On June 11th, PetaPixel published a post entitled Photographers Are Tired of Big Cameras by Jaron Schneider, which had an intriguing premise but fell a bit flat on delivery. This article is my attempt to fix that. This is perhaps what Jaron should have said.
While sitting at a train station in Osaka, Japan, Chris Niccolls stated, “I’m thinking of buying a new camera.” This might seem extremely innocuous, a common phrase uttered by most photographers as frequently as trains depart the Osaka station; however, coming from Chris, this was nothing short of shocking. You see, as a camera reviewer, Chris is constantly using new gear. Each week he has a different camera in his hands. Since 2009, when Chris and Jordan Drake began making videos for The Camera Store TV on YouTube, he has used pretty much every model released from every brand. But he very rarely buys them. It’s highly unusual for Chris to be in the market for a new camera.
For the last few years, he has been carrying a Sony a7R V. That’s what he uses when he’s not reviewing cameras. He seemed quite content with it, even just recently. If Chris was in the market for any one camera, I would have bet on it being the a7R VI, the successor to his camera, which he had just recently reviewed. Curiously, that’s not what he had in mind. “I want something small,” Chris added.
Studio Ghibli Scene – Copenhagen, Denmark – Fujifilm X-E5 – Provia Positive
The Fujifilm X-E5 is the camera that Chris was considering, which he ultimately purchased just recently. The two factors that he considered most important were compact size and image quality, with bulkiness weighted (pun intended) slightly more important than image quality. After much consideration, Chris decided that the X-E5 struck the perfect balance for him. It was small and lightweight enough, while also delivering image quality that met his strict standards. Of all the cameras available, most of which he has personally tried, the Fujifilm X-E5 is the one that he believes is most ideal for him at this moment in time.
There’s a noticeable trend in photography that can’t be ignored: creators crave compact cameras. According to a recent CIPA report, one out of every four cameras shipped in April was a compact fixed-lens model. That’s shocking! When you look at the most popular cameras over the last year, the majority of them are on the small side, and several of them are fixed-lens. Models like the Ricoh GR IV and Fujifilm X100VI are selling out well before they hit the shelves. All of the data available indicates that smaller gear is tremendously trendy right now.
What explains this? Nobody knows for sure, but there are a few possibilities, and it’s probably a combination of each, and possibly more. First, photographers are getting older. Across the globe since World War II, the average age for most countries has been rising. In America, nearly half of all professional photographers are over 40. The bulky gear that was no issue to carry around a decade ago is now starting to feel a bit cumbersome. Second, many influencers on social media use smaller gear because it’s easier to travel with, and that gear-of-choice tends to get purchased by their audience (that’s why they’re called influencers). Third, younger photographers often care more about picture aesthetic and user experience than spec-sheet stats. That high-end gear with extraordinary capabilities is less impressive to them than a camera that easily produces the look they’re after, especially if it can fit into a pocket or purse.
Fujifilm and Ricoh are the two companies that seem to be benefiting the most from this trend. Fujifilm, in particular, has seen their market share increase over the last few years, thanks to the success of cameras like the X100VI, X-E5, X-M5, and X-T30 III, all of which are hot sellers. Even the much maligned X half has been a massive success in some parts of the world, especially Asia. Of all the major brands, Fujifilm might be in the best position to seize on this compact camera craze, and it will be fascinating to watch them navigate it over the next few years. Will they produce successors to the long-discontinued X30 and X70? Surely both of those would be hits if they did. Will they find ways to shrink the size of their current lineup? Will they introduce a few more pancake lenses? There’s a lot that they could do to capitalize on the trend, but they could also err on the side of caution, and not take many risks. If there’s one brand that has demonstrated a willingness to try something different, it’s Fujifilm. It will be intriguing to watch how each camera company responds to the changing market.
Now that Chris is a Fujifilm photographer, will he embrace straight-out-of-camera photography? Will he try some Fujifilm Recipes? Maybe find some that will replace RAW editing? Will Chris hop off the Fujifilm Express at the next stop, or will he ride it for awhile and see where the adventure takes him? Unlike the trains at the Osaka station, the trend towards smaller gear shows no signs of stopping.
So how’d I do? Did I improve on Jaron’s article? Is this version better or worse than what was published on PetaPixel? Let me know what you think! I enjoyed this writing exercise. I mean no disrespect to anyone—Jaron, if you read this, please know that it was all in good fun.
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
It’s been historically slow for Fujifilm so far in 2026, which makes it more difficult for Fujifilm-related bloggers to come up with interesting content to share with their readers. On the bright side, this can be a good opportunity to find and highlight things that might otherwise slip through the cracks and go unnoticed. That’s what this article is attempting to do. Nothing here is headline news, but hopefully there’s something that you’ll find intriguing or even possibly helpful.
Specifically, we’re talking about the Fujifilm X-E5, showcasing articles that are either explicitly or just vaguely related to it. This is a camera that I own and love. It’s as close as Fujifilm has ever gotten to an interchangeable-lens X100-series model. My favorite aspect of it is that you can program three additional Film Simulation Recipes than other cameras. It’s the most compact and lightweight interchangeable-lens X-series camera with the 40mp sensor and IBIS. There’s plenty to love.
