***Edit/Update: Apparently, the Instax Mini Evo Cinema can indeed print Instax prints. It wasn’t stated or shown in the announcement, but you can see it clearly in this promotional video.***
Fujifilm just announced the Instax Evo Cinema camera, which will be released in Japan on January 30th. I assume that it will become available worldwide at some point, but that information isn’t included in the announcement. In fact, a lot was left out. Let’s talk about it.
I guess first thing’s first: I don’t write a lot about Instax on this blog, despite it being a bigger business than X and GFX combined. I do mention it here-and-there. Dan Allen‘s fascinating project shooting Instax film on a 100+ year old camera was one of my favorite Instax-related articles. The Instax camera that Fujifilm just announced is quite interesting, so I thought it worthwhile to write about.
The Instax Mini Evo Cinema is a digital camera, and not film (I’m pretty sure of this, but it wasn’t explicitly stated in the announcement). This isn’t the first all-digital Instax—there’s the weird Instax Pal; the Fujifilm X half, which is half X-series and half Instax, could also be considered one, but Fujifilm classifies it as X-series and not Instax. Although not mentioned in the announcement, the Mini Evo Cinema has a vertically-mounted sensor, which makes it the second camera to have one (the X half being the other).
According to Matthew Allard, the Mini Evo Cinema has a 5MP 1/5″ sensor and a 28mm full-frame-equivalent f/2 lens. Since the entirety of the sensor is not used, it apparently becomes 35mm full-frame equivalent. I believe it is the same sensor and lens from the Instax Mini Evo. The maximum resolution for video is 2.5K (1080 x 1440), but I don’t expect the IQ will look good on a large screen TV—it’s probably more intended for social media (Reels and TikTok) than anything else. Of the 5mp sensor, 4.9mp are used for still images, which is plenty of resolution for Instax Mini prints and Instagram, but not much else. You do need an Instax Mini printer to make Instax prints, as the camera itself cannot make them (from what I can tell).
So, this new camera is essentially an Instax Mini Evo, but with a vertically-mounted sensor, and in a shape inspired by the Fujica Single-8 8mm camera from the 1960’s. While it is for both stills and video, the Instax Mini Evo Cinema is a video-centric camera, and the first video-centric Instax. One interesting limitation is that clips cannot exceed 15 seconds; using the new app that’s specifically for this camera, individual clips can be combined into one larger clip that is limited to 30 seconds.
Back in November I speculated that a “Film Era Dial” would be coming to the X-series (probably the next X-Pro); however, it was later reported as coming to an Instax camera instead. Well, the Mini Evo Cinema is that camera. It has an Eras Dial, which allows you to select a decade that you want the picture or video aesthetic to resemble, anywhere from the 1930’s to the 2020’s. I’m not sure exactly what each era will look like, but overall I like the general concept. I think it’s cool. Interestingly enough, Fujifilm says, “Audio is also processed with the Eras Dial effects, adding distinctive sound characteristics, while certain effects even play nostalgic sounds—such as the whir of film reels—during shooting, creating an immersive experience that feels like stepping back in time.” Unfortunately, no video examples were included in the announcement.
The reason why this camera is coming to Japan only (at least initially) is, in my opinion, due to the massive success of the X half in that country. Outside of Japan, the X half has done alright for the most part, but in Japan it’s been a major hit, and was the 5th best-selling digital camera in the country in 2025, outselling even the X100VI. The Instax Mini Evo Cinema is likely to be another sales success in Japan, while worldwide it might be received less enthusiastically. Letting it become trendy in Japan first might help it when it’s later released elsewhere.
Fujifilm didn’t specify the MSRP. My guess is that it will be around $250-$300, maybe a little less. It seems like a camera that could be a lot of fun, just as long as expectations aren’t too high. I think younger people, like Gen Z and Gen A, will be especially interested in it. An Instax-less Instax video camera with a vertically-mounted sensor was not anything I expected to wake up to this morning, but it makes a lot of sense as a fun toy. It would make an excellent birthday or Christmas gift for the kids, so I’m pretty excited for this one, although it’s unlikely that I’ll ever use one myself.
Fujifilm is about to announce the X-T30 III, the true successor to the X-T30 II. A lot of people assumed that the Fujifilm X-T50 was the X-T30 II’s successor, but it wasn’t—if you a Fuji X Weekly regular, you’ve known that for about a year-and-a-half now. Tomorrow at 10:00 PM Pacific Time, Fujifilm will unveil the new camera.
I don’t have any inside information, but I expect that the Fujifilm X-T30 III will be 95% the same as the X-T30 II, which was 98% the same as the X-T30. Fujifilm announced the original X-T30 in February of 2019. I remember it well because I preordered it, and later created many Film Simulation Recipes with that camera. The X-T30 II, which was basically a firmware update with a few minor changes, came in October of 2021. The ability to save WB Shift with each C1-C7 Custom Settings preset, as well as Classic Negative and other JPEG tools like Clarity, are the major improvements found on the Mark II version. Now, four years later, Fujifilm is about to release the latest iteration.
From all accounts, the X-T30 III will be the same as the X-T30 II, except with X-Processor 5 (which includes Nostalgic Neg. and Reala Ace), a Film Dial like what’s on the X-T50 and X-M5, and a Drive Button instead of a Drive Dial. Aside from that, it will be pretty much the same thing as the X-T30 II. I don’t expect any major changes. Overall, it will be a mild refresh.
Why, then, do I think this camera is genius? Because Fujifilm will quietly sell a whole lot of these. It’s not going to go viral like the X100VI. It’s not going to make major headlines. It’s not going to be a hot topic on Reddit or Facebook groups. But Fujifilm will sell a bunch of X-T30 III cameras, more than most other models offered by the brand.
Just four days ago, New York Magazine published in The Strategist section This Fujifilm Camera Gives Me Film Photos Without the Processing by Katherine Gillespie. It’s essentially a review of the Fujifilm X-T30 II. In that article, Katherine states, “Even just using the cheapest 15-45mm kit lens, the camera creates beautiful JPEG photos that require little to no editing to make the colors pop and can be wirelessly transferred to my phone via Fujifilm’s XApp. For me, this is a big sell. While some people seem to enjoy playing around with presets on Lightroom, as a procrastinator who also sort of hates computers, I can’t think of anything worse than shooting in RAW then having to go through and edit hundreds of photos after every social event or vacation. Especially as doing so would also require purchasing a pricey Adobe subscription.”
The article included a small and subtle shoutout to Fuji X Weekly, which was mind-blowing. This follows the New York Times mention in July. I never imagined getting noticed by such large and prestigious publications. But I digress; however, it is a good read, should you want to.
Statements like Katherine’s are why the X-T30 and X-T30 II sold so well, and why soon the X-T30 III will, too. It’s easy to get great-looking photos without the fuss. The cameras are small, lightweight, inexpensive, and straightforward-enough that they’re accessible to anyone and everyone. Even a child can use it and get great results. Robust enough that professionals can use it for serious work, but not so much that first-time hobbyists are in over their heads. That’s indeed a big sell.
No other Fujifilm camera has been given a Mark III iteration. The X-E2 had a second version called X-E2s. There’s the X-H2 and X-H2s, but that’s a slightly different story. There was an X-T3 WW, which was an X-T3 without an external battery charger included in the box. The X-T4 ES is an infrared version of the X-T4. Most models have their time, followed by a successor; the few with a second variation were not given a third. The X-T30 is unique, with a third iteration about to crest the horizon. That elevates the camera to legendary status in my books. There is no doubt in my mind that the X-T30 III will be a great success for Fujifilm, albeit without the fanfare that other models in the X-series often get.
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.
