: Sony a7 IV and the FL “Film Look” profile
Of course, the Sony RX1R III is also competing against the Leica Q3 and Q3 43. I don’t see this camera taking people out of the Leica camp, but it could certainly convince some not to get into it. I can see this as a Leica alternative for those who can’t quite afford to buy a Leica. Mostly, though, the RX1R III is simply a fixed-lens camera for those who are already in the Sony ecosystem. It’s a pocketable-ish camera that’s great for everyday carry or travel due to its compact size, when you don’t want to lug around something like the Sony a7 IV.
I’m not against Sony or the RX1R III. It’s a camera that you’re likely going to shoot RAW with and not JPEG, although Sony has made some notable strides in that department. Most of Sony’s JPEG profiles are so-so, but FL (“Film Look”) is pretty good—kind of similar to the Negative Film effect on the Ricoh GR III and GR IIIx. Apparently there are now three FL options: the original one that’s now called FL1, a more subdued and vintage-looking one called FL2, and a more vibrant and contrasty option called FL3. While these can be customized into Recipes (if someone made them), and Sony does offer interesting customizations like Fade, there’s no faux grain, which is a bit of a bummer. Also, you cannot reprocess the RAW files in-camera, should you need to boost or reduce exposure or apply a different look altogether. From my experience, Sony’s JPEGs can be a bit prone to banding, especially in clear blue sky situations. Fujifilm is a long ways ahead of Sony in regards to camera-made JPEGs, which is one reason why I’m not personally interested in the RX1R III.
I don’t have strong positive or negative opinions about Sony’s new camera. If I was offered one to try, I certainly wouldn’t say no (I doubt that will happen, though). I’m saving up for the GFX100RF, which I’m sure I would like better; however, if I were in the market for a Sony camera, the RX1R III is the only one that I’d consider purchasing right now, and I do think I’d enjoy it, especially with the three FL profiles set to the 1, 2, & 3 positions on the top dial. And that’s my two pennies, for anyone who might be interested.
Fujifilm has already produced and delivered more copies of the X100VI than any other previous X100-series model. There are more X100VI’s in the hands of photographers right now than X100V, or X100F, or X100T, etc.. That’s truly amazing, since the X100VI was released only about a year-and-a-half ago, while the other models had production runs closer to four years.
The reason why Fujifilm has made so many copies of this camera is because of the unprecedented historic demand for it. By far, there were more preorders for the X100VI than any other camera by any manufacturer ever. No camera in the history of cameras has had so much interest at announcement. And, if the demand doesn’t relent anytime soon, it could possibly lead to the X100VI becoming the most-sold camera of all time (not including cellphones), which would be a highly improbable achievement. I don’t think that will happen—not even close—because surely the demand isn’t that strong. At some point, it will certainly back off to a more “normal” level, right?
There are still people lamenting that they can’t get their hands on a Fujifilm X100VI. They’d like to buy one, but can’t find it in stock anywhere. As soon as a camera store lists it in-stock, which doesn’t happen often, within hours or even minutes, they’re sold out again. So it might be easy to believe that the demand hasn’t relented. But that’s mostly just in America, and it seems to be partially related to the tariffs. Worldwide, the X100VI has been becoming easier and easier to find. It’s still out of stock at a lot of places, but overall, it’s not terribly hard to get one if you want one. People are reporting walking into their local camera store and finding a few copies on the shelf. So internationally—and depending on where exactly—the situation is a bit better than here at home.
What makes me think that supply and demand are equalizing is that there are used copies available for a reasonable price, like at B&H. Scalping continues on sites like eBay, but it’s not nearly as bad as it was last year. Things are slowly returning to normal. And this is where Fujifilm needs to be very, very careful, a situation that I’ve been predicting for more than a year.
With the X100VI, Fujifilm doubled the production numbers of the X100V from the get-go, from 7,500 units per month to 15,000. At one point last year they said that they wanted to double production again, making it four times that of the X100V, but later stated that that simply wasn’t possible. My best guess is that it is somewhere around three times more than the X100V right now, which would put it at about 22,000 copies per month, or about 265,000 units per year (these numbers are just guesses). The historically “normal” demand for an X100-series camera is 90,000 per year.
At some point, demand for the X100VI will drop. Once the majority of those who want one get one, Fujifilm will sell a lot fewer of them. If the market gets oversaturated, the value will decrease, and Fujifilm will be forced to reduce the price. Those selling them used will have to drop their price, too. This is a situation that Fujifilm really wants to avoid, as it would reduce brand strength. It would be a Lean Production failure if Fujifilm produced more X100VI’s than there are customers wanting to buy them. Fujifilm must proceed with caution.
The mistake of overproduction would be very easy. Since it takes many months from securing parts and scheduling manufacturing to delivering an assembled camera to a store, the demand must be forecasted in advance, probably at least six months. If Fujifilm is making 22,000 units per month, and the total international demand right now is 130,000, in six months Fujifilm would have overproduced 2,000 copies. That’s probably not a big deal, as they’ll surely sell those cameras; however, if they’ve still got 132,000 cameras in the process somewhere, to be manufactured over the following six months, that’s a massive and possibly devastating problem. That’s something that could sink the whole camera division.
I’m just little ol’ me sitting in my office trying to stay cool from the brutal Arizona sun, but even I can see early signs that supply and demand are equalling out. That should be a huge caution flag for Fujifilm. They should strongly consider scaling back production. Perhaps drop it back to 15,000 units monthly ASAP, and work towards “only” 7,500 units monthly by 12 months from now. Obviously Fujifilm wants to capitalize on this lightning-in-a-jar situation as much as possible, and they’d love to sell a quarter-million-plus copies per year without hardly any promotion—what a dream circumstance! But they should also listen to that nagging feeling that this won’t last forever, because it won’t.
I wouldn’t doubt if the X100VI sold twice as many units as the X100V or any other prior X100-series camera by the time its production run has ended. It might even sell four times as many. At some point, though, all the people who want one will have one. Aside from that, trends change quickly. All it takes is some shift in market dynamics or some other camera to catch the attention of social media influencers for the X100VI to be yesterday’s news. Overproduction is a real problem that Fujifilm is well acquainted with and desperately wants to avoid, and no other X-series camera has had a higher risk of overproduction than the X100VI. Fujifilm should ask themselves if now is the time to scale back, because it would be very easy to overshoot this, something that they’d certainly regret doing.
Shutter speed simply controls the amount of time that light is exposed to the camera’s sensor. How motion is rendered—either frozen still or as a blur—will depend on the shutter speed. There are a few key things to know, but overall this is all fairly easy to understand.
Before we dive in, I want to quickly revisit aperture, because there’s something I forgot to mention in Part 1. How sunstars and lens flare will appear depends on a number of factors, including (among other things) the aperture you’ve selected. For more pronounced sunstars, use a small aperture, such as f/16. If you want to minimize sunstars and lens flare, use a large aperture, such as f/2. This is just one more factor to consider when choosing the most appropriate aperture for the scene in front of you.
Forest Sunstar – Sedona, AZ – Fujifilm X-T50 & Fujinon 23mm f/2 lens at f/14 – California Summer
Now, with that out of the way, let’s talk about shutter speeds. What is it? What does it do to your pictures? How do you control it to get the images that you want?
The quick and simple definition of shutter speed is that it is the amount of time the camera’s shutter curtain is open, allowing light to reach the sensor or film. A fast shutter speed allows very little light to expose the sensor, while a slow shutter speed allows a lot of light in. Shutter speed is one of three elements of the exposure triangle, along with aperture and ISO, and must be used in balance with the other two elements. On many Fujifilm cameras, the shutter speed is controlled by a knob on the top of the camera, marked with numbers like 125, 250, 500, etc., etc..
Some common shutter speeds are 1/15, 1/30, 1/60, 1/125, 1/250 and 1/500. There are, of course, many other shutter speeds, this is far from a comprehensive list. 1/15 is an example of a slow shutter speed, and 1/500 is an example of a quick shutter speed. You’ll note that these are fractions, as in fractions of a second. You’ll also note that they’re half or twice as long as the shutter speed on either side, which means that 1/60 lets in half as much light as 1/30, and 1/15 lets in twice as much light as as 1/30. Like aperture, there are intermediate stops in-between the full stops—most commonly one-third stops, but sometimes half-stops.
Shutter speed is about motion, either freezing or showing it. A slow shutter speed will show motion as a blur, while a fast shutter speed will freeze it. In the first picture below, which was captured with a 1/450 shutter speed, you’d never know that the car was zooming by, because the motion was frozen. The second picture below, which was captured with a 1/80 shutter speed, shows the motion through the car’s blur. The third picture below, which was captured with a 1/60 shutter speed, shows the motion through panning, where the car is sharp but the background blurred from the sweeping lens.
In order to freeze motion, there are a few considerations: the focal length of the lens, the distance of the moving object, and it’s speed. The longer the focal length of the lens, the faster the minimum shutter speed needs to be; the shorter the focal length, the slower the minimum shutter speed needs to be. The closer and faster the moving object is, the faster the shutter speed needs to be; the further and slower the moving object is, the slower the shutter needs to be in order to freeze it.