Before we dive in, here’s a little X-E5 tidbit that I bet you don’t know, which I learned while at Fujikina Copenhagen. It takes a massive team—sometimes more than 100 people—to create a camera, but each one has a lead designer. There are several designers at Fujifilm. For example, the lead designer of the X100-series and X-T (single digit), as well as many other models, is Masazumi Imai, who gave a wonderful presentation at Fujikina. Each lead designer likes to leave a little easter egg hidden somewhere in the camera (which mostly goes unnoticed by the users). I’m not sure who was the lead designer of the X-E5, but I learned that the designer of that camera leaves a specific easter egg: hexagon feet. If you turn the X-E5 upside down and look at the four tiny feet at the bottom, they’re six-sided and not round. Any Fujifilm camera with hexagon feet had the same lead designer as the X-E5. I’m not sure which models those are, but apparently there are a few.
Now let’s look at some recent articles across the web that relate to the Fujifilm X-E5. Some of these are explicitly about the X-E5, and some are only related if you squint your eyes a little.
Fujifilm X-E5 Teardown
Kolari Vision just published their teardown of the Fujifilm X-E5. Seeing the X-E5 being taken apart makes a tear fall down my cheek (get it? Tear down, teardown?). Jokes aside, it’s fascinating to see how Fujifilm squeezed so much camera into such a small body. This also illustrates just how intrusive an infrared conversion actually is. I would love to see Fujifilm sell a full-spectrum infrared camera to the public, like they did very briefly with the Fujifilm X-T4 Extended Spectrum, so that you wouldn’t have to take it apart. Thankfully, Kolari (as well as some other companies) know what they’re doing, and your camera is in good hands if you send yours in for a conversion. I don’t have firsthand experience with that, but I’ve talked with several people who do, and they only have positive things to say.
There’s an interesting article over at PetaPixel entitled Photographers Are Tired of Big Cameras. Essentially, Chris Niccolls wants a smaller camera than he normally uses, and he’s going for the Fujifilm X-E5. He is constantly using all sorts of gear from all sorts of brands as part of his job, but for his own personal photography, he wants something smaller than the Sony a7R V that he normally shoots with. After trying nearly everything under the sun, he really likes the X-E5 for its compact size and good image quality. The author of the article, Jaron Schneider, then makes an odd disclaimer: the X-E5 doesn’t necessarily have “excellent” image quality; instead the camera has “just good” image quality, which he notes is good enough for Chris. I understand that “good” and “excellent” are subjective, but it was a weird comment that seemed unnecessary for the message of the article. The image quality of the X-E5 is “just good” compared to what? I understand that the people at PetaPixel have experience with pretty much every single camera made within the last 25 years, and some models have better image quality than others, but what aspect of the X-E5’s image quality is subpar? I wish that more context had been provided, because it comes across as a put-down to both Fujifilm and Chris. I think the overall story—a growing trend towards smaller, lighter gear—is fascinating. That Fujifilm is at the forefront of the discussion is also intriguing. So much more could have been said; instead, I’m wondering what was meant by an offhand comment.
Learn
Last but not least, I saw in a Pal2Tech video yesterday that Chris Lee has launched a new project on his website called Learn. He has a ton of great resources, including a Fujifilm X-E5 setup guide (among many, many other things). You should definitely check it out, there’s so much information available. It seems like it isn’t complete, so I suspect that this will only grow into even a greater resource in the coming months.
I get a message or comment every now and again that’s really silly. Are you worried that so many photographers are leaving Fujifilm? It could be worded a little different. Maybe it’s, Fujifilm should be worried that so many are leaving. Or, I’m leaving the brand and I know many others who are, too. There are a lot of variants, but the sentiment is always the same. Someone is switching brands or threatening to do so, and that is newsworthy and everyone should pay attention because there is a Fujifilm exodus. Am I worried that so many photographers are leaving Fujifilm? No, I’m not, not even a little.
My camera journey began almost 30 years ago (that’s crazy!) with a Canon AE-1. After that I switched to Pentax, and continued with Pentax when I went digital; however, I was never really satisfied with my DSLRs. So I tried Samsung (remember when they made mirrorless cameras?). Then I bought a Sigma Merrill. I went with Nikon for a few years. Then I tried Sony and Panasonic. I did what is quite typical, and went from brand-to-brand-to-brand searching for something that I just couldn’t find. I didn’t even really understand what I was looking for. But then I purchased a used Fujifilm X-E1, and I fell in love with the traditional tactile controls and overall experience. Later, I got an X100F, and fell in love with the camera-made JPEGs and straight-out-of-camera photography. That’s what I was looking for (even though I didn’t know it), and I found it once I tried Fujifilm. I don’t regret the other camera purchases because they’re a part of my journey; without them, I might not be where I am today.
My story doesn’t end there, though. I get accused all the time of being a “Fujifilm fanboy” but I’m not strictly a Fujifilm photographer. I own and use Ricoh GR cameras. I tried a Nikon Zfc (it’s been collecting dust for a few years now). My brother-in-law uses Sony cameras, and he wanted me to make Recipes for it, so I purchased a Sony a7 IV. I didn’t much like the experience of the camera, so it’s been collecting dust for awhile now, too. I tried a Canon DSLR awhile back that I picked up for a good price; however, I only ended up using it for a few weeks before returning it to its box where it sat for a long time until I eventually sold it. A couple of years ago I tried a Leica Q2, but it’s not a camera I can afford (even if I could I probably wouldn’t buy it). I’m not against any brand. They all have pluses and minuses, and none are perfect or for everyone. Each photographer should use whatever they want to, whatever makes them happy or allows them to best create whatever it is that they want to create. For me, Fujifilm is that brand, but I’m not afraid to try something else.