On Thursday in the early morning hours, Fujifilm announced the brand-new X-E5. I’ve been traveling in an RV up the east side of America, and just got home late last night. Preferably, I would have posted something about it on announcement day, but aside from being on the road, it was also my wife’s birthday. Because of that, I’m just now getting this typed out—I’m pretty much the last to the Fujifilm X-E5 party.
This upcoming Tuesday and Wednesday I will be at the B&H BILD Expo in New York City. A few weeks back Fujifilm invited me to be a part of their booth—specifically, to help with a “Film Simulation Station” (without any details of what that would be)—which, of course, I am honored to be a part of. Fast forward to a few days ago, just before the announcement of the X-E5, I had a conference call (while in the RV stopped in the middle of nowhere in Pennsylvania) that explained what my specific role was going to be: Fujifilm will have X-E5 cameras to touch-and-try, and I’m there to talk about Film Simulation Recipes with anyone who wants to. It’s going to be a great time, so I hope some of you can stop by. It was on that call that I first learned the camera not only has the ability to save three Recipes in the Film Simulation Dial, but that Fujifilm is using the term “Recipe” in the camera and manual.
Back in early 2017 (before I had even started Fuji X Weekly), I published two Film Simulation Recipes on a blog that I used to have prior to this one. When I showed my wife, she thought the term “Recipe” was a bit cringe, but I liked it, so I continued to use it, including when I launched Fuji X Weekly in August of 2017. Mostly by word of mouth, this website grew and grew (10 million page views two years in a row, and still growing), largely because people had an interest in my JPEG Recipes for Fujifilm cameras. Even though Fuji X Weekly began as a Fujifilm X100F journal, very quickly it became most known for Film Simulation Recipes.
In the summer of 2020, I received a message from a talented cinematographer, who had a funny conversation with Fujifilm North America that he wanted to share with me. They had loaned him an X100V for a few weeks; when he returned it, they asked for his feedback. He told them, “I really like shooting with Portra 400 and Tri-X.” They replied, “What do you mean? It’s a digital camera.” He was very surprised that Fujifilm had no idea about Fuji X Weekly, so he informed them.
Shortly after this, Fujifilm North America reached out to me. They were more curious about what I was doing than anything else. They wanted to know what a Recipe is. It was a very positive phone call, and I was thrilled to talk with someone at Fujifilm for the first time. A few emails went back-and-forth, and I was asked to write an article for them. Excitedly, I got it typed out and over to them quickly. They said it was great, and they would forward it up the chain. When it came back down, I was told that they liked my article, but they had to reject it because I had used competing brand names (like Kodak, Portra, Ilford, etc.). There wasn’t much communication after that, except that they wanted to use one of my pictures in an article. In December, Fujifilm sent me a coffee mug for Christmas.
A year later I was invited to be a guest on a Fujifilm tech webinar (did you know that Fujifilm does regular webinars?). The tech team is great. They’re all very knowledgable and helpful, and otherwise good people. They are big fans of Film Simulation Recipes, too. I enjoyed that experience. It was my last interaction with the brand until January of 2024, when Fujifilm North America called out of the blue, stating that they’d like to start working with me.
Dumbo Crowd – Brooklyn, New York City, NY – Fujifilm X-T50 – Reala Ace Recipe
Last year was epic. Fujifilm invited me to be a part of various things, including a release event for the X-T50 and GFX100S II, a creator retreat, and their annual Create With Us event. I traveled across the country from coast-to-coast, leading photowalks. Incredible! It was such an honor. I will always remember 2024 fondly.
During that time I noticed Fujifilm began to use the term “Recipe” occasionally on their website and social media accounts. A certain X-Photographer noted to me that after years of promoting Recipes with pretty much zero interest or help from Fujifilm, suddenly Recipes were “the thing” within the company. Now, in 2025, “Recipe” is an official Fujifilm feature, and the term is found within the camera menu.
Nikon beat Fujifilm to the punch when they began using the term Recipe a year ago for their JPEG settings. I’m not sure if it will catch on within that community or not (it will be interesting to see), but it is noteworthy that they are trying to capitalize on it. This whole Recipe concept—whether by name or not—is certainly growing and spreading across photography. I think we will see it more and more in the coming years.
I didn’t invent the word “recipe” and I certainly wasn’t the first to use it within the photo world. Apparently, user-created Capture One presets have been called recipes for some time now (I became aware of this last year, I had no idea). Specific darkroom chemicals and development times have been called recipes for many decades. I discovered that a couple people had used the word when describing their Fujifilm JPEG settings before I ever published my first Film Simulation Recipe. I’m not sure if I coined the term Recipe for JPEG camera setting combinations (I might have, but it doesn’t matter if I did or didn’t). What is certain is that if not for this website and the wonderful community that formed around using Recipes (which is the best community in all of photography, IMHO), the word would not be found in the Fujifilm X-E5 today (and it probably wouldn’t be used by Nikon, either). I’m still in disbelief at where we’re at today, I never imagined it would go this far. Some people will read that and think I’m bragging and taking too much credit, but believe me that I’m writing this in all humbleness.
I won’t get to see the Fujifilm X-E5 until Tuesday morning, about two hours before the BILD Expo doors open. Fujifilm tried to get me a loaner camera a little earlier, but due to travel, it just didn’t work out (it’s not their fault—they really did try). Right now I know as much about the X-E5 as the next person (maybe less), so I don’t have any real insights. I’m going to spend this weekend learning more so that I don’t sound completely ignorant at BILD. Once I’ve had a chance to touch it, and maybe even capture a couple of pictures (hopefully I’ll get an opportunity to do that), I’ll be able to speak more about it, so look for a more thorough article in a couple weeks.
What I can say is that the Fujifilm X-E5 is basically an interchangeable-lens X100VI. It’s not exactly that, but it’s as close as you’re going to get. There are advantages and disadvantages to both. The X100VI has an optical viewfinder, shutter/ISO combo dial, leaf shutter, flash, built-in ND-filter, and can be weather-sealed; the X-E5 has a Film Dial, selfie-capable LCD, and you can change lenses. Otherwise, the two cameras are a lot alike. For those that have asked for an interchangeable-lens X100VI, here it is! You are unlikely to get closer to that wish than this camera.
White Bridge across Pond – Charleston, SC – Fujifilm X-E4 – Pacific Blues Recipe
As a more premium iteration of the X-E line, it obviously has seen a price increase. Add to that inflation and tariffs, and you get a $1,700 price tag. That seems like a lot of money (because it is), but remember 1) every major camera maker has indicated that they will be raising their prices soon (Fujifilm is just the first, beginning with the X half and X-E5), and 2) cameras used to be a lot more expensive—for example, the Canon A-1 was $625 in 1978, which is over $3,000 when adjusted for inflation; the Pentax K-5 was $1,750 in 2010, which is nearly $2,600 in today’s money. The X-E1 was $1,000 in 2012, which is $1,400 today when accounting for inflation—add tariffs on top of that, and it’s the same cost as the X-E5. So maybe the price isn’t so unreasonable after all. People will say, “But I can get an X-T5 for the same money!” Or, “For just a few hundred dollars more, I can get [insert camera name here]!” That’s true, for now. Either the prices of those models will increase shortly, or something will happen with the tariffs, and Fujifilm will be able to reduce the price of the X-E5 to what it was intended to be. Those who wanted 40mp and IBIS and the camera to be more premium but didn’t want the cost to go up were not being realistic. Even the X-E4, when accounting for inflation would be over $1,000 today.
The final thing I’ll say about the Fujifilm X-E5 is that, with C1-C7, plus the “bonus 8th Recipe” that you can program into the IQ Menu, plus the three Recipe slots on the Film Dial, it’s possible to have up to 11 Film Simulation Recipes loaded into the camera at any given time. You can only name seven of them, so you’ll have to remember what the other four are. If you use one or both of my “universal” Recipes (here and here), that adds even more flexibility. Awesome! We’ll see if Fujifilm brings that functionality to the X-T50 and X-M5 via a firmware update—I hope they do.