If nothing is moving in the frame, the only motion is the photographer. A tripod will eliminate camera shake; if you don’t have a tripod, in-body-image-stabilization (IBIS) or optical-image-stabilization (OIS) can help to a degree. If your gear doesn’t have stabilization, you’ll want to use this rule of thumb: whatever the focal length of the lens is (or in the case of Fujifilm cameras, the full-frame-equivalent focal length), the minimum shutter speed should be a similar number. For example, if the lens is 18mm, which has a full-frame-equivalent focal length of 27mm, the slowest hand-held shutter speed is around 1/30. If the lens is 90mm, which has a full-frame-equivalent focal length of 135mm, the slowest hand-held shutter speed is around 1/125. With good techniques, you can often get a sharp picture with even slower shutter speeds, but that takes practice.
Fujifilm GFX100S II & Fujinon 80mm f/1.7 – f/9, ISO 320, 1/680 shutter – 1970’s Summer
In order to freeze motion, for portraits, events, kids, and pets, I recommend a minimum shutter speed of 1/125, but faster is better, such as 1/250. For sports and moving wildlife, the minimum shutter speed should be 1/250, but faster is better, such as 1/500. If the motion is blurry, increase the shutter speed. In order to show motion as a blur, the maximum shutter speed will likely need to be under 1/125, and probably under 1/30, just depending on the situation. If the blur is insufficient, decrease the shutter speed.
Another shutter speed consideration is in regards to flash photography. Some cameras, such as the X100-series, have a leaf shutter, which allows for high-speed flash sync; however, most cameras don’t have a leaf shutter, and have a maximum shutter speed for flash. On Fujifilm models, this is marked by an “X” next to the shutter speed—for example, on the X-T5, the maximum shutter speed for flash photography is 1/250, which is marked as 250X on the shutter knob. The fastest shutter speed you should use with flash photography is the one with the X next to it.
The two main things to remember about shutter speed are 1) that it is used to show motion, either frozen still or as a blur, and 2) it is one aspect of the exposure triangle, and must be balanced with both aperture and ISO. Increasing the shutter speed reduces the light, so you may need to use a larger aperture and/or a higher ISO to compensate; reducing the shutter speed increases the light, so you may need to use a smaller aperture and/or lower ISO. It’s a balancing act. Used thoughtfully, shutter speed can express movement in creative ways, so take a moment to consider how to best use it for the scene in front of you.
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Round Window – Pismo Beach, CA – Fujifilm X100V – Kodak Tri-X 400
There’s been a lot of talk lately on the subject of limitations. Can a camera with fewer features actually make you a better photographer? Does the restraint of straight-out-of-camera photography force you to consider more deeply your creative choices? Were the autofocus woes of 2024 actually a blessing in disguise for some because they used that opportunity to learn new techniques and better anticipate the decisive moment? It seems counterintuitive, but can limitations actually improve your photography?
Many artists, including photographers, have discovered that constraints—whether intentional or unintentional—can actually improve creativity and technical skills. Composer Igor Stravinsky famously stated, “The more constraints one imposes, the more one frees oneself of the chains that shackle the spirit.” Simply put, less is more.
Photography, like any other art form, thrives on creative problem-solving. When you limit your tools, you’re forced to think outside-the-box. For example, if you self-imposed the limitation of using just one prime lens for an entire month, you’d quickly learn how to frame shots differently, how to move to get the best composition, and how to make the most of the gear you have. Instead of endlessly swapping lenses (or constantly zooming in-and-out), you’d refine your eye.
Film Simulation Recipes are an excellent example of how restrictions can fuel creativity. In order to choose the most appropriate Recipe for your style and the specific situation, you may have to consider more deeply the colors and light of the scene in front of you. This might help improve both your vision and execution.
11th Avenue – New York City, NY – Fujifilm X100VI – SantaColor
Another benefit of limitations is technical improvement. When you take away some of your tools—perhaps some features that you’ve convinced yourself you need—it forces you to master the fundamentals. Let’s say you decide to shoot fully manual for a week. It might be frustrating for the first few days, but then your ability to judge exposure, your understanding of the exposure-triangle, and your manual-focus skills will skyrocket.
The same applies to using a single film simulation for a project. You’ll gain a deeper understanding of how color and tonality interact. You’ll learn when Classic Chrome’s Kodak-like palette works best, or when Velvia’s vibrant colors are more appropriate. The more experience you have with film simulations and Recipes, the better you will be at getting the most out of them.
Flowers & Fruit – Austin, TX – Fujifilm X100VI – Fujicolor Blue
Pablo Picasso once said, “If you have five elements available, use only four. If you have four elements, use only three.” Working within a framework forces us to be more deliberate, more thoughtful, and ultimately more innovative. This is where creativity lives. Orson Wells put it this way: “The enemy of art is the absence of limitations.”
If you want to push your photography further, try setting some limits. Use only one camera and one lens for a month. Or shoot only black and white for a week. Stick to a single Film Simulation Recipe for an entire project. Maybe try an older, less capable camera for awhile. Or disable a feature that you often rely on, like auto-ISO or IBIS. If a certain limitation is forced on you—you didn’t choose it—don’t fret; instead, let it propel you to greater heights. You might be surprised at just how much you grow as a photographer. In the end, art isn’t about having the most or best tools—it’s about how well you use the ones you have. Limitations aren’t roadblocks; they’re opportunities, stepping stones to mastery. Constraints aren’t just a path to creativity, they are the path.
Back in May, Teiichi Goto, Fujifilm President and CEO, in response to a question about their inventory situation and plan, stated, “The most important point is how much brand strength to create and how to maintain it. Therefore, it would be quite unfortunate to manufacture too much and lower the price. What Fujifilm has been trying to do for a long time is finally coming true now. We intend to drive the entire imaging business, including Instax, while concentrating on building brand strength and not reducing the value of the properties purchased by our customers.” When asked if the current inventory situation is normal, Mr. Goto replied, “Yes.”
A lot of people interpreted that to mean that Fujifilm is purposefully causing market shortages. But they’re wrong, and I’m growing a bit tired of seeing this myth perpetuated over and over. I addressed it once, back in July, making a strong case that Fujifilm is not purposefully creating market shortages, but is simply getting better at “Lean” production. Unfortunately, based on what I keep seeing online, I think it needs to be said again, so here we go.
First, you have to understand that Mr. Goto spoke those words in Japanese, and they were later translated into English. Translating isn’t as easy as Google makes it seem. These two languages are very different. Fujifilm, for a number of years, translated “Daylight” White Balance as “Fine” in English. It’s as much an art as it is a science, and it is quite easy to get wrong, even subtly—small misinterpretations can cause big misunderstandings. This article that I’m typing right now might not fully translate well into Japanese, and could perhaps be misunderstood in that language. With that perspective, I think it’s important to read Mr. Goto’s words with a bit of grace and with a grain of salt.
In order for someone to come to the conclusion that Mr. Goto’s intended communication was “purposefully create market shortages” one must have zero grace for translation errors, plus make a mental pretzel, because nowhere is that sentiment overtly stated, only vaguely implied. If you squint your eyes just right, it’s right there in-between the lines. Yet people go around stating it as fact. It’s not fact, it’s simply a misunderstanding.
Which brings me to the second point. You cannot understand what Fujifilm said without a basic understanding of the Lean Business Philosophy. If you don’t have that understanding, your local library or book store has an excellent selection on this topic, I’m sure. Just as a teaser, you can read this Harvard Business Review article, which gives a very brief synopsis of what the Lean strategy is. Like a lot of Japanese companies, Fujifilm operates under this philosophy, so understanding it will provide you with the context in which to best understand Mr. Goto’s words.
I have read a book or two on the topic. My interpretation of Teiichi Goto’s statement is this: – “Brand strength” = not overproducing, which devalues the products. – “Maintaining brand strength” = better forecasting future market trends, so as to not overproduce. – Overproducing is bad for both Fujifilm and Fujifilm’s customers. – Fujifilm has always strived to not overproduce products, but not very successfully; however, they’re getting better at it. – Getting better at not overproducing is a driving force for Fujifilm.
Now you might think, what’s so bad about overproducing? In the Lean Business Philosophy, overproducing—and overbuying, which is related—is a sin. It’s bad. It’s better to buy one too few parts than one too many. It’s better to produce one too few products than one too many. Overproducing and overbuying means you now have warehousing issues, which cause all sorts of headaches across multiple departments. In order to deal with that, the company will often sell the products at a nice discount in order to get it out of the warehouse. This is bad for the company, because they are likely taking a loss, and it’s bad for the consumer because it reduces the resell value of the product they spent a bunch of money on. Those looking for a bargain might desire overproduction, but the discounts come at a price.