Photography should be enjoyable, and if someone is not enjoying it, perhaps some change is needed. There is no need to rigidly stick strictly to any one brand, unless that is what makes you happy. If you think a Canon camera will be good for your photography, buy a Canon. If it’s Olympus, go that route. Whatever it is, don’t be afraid to continue your journey searching for the best photographic tools for you. It doesn’t bother me in the slightest if someone sells their Fujifilm gear and goes with another brand. Do what’s right for you.
Of course, the way that the question at the top is typically worded it’s as if it’s not an individual, but a group. It’s stated as if it’s a movement, an exodus. There are always people switching brands, no matter the brand. People are constantly going from brand-to-brand-to-brand, just like I did for years. For some, Fujifilm wasn’t their first and won’t be their last. That’s just the way it is, and it’s common and normal. However, some brands are shrinking, some brands are staying even, and some brands are growing. Fujifilm has been leading the pack in terms of growth for a few years now. If there’s a large group of photographers abandoning the system, there’s a much, much larger group jumping into it. There can’t be an exodus from the brand if the brand is experiencing so much growth.
What’s going on here is something different than that, and there’s actually a term for it: flouncing. It’s flaunting your bounce—storming out in an exaggerated, theatrical manner. It’s very easy to recognize, with some examples being, “That’s it, Fujifilm has lost me forever!” Or, “I’m selling all my gear and switching brands.” Or, “This camera release is the final straw!” Or, “I’m switching brands and I know many others are too.” People leave brands all the time and have legitimate reasons for doing so, but flouncing involves added elements, such as drama (it’s presented as a major event that everyone should pay attention to), attention seeking (it’s intended to provoke reactions), virtue signaling (the person wants others to know they’re taking a stand), and peer pressure tactics (they want others to join them). It’s a type of performative behavior. A common pattern is that 1) something is announced (camera, lens, firmware, etc.), 2) someone doesn’t like an aspect of it, 3) they declare the brand has lost its way, 4) they announce they’re leaving (or are considering leaving unless this or that happens), and 5) they predict a mass exodus. You see it all the time in the comments section of many websites.
Basically, anyone who flounces should be ignored. If they are truly going to switch brands or whatever they’re threatening to do, then so be it. People try different camera brands regularly. Most people—normal people—just do it and don’t call attention to themselves. The flouncer might have valid criticisms, but unfortunately they present it in an unhealthy, destructive way. Criticism can be invaluable for any and every brand, but it’s not going to be heard unless it’s stated in a constructive fashion. In other words, if someone is truly concerned about something and wants to see a change, they will go about it in a substantive and reasonable way without making it about themselves.
A person who flounces is seeking attention, validation, and/or influence. It’s as simple as that. It’s a type of negative behavior that is generally considered unhealthy and unproductive. Flouncing speaks much more of the person saying it than whatever their complaint might be, and none of it is positive. It would be great if people stopped doing it. So, no, I’m not concerned in the slightest about “so many leaving” Fujifilm. I’m pretty sure Fujifilm, who has never sold so many cameras before and has trouble producing enough stock to meet current demand, is not concerned about it either (although I certainly do not speak on their behalf). Sorry (not sorry), there is no Fujifilm exodus.
If Fujifilm wanted to, they could do something really cool, that would be a massive sales success. The perfect time for them to do this is now, or really beginning two or three years ago and continuing at least a little while into the future; however, the ideal opportunity won’t last forever. Trends change, paradigms shift. Right now, though, is really good. What is this thing that Fujifilm should do? Alternative focal-length versions of the X100-series camera.
Most famously, both Leica and Ricoh have made a second focal-length versions of their fixed-lens camera. For Leica, it’s the Q3 43, a 43mm version of the Q3 (which normally has a 28mm lens). For Ricoh, it’s the GR IIIx, a 26mm (39mm full-frame equivalent) version of the GR III, which normally has an 18.3mm (28mm equivalent) lens. The Sigma DP series has had two, three, or even four focal-length variants, depending on the iteration. For instance, the DP Quattro series had a 14mm f/4 (21mm equivalent), 19mm f/2.8 (28.5mm equivalent), 30mm f/2.8 (45mm equivalent), and 50mm f/2.8 (75mm equivalent) versions, with everything identical except the lens. Fujifilm could and should do something similar.
Fujifilm’s solution has been the WCL-X100 and TCL-X100 conversion lenses. Simply screw a lens onto the end of the fixed-lens, and the camera becomes either 18mm (28mm equivalent) or a 32mm (48mm equivalent) respectively. That works well in a pinch, but if you want a nifty-fifty focal length all of the time, the extra weight and size of the TCL-X100 defeats the purpose of the camera. In other words, the wide and tele conversion lenses work well for a lightweight travel kit when used occasionally, but they are much less practical when needed frequently. I have walked around all day with the TCL-X100 attached to the camera many times, and it become a bit annoying after awhile.