If you are in New York City on Tuesday and Wednesday, be sure to stop by the Fujifilm booth and touch-and-try the X-E5. I’d love to chat Recipes with you, so be sure to look for me. If you are in Colorado Springs on June 28th, I’ll be leading a photowalk with Mike’s Camera (click here for the details and to register); while I won’t have an X-E5 with me, I’d still love to chat with you about it, or any other Fujifilm or photography related topics. I hope to see you soon!
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
Fujifilm X-E5 in black: B&H, Nuzira Fujifilm X-E5 in silver: B&H, Nuzira
It has been quiet on this website over the last handful of days. I’m traveling up the east coast of America in an RV right now with my wife and four kids. We rented a motorhome, and are driving it from Miami to Boston. The trip is a little over halfway complete. We’ve seen so much, and had wonderful experiences, even though it has rained every single day. It’s been a great opportunity to try out the Fujifilm X half, and I’ll have a full review soon, which you can expect probably next week. Even though I’ve been on the road, I’ve still be busy behind-the-scenes with all sorts of projects.
First up is a surprise that I’ll announce in six days, on June 14th. It’s something that has been in the works for quite some time, and I’m really excited to share. I’m not going to say what it is just yet, so this paragraph stands as the first teaser. I’ll have the full reveal this coming Saturday—stay tuned!
Right after that, on June 17th and 18th, I’ll be in New York City for the B&H BILD Expo. Fujifilm is flying me out to help man their booth, which is where you’ll find me. If you go, be sure to stop by and say hi, as I’d love to meet you in person. The event is free (you do have to register), so if you are anywhere near the New York City area, be sure to join in on the fun.
223 – Savannah, GA – Fujifilm X-HF1
On Saturday, June 28th, I will be leading a photowalk in Manitou Springs, Colorado, with Mike’s Camera and Fujifilm. We will meet at Mike’s Camera in Colorado Springs at 11:30 AM for a meet-and-greet, and to help with gear questions and setup Recipes. Around 12:00 noon we’ll caravan to Manitou Springs, and regroup at the Pikes Peak Library District. We’ll explore the scenic and quirky mountain town of Manitou Springs with our cameras for about two hours, before departing back to Mike’s Camera, where we’ll finish the event with some light refreshments. The cost is $25 per person; however, at the end of the event, each registrant will receive a $25 off coupon for use at Mike’s Camera, which basically makes the photowalk free. You must register (click here), and spaces are limited, so be sure to sign up today. If you live in Colorado or will be visiting that weekend, I hope you can come out for what will surely be an epic photowalk!
Mike’s Camera is doing so much for the photography community near their various stores. Not everyone lives in a place that has a store like this; those that do are quite lucky, so be sure to take full advantage of it: attend a class or join a photowalk. It’s an incredible honor to be a part of this community-building with Mike’s Camera, even though I don’t live anywhere near one of their locations.
There are a number of other exciting things in the works—these are just the ones coming up within the next three weeks. Hopefully soon I’ll be able to share even more news. There’s a ton to look forward to, including a camera announcement on the 12th. It will be great to see some of you in New York City and Colorado Springs this month!
Fujifilm announced a new camera last night called X half. It also goes by the name X-HF1, apparently. This is a 32mm (full-frame-equivalent) f/2.8 fixed-lens compact camera with a vertically mounted 1″ sensor, and is probably the most unique digital camera ever made—or, at the least, it offers the most unique photographic experience in all of digital photography. This isn’t a review, but I did want to give my thoughts on the release.
I haven’t used the camera, or even seen it in-person. I was up late last night watching the announcement and various review videos that were published, trying to figure out what this camera is. Now I’m awake typing this article after less than five hours of sleep, so if there are any typos, please excuse me. I’ve barely started my first cup of coffee. Anyway, Fujifilm released two videos, which I’ve included below.
In the weeks leading up to the release, I published two article about the X-HF1, speculating what it might be. The first was Why the Upcoming Fujifilm Half-Frame Camera is Genius, and I guessed that this was going to be an amazing camera, specifically designed for both a film-like photographic experience and recording vertical videos for TikToks and Reels. The second was What if the upcoming Fujifilm Xhalf is something different?, where I second-guessed my prior article, and wondered if the camera was going to be stripped down, less video-centric, and more Instax than X-series. Well, the X half seems to fall right in-between (maybe closer to the second take), and both articles had some things right and some wrong.
The new camera is intended to produce a film-like experience, and is capable of doing so in a unique way. In Film Camera Mode, you choose your “film” (Film Simulation) and how many frames (36, 54, or 72), and then you shoot through the Optical Viewfinder until the roll is fully exposed, using the frame advance lever in-between shots. You cannot see your pictures until after the roll is finished and “developed” in their new app that is just for this camera. I think this is super cool, and I hope this mode comes to some future camera, maybe the upcoming X-E5. There is a missed opportunity: Fujifilm offers photo printing services, so you should be able to order 4″x6″ prints of your roll of “film” from the new app. It would be so much fun to order prints, then wait until they arrive in the mail before reviewing the pictures. It would encourage people to print their photos, which isn’t done nearly enough nowadays. And it would be a way for Fujifilm to make some extra money on a service they already offer. Maybe they’ll update the app to include this in the future, as it seems like an obvious oversight.
The X half has a 20mp 1″ Bayer sensor, but only uses 18mp because it crops out 2mp to accommodate the 3:4 aspect ratio (the sensor is 2:3). If you want to crop your pictures to 2:3, you’ll lose a little more resolution, but it is still plenty for social media and web use, as well as prints smaller than 16″x24″. It would have been nice if one could choose to use the full sensor and the 2:3 aspect ratio, but with the X-HF1, Fujifilm significantly stripped down the menu and customizations. They made the camera about simplicity, but in doing so you lose out on some of what makes Fujifilm cameras special; namely, you cannot use Film Simulation Recipes with this camera, since you cannot control the various parameters like you can on any other X-series model.
Instead of 20 Film Simulations, this camera only has 13: Provia, Velvia, Astia, Classic Chrome, Reala Ace, Classic Negative, Nostalgic Negative, Eterna, Acros, Acros+Y/+R/+G, an Sepia. It’s too bad Sepia made the cut over PRO Neg. Hi, PRO Neg. Std, and Eterna Bleach Bypass. While you cannot use Recipes, the Film Simulations seem to produce a slightly divergent look than the standard Film Sims, almost as if Fujifilm programmed each with its own Recipe, for what that’s worth. There are also so-called Advanced Filters, including a few new ones borrowed from the Instax Evo cameras.
While the X half does shoot vertical video, the quality seems suspect. I’m sure there are some who will appreciate this and will create some interesting content with it, but it’s a big miss in my opinion. They should have allowed 1080p in the 9:16 aspect ratio so it would have been more useful for social media video creation. The X-HF1 could have been a trendy camera for TikToks, Reels, and Shorts, but I just don’t see that happening with the video implementation. The capability of video-video and still-video diptychs are a bit intriguing, but I don’t think that will catch on as anything more than a passing curiosity. Or don’t included video capabilities at all—I think that would have made a bigger statement (and would have been viewed more positively) than how it was implemented.
So what do I make of the X half? It looks nice. It’s very compact, which is perfect for everyday carry or travel. It’s minimalistic, which can be good. It offers a very unique shooting experience that looks like a lot of fun. It seems like a bridge between Instax and the X-series, and I think it’s fair to consider it more like a very-high-end Instax Evo camera without a printer than a bottom-end X-series model (it’s basically both). It will certainly be a very controversial camera (maybe the most), with perhaps the biggest controversy being the price: an MSRP of $850, which seems high for what it is. Some people are going to love it, and some are going to hate it. I think it will be especially popular with Gen Z and Gen Alpha, who are currently fascinated with classic digicams and film cameras, including half-frame models like the Pentax 17. Me? I applaud Fujifilm for daring to be different, and going way outside the box. I did preorder one last night, but I’m a bit unsure if I’m actually going to like it or not. Now excuse me while I pour that second cup of coffee….