In a perfect world, every company would manufacture just the right amount of every product, so that the demand would be perfectly met, and there would never be any over or under production. But, we don’t live in a perfect world. Demand is difficult to predict, and it is being predicted months and months in advance. It takes quite some time to secure all of the parts from various suppliers, assemble those parts into cameras, and get them onto store shelves. The camera that just came in stock at your local camera store likely began six months ago or more, as Fujifilm approached the various vendors to get the necessary parts to build it, and schedule the manufacturing to get it assembled. They predicted back in the summer that you would be buying the camera in December, and built it based on that prediction. If it was possible to make the exact number of a copies of all of their products to perfectly meet the demand, I’m 100% convinced that Fujifilm would do it. But, like The Price is Right, they don’t want to do that at the expense of going over (especially way over), which is the same as losing.
Fujifilm has guessed wrong many times in the past. Some cameras that were overproduced are the X-E3, X-H1, and X-T4. Those aren’t the only ones, but those are some recent examples. Fujifilm had to sell them at a discount, which reduced their resell value for those who purchased them new. It’s a lose-lose. So they’re working hard to not repeat that. It might mean the camera you want hasn’t been sitting on the shelf at your local camera store collecting dust as it is waiting to be sold, but that’s not a bad thing when you think about it.
But what about the never-available Fujifilm X100VI? That’s an extreme case. It’s not everyday that a camera goes viral, and no camera has ever gone as viral as the X100VI. It holds the record as the most preordered camera in the history of cameras, and the most in-demand camera of 2024, and probably ever. Nobody could have anticipated that, but people think they should have, and, despite manufacturing the X100VI at four-times the rate of the X100V, people accuse Fujifilm of purposefully producing too few in order to artificially inflate demand.
Let’s say that Fujifilm decided to increase production of the X100VI to 60,000 units per month (basically, doubling current numbers). It would take them months to acquire all the parts and get assembly scheduled, meaning that Fujifilm would be predicting that the global demand for the X100VI would be at least 60,000 units per month next summer. But let’s say the market flips between now and then, and demand for the X100VI plummets to only 10,000 units per month (which, incidentally, is closer to what the demand was for the X100V). Because Fujifilm has set into motion six months of 60,000 units, they will have over-manufactured 250,000 copies before the end of next year, a shocking number! Fujifilm has the tough position of trying to keep up with shifting demands while being careful not to overproduce, and predicting all of it months in advance.
Let’s cut Fujifilm a little slack, and have a bit of grace, as they navigate changing market conditions. I don’t envy them, as I’m sure it’s not easy. If Fujifilm is getting better at the Lean strategy, I think that’s good, and not something they should be criticized for. I’m all for maintaining brand strength, because it’s good for all of us.
Above: Aurora Borealis captured in Central Park NYC on an iPhone 13 using the Vibrant Color filter in RitchieCam.
I’m very proud of my iPhone camera app, called RitchieCam. But this last weekend I broke it, and I’m very sorry about that. For some of you, the app stopped working a couple days ago. But now it’s fixed! Let me explain what happened and why.
When Apple introduced the iPhone 16 and iOS 18 a couple of months ago, they included some new features. I wanted to incorporate those into RitchieCam so that you could take advantage of them. Whenever Apple introduces something new, that doesn’t mean that it is easily implemented into third-party apps. Sometimes they exclude it from even being available, and in order to include it one must take unconventional and roundabout paths. The volume button as a shutter release is one example of that: it was only fairly recently that Apple officially supported it for third party apps like RitchieCam, and so (until they did) it was quite crazy the programming necessary to make it work. Some things have been figured out, and some things haven’t. RitchieCam has a very small team working on it in their spare time, yet we’ve been able to do a heck-of-a-lot, all things considered. There’s a lot more that we’d like to do, and are currently working on.
Thankfully and amazingly—and really because of Sahand Nayebaziz, who is an incredibly talented app developer—we were able to get most of the new iPhone 16 and iOS 18 features added to RitchieCam. We finished it up late last week, submitted to Apple for approval, and over the weekend it went live. I was really excited, but then reports began to come in: the app keeps crashing and is unusable. Yikes! I’m very appreciative of all those who reported the problem.
The issue was actually very small, but it was a matter of finding and correcting it. It was related to iOS 17—if you were on iOS 18, you didn’t experience any issues; if you were on iOS 17, simply updating the iOS would clear it up. Some people hadn’t done that yet, and also some people have older devices not capable of updating to iOS 18. Those are the folks who experienced the problem, which essentially rendered the app useless—I apologize for the problem and inconvenience. We figured out the issue, got a new update built, submitted it to Apple, and yesterday afternoon it was approved and made available. If RitchieCam isn’t working on your device, make sure to update it right now.
Above: Various photos captured on an iPhone 13 using the RitchieCam app.
We didn’t find the problem while beta testing because all of our iPhones were updated to iOS 18. There’s a simulator that allows you to test the app on various devices and iOS versions, and it had worked well on it with no problems—the simulator didn’t catch the crash. Once we found an iPhone with iOS 17 to test it on, the problem was immediate and obvious. Figuring out why and resolving it was another issue, but we got it done. It’s now fixed, and RitchieCam should be working just fine for you (if you’ve updated it).
For iOS 18, one cool new feature is launching RitchieCam directly from the Lock Screen. It’s easy to setup, and makes accessing the app much quicker. If you have an iPhone 16, you can use the new Camera Control Button for various functions, such as exposure adjustments. This isn’t a major update, but hopefully these new features will be helpful to some of you. I don’t use RitchieCam for serious work (although people do use their iPhones for such, so it’s certainly possible…), but it’s very convenient for casual images that most likely will be sent in a text or posted to social media. In particular, I like to use it for the 65:24 XPan aspect ratio (something Fujifilm should include in their 40mp X-series cameras). RitchieCam is available for free in the App Store; become a Patron to unlock all of the features and filters, and to support future development.
This comes from Fujirumors, and not Pentax Rumors, so I’m not sure how much salt needs to be taken with it. On the one hand, Fujirumors has a reputation of accuracy; on the other hand, you’d expect it to break on Pentax Rumors first. One the one hand, the GR III series is five-years-old now (approaching six), so it’s pretty old for a still-in-production digital camera and very logical that an update is imminent; on the other hand, Ricoh has done a good job of keeping it fresh with firmware updates, and demand for this camera is still sky high. I don’t think Ricoh “needs” to release a GR IV, but it would sell like hotcakes if they did.
Why am I talking about this on Fuji X Weekly? For starters, I have Recipes for Ricoh GR cameras, so this is an excellent excuse for a shameless plug. If this camera does indeed come, I will buy it. If a B&W-only version comes later, I’ll buy that, too. GR cameras are great because they are so small. They’re more pocketable than Fujifilm, which makes them excellent for travel or everyday carry. I don’t think they’re as fun (or quite as good) as Fujifilm cameras, but for casual photography, they can still be quite fun (and good). Which brings me to this: Fujifilm should fast-track the long-overdue X70 successor, presumably called X80.
The X70 was Fujifilm’s closest competitor to the Ricoh GR. It has traditional tactile manual controls—one aspect of what makes Fujifilm special—and Fujifilm’s excellent Film Simulations. An X80 would be immensely popular, and its exclusion from the X-series lineup is a missed opportunity. I hope that it is in Fujifilm’s plans, and if it’s not, I would encourage them to add it to the plans as quickly as possible. Many of us are eager for an X70 successor. And also for a B&W-only camera (maybe called “Acros Edition”), perhaps in an X100 or X-Pro body.
When I introduced the Evergreen + Fuji X Weekly Protective Case for Fujifilm X100-series cameras four weeks ago, I mentioned that there isn’t enough free space for a neck strap to fit into it. Many wrist straps fit, but there’s not enough space inside the case for a neck strap. An alternative that I suggested was to use a quick-release strap (and store the strap elsewhere), which would certainly work, but it may or may not be a good solution for you. Well, I’m very happy to report that the Evergreen 28″ Short Strap will, in fact, fit inside the case!
I was a little worried that this neck strap would be a bit too short, but it wasn’t (at least not for me). It’s made from genuine leather, with a soft microfiber suede back for comfort. Evergreen calls the design minimalist vintage-modern; I’m not sure what that means, but it is stylish, and matches the X100VI aesthetic quite well. So if you are looking for a neck strap that will also fit into the Evergreen + Fuji X Weekly Protective Case, the Evergreen 28″ Short Strap is an excellent option—and it’s only $30. This is what I’m currently using on my Fujifilm X100VI (for about two weeks now), and I’m very happy with it.
If you own a Fujifilm X100-series camera—such as the X100VI, X100V, or X100F—and you want to protect it when you travel or are on some amazing adventure somewhere, this case will do it. The Evergreen + Fuji X Weekly Protective Case is waterproof, shock-resistant, and tough. You don’t have to worry about your camera getting damaged. And it’s only $50.
Also, I’m excited to announce that the Evergreen + Fuji X Weekly Protective Case for Fujifilm X100-series cameras is now available at B&H. Yeah, that camera store. This is a really big deal! So currently it’s available for purchase from Amazon, B&H, and directly from Evergreen Cases.