Something that I’ve come to realize over the last couple of years is that my favorite focal length is the 40mm-60mm (full-frame equivalent) range. I like going wide sometimes, and I like going telephoto sometimes, but most often, I prefer a “standard” focal length. This is probably because when I first learned photography—and for nearly the first decade of my photography—I used a 50mm lens. It’s very natural to me, and I oftentimes find my compositions stronger and my appreciation for the images higher when I use a focal length in that 40mm-60mm range. I don’t want to strictly use nifty-fifty lenses. I think it’s good to stretch outside of my comfort zone—just within the last handful of months, I have gone as wide as 12mm and as long as 600mm. Having experience across a broad range of focal lengths is good. But if there was a 50mm (equivalent) X100-series camera, I would much prefer it over the 23mm (35mm equivalent) version that Fujifilm makes. For you, maybe it would be something wider than the current 23mm lens, or maybe the 23mm lens is perfect.
What I propose to Fujifilm (assuming that they read this—sometimes they do, and sometimes they don’t), is to make alternative focal-length versions of the X100. The X100VI is probably more than halfway through its lifecycle. I assume that the next version will arrive in about a year-and-a-half or so, maybe two years tops. That’s probably enough time that Fujifilm could do this with the X100VI near the end of its lifecycle. More likely, though, it would not be the X100VI, but the X100VII. When the next iteration comes, Fujifilm could make alternative focal-length versions of the camera.
What would make the most sense is 18mm (28mm equivalent) and 33mm (50mm equivalent) versions, in addition to the regular 23mm (35mm equivalent). Literally have three different X100VII cameras. Maybe call the 18mm version X100VII-Wide (X100VII-W), the regular version X100VII-Classic (X100VII), and the 33mm version X100VII-Standard (X100VII-S). People who have hesitated to buy the X100-series because the focal length isn’t ideal for them (it’s either too wide or not wide enough) would purchase the version that is more ideal. And you’d have people buy two of them, or maybe even all three (I knew someone who owned all four Sigma DP Quattro cameras). If Fujifilm were to do this, all three versions would be sales successes. I don’t think they’d have any trouble selling as many as they manufactured.
The great thing about this is that the WCL-X100 and TCL-X100 lenses would still work. If you purchased the X100VII-Wide camera, the WCL-X100 lens would gave it a 14.5mm (22mm equivalent) focal length. I know it would work because the wide conversion lens works well on the X70. The TCL-X100 would give the X100VII-Standard a 46mm (70mm equivalent) focal length. The conversion lenses would still serve a purpose, and won’t become any less relevant just because there are three versions of the camera.
For a lot of people, the X100-series is their gateway into the Fujifilm world. You can try out the X-series without investing into a whole system. Once they’ve decided that they really like it, a camera like the X-T5, X-T50, X-E5, etc., often follows, along with some lens purchases. Not everyone who owns an X100-series camera travels this same path. For me, the X-E1 was my gateway, and an X100F came later. I purchased an X100V when it was new, followed by the X100VI when it was released. I own a number of interchangeable-lens cameras, as well. The X100-series is great for travel, street, or everyday snapshots where it’s more about being in the moment than fumbling with lenses and accessories. For me, the most ideal X100-series camera would have a nifty-fifty focal length lens. A wide version would be nice, too, sometimes—I really like the GFX100RF and X70; however, the GFX is much larger and heavier (although super small and lightweight for medium-format), and the X70 is old and doesn’t have many of the Film Sims and JPEG options of the latest models (can’t do nearly as many Recipes). I would buy more than one version, but the X100VII-Standard would get the most use by far. It would be really cool if Fujifilm did this.
We’re in uncharted waters. Fujifilm has never waited until beyond May to announce at least one X-series or GFX model. Typically, the first half of the year is busy, with at least one and oftentimes two new cameras. For example, last year Fujifilm announced the GFX100RF in March and the X halfin May; in 2024, Fujifilm unveiled the X100VI in February and the GFX100S II in May; in 2018, Fujifilm had announced three cameras by the end of May: X-A5, X-H1, and X-T100. Twice, the first camera of the year wasn’t announced until the end of May—in 2022, Fujifilm announced the X-H2s on May 31st, and the following year they announced the X-S20 on May 24th. That’s recent history. But not once has June 1st arrived without at least one new camera announced. Until this year.
What does it mean? Fujifilm has the luxury of time. Their cameras are selling extraordinarily well. The X100VI is their all-time best-selling model. It’s still out of stock almost everywhere, even though Fujifilm is manufacturing nearly four times as many units each month than with previous iterations of the series. It’s a smashing success, and still highly in-demand over two years after its release. The X-T30 III is another massive success. The X-M5, X-E5, and even the three-and-a-half year old X-T5 all have very strong sales. The X half is one of the most popular cameras by any brand in some Asian markets. The GFX100RF is selling great for a GFX model. What’s the hurry?
I’ve been saying for years that camera-makers introduce new models much too quickly. A five-to-eight year product run lifecycle should be common, not a rare exception. I have zero issues with Fujifilm taking extra time before releasing the next generation of cameras. Use the time to make the upgrade more meaningful. This would have been a great opportunity for some Kaizen firmware updates, and maybe that is in the works. In my opinion, all of the 40mp cameras should be given the XPan aspect ratio, and that would be an easy implementation.
I have no idea when the next Fujifilm camera will come, but the one most glaringly missing from the lineup is an X-Pro. I’m pretty certain that this is being developed as we speak, so it has not been abandoned. But if there is one camera that Fujifilm should hurry along, it’s this. Just guessing, I think it might come sometime in 2027, but I’ve certainly guessed wrong about this before. A successor to the X70 is another that I would encourage Fujifilm to fast track. I would like the next GFX to be a rangefinder-styled body, a followup to the GFX 50R. Beyond that, I think it’s perfectly fine to take things slow, and let a little extra time pass before discontinuing a model and announcing its successor.