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Fujifilm released a new teaser video (which you’ll find below) for the upcoming Xhalf camera, and it is quite interesting, because it showcases camera’s designer. The concept becomes much more clear, even if spoken in vague terms.
First, it starts with clarification: the upcoming camera is indeed X-series. I had wondered if it was going to be X-series, or maybe in the Instax line. Now we know for sure. Perhaps that is an indication that my initial speculation is more likely to be true.
“I personally use both digital and film cameras in various formats,” the product designer states, “ranging from point and shoot to medium format. But specs and tech aren’t always everything. I designed this camera so that you can express yourself in a different way. I hope you will enjoy telling your story with this camera.”
I don’t know if the photos and footage in this video were created using the upcoming camera. Fujirumors thinks that it was, but I couldn’t find anything that says one way or the other. It seems to be, though. The previous teaser video wasn’t, but they also stated that in the description. I think it’s fairly safe to assume that this latest video was indeed created using the new camera, but it’s still a possibility that some or all of it was not.
The photo on the left in the above screenshot caught my attention. It looks a lot like the Fujicolor 100 Gold Film Simulation Recipe. There are some others that can produce a similar look, such as Pacific Blues or Superia Negative (there are a couple others, too), or maybe it’s not one of my Recipes or even a Recipe at all. It doesn’t really mean anything, but I found it interesting nonetheless.
The Xhalf will be announced on May 22 at 1 AM Eastern Time, which is 10 PM Pacific Time on the 21st (just two days from now). I’m pretty excited to learn the specifics about this model, which will certainly be one of the most unique digital cameras ever made. If you are in Los Angeles on the 22nd, be sure to go to the X Summit Experience that Fujifilm is hosting.
Fujifilm recently teased this silhouette of the upcoming half-frame camera.
Fujifilm is about to change the way we think about cameras—with a twist that’s so obvious, you’ll wonder why no one did it sooner. A vertical half-frame digital camera, inspired by film classics but built for the social-media age. Here’s why this little camera might just be the most brilliant idea Fujifilm has had in years.
When I first heard rumors that Fujifilm was developing a digital half-frame camera with a 1″ sensor that is mounted vertically, plus a vertically-oriented LCD screen, I thought it could be interesting, but I didn’t really grasp the significance of it. The more I sat with the idea, the more I realized that this camera will be a game-changer. It’s a brilliant move that taps deep into both photographic tradition and modern needs. It’s a camera that looks back and forward at the same time, while firmly fitting in with current trends.
First, let’s talk about the sensor orientation. Instead of the typical horizontal orientation, the sensor itself is vertical. In today’s world, vertical is king for short-form video (Instagram Reels, TikToks, YouTube Shorts). Even websites and blogs are increasingly favoring vertical imagery—whether stills or video—because most people view them on their phones. Our cellphones have been teaching us to see vertically for over a decade. Fujifilm recognized an obvious truth: if a large segment of the population is shooting vertical most of the time, why not design a camera that’s naturally optimized for it? I think it’s just a matter of time before we see longer-form videos in the vertical format, and maybe even televisions and computer monitors orientated tall (or perhaps in a plus shape) in a few years. Vertical is the future, and the future is now; however, the tech industry has been a little slow to embrace this—perhaps because it upends 137 years of motion picture and nearly a hundred years of television norms.
But it goes deeper than just trendy vertical videos. This camera harkens back to the classic half-frame film cameras of the 1960s, ’70s, and ’80’s, such as the Canon Demi, Olympus Pen F, Konica Recorder, and many others. Just within the last couple of years, the Kodak H35N and Pentax 17 have been analog hits. These cameras shoot two vertical frames on a standard 35mm negative (hence the term “half-frame”), allowing photographers to get twice the number of exposures per roll. Diptychs—two frames that work together as a pair—encourage creativity, storytelling, and experimentation. Fujifilm is embracing this with their upcoming X-series camera. Digital diptychs will be an invitation to think differently, to see differently. It’s not just about creating one great shot; it’s about how two moments side-by-side can create greater meaning.
The elephant in the room is the sensor size. A 1″ sensor is not the same size as a half-frame of 35mm film; actually, APS-C is pretty much half of full-frame. A 1″ sensor is basically half the size of APS-C, so it could be thought of as half-frame compared to APS-C. I think the camera will be more the spirit of half-frame than the technical definition, which will drive some people nuts. While there are some current cameras with a 1″ sensor—such as the Sony RX100 VII—it’s not all that common nowadays, and might be thought of as less-than-capable. For diptychs and vertical videos, it will be more than enough, and I don’t think it will be a point of contention for most people. Plus, the smaller sensor size allows for a more compact design. In other words, it might be a camera you’ll actually take everywhere, and not collect dust because it’s inconvenient to carry.
With the sensor orientated vertical, it just makes sense that LCD screen will be vertical, too. No awkward wrist contortions needed when composing tall shots. No fighting against a UI that’s stuck thinking horizontal. Once again, Fujifilm is demonstrating that they understand how people actually shoot—obviously not everyone, but a large segment of the population, for sure. This will be an obvious camera for social media content creators considering an upgrade from their cellphones.
With the rumored ability to lock in a Film Simulation Recipe for a specified number of shots (probably 12, 24, 36, 48, and 72, but I don’t know for sure), this camera will provide an analog-like experience unlike any other. It reminds me of the “wrench” that Peter McKinnon mentioned a couple of years ago. It’s this blending of retro with modern that perhaps seems unnecessary, but might actually be refreshing. And cool.
Some might say this camera will be too niche, but I think it’s visionary. In a world flooded with generic lookalike cameras chasing megapixels and meaningless specs, Fujifilm is daring to make a model that’s fun, soulful, and vintage-yet-forward-thinking, that’s perfectly suited for how we share our lives today. When this camera is officially unveiled, it will become an instant classic, I’m confident in that prediction. It’s a genius move that is perfect for this new era of vertical-first content creation. Aside from that, it’s retro and pocketable, which are quite trendy right now.
Fujifilm teased a new upcoming camera on their social media accounts. Not much is known about it. The biggest clue is the title: Half the Size, Twice the Story. The camera appears to be quite small, perhaps similar to the Fujifilm X30, but maybe smaller than that—it could be even smaller than the X70. It’s hard to say from the teaser.
Interestingly, there appears to be a small film simulation screen (kind of like the X-Pro3, but shaped differently, and maybe with less information) on the rear. Looks pretty cool, from the little that can be seen.
There’s been talk for awhile now of a “half frame” model that’s essentially a digital version of the Pentax 17 half-frame 35mm film camera. I don’t know if this is that, or even what that means exactly, but it could be. And if it is, it will be a lot of fun. I don’t think anyone will use it as a professional camera (of course it could be, and someone will do so just to prove the point, I’m sure), but as an enjoyable carry-everywhere model, or as a first camera for your kids, it could be quite tempting. This is just speculation, obviously—not much is known, not even when it might be released.
And there’s also the question of availability in the United States. Word on the street is that Fujifilm is pausing shipments into America until the tariff stuff settles—I don’t know if that’s true or not, just something I’ve heard more than once, so it could be true. If it is true, I’m not certain if it will be for all gear or only some, or for how long, or if prices will be raised once resumed. This isn’t a political comment, so please, no political talk in the comments section (they will be removed). Availability of some Fujifilm products has been scarce over the last couple of years (ever since the X100V went viral roughly 30 months ago), and this will likely compound the issue in the USA, but maybe have the opposite effect elsewhere in the world. Whatever the new camera is, I’m highly interested, and I’m keeping my fingers crossed that it will be available in America whenever it is announced.