One more thing: I need your help! Evergreen and I would like to make another case, this time a larger one for an interchangeable-lens model. If you have a couple moments, please answer the two questions below. It will help me out immensely. Thank you so much!
There are two upcoming photowalks in November that I’m excited to announce: Ann Arbor, Michigan, and Philadelphia, Pennsylvania. Be sure to mark your calendars now!
First up is Ann Arbor on Saturday, November 9th, with Fujifilm X-Photographer Bryan Minear. Bryan is incredibly talented, and it will be a true honor to co-lead a photowalk with him. I guarantee that you’ve seen his work before (even if you are not sure that you have, you probably have—and if you haven’t, you are missing out). I met Bryan in New York in May, and he’s just a really great person. We’re partnering with PROCAM for this free photowalk, and Fujifilm is involved, too. Some of the details are still being worked out, but for those in Michigan, know that this is happening, so be on the lookout for more information, which I will share with you just as soon as I can. This is one that you don’t want to miss!
One week later is Philadelphia on Saturday, November 16th, at Unique Photo as a part of their two day Camera Show. Just like the August photowalk in Philadelphia, this one will be co-led by myself and Allan Ali, who is a local legend. It was so great to work with him, and I’m looking forward to doing it again next month (hopefully this time it doesn’t poor rain on us 🤣). If you are in Philadelphia or even as far as New York City, I hope you can join us. This one is from 10:15 AM to 12:15 PM, and will include a short classroom presentation. The cost is $10 per person, and you must preregister (click here). Space is limited, so if you want to come, don’t procrastinate—for August, it filled up rather quickly, and I’m sure this one will, too. The last photowalk that Allan and I did with Unique Photo in Philadelphia was just incredible, so I’m stoked that we can do it again real soon.
Hopefully there will be a little more to announce in the near future. Be sure to check in now and then so you don’t miss out. For those in Michigan and Pennsylvania, I hope to see you in-person real soon!
I’m a little late to the party, but in case you haven’t heard, Fujifilm announced a new camera: the tiny and inexpensive X-M5.
My alarm sounded at 3:30 AM Eastern Time this morning, so that I could catch my flight from JFK International to Phoenix Sky Harbor. After running through the airport Home Alone 2 style, I barely made it, just as the gate attendant was announcing the last barding call. I made it nonetheless, and am now home after a whirlwind tour of New York City and Connecticut. It was such a great time, and I look forward to sharing more about it with you in the coming days.
In the meantime, here’s my take on the Fujifilm X-M5. I will do my best to say something different than the many reviews that have already been published across the web. To be clear: this isn’t a review. I haven’t used, touched, or even seen the camera in-person. I know as much about it as you, and maybe not even that much. It does seem to pack a lot into a tiny and inexpensive body, from what I’ve read.
I have been saying for a couple of years now that Fujifilm needs an affordable entry-level model. They used to have two, but when the X-A7 and X-T200 had sputtering sales in 2020, Fujifilm discontinued both. I’ve stated several times that, in my opinion, there is a sufficient market to justify one entry-level model—but probably not two—so if Fujifilm were to make an X-A8 or X-T300 (but not both), it would likely do just fine. Instead (and after a few years), they did something really unexpected and better, and revived the long-dormant X-M line.
Fujifilm released the X-M1 in 2013. It was unusual in that it had an X-Trans I sensor paired with the X-Trans II processor. It was announced just a few months before the X-A1, which was basically the same camera, except with a Bayer sensor instead of X-Trans. Because the X-A1 and X-M1 were nearly identical, yet the X-A1 was cheaper, the X-M1 struggled to sell, and it never had a successor… until now.
The X-M5 has been imagined and designed with the idea of what an X-M series camera would look like had it not been discontinued. How would it have evolved over the last decade? Fujifilm used their imaginations, and created the new camera. And, in the spirit of the original, it comes with the “old” X-Trans IV sensor paired with the “new” X-Trans V processor.
It is currently the most affordable X-series model, at only $799 for the body-only, and $899 when paired with the 15-45mm f/3.5-5.6 lens. For those wanting to get into the Fujifilm system but have found it to be a little outside of the budget, the X-M5 might be your best option. This is an easy camera to recommend for beginners, as it fills an obvious void in the X-series lineup.
The X-M5 is also the smallest interchangeable-lens X-series camera. It is tiny and lightweight, which makes it compelling for travel or walk-around photography. I would pair it with the Fujinon 27mm f/2.8 or Fujinon 18mm f/2… but, here is the problem: the 27mm lens is very difficult to find, and the 18mm is overdue for a refresh. This is an ideal camera (along with the X-E line) to showcase one big advantage of APS-C: size and weight; however, the lack of pancake lenses makes it less compelling than it should be. My suggestion to Fujifilm is to increase production of the 27mm f/2.8, design a new-and-improved 18mm f/2, and introduce one or more new pancake options (maybe to be released in conjunction with the next X-E camera?).
While the X-M5 is a bit video-centric, it does not have IBIS. I don’t think the lack of IBIS is a big deal whatsoever for stills photography, but I do see it as a potential problem for videography. However, for the price and size, I think its exclusion is acceptable. You can use OIS lenses, a gimbal, and/or the digital stabilizer, if necessary.
Perhaps the two biggest drawbacks are the lack of an EVF and the PASM dial. It’s understandable why the camera doesn’t have an EVF—the X-M1 didn’t have one, and if the X-M5 did, it would require the body to be both larger and more expensive—but the lack of one will be a dealbreaker for some. The PASM dial was also expected, but for me, personally, I much prefer the traditional dials instead; some people like this setup (different strokes for different folks), but it’s nearly a dealbreaker for me—nearly.
The Film Dial… I like it, but it’s controversial. You may or may not like it yourself; however, I suspect that many will find it both fun and useful on the X-M5 specifically. I’m quite happy to see its inclusion on this camera.
From what I can tell, the Fujifilm X-M5 is not for me, but it might be good as my teenage son’s first camera. Christmas is around the corner, so we’ll see. Maybe it will be wrapped under the tree (if it’s still even available…). I think it will sell very well, and serve as a gateway into the Fujifilm ecosystem for many. For those already in the X-series family, this might be a good compact camera for travel, or an inexpensive companion to a larger body.
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According to Fujirumors, Fujifilm is working on a new camera that will have a sensor size never before used by Fujifilm. I have no idea what that means, but I thought it might be fun to speculate what some of the possibilities are. Who knows if this is an X-series camera… it could be GFX. It could be a digicam or something like the XP80 waterproof camera. It could be Instax, since they have the EVO and PAL models. It could be something else entirely. For the sake of this article, I will assume that it is X-series; however, it very well might not be. I think this is one of those times where it’s best to keep expectations in check and not get your hopes up too high. Still, it can be fun to guess.
My very first thought is that it could be an X30-like successor—perhaps called X50—with a 1″ sensor. The Fujifilm X30 had a tiny 2/3″ 12mp X-Trans II sensor, but was still a good compact zoom, and is fun to use even in 2024. While a successor would need to be significantly different, I do believe that if it has a 1″ 20mp X-Trans V sensor, a 9mm to 37mm (24mm to 100mm full-frame-equivalent) f/2-4 zoom lens, IBIS, EVF, and retro tactile controls (no PASM, please), it will do quite well. There is a renewed interest in these types of cameras right now. Alternatively, a fixed-focal-length wide-angle option could be good, too.
Another idea would be to use the sensor found in the latest GoPro models. It has a tiny 1/1.9″ 27mp sensor with an unusual (almost square) 8:7 aspect ratio. The benefit of the unusual sensor shape is it allows for vertical videos without having to tilt the camera sideways, so obviously it would be a video-centric model, perhaps in the action camera realm. Most likely this would not technically be an X-series model, but it is possible that Fujifilm could use an X-Trans array. I don’t think this is a likely option, unless Fujifilm has thought of some way to stand out in what is already a crowded scene.
I doubt that Fujifilm has any interest in Micro-4/3. I think that MFT is too close to APS-C that they would only compete against themselves; aside from that, MFT is basically a declining market. Still, it is possible that an X100-like or X70-like compact fixed-lens MFT camera is in the works, I just see it as highly unlikely.
An intriguing option that I’ve suggested a couple of times (first in 2019, actually) is APS-H. There aren’t a lot of APS-H cameras anymore, but it used to be more common. Canon made some, as did Sigma. Since APS-H is about 15% larger than APS-C, not all APS-C lenses cover the entire frame. Sigma’s solution was to automatically crop to APS-C for the lenses without full coverage, and I would suggest that Fujifilm take the same approach. While some Fujifilm lenses will fully cover APS-H, some—the majority, actually—won’t; for those that don’t, the camera would automatically crop to APS-C.
The reason why Fujifilm might do this—and the camera that Fujifilm might do this for—is XPan on the future X-Pro4 (or maybe called X-Pro5). Where APS-C lenses struggle to cover APS-H are the corners, so the not-fully-covered lenses would be just fine for the XPan aspect-ratio, since the corners are cropped out. The roughly 50mp APS-H sensor would produce roughly 27mp XPan images. For lenses without full coverage with the 3:2 aspect ratio, you’d still get a 40mp APS-C photo; however, for the lenses with full coverage, you’d get the full 50mp-ish picture.