Oftentimes the first half of the year is busier for product announcements than the latter half, but not always. Things have been historically quiet in the Fujifilm world so far, but I expect that to change. If Fujifilm announces a couple of cameras and a few lenses before the end of the year, I would not be surprised. For now, though, everything is quiet, and that’s ok with me.
Fujifilm X-E5 and Fujinon 33mm f/1.4 plus Copenhagen Negative Recipe
Fujikina Copenhagen was incredible! It was such an honor to have been invited. I had many wonderful discussions, and learned a lot. I’m still in Denmark, and I wasn’t intending to write about any of it until after I returned. I’ve shared a little on Instagram, so be sure to follow me if you don’t already. I have a ton to talk about, so this is just the start. You can expect a lot more over the next couple of weeks, including the new Copenhagen Negative Recipe, which I unveiled at the event—those who attended Fujikina Copenhagen have already seen the new Recipe, and maybe have already used it. You can expect it on this website and in the Fuji X Weekly App next week.
One of the sponsors of Fujikina was Capture One, the photo editing software company. Probably many of you have Capture One on your computer right now. I do. I rarely use it personally, but Amanda uses it regularly. One cool thing they offered was negative film scanning using a GFX100 II tethered to their software. There were a lot of Capture One employees (and even former employees) and representatives of their brand at the event, and I got to talk with many of them. I learned things that surprised me, and something that some of you might appreciate, which we’ll get to in just a moment.
Captured with a Fujifilm QuickSnap camera, scanned by Capture One
Whenever a new camera is released, Capture One has to extensively test it out. Any and every camera that is supported by the software has been put through the paces before they add it as compatible with the software. Even if it has the same sensor and processor as another model, it still has to be tested. The folks at Capture One have used a heck-of-a-lot of cameras! Whenever they’re not at work and are doing their own personal photography, the brand of choice for many of them is Fujifilm.
Not only do many use Fujifilm cameras, but also Fujifilm Recipes. I would have expected the folks behind Capture One to be strictly RAW-only photographers, but they’re not. Many of them have the Fuji X Weekly App on their phones. One told me, “I went out photographing, and the light wasn’t great. When I got back, I really didn’t want to edit them. I shot RAW+JPEG with one of your Recipes, and when I reviewed the pictures, the JPEGs were perfect just as they were.” Another told me that they also shoot RAW+JPEG, and sometimes they edit the RAW, sometimes they edit the JPEG, and sometimes they just use the JPEG unedited.
Fujifilm X-E5 and Fujinon 23mm f/2.8 plus Copenhagen Negative Recipe
There’s no right or wrong way to do photography, and there’s no right or wrong way to use Recipes. For example, I know a couple photographers (not associated with Capture One) who are strict RAW-only types, but they found a Recipe that is similar to their style, so it helps them to better pre-visualize the finished photograph while in the field, and since the RAW software applies some of the JPEG settings, it speeds up their workflow. Some edit the RAWs for certain pictures and use the camera-made JPEGs for others. Amanda sometimes edits her JPEGs, while I’m more strictly unedited myself. It’s about finding what works best for you and your photography, whatever that is.
Over the years I’ve been asked many times to create LUTs or Lightroom presets out of my Film Simulation Recipes, and I even once collaborated with one of the foremost experts on RAW software in an effort to make that happen; however, for several reasons it did’t work out. One of the Capture One employees shared with me what he does, and I think some of you will find this fascinating. He shoots RAW+JPEG with Recipes, and if he wants to edit the RAW but keep the look of the JPEG, he simply uses the Match Look tool in Capture One. It isn’t 100% perfectly the same, but it gets you much closer to the JPEG aesthetic, yet with the flexibility of the RAW to adjust highlights and shadows and such. It is apparently more accurate when you Match Look the JPEG to the RAW of the same image, rather than some other exposure captured of a different scene with a different light, but even that works to a degree.
The people at Capture One are really great. It was wonderful to meet them and talk with them, and I hope it’s not the last time. If you edit RAW images, Capture One is probably the best software available for Fujifilm cameras. Whether you are RAW-only, JPEG-only, or anywhere in-between (or something else entirely), we’re all photographers just trying to express ourselves and create something meaningful through our images. The way we get there matters much less than the destination itself, which is our photographs.
Just a couple of years ago, a friend of mine (who’s not a photographer) asked me what camera he should buy. He wanted something with better image quality than his phone, something that he could possibly learn on and grow with, should he decide that he wants to pursue photography as a hobby. I asked him what his budget was, and he told me, “$500 max, preferably less.” When I told him that there’s nothing brand-new, and slim pickings on the used market (I suggested a few options), he was very surprised and disappointed. He ended up not buying a camera.
I mention this because maybe it’s a more common problem than some realize. There seems to be a disconnect among the price expectations of some potential first-time buyers and the actual cost of cameras nowadays. Once upon a time you could walk into Costco and buy a DSLR bundled with a lens for $500. Of course a lot of things were cheaper back then, but finding a brand-new camera body and lens together for under $1,000 isn’t easy. In the Fujifilm world, there’s only one: the X-M5 bundled with the 15-45mm f/3.5-5.6 zoom, which retails for $999. That’s it.