Makoto told PetaPixel, “[O]ur first priority was how to make it smaller and lighter weight.” That’s pretty much the entirety of the article, as the rest is simply explaining why the camera does not have IBIS or a larger maximum aperture than f/4 and other design choices. It’s worth reading, if you are curious about those things. The main point: Fujifilm set out to make it as small and lightweight as possible. Interestingly, they did create mockups of versions with IBIS and larger apertures, but it required the camera to be significantly larger and heavier, which went against their “first priority” of small size and less weight. IBIS alone, according to this interview, would have doubled the camera’s size, because the lens would have to project to a much larger area.
The lens is pretty remarkable in that it is extremely compact for medium-format, and it barely covers the sensor. That’s why IBIS wasn’t practical, as it would have required a different and much larger lens. That’s why the maximum aperture is “only” f/4, as a larger aperture would not only have required a larger lens, but it would likely begin to show vignetting and corner softness when wide open. All of the design choices make sense when viewed through the prism of Fujifilm’s top priority: size and weight. The engineers succeeded, and did so quite fantastically.
Now you might disagree with the “first priority” that Fujifilm gave the GFX100RF team. You might not appreciate that the GFX100RF is the smallest, lightest, and cheapest digital medium-format camera-lens combo that has ever been made. You might have wished that Fujifilm’s top goal was to make this as premium of a camera as possible, or balanced somewhere in-between premium and size/weight/cost. I think that’s where a lot of the criticisms are found. There are some (quite) vocal critics who disagree with the design ethos, and wished that this camera was different.
This is where the second PetaPixel article comes in. Interestingly, interchangeable-lens camera sales are declining year-over-year, while fixed-lens camera sales are increasing because of a renewed interest in compact cameras. Who is leading the fixed-lens camera market? Kodak. Surprised? It’s JK Imaging selling cheap point-and-shoots on Amazon under the Kodak PixPro name—cameras that are basically 15-year-old tech digicams. Second is Fujifilm, thanks to the massive success of the X100VI, which has already outsold all of the previous X100-series models, and also the Instax Evo line. Canon is third—largely because of their nine-year-old (but still in production) ELPH 360 digicam—but declining (the PowerShot V1 will certainly change that trajectory to some degree). Kenko Tokina is fourth with their tiny toy cameras and digicams. Panasonic is fifth and on the rise, due to the sales success of the DC-ZS99. Ricoh is sixth, thanks to the GR III and GR IIIx, and would probably rank higher if they manufactured those cameras at a higher rate to meet the current demand. Most of the fixed-lens cameras that are selling like hotcakes right now are cheap point-and-shoots; the exceptions are the Fujifilm X100VI and Ricoh GR III/GR IIIx.
If you are trying to understand why Fujifilm chose to make size, weight, and cost the priority for the GFX100RF, that’s why. Simply, it’s market trends. By making the camera as small, lightweight, and affordable as possible, Fujifilm gave it the best chance for market success. The early indicators seem to show that it was the best choice, but only time will tell. That’s not going to make those who wish that Fujifilm had made other aspects—like stabilization and maximum aperture—more important feel any better, but I hope it sheds some light on the why, even if you disagree.
With the massive success of the X100VI, if sales figures for the GFX100RF are good, and if Fujifilm were to release some other fixed-lens option (say, the half-frame camera that’s been rumored), it’s quite possible that Fujifilm will find itself at the very top of the fixed-lens market, which is a growing segment. But, I think it’s also quite possible that, as the months pass by, more and more fixed-lens cameras will be released by other manufacturers, heating up the competition, and making it more difficult to stay on top. Getting quality (and exciting) products out ahead of competitors is going to be a big long-term win for Fujifilm in my opinion; however, predicting the future is impossible, and I’ve certainly been wrong plenty of times before, so who knows? It does seem like smart moves to me, though. Overall, the GFX100RF is likely only going to be a small contributor to Fujifilm’s fixed-lens sales numbers (it’s a $4,900 camera, after all, and GFX models don’t move nearly as quickly as X-series), but it will probably do well for the company’s bottom line, which is good if you’d like to see them continue to make interesting cameras well into the future.
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Fujifilm just announced this morning the brand-new GFX100RF, the first ever fixed-lens compact digital medium-format camera. This new camera uses the same 100mp sensor found in the GFX100 II and GFX100S II, and has a built-in 35mm (28mm full-frame-equivalent, or 18mm APS-C-equivalent) f/4 lens. All for only $4,899! There are several things that make this new camera special—plus a couple that don’t—so let’s dive right in.
The Fujifilm GFX100RF is the most portable digital medium-format camera ever made. It’s the most lightweight digital medium-format camera/lens combination, and it’s the smallest GFX. It’s probably the smallest medium-format, but it depends on how exactly you define smallest. The Hasselblad 907X (plus CFV 100C back) with the 28mm f/4 lens was previously considered the smallest and lightest, and while it might arguably be the “smallest” (it is less wide, but deeper), it is no longer the lightest. For portability, the GFX100RF is the best option in medium-format, making it a compelling camera for travel or even everyday carry.
A few months ago I purchased my first GFX camera, the GFX100S II, with the specific purpose of creating XPan panoramic images that I want to print large. One problem with GFX in general is the size and heft of the gear, which do not lend themselves well for lugging all over the place. Of course, Ansel Adams and the great photographers of the past would laugh at that. While I much prefer smaller gear for travel, I “need” to bring my GFX100S II for the XPan pictures. The 40mp sensor in my X-series cameras produces plenty of resolution for the XPan crop, but it is not quite enough for how large I hope to print. The GFX100RF would be perfect for this, except that I just dropped a ton of money on a GFX camera and a couple lenses back in December.
Which brings me to point number two: the GFX100RF is the cheapest way to get into digital medium-format photography, aside from buying used. If you’ve wanted to get into digital medium-format but have been priced out, this new camera might be for you. It wasn’t even a decade ago that it would cost you at least $10,000 for just the camera body, and thousands more for a lens. Now the entry fee is only $5,000, and that includes the lens! Most people, though, don’t need so much resolution, and medium-format is far more of a luxury than a need.
Another unfortunate aspect of the GFX system is the lack of retro-styled cameras with the traditional tactile controls that Fujifilm is known for. This not only makes the cameras stylish, but also fun, and (IMHO) more functional. The long-discontinued GFX50R is the only other option, so this type of design is long-overdue. Thankfully, Fujifilm is bringing it back to GFX! I bet if this camera does well, there will be more retro-styled models in the future—perhaps a GFX100R.
The GFX100RF has a couple of unique features. One is an aspect ratio knob, which also includes a couple of new aspect ratios not typical found on Fujifilm cameras. Now you can choose between 4:3, 5:4, 1:1, 3:2, 7:6, 65:24, 17:6, and 16:9, and you can switch between those without digging through the menu. Another is a digital teleconverter, with a wheel that shuffles through the options: 45mm, 63mm, and 80mm (I’m not sure if those crops are GFX focal-length measurements or full-frame). Also, interestingly, the GFX100RF uses the same 49mm filter thread size as the X100-series. I can’t say this with 100% confidence, but I’m pretty sure the WCL-X100 and TCL-X100 will work on the new camera (this is mere speculation), which is absolutely amazing if they do; however, I doubt that they are officially supported, and they may not cover the entire frame. Oh, and the GFX100RF is the first GFX model with a leaf shutter, which is especially useful for high speed flash sync.
Now onto a couple of negatives. I’ve covered these before (here and here), so I’ll try to make this quick. I think the camera will be well-received and well-loved, and these two issues will prove to be relatively minor in the long run.