The only other option I can think of that makes sense is perhaps a full-frame X100-like camera. I don’t believe that Fujifilm has any interest in creating a new lens mount, so I would be completely shocked if Fujifilm made any interchangeable-lens full-frame models. Fujifilm would mostly be competing against themselves, and would undercut both their X and GFX lines; aside from that, the full-frame market is quite crowded and highly competitive. But, a premium fixed-lens full-frame camera might sell very well. Fujifilm would have to do something to differentiate it from the X100VI so that they aren’t directly competing against each other, and I have no doubts that they can.
If I were to bet on what it will be, my guess is none of these, that it’s not an X-series camera. If it is in the X-series, I think the top odds are that it is a 1″ sensor compact camera of some sort. An APS-H X-Pro with the XPan aspect ratio would be super cool, but unlikely in my opinion. With the massive demand for the X100VI, a full-frame version could be a huge sales success. Eventually we will know for sure, but for now we can only speculate, and most of those guesses will turn out to be wrong. Still, it’s fun to dream.
The Fujifilm X100VI is the most preordered camera in history by far. There were more orders placed prior to the release date than there were X100V’s produced in its entire four-year run. Completely unprecedented! I quickly made my order within minutes after it was announced, and I still had to wait over a month for it to arrive. There are people who placed their preorders on day-one who are still waiting, and some have been told that it might be closer to Christmas before it can be delivered. Even though Fujifilm is right now manufacturing the X100VI at somewhere around four-times the rate that they did the X100V, they still haven’t cleared out the preorder list, let alone begin to tackle the backorders placed after the release. It’s nuts! If you’ve been patiently waiting for yours, I hope that it arrives soon. If you haven’t already ordered yours, the wait could be quite significant.
Quite obviously before Fujifilm even thinks about offering alternative versions of the X100VI, they need to catch up on all the orders already placed. I have no idea how long that might take, but I highly doubt it will be anytime in 2024, and maybe not in 2025, either. However, once they’ve managed to get this situation under control—perhaps in the spring of 2026—I would encourage Fujifilm to consider producing variations of the X100VI. While this is something I’ve suggested for awhile (first with the X100F, actually), this is the first time that I’ve dedicated an entire article to the topic.
Leica just announced a 43mm f/2 version of the Q3, called Leica Q3 43. For those who don’t know, the Q3 has a 28mm f/1.7 lens, which is equivalent to 18.6mm on Fujifilm, the same focal-length as the X70. The new 43mm version has more of a standard field-of-view, and is equivalent on Fujifilm to 28.6mm (Fujifilm doesn’t offer that exact focal-length, but it is pretty close to both 27mm and 30mm, which Fujifilm does make).
Offering multiple focal-length versions of a fixed-lens camera is nothing new. For the Ricoh GR III, which has a 18.3mm (27.5mm full-frame-equivalent) lens, there’s a 26mm (39mm equivalent) variation called GR IIIx. Sigma had up to four versions of the DP cameras: 14mm (21mm equivalent), 19mm (28.5mm equivalent), 30mm (45mm equivalent), and 50mm (75mm equivalent). Fujifilm has never taken this approach, but I think they should.
What Fujifilm does offer are conversion lenses, which screw onto the end of the camera’s fixed lens. There’s a wide-angle (WCL-X100 II) and telephoto (TCL-X100 II) option. The wide conversion lens has a 0.8x magnification, which means that the 23mm (34.5mm equivalent) lens on the X100VI becomes 18.4mm (27.6mm equivalent). The telephoto conversion lens has a 1.4x magnification, which means that the 23mm lens on the X100VI becomes 32.2mm (48.3mm equivalent). Essentially, it’s like having three versions of the camera: 18mm, 23mm, and 32mm. The downside to the conversion lenses is that they add a fairly significant amount of size and weight (especially the telephoto) to the camera, which, to an extent, defeats the purpose of it. While the teleconverters do indeed add quite a bit of versatility, I would like to see one or two alternative focal-length versions in the future, where the dimensions and weight of the camera are about the same, just with different fields-of-view.
My top two recommendations would be a 16mm (24mm equivalent) f/2.8 version, and a 35mm (52.5mm equivalent) f/2 version. Obviously 18mm f/2 would be a popular choice, so I’m sure that would be high on their list of potential focal-lengths. Fujifilm has a pancake 27mm f/2.8, and modifying those optics for use with an X100 series camera could be intriguing. Fujifilm could offer just one variation (like Leica did with the Q3, and Ricoh did with the GR III), or they could offer multiple options (like Sigma did with the DP series). Personally, I’d like both a more wide-angle and a more telephoto version.
This should not be a priority for Fujifilm whatsoever, but something to consider for down the road. Maybe it could be announced in the fall of 2025 in time for the Christmas shopping season, or in spring of 2026, or sometime later. Or maybe they don’t see any reason to offer it at all, because perhaps they don’t believe it will gain any net camera sales, only take away X100VI sales. Personally, I would likely buy whatever alternative focal-length version(s) that they do release, if they ever do, to be an addition to my X100VI. I don’t know how many other people would do the same, but it might be worthwhile for them to consider.
I don’t see Fujifilm going down this path in the near future. They may have no interest in doing it ever. But I like the idea, personally, and would encourage them to at least consider the possibility. Not everyone appreciates the 23mm (34.5mm equivalent) focal-length of the X100-series cameras, and even if they do, they may want a little variety sometimes. While I believe that it would do quite well for Fujifilm, obviously it is something that they themselves must believe in order for it to ever happen. I hope that someday it does.
In this article we’re going to discuss Fujifilm’s X-series Autofocus, which is a hot topic right now. A lot of things are being said about it on YouTube and social media and especially in the comments section of photography websites. I’m a little afraid to give my two cents, because I know it will not be well received by some of you reading this. I think most regular visitors of this website will not have any qualms about it, but no doubt this will be shared on Reddit or DPReview or a Facebook group or someplace like that, and I will receive some aggressive disagreements by some of those folks.
I cannot tell you how many times I’ve seen people online call Fujifilm’s Autofocus “garbage” or “bad” or some other negative term. Every once in awhile a person will comment on Fuji X Weekly with a similar sentiment; however, it’s vocalized a lot less here than elsewhere, it seems. This is a controversy that I’ve tried to steer clear of—people have strong opinions about this topic, and my opinions are different than many. I did write about it two months ago, but I think it needs to be addressed again.
As I’ve pondered this topic, I think there are a number of issues that are often lumped together, but need to be discussed individually. They are related in that it affects Autofocus, but otherwise they are unrelated, and lumping them together doesn’t help bring about any solutions. We’ll get to it all, but it will take some time to navigate through it. Be patient, as this will be a journey.
First and foremost, I believe that much of the negativity is a type of hysteria. Someone points out a “problem” and now everyone (it seems) is experiencing it. Echo chambers and groupthink on the internet can make people especially susceptible to this. I’m not a psychologist and offer no professional medical advice, but I did listen to a podcast recently on a flight that made me consider this as a strong possibility.
The podcast was Cautionary Tales with Tim Harford and the episode was entitled Sonic Poison? The Genesis of Havana Syndrome. It explains how hysteria can have a real affect on people, such as causing nuns to meow, or children to experience sickness that they don’t really have, or millions of dollars of perfectly good Coca-Cola dumped down the drain for no good reason, or spies “poisoned” by loud cicadas in Cuba. While these things were in their heads, they manifested in real physical ways.
What clued me in to the potential that this phenomena might also be happening to those who own Fujifilm cameras is when someone told me that they were really upset at Fujifilm because their Autofocus was not working as it should be and that Fujifilm needed to fix the problem right now; this person admitted that they had never experienced the issue personally, but they knew it was a problem because they had seen it in a YouTube video. Later, another person stated to me something very similar: while the “problem” had had no affect on their photography, they were aware of its existence because they had seen it on the internet—and they were demanding that Fujifilm fix it ASAP or else they would quit the brand.
I’m not suggesting that Fujifilm’s Autofocus woes are “all in your head” and that it is just psychological, but I do believe it explains a good deal of it. I think if some certain YouTube videos had never been published (and it’s fine that they were, I’m not condemning them, I’m just observing), there would not be nearly so much discussion and outrage right now. A lot of people “became aware” of a problem that they likely would not have noticed on their own otherwise, and it wouldn’t have affected them in any real way (in other words, it wouldn’t have been an issue at all). When you spend a lot of money on something, and especially if your livelihood (or hopes of a future livelihood) depends on that thing, and you believe that it is not working right, it’s easy to understand why there would be some hysteria. Nuns meowing, Coke getting dumped, and Fujifilm’s “sucky” Autofocus are related, if you ask me, and it’s something that we can all be susceptible to. But, again, I’m not a psychologist and offer no professional advice on this.