If you’re on a tight budget, you are really limited, and you might have to stretch the budget to even afford a basic camera. Not terribly long ago, Fujifilm offered the X-M1, X-A1, and X-A10 as low-budget models. The X-M1 was $800 when bundled with a lens, the X-A1 was $600 with a lens, and the X-A10 was only $500 with a lens. The fact that Fujifilm can offer the X-M5 with a lens for only $200 more than the X-M1 is quite remarkable. Where is the lowest-budget, bottom-floor, base-level model? The X-M5 is currently serving that purpose (just like the X-E4 did in the previous generation), but what’s missing is something even lower, something just a little more affordable as an entry into the X-series for those on a tight budget.
From what I’ve heard from camera stores, some folks I know at Fujifilm, online reports, and even Fujirumors, the X-T30 III is currently Fujifilm’s top-selling camera. It’s their second-cheapest interchangeable-lens model, retailing for $1,000 for the body-only, and $1,150 with a lens. Back in October, before it was officially announced, I stated, “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.” It turns out that I was understating the point, because the camera isn’t outselling most other Fujifilm models, it’s outselling all of them.
Not far behind is the Fujifilm X-M5, which is the lowest budget APS-C option. In some markets this camera is hotter than others, but overall it might be Fujifilm’s second or third best-seller, depending on who you ask. It goes to show that there’s plenty of room for the X-T30 III and X-M5 to coexist—they aren’t eating away at each other’s sales.
Fujifilm’s lowest budget X-series camera is the X half, which is a fixed-lens 1″ sensor camera intended for fun more so than as a serious photographic tool (although it can be in the right hands). I love my X half, but it’s not a camera for everyone, and probably a bit overpriced for what it is (despite being the cheapest X-series model). This is Fujifilm’s most polarizing camera, with so-so sales in some markets, while being the hottest camera from any brand in other markets. Overall worldwide, it’s one of Fujifilm’s best sellers, but just not everywhere.
What I think is missing from the lineup is an interchangeable-lens camera that’s even more affordable than the X-M5, something that is $100 or $200 cheaper, for those who find the more expensive cameras just out of reach. Maybe an X-T300, a plasticky Bayer-sensor model? Another 1″ sensor camera, maybe with a fixed zoom lens along the lines of the XQ2 or X30, would be good, too. There is an obvious market for lower-tier budget-friendly models, but there aren’t many options anymore. If those who have an interest in photography don’t explore it because it’s financially out of reach, the industry will slowly whither away, becoming smaller with each generation. An affordable camera with a low (or even non-existent) profit margin can turn into significant profits in the long run, by bringing new people into the fold, who maybe someday will have more to spend. How many people got into Fujifilm with an X-A camera who now own an X-T30 III or X-E5 or another newer model? Probably more than a few.
I’m not surprised in the least that the Fujifilm X-T30 III is selling so well. It’s not surprising to see it outsell the X-T50, which is a wonderful camera, and technically better. Not every camera needs the greatest specs or the latest technology in order to be successful. Sometimes it’s having just enough with a price tag that isn’t too high. A 20mp Bayer APS-C camera with lesser specs and cheaper build but with Fujifilm’s renown Film Simulations would sell like hotcakes. Not because it’s the best, but because it’s attainable.
Does 2026 feel different to you? I mean, as far as Fujifilm X and GFX cameras are concerned, it’s been quiet. Really quiet. In most years, by the end of March there’s already been one camera announcement. Last year it was the GFX100RF. The year before it was the X100VI. Not every year has an announcement within the first three months (neither 2022 nor 2023 did), but in 12 of the last 16 years Fujifilm announced a camera sometime between January 1st and March 31st.
We’re here at the end of April, and it’s still really quiet. No rumblings or rumors of an upcoming camera, aside from the X-T6 in September. That’s a long ways out. This is a good indication that nothing is coming by the end of May, or else we’d likely have heard something already. If that’s true, and nothing is announced by the end of May, this would be the first time since 2011 that no new camera was announced within the first five months, and at that time the X-series had exactly one camera in the entire lineup: the original X100. There was one recent year—2022—that nearly saw no new cameras within the first five months, as the X-H2s was announced on May 31st, barely making the cutoff. This year could be similar.
It’s definitely possible that Fujifilm is trying hard to keep some forthcoming announcement under wraps. For example, it was a massive surprise when the Instax Evo Cinema was announced back in January. They did a great job keeping it a secret. A lot of people within Fujifilm’s own camera department had no idea it was coming. It could simply be a similar situation for whatever they plan to release next. It’s possible that they’ve figured out where the leaks are coming from, and have taken measures to ensure secrecy. But, then again, we already have rumors about a September release, so I’m not sure that this theory has validity.
Now mind you, I’m not complaining. Far from it, actually. I’ve been advocating for years that (generally speaking) new cameras are released much too soon. I would like to see a five-to-eight year manufacturing lifecycle for digital cameras. When a successor does come, it should be a meaningful update. The X-T5 was announced in November 2022, so I would prefer that the X-T6 not come until late-2027 or early-2028 at the earliest. Why are we so eager for a new iteration when the current one is still really good and a new version won’t be all that much better? Letting a little more time pass is not a bad thing.