First is the lack of IBIS. An expensive camera lacking IBIS in 2025 is a shocker for some. There are photographers who consider it an essential feature, and won’t buy a camera without it. I’m not in that camp personally. This isn’t a video-centric model, and it has a wide-angle lens, so it doesn’t really need IBIS. Sure, it would be nice to have, but it would have made the camera larger, heavier, and more expensive (at least a little). Two of the biggest selling points (portability and price) would have taken a bit of a hit. I’m sure Fujifilm debated extensively internally if it should have it or not, and ultimately they chose to exclude IBIS for the reasons I just stated. I would have been happy with or without stabilization, as it’s just not a big deal on a camera like this; however, those who do believe it is an essentially feature will likely pass.
Second is the maximum aperture of only f/4, which is not particularly impressive. While f/4 is common on medium-format, it’s not especially bright, which will make the camera less practical after the sun goes down or in dimly lit indoor situations. Generally speaking, shallow depth-of-field isn’t a major focus of wide-angle lens photography, but for those wondering, f/4 on GFX has a similar depth-of-field as f/2 on the X-series. The GFX100RF is more of an “f/8 and be there” camera, so I don’t think the small maximum aperture will be a problem for most people and situations.
That’s my analysis of the new camera. I think many will order it for its portability, price, and style. It’s not a camera that most people need, but I bet it will be highly desired. I want one! I kind of wish I had waited to jump into GFX, because if I hadn’t purchased a GFX100S II a few months ago I would have ordered the GFX100RF today. Instead, I will have to save up and wait. Oh, well. Whenever the opportunity comes to buy the camera, I’m certain that I will be thrilled with it. I’m sure those who have already preordered the camera will love it when it arrives next month.
You can preorder the Fujifilm GFX100RF today. I’ve heard there has already been a lot of preorders, so don’t be surprised if there is a bit of a wait before your order ships. The camera will officially be released and ship on April 24th.
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
Fujifilm GFX100RF in black: Amazon, B&H Fujifilm GFX100RF in silver: Amazon, B&H
While at the CP+ Show in Japan, PetaPixel interviewed Yuji Igarashi, who is the General Manager of the Professional Imaging Group, Imaging Solutions Division, of the Fujifilm Corporation. He said some interesting things regarding the Fujifilm X100VI production situation. Now, it’s important to take it with a grain of salt. Sometimes people will harshly judge an interpretation of what someone said in a different language, lacking grace for interpretation errors and dialect and cultural differences. Keeping that in mind, let’s get into it.
“We’ve more than doubled our production compared to the previous model,” Yuji Igarashi stated. “But on top of that, we are also still increasing production. Now we can produce higher than [15,000 units per month] and we have been, but it’s not like we can produce double that [amount again].”
Not much new there. Fujifilm told us from the outset that they had doubled production from the previous model, from 7,500 units per month to 15,000. We also already knew that for a year now they have been trying to increase production further. Fujifilm told PetaPixel that they have been unable to accomplish 30,000 units per month, but they are definitely beyond 15,000.
“We’ve been doing what we can to increase our production for the X100VI,” Yuji explained, “but the processes are quite complicated—especially for pieces like the top plate. To make these sharp edges, it goes through many processes. So, this type of camera is not so suited for ramping up production.” In other words, they’re doing all that they can, but there are significant challenges that prevent them from churning out even more cameras.
“In one year since we launched this product,” Yuji continued, “compared to the previous models which took us to sell three or four years, we’ve already shipped an equivalent amount.” This was shocking to me. Fujifilm is stating that—even with the manufacturing limitations—they have already built and delivered as many X100VI’s, which was released just one year ago, as the previous iteration over nearly a four year period. Just as many people have an X100VI in their hands as have an X100V, yet it only took Fujifilm one year to do that for the new camera vs four years for the X100V. And it’s a similar situation for the X100F and the previous versions.
This completely shreds the (quite stupid) theory that Fujifilm is purposefully creating shortages in order to manipulate the market. The unprecedented demand of the X100VI was and is real. No camera has been as in-demand as the X100VI ever. In all of history, no model from any brand received more preorders than the X100VI, it’s not even close. Despite building a ton of copies, Fujifilm has not yet met the initial demand, but they’re getting close. “So I know people are quite frustrated when they say it’s still not available,” Yuji said. “I think one issue is that the first-day orders were so big when it was announced, that’s why people say they’ve been waiting for eight, or 10 months, which we totally understand is so frustrating. So until we clear that, some people will still continue to say, ‘We’ve been waiting for 10 months.'”
Now you might say that the math isn’t mathing. If Fujifilm hasn’t been able to quadruple production, how could they possibly build as many units in one year as they did over nearly four? First, Fujifilm produced a bunch of copies in the months prior to the camera’s announcement, in anticipation of strong initial demand. Also, the X100V was effected by the pandemic parts shortage, which for a time limited the number of copies they could manufacture. If Fujifilm managed to make (say) 300,000 units, that would likely be close to the total number of X100V’s manufactured in total. And that 300K guesstimate might be in the ballpark. We know that 180,000 were manufactured at a minimum post launch, and 60,000 might have been manufactured prior to launch. If Fujifilm has been able to increase production by 6,000 units on average over the last 10 months, then you’d have 300K. While that’s a lot of cameras, apparently there were around 500,000 day-one preorders in China alone, so the initial demand has still not been met a whole year later.
Thankfully, slowly but surely Fujifilm is catching up. Here and there the X100VI has been seen in-stock at camera stores, particularly the black version. If you want to buy one, the wait isn’t nearly as long now. You might still have to be patient for a month or maybe a few, but the 10-month-long waits are in the past. It’s a good time to get your order in if you’ve been waiting. Or, if you’ve been hoping to find it at a local camera store, they might just have one right now—maybe.
The challenge for Fujifilm is to tread carefully on production numbers. If they suddenly find that the demand has been met, and they’re building over 20,000 units per month, they could end up overproducing a lot of copies. Since it takes months from the time parts are ordered until finished cameras are delivered, if the market suddenly shifts, it’s possible that Fujifilm could manufacture a hundred thousand copies more than are needed and can be sold. That amount of overproduction would be a tough blow to the bottom line, and possible could cripple the camera division. As wait times dwindle, Fujifilm should strongly considered reducing the number of units that they manufacture monthly. At some point, 15,000 copies each month will be much too much. Hopefully that is a long ways off, but it will arrive eventually, and it will need to be handled quite carefully when it approaches.
In just 10 days—on March 20th—Fujifilm will announce a new product, purportedly a fixed-lens GFX camera, in Prague. This X Summit takes place at 11:00 AM local in the Czech Republic, which is 2:00 AM Pacific Time and 5:00 AM Eastern Time in the United States. I won’t be awake for that. By the time I brew my first cup of coffee, the camera will have been long announced, and preorders already open. If you want to get this camera right away, my recommendation is to set your alarm clock.
Since most Americans will be fast asleep when the announcement happens, Fujifilm North America is having their own party, which they’re calling an X Summit Experience, in Las Vegas at the WPPI Expo. This will be at 10:30 AM Pacific Time on the 20th. If you are in the Las Vegas area, I’m sure it will be worthwhile to stop by—just be sure to register.
Fujifilm did something similar to this with the launch of the X-T50 and GFX100S II. The X Summit for that was in Australia, which was the middle of the night for most of America. So they had an X Summit Experience on a Manhattan rooftop later in the day to celebrate the announcements. I was invited to be a part of that, and it was a ton of fun. So definitely, if you are in Vegas on the 20th, be sure to go. Unfortunately, I won’t be there for this one.