While I believe a significant amount of the outrage can be attributed to that hysteria, there are real issues that should be discussed rationally. Something that I find interesting is that for the first five or six years of this blog, Fujifilm’s Autofocus was not a big issue whatsoever. It wasn’t a hot topic. What changed? I think it was Fujifilm’s enticement of Canikony brand photographers. I think many of the complaints are by people who used to shoot Canikony brand cameras—particularly Canon and Sony—and when they switched to Fujifilm over the last couple of years, they were disappointed by Fujifilm’s Autofocus system. It’s not as good as those found on Canikony models, especially Canon and Sony.
There are three reasons why Canikony cameras have better Autofocus than Fujifilm. First, they’ve been doing it for much longer. Sony (through Konica and Minolta) have been making Autofocus cameras since the 1970’s, and had what was considered the first “good” AF system (not good compared to what we have today, but good for back then) with the Minolta Maxxum in the mid-1980’s; Canon and Nikon both introduced their first Autofocus cameras in the 1980’s. Second, Canikony brands have had significantly more R&D money to invest in their Autofocus systems. Finally, as PetaPixel pointed out, the Canikony brands over the last handful of years have spent very little effort on image quality improvements, while placing much of their efforts on Autofocus improvements, and in some specific cases, actually to the detriment of image quality (a path that I do not want Fujifilm to pursue, personally). Most of the Canikony cameras that Fujifilm models are often compared to are also significantly more expensive, and usually larger and heavier.
Anyone who expects Fujifilm’s Autofocus to be at the same level as the Canikony brands have not put much thought into it. Still, it’s surprising to me, considering the disadvantages that Fujifilm has faced, that they’re not very far behind, either. Fujifilm’s Autofocus is by far more than good enough for most people and situations, including for the many professional photographers who use these cameras each day even under difficult circumstances. In preparation for this article, I reached out to five highly talented and successful photographers/videographers who use Fujifilm—people I met in person this year while traveling across America—and asked if they find Fujifilm’s Autofocus “lacking” or “detrimental” to their work. All five answered no; one added a caveat that for a specific use-case this person prefers their Sony model—they could do it with their Fujifilm, but it’s a little easier on their Sony, so for that particular situation this person doesn’t use Fujifilm.
Photography has been around for a very long time. It didn’t begin two, five, or ten years ago. People have been capturing amazing photographs for well over 100 years. If you were to grab a Fujifilm X-T5, jump into a DeLorean, and travel back in time just 20 years, you’d blow away the photographers of that era with what would seem like to them impossible camera technology. Yet the photographs captured today are no more impressive than than they were then. Camera gear has advanced tremendously over the last two decades, but the great photographs from today are no more great than they were 30, 40, 50, etc., etc., years ago. I love finding vintage photography magazines and admiring the incredible photographs captured on significantly inferior gear than what we have readily available today—we’re so spoiled!
In other words, if they could do it on their lesser gear, you can do it on your greater gear. No excuses. Fujifilm’s Autofocus is really good, especially compared to what existed over the last handful of decades. No, not quite as good as the Canikony brands are right now, but really good nonetheless. The negativity just never made sense to me. It’s like complaining that a Corvette isn’t a Maserati, and calling the Corvette garbage because it isn’t more like a Maserati. If you want a Maserati, buy a Maserati! Otherwise, appreciate that you have a Corvette.
Many years ago I was given this advice: Either you are controlling your camera, or your camera is controlling you. I think that a lot of people allow their cameras to control them, which might typically work out fine because the current tech is so advanced, but, when it doesn’t work out, it’s an easy scapegoat to blame the gear instead of looking inward. Without self reflection, you are robbing yourself of the opportunity to learn and grow. Your gear is only a limitation if you allow it to be, and if you don’t allow it, then it’s no issue whatsoever. That might require learning some new skills or sharpening some skills that you already have but could be improved upon.
A lot of people don’t like that advice, but it is completely true. You have it within you to not allow any limitations on any gear get in the way of creating whatever it is that you want to create. The difference between those that are having a ton of success with their Fujifilm gear and those complaining about it saying they can’t is the person holding the camera, and not the camera itself. I get it: it’s much easier to blame the gear. But, if you blame the gear instead of yourself, your camera is controlling you, and you will not improve—that success will be elusive.
All that I just said is the most important part of this article. You might disagree, and that’s ok. Sometimes the truth hurts. It might be a bitter pill that you were not ready to swallow. I didn’t say anything that’s not true; perhaps it is deserving of a second read-through, and with an open mind. With all that said, there are some other things that are important to address.
I think a good deal of the negative attention regarding Fujifilm’s Autofocus issues came after Fujifilm released a firmware update earlier this year with an Autofocus bug. I didn’t experience the issue caused by that firmware personally because I always wait awhile to update the firmware. This is a good idea regardless of camera brand. Sometimes there are bugs, and sometimes the bugs are significant. If you wait a week or two, if there is some major bug, it should be well known by then—if so, just skip that firmware and wait for the next one. Fujifilm did fix that Autofocus bug; however, to a much smaller degree there is still some AF problem that seems to only affect certain use cases. It’s my understanding that Fujifilm is aware of it and working on a solution. It will get resolved, just give it a little time.
As Fujifilm has grown, I think one department that may not have upscaled enough is the one that is in charge of firmware. Perhaps Fujifilm needs to add a couple more to the team, or maybe they have already and are experiencing some growing pains as new folks are brought in (or combination of the two). From my perspective, it just seems that this team is stretched a little too thin and needs more resources to allow them to keep up. My advice to Fujifilm is simply to invest more in the team that is in charge of firmware, as I’m certain it will pay off in the long run. A lot of negative attention today could have been avoided had this team been given all of the necessary resources a couple years back.
The remaining Autofocus woes are related to hardware and settings. It could be that you are not using the best lenses, or don’t have your camera settings programmed optimally.
Fujifilm’s older lenses are slower. The newer options with a Linear Motor (designated with “LM” in the lens name) are often the fastest. The larger and heavier the glass elements, the slower the AF will likely be. In other words, there’s a pretty significant performance difference depending on the lens that you have on your camera. Use the right lenses and you’ll have more success; however, for most people and circumstances, all of the lenses are plenty good enough—this is more for those who demand peak performance for their situation. Also, ensure that the lens firmware is up-to-date, not just the camera—this might resolve it for you, so it is worth looking into.
Fujifilm cameras have a lot of customizable fine-tuning options for Autofocus (especially on the newer models); if those settings are optimized for your situation, you will have much success, but if not, you may have more “misses” than you’d like. There are resources online that can help you find the right AF settings for you—it’s a very individual type of thing, so what works for one person may not for another; I recommend that you look for advice from multiple sources, and experiment—try different settings and see what happens. Also, I have found that several complaints were resolved with one specific thing: Release/Focus Priority should be set to Focus and not Release. I have a feeling that this one setting is the root of many people’s AF woes.
Political Skateboarder – Nashville, TN – Fujifilm X-T50 – Kodak Film Recipes
In my opinion, Fujifilm’s Autofocus problems have been significantly overblown—Mount Everest has been made out of an ant hill. The internet has spread hysteria. Some people have unrealistic expectations. For others its user-error, and could be resolved with a little effort. Blaming the camera is easy to do, but it stifles your growth. Control your camera, don’t let it control you. Many people have the same exact gear as you do and they do not experience your issues. It’s not the camera—it has never been the camera, and it never will be the camera. Your gear is much more than capable. As Ansel Adams stated, “The single most important component of a camera is the twelve inches behind it.” You have it within you to not allow it to adversely affect you, but it might require some practice or learning new skills. That’s not a message that people usually want to hear, but it’s one that needs to be said. If you require optimized peak Autofocus performance, make sure that you are using the right lenses and have the best settings selected for your situation. For Fujifilm: provide more resources to the firmware team so that they can ensure they are not producing buggy updates (by the way, this is not an issue unique to Fujifilm by any stretch).
Please keep your comments civil. I know that chronic complainers, haters, and trolls will come out of the woodworks when an article like this is published. Unlike most websites, I don’t put up with that here. If you disagree, please be kind in your disagreement. I feel like this article needs to be published to counteract all the negativity that is much too prevalent across the internet. My hope is that—if you have experienced issues with Fujifilm’s Autofocus—you’ll be encouraged to create amazing content with the gear you own, because your camera is, in fact, more than capable just so long as the one using it is also capable (and you can be!). Excuses get in the way, but you don’t have to let them. That’s the message of this article.
This is going to be a busy fall! I have a lot of upcoming things in the works, and I cannot wait to share them all with you. Hopefully within the next couple of weeks I can announce everything. As soon as I can, I’ll be sure to post about it on Fuji X Weekly.
There are two very exciting events that are just around the corner. Both are don’t-miss opportunities for you. If you live in Texas, I hope to see you at Fujifilm’s Create With Us next week in Austin. If you live anywhere near New York City, be sure to come to the NAB Show in October. Both will be epic! You need to be registered, so be sure to sign up ASAP, because space is limited.