And maybe that’s what Fujifilm is doing this year. The fifth-generation cameras are still selling like hotcakes. Why rush the sixth-generation? Give more time to work out kinks and bugs, finalize refinements, and build up anticipation. It wouldn’t bother me at all if Fujifilm postponed the introduction of the next generation until next year, and announced exactly zero new cameras in 2026. I doubt that will happen, I’m just saying that it wouldn’t upset me if it did.
Fujifilm could spring a surprise on us, and announce a new camera sometime next month, making 2026 similar to 2022. Or it could be the first time since the very beginning of the X-series that they don’t. All I know is that it’s been abnormally quiet, which isn’t necessarily bad. New-gear-chatter, which (don’t get me wrong) can be fun, is oftentimes a distraction to what actually matters, and that’s making meaning photographs with the gear we already have.
Avalon Bay – Avalon, CA – Fujifilm GFX100RF – Avalon Ace
There was a social media post today from an account that’s not mine, that purported to be my advice for better landscape photography. It included five tips, but I never said those things, and some of them were quite antithetical to what I believe, pretty much the opposite of what I would say. I would not have given much of the advice that the post claimed came from me. When I brought it to the attention of the account holder, they were very apologetic, and rectified the situation. Most of you probably never saw it, but a few of you might have.
But that made me think: what advice would I give? What are my five tips for better landscape photography? I contemplated that question this afternoon, and the answer might surprise some of you. At least a couple of the suggestions below are probably a bit unorthodox, and not the normal advice that you’re likely to find on the internet. Let’s dive right in!
1. Carefully Choose Your Fujifilm Recipes
White Bridge across Pond – Charleston, SC – Fujifilm X-E4 – Pacific Blues
Not every Fujifilm Recipe is ideal for every subject or situation. Just like film, you should carefully consider which one(s) are best for your specific subject, light situation, and desired aesthetic. For vivid landscapes, a Velvia-based Recipe is probably what you want; however, other Film Simulations can be good, too, infusing a different feel or emotion into the image. The new Filter By Categories feature is a helpful tool if you are unsure which Recipes are especially well suited for landscape photography. Using Recipes on your Fujifilm camera will save you time, allowing you to be more productive and efficient.
Great photographs often require great light, and great light is most obvious and prevalent during Golden Hour, which is the first hour after sunrise and the last hour prior to sunset. If you look hard enough, you can find great light anytime of the day or night, or you can even add it yourself with a flash or other lighting equipment. Pay close attention to light, and recognize when it is especially good for photography. With that said, the easiest way to improve your pictures is to be out with your camera during Golden Hour.
There are a lot of “rules” in photography. A lot of people will tell you what you should or must do. You need specific cameras. You need to use certain settings. You need a particular lens. You should compose your pictures this way or that way. You should only do this and never do that. The rules are there to ensure consistently good photos; however, great photos sometimes happen when you break the rules. Carefully following the rules might prevent you from creating better images. Do photography however you want to do it, and ignore all of the gatekeepers.
Depending on where you live, there might be plentiful photographic opportunities close by, or you may need to travel someplace a good distance away. Beautiful photos are much more easy to create in beautiful locations. So, my advice is to spend less on new gear and more on going to interesting places with the cameras and lenses you already own. Invest more in experiences rather than gear.
In the September 1955 issue of Arizona Highways magazine, photographer Chuck Abbott addressed the question: how does one become a better photographer? His answer was to return to the same subject or location over and over again. Try it on a different day, at a different time, in a different season, and in a different light. Come back to it again and again, even after you create a photo that you’re satisfied with. As Chuck stated, you’ve got to go back to get the good ones.
There’s a lot of talk within the Fujifilm community about in-body image stabilization (IBIS). Some believe that it is an essential feature that every new camera must have, and others don’t really care if their model has it or not. My position is that for most photographers and most situations, it’s far from a requirement, but it is nice to have from time-to-time. Notice that I said photographers; if you are a videographer, IBIS is much more important.
For still photography, IBIS makes no difference unless you are using a slow shutter speed or a long telephoto lens, and you don’t have a tripod. If you carry around a tripod, IBIS isn’t necessary, but carrying around a tripod isn’t fun, so if that can be avoided I will avoid it. The rule of thumb to avoid blur from camera shake (not movement within the image itself) when hand-holding, your shutter speed should be at least the reciprocal of the focal length of the lens. For example, use 1/30 for a 30mm lens and 1/200 for a 200mm lens. That’s the minimum shutter speed generally speaking—depending on how well you can hold still, you might be able to go slower or you may need to be faster.
The two photos above are great examples of when IBIS comes in handy. Both break the rule of thumb for reciprocal focal-length shutter speed by a significant margin. For myself, it’s pretty rare that I’m using a 1/6 shutter speed, or using a 600mm lens. I’m sure that for some photographers, those are both common situations; however, I would wager that it’s fairly rare for the majority of shooters. If you are not using slow shutter speeds or long telephoto lenses, you probably don’t need IBIS.
I have a number of cameras with IBIS, including my X-T5 and X-E5 that captured the above pictures. But for most of my nearly 30 years of photography, I did not have a model with IBIS. For those without it, are they tough out of luck? Is IBIS essential? Does every single camera released today need to include it?
Above left: Fujifilm X-T30 at 0.4 second exposure with tripod; Above right: Fujifilm X-T30 & Fujinon 100-400mm @400mm handheld.