It’s possible that more than one thing will be announced at this X Summit. Four products—two cameras and two lenses—were unveiled at the Sydney X Summit in 2024; however, since nothing has leaked, I would be surprised if anything else was officially announced. But, I do suspect there could be some extras, such as a future product tease, and/or more info on the upcoming GFX Eterna cinema camera. I won’t catch it live, but will probably watch it on YouTube later in the day.
Purportedly, Fujifilm is about to shake up the medium-format world with their upcoming 100mp fixed-lens GFX camera: GFX100RF. This upcoming model, rumored to be priced around $5,000, will feature a high resolution 100mp sensor paired with a fixed 35mm f/4 lens (28mm full-frame-equivalent, or 18.5mm APS-C-equivalent). Apparently, it will be about the same size as an X-Pro model. While this might sound like a dream camera for some, others may wonder whether it’s actually a good value—will it even be worthwhile at that price point. Let’s talk about this.
I want to start with this disclaimer: I don’t have any inside information on the upcoming camera. Fujifilm hasn’t shared anything about it with me, not even if there is a camera forthcoming, or if any camera is forthcoming. I only know as much as the next person, and what I do know I read on Fujirumors. Patrick has a pretty solid track record, so there’s a good chance that everything he has shared about the camera is correct, but until it is announced by Fujifilm, nothing can be known with 100% certainty. In other words, anytime that we’re discussing rumors, it should be taken with a grain of salt. We will all know everything when it is announced in March, and, until then, it’s only speculation.
Some might see the upcoming Fujifilm GFX100RF camera as a fantastic value. Not all that long ago, a digital medium-format camera would set you back at least $10,000, if not $30,000 or even $60,000. When Pentax released the 50mp 645Z in 2014 at “only” $8,500, it shocked the camera world because it seemed to be impossibly inexpensive for what it was. Beginning in 2017, Fujifilm basically took things a step further, and in the process became the leader in medium-format, by offering the GFX50S and GFX50R for $6,500 and $4,500 respectively. Since then, prices have continued to come down while the capabilities of these cameras have increased.
The Fujifilm GFX100S II has an MSRP of $5,000. It has the same sensor and processor as the upcoming GFX100RF. A couple advantages of the GFX100S II are that it is an interchangeable-lens model, and it has IBIS; some disadvantages are that it is much bigger/heavier, it requires the purchase of a lens, and it is PASM (not the traditional Fujifilm tactile controls). Essentially, you exchange IBIS for a lens, and get a retro-styled body about the size of an X-Pro3. The most similar lenses in the GF lineup are the 30mm f/3.5 (closest focal-length) and 50mm f/3.5 (closest size), which cost $1,700 and $1,000 respectively. An argument can be made that the GFX100RF is an excellent value at “only” $5,000, considering that the lens is included.
The big advantage of the upcoming camera is, of course, size and weight, and the retro design. My speculation is that it will be the thinest ever digital medium-format body/lens combination, and maybe even the “smallest” (depending on exactly how one defines that). Comparisons will be made to the Hasselblad 907X (plus CFV 100C back) with the 45mm f/4 or 28mm f/4 lens, which is much more expensive at over $9,000 (interestingly, the Hasselblad does not have IBIS, and we’re talking about f/4 lenses…).
I think a lot of the complaints circling the internet about the upcoming GFX100RF are from those who were unlikely to buy the camera in the first place. There was always going to be an excuse. It doesn’t have IBIS. The maximum aperture is too small. It has a fixed lens. The cost is too much. If only the engineers had pulled off miracle after miracle after miracle, then they would purchase. But since the designers were limited to things like reality, what a stupid camera that nobody will buy! Of course, I disagree with that completely.
Oak Creek – Sedona, AZ – Fujifilm GFX100S II & 80mm f/1.7 – Nostalgia Negative
The lack of IBIS will deter some, no doubt. There’s a myth that more megapixels make camera shake more noticeable, but that’s simply not true. A blurry picture is blurry no matter the resolution, and a sharp picture is sharp no matter the resolution. The same rules for achieving sharp photos apply exactly the same to 10mp as 100mp. But that doesn’t mean IBIS isn’t a useful feature that’s worthwhile to have. Some see it as essential, and the lack of it on the GFX100RF will prevent them from purchasing; however, I don’t see this as a big issue for most potential buyers.
Also, the f/4 lens is not especially exciting. This maximum aperture is not uncommon on GFX lenses, and produces a depth-of-field similar to f/2 on APS-C. People looking at it from an APS-C or full-frame perspective might find it shocking, but those in the medium-format world will see it as pretty normal, similar to how f/2 is common for the X-series.
The proper take, in my opinion, is that this camera isn’t for everyone, or even for most. The GFX system as a whole is not for everyone, or even for most. The vast majority of photographers don’t need a GFX camera. Some do, and it is available for them. Some don’t, yet enjoy the system anyway. For the majority, the X-system is a better option, in terms of value, enjoyment, size, and even capabilities. It’s not “trash” or “dumb” just because you personally don’t need it, or because it doesn’t have all of the specs that you wished it would, or because it is priced above what you can reasonably pay for a new camera. I think it’s ok to say, “That camera will be nice, but it’s not for me.”
So, then, who will the GFX100RF be for? First, it will be compelling for those who want a compact and lightweight medium-format camera. The size/weight aspect alone will make it desirable. This camera will be great for roadtrips and exploring, something that the other GFX models are not especially ideal for. I suspect that a significant group of GFX owners will buy it as a second camera for this purpose. Second, it will be for those who prefer retro styling and traditional tactile controls. The only other retro GFX camera is the 50R, which is long-discontinued and approaching seven-years-old. While that camera was considered a bit of a sales flop, it has since gained a cult-like following. Retro for Fujifilm isn’t just about trendy styling, it’s about functionality and fun. Third, it will be seen by some as the long-overdue and long-hoped-for successor to the Fujifilm X70, which has grown in popularity over the last several years. The upcoming camera is certainly not a direct followup to the X70, but I think there are enough similarities that some will see it as a spiritual successor nonetheless. Fourth, it will be seen as a larger-sensor X100-like camera, so some of the hype of the X100VI will carry over to the GFX100RF. Fifth, it will serve as a gateway into GFX. The X100-series has been a lot of people’s introduction to Fujifilm; likewise, the GFX100RF will be some people’s first GFX camera. This is because it’s an all-in-one model, and no further investment is needed to get started. It’s a way to dip your toes into the pool before deciding if you want to jump all the way in. Between those five groups, I suspect that sales will be strong, but only time will tell just how well it does.
I really hope for conversion lenses—both wide and telephoto—like the X100-series has. I highly doubt that the WCL-X100 and TCL-X100 will work on it (although it would blow my mind if they somehow did), but something similar should be made for the GFX100RF. A 0.9x wide-converter (25mm full-frame-equivalent, or 16.5mm APS-C-equivalent) or 0.8x wide-converter (22mm full-frame-equivalent, or 14.5mm APS-C-equivalent), and a 1.4x teleconverter (39mm full-frame-equivalent, 26mm APS-C-equivalent), would make the camera much more compelling. If these two conversion lenses were $500 or less each, and a compact three-lens “system” was possible for only $6,000, that would make it seem like a better bargain.
While some are suggesting that the price will cause the upcoming Fujifilm GFX100RF to be a bust, I really don’t think that will be the case; however, GFX is a niche line, and sales figures will never approach that of the X-series. It won’t sell nearly as many copies as the X100VI, or X-M5, or X-T5, etc.. But will it prove to be profitable? I’m pretty confident that it will. And if it is, I’m hopeful that it will convince Fujifilm to begin work on the GFX100R, a long-overdue successor to the GFX50R. If this camera does well, it might bring with it a whole new era of retro-style medium-format cameras.