Fujifilm Create With Us in Austin — September 28th
Join me in Austin, Texas, on September 28th—that’s next week! I will be co-leading two photowalks with Fred Agho, one at 1:30 PM and the other at 4:30 PM, as a part of Fujifilm’s Create With Us event. If you live in Austin—or are within driving distance of Austin—this is an event that you won’t want to miss!
This will be an epic day of learning, creating, networking, and more! You must be registered to attend. Space is limited, so don’t procrastinate—sign up today! I believe that the photowalks have been fully booked, but you can be placed on a backup list in case someone doesn’t show. I hope to see you in Austin next week!
I will be at the NAB Show in New York City on October 9th and 10th, leading three free photowalks. These photowalks will be small groups, meaning that there will be tons of opportunity for one-on-one conversations. This is a teaching opportunity—I’m there to help you—so bring whatever questions you might have, and I’ll make it as informative and educational as I can. The photowalks will take place in the vicinity of the Jacob Javits Convention Center in Midtown West Manhattan.
Fujifilm will be offering “an immersive journey into the world of photography and videography.” As a part of this, there will be 24 photowalks hosted by a variety of extraordinarily talented creators. Seriously, I would love to attend all of these photowalks myself—this is a don’t-miss opportunity!
I will be leading three photowalks: October 9th at 11:15 AM, October 9th at 2:45 PM, and October 10th at 11:45 AM (note: these were pushed out 45 minutes from their original times). The theme of my photowalks are Straight Out of Camera—we’re going to “put the legendary Fujifilm colors to the test and learn to craft polished images in-camera to streamline your process.” Basically, we’re going to use various Film Simulation Recipes to photograph New York City. Bring your favorite Fujifilm camera; also, this will be an opportunity to get hands-on with some of the latest X-series gear, so bring a spare SD card.
The themes of the other photowalks are Video Visuals, Camera-to-Cloud, Film Simulations, Couples Portraiture, Street Photography, and Social Reels. These photowalks are free; however, you must preregister for the photowalk that you want to attend, and also be registered for NAB. Those of you who live in the NYC area will want to come for certain. Spaces are very limited, so don’t procrastinate—sign up today!
I get asked occasionally which Fujifilm cameras are the very best. Sometimes people want to jump into the Fujifilm system, but are unaware of which camera to buy; however, they know that they want the “best” model, whichever one that is. Of course, best is highly subjective—what is “best” for one person may not be for another. My list might look a lot different from another’s. This is simply my opinion as a long-time experienced Fujifilm photographer, so take it for what it’s worth, which might only be two pennies.
My list of Fujifilm’s seven best cameras is limited to X-series models. I’m not including GFX, Instax, Fujica, or anything else. I’m only discussing the APS-C line that Fujifilm introduced with the fixed-lens X100 in 2011, and the interchangeable-lens X-Pro1 in 2012. Those cameras and the ones introduced afterwards are the models being considered for this list.
Without any further delay, let’s get started!
#7: Fujifilm X70
The Fujifilm X70 is a fixed-lens X-Trans II camera that was released in 2016. It had a short sales-life because Sony suddenly discontinued production of the 16mp APS-C sensor that the camera used, and by the end of that year the X70 was discontinued, and out-of-stock shortly thereafter. As a compact camera with an 18.5mm (28mm full-frame-equivalent) lens, it competed directly with the Ricoh GR II. I like the X70 better than the GR II because it has the traditional tactile controls that Fujifilm is known for, while the GR cameras utilize PASM.
Today, at eight-years-old, the camera often sells for more than when it was brand-new. It’s much beloved by many who own one. Some proclaim it to be their favorite Fujifilm camera of all time. Compared to the latest models, the X70 is less advanced and with fewer options, but it does what few Fujifilm cameras can: fit into your pocket. In my opinion, it’s the best carry-everywhere camera ever made by Fujifilm. A successor—an X80—should be a high priority for Fuji.
#6: Fujifilm X-Pro2
While all three of the X-Pro cameras are great, there’s something especially special about the Fujifilm X-Pro2. It’s the seemingly perfect balance of form and function. It’s one of those cameras that will be desired and used for many years to come. While other digital cameras of its era will be long forgotten, I’m convinced that the X-Pro2 will still be sought out even when it’s 20 years old or older.
Introduced at the same time as the X70, the Fujifilm X-Pro2 is an X-Trans III model, and as such it doesn’t seem quite as dated as the X70. It still holds up fairly well in ability and features compared to the latest models. I would be perfectly happy if it were my only camera; unfortunately, I let it get away from me twice.
#5: Fujifilm X-E4
The X-E4 is the smallest and most minimalistic of Fujifilm’s modern offerings. While it is not perfect (no camera is), it does offer a slightly unique experience for Fujifilm that some like and some don’t. Personally, I appreciate the camera—it is one of my favorite Fujifilm models—and I find it especially great for travel or just everyday walk-around photography, thanks to its compactness. I have more expensive cameras, but often choose the X-E4 instead.
While the Fujifilm X-E4 doesn’t have IBIS or 40mp or the newest couple of film simulations, it is one of the last X-Trans IV models, and as such is quite advanced and capable. Unfortunately, Fujifilm greatly underestimated the demand for the X-E4, and failed to secure enough parts to manufacture as many copies as they should have, inexplicably discontinuing it when there were lengthy backorder lists. Because of that, right now the X-E4 sells for several hundred dollars more used than when it was brand-new.
#4: Fujifilm X100V
The X100 is where the X-series began; the X100V is the model that unexpectedly wen’t viral when it was over two years old. This list could be filled with X100 cameras—in fact, I debated if the X100F should have been placed in the #6 or #7 positions (it was a tough cut). The X100V is the fifth iteration—the X-Trans IV version—and served as my “desert island” camera until the introduction of the X100VI earlier this year.
I love the X100V because it is small and lightweight, and has great features like a built-in ND filter and leaf shutter plus a fill-flash that just seems to work perfect. For a fixed-lens camera, it is surprisingly versatile. I don’t travel without an X100 model. It’s no wonder why the X100V was the camera to have in 2023 (although few could get it); in 2024, it’s still an excellent choice. And it might be easier to find than an X100VI.
#3: Fujifilm X-T5
The X-T5 is Fujifilm’s flagship SLR-styled traditional tactile control model. If you want the best, look no further—it’s the cream of the crop: IBIS, 40mp, weather-sealing, dual SD-card slots, etc., etc.. The X-T5 is notably smaller and lighter than the X-T4. It’s such a great camera, there’s not much negative that can be said about it. This camera could very easily be #1 on this list, and on paper it should be.
While the Fujifilm X-T5 is technically a great camera, and it did slim down compared to its predecessor, it’s more camera than I need much of the time. Because of this, I will often choose a different model, including technically inferior options like the X-E4. Sometimes data sheets and spec charts don’t tell the full story. You don’t always need a fully loaded Land Cruiser, sometimes a Camry will get you there more efficiently; still, sometimes you need the Land Cruiser.
#2: Fujifilm X-T50
The X-T50 is an X-T5, but without weather-sealing, with only one SD-card slot, with a Film Dial instead of an ISO Dial, a lower resolution-EVF, the old battery, in a smaller and lighter body, and a little cheaper. Technically speaking, the X-T5 is superior, but, over the summer, I used an X-T50 far more than an X-T5. Between the two, most of the time I chose the X-T50.
The X-T30 II is in the same series as the X-T50; however, Fujifilm says that the X-T50 is not the X-T30 II’s successor. The X-T50 is closely related and similar, but is not the X-T30 II’s replacement, as they are currently manufacturing both models. The X-T30 II is a better value (and I almost placed it at #7); overall, the X-T50 is the better camera of the two. For those wanting to get into the Fujifilm system, the X-T50 is my top recommendation, but the X-T30 II isn’t far behind.
#1: Fujifilm X100VI
I love the Fujifilm X100V, and the X100VI is even better! It is my “desert island” camera, which is to say that if I could choose only one model to use for the rest of my life, it would be this one. It is my absolute favorite photography tool, and it gets a lot of use. In my opinion, this is Fujifilm’s best camera.
The Fujifilm X100VI is by far the most preordered camera by any brand in history. We’re over six months since it was announced, and some people who preordered on Day 1 are still waiting for their camera to arrive, and some have been told that it might be closer to Christmas. There were more preorders for the X100VI than there were X100V’s manufactured over its four-year production life. Fujifilm is assembling far more X100VI’s each month than they did the X100V, yet they still can’t even make enough to fulfill the orders that were placed back in February. This is the most viral camera ever, and if the hype continues (and it might), the X100VI could potentially end up as the most-sold model of all time by any brand. If you didn’t order one right away when it was announced, you may have to wait a long time to get one.
Some of you may have noticed that both the X-H2 and X-H2s, which are Fujifilm’s top-tier flagship models, did not make this list. Nor did the very capable X-S20. The reason is very simple: those are PASM models, and I don’t care much for PASM, personally. Those cameras are intended to give the most Canikony-like experience of any Fujifilm models; if you are coming from a Canikony brand, those models are going to feel more familiar to you. I never appreciated the (modern) Canikony approach, so I’m very much drawn to the traditional tactile controls that Fujifilm is known for. Fujifilm offers a unique experience in the camera world, which is one of the big reasons why I love Fujifilm, and that unique experience is found on each of the seven models in my list. While some might see it as merely “retro” (which it is), to me its preferable. It’s better—much better, in fact. You may or may not agree with that, and that’s fine—different strokes for different folks—I’m just explaining why those particular models didn’t crack my list.
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PetaPixel published an interesting article today entitled Camera Makers Are Increasingly Happy to Trade Image Quality for Other Benefits by Jaron Schneider. I found it fascinating, particularly in light of my Let’s talk Fujifilm AF article that I published a little over a week ago. When I typed that post, I hadn’t considered that there might be an actual cost to image quality in order to produce blazing fast cameras with extraordinarily exceptional autofocus.
In my article, I said, “Fujifilm’s autofocus is very good—fantastic, actually. However, Sony and Canon (and arguably Nikon) have a bit more fantastic autofocus system than Fujifilm (as you’d expect). I really don’t understand the complaints about Fujifilm’s autofocus. It is like complaining that a Corvette isn’t a Maserati, and calling the Corvette garbage because it isn’t more like a Maserati. If you want a Maserati, buy a Maserati! Otherwise, appreciate that you have a Corvette.”
PetaPixel’s article essential states that the big three camera makers—Canon, Nikon, and Sony (a.k.a. Canikony)—are chasing faster camera processing, improved autofocus, and increased video specs at the expense of pure image quality. It might be that they’re so focused (pun intended) on those things that improving image quality for still photographs just isn’t a priority, so it remains stagnate from one model to the next. Perhaps they simply feel that image quality has neared the ceiling for the current tech, so there’s no need to push things further. On the other hand, the tech they’re using in some cameras to achieve speed plus autofocus and video specs is actually detrimental to image quality, particularly for dynamic range and high-ISO noise.
I’ve never even been inside of a Maserati or Corvette, but perhaps the Corvette, while not as fast or agile as the Maserati, offers a more comfortable ride for significantly less money, while still delivering a thrill. No camera is perfect, and each has advantages and disadvantages—what I can say for certain is that I’d choose a “Corvette” camera over a “Maserati” any day of the week. And I’m glad that Fujifilm is not compromising still image quality in pursuit of speed and specs. Jaron wrote, “One company that is finding its products suddenly becoming more compelling because of this: Fujifilm.”
I hope that Fujifilm doesn’t cave in to the negativity by some who would prefer that they simply become a part of the Canikony brands (Canikonyfilm?). In my opinion, Fujifilm should continue to blaze their own trail, and not concern themselves too much with what the other brands are doing. They need to continue to produce compelling cameras—trendworthy and timeless products—and do more to communicate with potential customers why their unique approach is desirable and maybe even preferable.
I really don’t want Fujifilm to pursue a path that leads to reduced image quality. Those who appreciate image quality above technical specs and extreme performance will turn to—and have already been turning to—Fujifilm as the Canikony brands ignore them. Those who prefer speed and specs above all else have three brands to choose from—for certain those things sell cameras (or else they wouldn’t be doing it), but those who actually need it are a very small percentage of the total customers. Most of those who buy those cameras do so because of marketing or hype or FOMO; however, they don’t need a “Maserati” by any stretch, and would be quite happy with a “Corvette” instead.
What is your opinion? Should Fujifilm give up some image quality in order to make faster cameras like Canon, Nikon, and Sony have been doing? Or should Fujifilm work more towards improvements in image quality instead? Comment below with your opinions!
Fujirumors is reporting that Fujifilm is in the process of “reviving a camera line that most of us thought axed.” According to Fujirumors, the camera could be released anytime within the next six months. It’s always exciting when new gear is on the horizon, and it’s fun to speculate what it might or might not be. But, until it is actually released, it’s hard to know anything for certain, and so all speculation should be taken with a huge grain of salt.
The idea of a camera line revival made me consider which discontinued camera series could possibly be resurrected (apparently it isn’t the GFX50R). Over the years various series have become defunct, typically (but not always) due of disappointing sales figures. There are a number of options, so let’s briefly consider each.
My biggest hope is for an X70 successor, likely called X80. The X70 was Fujifilm’s closest competitor to the Ricoh GR series. It’s more-or-less a smaller and more wide-angle and less premium (a.k.a. more affordable) X100-series camera. Supposedly the X70 was discontinued (in 2016) because Sony suddenly stopped manufacturing the 16mp sensor found inside it, and the higher megapixel X-Trans sensors were too hot for such a small body, which prevented a successor from happening; perhaps they’ve finally figured out the heat issue (X-Trans IV sensor combined with X Processor 5?). I’ve been asking for an X70 successor for several years now, and with the popularity of Ricoh GR and other compact cameras, it seems like a no-brainer. I hope this is what’s coming, but it definitely might not be.
There are a few cameras that it could theoretically possibly be, but I’d be extremely shocked if it was. An X-S2, for example, which would be a DSLR-shaped fixed-lens super-zoom small-sensor Bayer+PASM followup to the X-S1, is not likely. I’m pretty certain that an S4 Pro is not coming, as the S3 Pro was built inside a Nikon DSLR. I don’t think an X-A30, a stripped down Bayer successor to the X-A20, is on the horizon, either.
Kodak (or, really, JK Imaging using the Kodak brand name) is selling cheap point-and-shoots like hotcakes right now; while a followup to the XF1 might seem strange, maybe it would actually be genius. If this is the upcoming camera, it would be a highly unexpected move, but one that might actually pay off and even possibly return this style to the mainstream. With the popularity of digicams right now, an XF2 isn’t completely out of the realm of possibilities; however, the odds seem pretty slim that this is it.
Perhaps an X40 is the upcoming camera: a pocket-sized retro-styled zoom with an EVF. There’s definitely an interest in an X30 successor—I’ve heard from at least a handful of people who would really like to see one—but I’m not sure if there is enough global demand for it to be worthwhile for Fujifilm; however, I would buy one if they made it. There is certainly a chance, albeit a small one, that an X40 is coming soon.
Kind of in-between an XF2 and X40 could be an XQ3, a followup to the XQ2. I’m very doubtful that Fujifilm will make any more small-sensor X-Trans cameras; however, if they produced an XQ3 (or X40) with a 20mp 1″ sensor, that would be intriguing (outside of the XF2, I don’t think Fujifilm should go any smaller than a 1″ sensor).
I’d actually be quite surprised if they released any new X series cameras with a sensor smaller than APS-C. In all probability, whatever camera Fujifilm is working on is an APS-C model, and not one with a tiny sensor. There are several options that I believe are much more likely than the XF2, X40 or XQ3.
The XF10 was the low-budget Bayer+PASM version of the X70, and it was a bit of a flop. However, with the popularity of Ricoh GR cameras right now, it wouldn’t be surprising if Fujifilm is working on a (hopefully significantly improved) successor, likely called the XF20. While I would much prefer an X80, I wouldn’t be against an XF20, if that’s what it ends up being.
That’s it for the fixed-lens options! Let’s take a look at some possible interchangeable-lens cameras that the upcoming model could possibly be. Fujifilm is supposedly working on a future X-E5 that is not this unknown camera, so I won’t discuss the X-E series in this article.
The X-A line used to be a top seller for Fujifilm, especially in Asian markets. These cameras were low-budget Bayer+PASM models that were not actually manufactured by Fujifilm, but contracted out to a 3rd party for assembly. The last one was the X-A7, which didn’t sell particularly well, and the line was discontinued. It’s possible that Fujifilm will revive this series with an X-A8, and maybe even manufacture it in-house.
Similarly, the X-T000 line was a low-budget Bayer+PASM series not manufactured by Fujifilm. It was basically an X-A camera but in an SLR shape (instead of rangefinder) and with an EVF. It’s unlikely that Fujifilm would revive both the X-A and X-T000 series, but they could bring back one of the two, and if it’s the X-T000 line, the camera would likely be called X-T300.
Last—but far from least—is the X-M2. I think the upcoming camera is more likely to be an X-M1 successor than an X-A8 or X-T300. The X-M1 was basically an X-A1 with an X-Trans sensor; the X-M2 would be a low-budget X-E like camera (but cheaper, with a PASM dial, and without an EVF), utilizing the 26mp X-Trans IV sensor. Fujifilm is desperately missing an affordable base-level camera that allows those on a tight budget to get into the system, and an X-M2 could serve that role. A brown faux-leather version would be quite nice.
If Fujifilm is indeed reviving a once-defunct camera series, it could be any of these (or maybe one that I overlooked—who knows?). There’s not a lot that can be gleaned from this exercise, other than it’s likely to be a more affordable camera, which is great—there aren’t currently a lot of options right now if you don’t have much to spend. My personal preference would be for an X80 (I’d be first in line to buy it!), but the XF20 would be ok if that’s what it ends up being. I think an X-A8, X-T300, or (especially) an X-M2 are also strong possibilities. Basically, we know very little, and it could be just about anything.
Which of these cameras would you be most interested in? Let me know in the comments!