Yellow Brush, Pink Sand – White Sands NP, NM – Fujifilm GFX100S II + 80mm f1.7 – Kodak Gold Max 400 Expired
In a recent interview, Theo Georghiades, general manager of Fujifilm Imaging Solutions UK, told Amateur Photographerthat there is a possibility of a Fujifilm film camera coming in the future. Some have called this a “bombshell revelation”, but is it really?
Theo was asked, “Would Fujifilm ever consider launching a film camera again, especially if it had the retro look of an X100VI?”
He responded, “I’ve been with Fujifilm for 25 years, so have learned to never say never—but I don’t know. There is without doubt a massive resurgence in film as we see from film sales. Go down to the markets around Westminster in London and you can see the popularity of film cameras again. And it’s the same in Japan, as I found on a recent trip. As I say, I’ve learned to never, ever say never! However, any business needs to analyze the prospects for a long-term opportunity over a short-term fad.”
I’m not sure how some have interpreted this to mean Fujifilm is in development of a film camera (outside of Instax), but some have insinuated that. Others are taking a more pragmatic interpretation, that Fujifilm simply hasn’t shut the door on a film camera, which is probably the more accurate analysis.
My guess is that Theo was speaking off-the-cuff, and didn’t mean to make any official statements on this topic. In other words, a large grain of salt should be taken. Perhaps there has been water-cooler talk of the possibility, perhaps not even that. I think he is simply saying that Fujifilm does unexpected things sometimes, so you just never know what they might do in the future, but there are no current plans at this time.
If I were Fujifilm, this is what I would do: rerelease the Fujica Compact Deluxe. They already have the designs. Maybe modernize the light meter, but mostly it should stay the same. I’m sure it would sell well enough to justify manufacturing it. But time is of the essence, so if they want to do this, they should be quick about it. If they hesitate, the market for 35mm film cameras might decrease by the time it hits the shelves. You’ve got to ride the waves while they’re high and before they crash.
Fujifilm currently makes “digital film” cameras, which isn’t the same thing, but in some ways it’s better. In my opinion, the X-series bridges the gap between the positive aspects of both film and digital photography. It’s still apples-to-oranges, and I’m not suggesting otherwise, but there is enough crossover that it’s worth pointing out, and even celebrating. I have no idea whether or not Fujifilm will release a 35mm film camera, but I’m extremely happy with my X-series gear. Still, it would be really cool if they did make a brand-new film camera, so I hope they do.
I’ve had several people ask me what my opinions are of the upcoming Fujifilm GFX100RF fixed-lens X100-like GFX camera, which will supposedly be announced in the first quarter of 2025. Apparently, according to Fujirumors, the camera will be about the size of an X-Pro, have the 100mp GFX sensor, a 35mm (28mm full-frame-equivalent) f/4 lens, and will not have IBIS. That’s all that they’ve reported so far.
I don’t currently own any GFX cameras. They’re outside of my budget, are large and heavy compared to the X-series, and I think my use-case for one would be fairly limited. But, something like the GFX100RF would be interesting to me because the size and weight are likely to be less than typical GFX gear, and probably less expensive than a GFX100S II plus a lens. It would be a good way to dip my toes into GFX without having to buy a whole new system, or lug around something large and heavy.
One criticism that the camera is likely to receive is the lack of IBIS, but I think not having IBIS is just fine for a camera like this. First, outside of video and low-light situations, IBIS is really unnecessary for wide-angle lenses. Second, it adds size, weight, and cost, so its exclusion might actually be beneficial. Third, I think the whole “you need IBIS on 100mp because you can see even the smallest blur” argument is overstated. On this camera, IBIS would be occasionally nice to have, but far from essential, so it doesn’t bother me that the GFX100RF will apparently not have it.
The lens choice will probably be debated for a long time. Since fixed-lens cameras are stuck at whatever focal-length they are, you have to really like what it is. The 35mm lens on a GFX is like 18mm on APS-C (think Fujifilm X70 and Ricoh GR), or 28mm on full frame (think Leica Q3). That’s obviously a very popular focal-length, but it’s not for everyone. I personally prefer less wide-angle lenses most of the time (the X100VI, for example, is sometimes too wide for me). I completely understand the focal length choice for the GFX100RF; however, I kind of wish it was more like 50mm (40mm full-frame-equivalent), but that’s just my preference, and probably not what would be most desired by the majority of potential buyers.
And let’s not forget the maximum aperture of “only” f/4. That’s not an impressive maximum aperture, but also not unusual for medium-format. A larger maximum aperture would require a larger and heavier (and more expensive) lens, which would defeat the purpose of the GFX100RF. Back in 2021 I talked about this a bit: while GFX has a potentially smaller depth-of-field and better low-light capabilities, the fact that the maximum apertures are often smaller means that you oftentimes can’t fully realize those advantages. It’s a catch-22. Although f/2.8 would have been nice, f/4 as a maximum aperture is completely unsurprising to me, and probably required some engineering magic to even make that work.
We will have to wait a few more months to really know what the GFX100RF camera will be like, but what I can tell you is that this is the most excited I have been for a GFX model in a very long time. I need to prepare now—make room in both my budget and in my camera bag—for when it is announced. I’m sure, like the X100VI, if you’re not quick to order, there will be a wait to get your hands on one, as I’m pretty sure that this will be a popular camera.
Fujifilm just announced that they are creating a GFX Eterna cinema camera to be released sometime in 2025.
When I was at Fujifilm’s Create With Us event in Austin back in September, they had a Fujinon Duvo HZK 25-1000mm f/2.8-5.0 Box Lens on display. For those who don’t know, this is a quarter-million-dollar broadcast lens, used for sporting events. The camera attached to the lens was a Sony.
Fujinon lenses are renown in the cinema and broadcast world, but Fujifilm doesn’t have a filmmaking camera. Actually, Harlem Fragments was filmed on an X-H2s. A number of short films and mini documentaries have been filmed on an X-H2s, too. But, setting that aside, a true pro cinema camera—something ESPN would use, or Universal Pictures—was missing. I recognized this in Austin, and mentioned to the sales rep that Fujifilm should develop a camera to go with the lens, instead of using a competitor’s model. I guess they were already pretty far along in development, but I had no idea.
I don’t anticipate many, if any, reading this will ever buy the GFX Eterna. Maybe a couple of you. I’m sure it will be very expensive. But if you are a broadcaster or filmmaker, perhaps this is something you’re excited for. I can imagine some IMAX pictures being filmed on this.
One last thing: kudos to whoever at Fujifilm named the camera. It’s brilliant. A monochrome-only X100 Acros or X-Pro Acros would be really cool, too. Just throwing that out there.
For those who live in Ann Arbor, Michigan—as well as the surrounding areas—be sure to join us. Detroit is right there. Toledo and Lansing aren’t too far. Grand Rapids, Cleveland, and Fort Wayne are a pretty far drive, but some people have traveled longer distances than that for the other photowalks—if it’s not too far for you, I’d love to meet you in person. If you think that you can join us, you will need to sign up (click here to register), but it’s quick and easy to do, and best of all FREE!
We will meet somewhere in downtown Ann Arbor on Saturday, November 9th, at 10 AM. The exact meetup spot is TBD, but we will email it out to everyone who signs up once it has been finalized. Afterwards, we will head over to PROCAM for some refreshments. It’s going to be a great time!
One week later—on November 16th—I will co-lead a photowalk in Philadelphia with Allan Ali, who is a local legend. We teamed up for a photowalk back in August, and it was truly great! This photowalk through the historic and beautiful Old City is in conjunction with Unique Photo as a part of their two day Camera Show. Even if you don’t join the photowalk, at least come to the Camera Show, because it will be completely worthwhile (and while you’re there, you might as well come along on the photowalk 😀).
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 (but you get it back with a $10 token for in-store purchases), 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.
I’m looking forward to seeing some of you in Ann Arbor and Philadelphia very 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.