Of course, the solution that we used “back in the day” (which was not long ago) was a tripod. If you have a tripod, you can use whatever shutter speed you want. Even a monopod helps in marginal situations. But obviously tripods are a pain to lug around, so if you can avoid it, that’s positive. For telephoto lenses, you can use a faster shutter speed, but that might require a higher ISO, which is less than ideal. The two photos above, which were made using an X-T30 (a camera without IBIS), are examples of achieving desired results with a non-IBIS camera—for the left image, I used a tripod; for the right picture, I used a faster shutter speed.
It’s not the end of the world if you don’t have IBIS. In fact, you are in the same situation that the vast majority of photographers have found themselves in throughout the last 200 years. You are in a very, very large crowd. But IBIS can be nice to have sometimes. For some people, it can be an especially useful feature.
The main argument for why every new camera must include IBIS is that the tool exists, so why not include it? There is no harm in having it, and it will certainly be helpful to some. Of course, this ignores that IBIS makes the camera more expensive, most likely larger and heavier (at least a little, maybe a lot), and drains the battery quicker. In the last few years there have been significant strides in minimizing the negative side effects, but it’s unfair if we ignore those aspects altogether. For example, Fujifilm stated that to include IBIS in the GFX100RF, the camera would need to be nearly double the size. I was able to get a sharp handheld image at 1/8 shutter speed (see the image above), so IBIS would only have a minor benefit, yet its inclusion would make me not want the camera due to the dramatic increase in bulk. Perhaps if they are able to engineer it so that the camera stays nearly the same dimensions (like they did with the X100VI), then it would be more practical to include.
In other words, there are tradeoffs. Some people might prefer IBIS at all costs. Some people might prefer smallest/lightest/cheapest at all costs. And most are somewhere in the middle, perhaps leaning one way or another, but overall desiring a good balance of the pros and cons. And that’s where I am. It’s nice to have IBIS sometimes, but it’s far from the end of the world if a camera doesn’t have it. Now, if I were a videographer or I frequently used long telephoto lenses or hiked to waterfalls often, I would likely feel different.
The last argument that I want to tackle for the essentialness of IBIS is that higher-resolution cameras will more easily show camera shake—more megapixels means more need for stabilization. There is some logic to this. It actually has more to do with pixel density than resolution. When more densely packed, a given amount of camera movement shifts the image across more pixels, making small motion blur more noticeable when viewed at 400%. For example, people will say that the 100mp GFX sensor needs IBIS because it has 100mp; however, the pixel density is the same as the 26mp APS-C X-Trans IV sensor. If IBIS isn’t necessary on X-Trans IV cameras like the X-T3, X-E4, and X100V, it’s hard to make the argument that it is a requirement for 100mp GFX models, but you see people make this argument all the time, stating it as if it’s a known fact. An argument that it is necessary on the 40mp X-Trans V sensor (due to the higher pixel density) is a stronger case, especially when you consider that every one of those cameras has IBIS; however, the counter-argument is that while it might very marginally show motion blur more easily, it is buried under more resolution, so when viewed at the same size as an identical image from a lower pixel density sensor, you wouldn’t notice.
For some people, IBIS really is necessary, and thankfully you’ve got lots of options. 10 years ago Fujifilm didn’t offer any IBIS models. The first X-series camera with IBIS was the X-H1, released in 2018. Even in 2020, the X-T4 was your only option (aside from the X-H1, which was already discontinued). Now you have the X-H2s, X-H2, X-T5, X100VI, X-T50, and X-E5, plus some GFX models. Fujifilm has come a long ways with this, and I’m sure they will continue to make strides. But if you don’t have a model with IBIS, don’t fret. There are a lot of strategies that allow you to get the shots you want without it, which have been used for decades, if not centuries. IBIS is an excellent tool that is extremely helpful (and essential) to some, maybe not helpful at all to a few, and nice to have occasionally but not really essential for most. My guess, though, is that a time will come when every camera includes it, especially as pixel density continues to increase as camera makers chase resolution. A someday 60mp X-series model will certainly need it, and maybe an 180mp GFX camera.
Someone wrote to me and asked for clarification on Fujifilm’s X-series camera line. “There are a lot of options,” he said, “but I don’t get why. What’s the purpose of each model? How can I know what one is right for me?” I’ve seen this question a lot, so I thought I’d attempt to clear it up. Hopefully, by the end, you’ll better know why each camera exists and whether it is good for you or not. For this article, we’ll start at the bottom of the lineup and work our way up.
Just as a reminder—most of you are well aware, but some might not be—I don’t work for Fujifilm. This shouldn’t be seen as an official understanding of each camera by the company. These are my personal opinions, which could be different—maybe much different—than Fujifilm’s. For some reason, sometimes people think that my words are official positions of the brand, but my affiliation with them is very loose. I’m definitely independent. I’m just a guy who really loves using Fujifilm cameras, and I write about my experiences and share my Fujifilm Recipes.
X half
The Fujifilm X half, which is also called X-HF1, is only kind-of sort-of an X-series camera. Technically it is, but it’s the only one currently with a 1″ sensor or that’s not X-Trans. Those things in and of themselves don’t exclude it from the X-series, as Fujifilm has used small-sensors and the Bayer-array for the X-series in the past. What makes the X half only sort-of an X-series model is that it shares a heritage with the Instax Evo cameras. In other words, the X half is a bridge between the two systems, and is intended to convince some Instax users to dip their toes into the X-series world. It’s a super fun fixed-lens camera for casual photography and a film-like experience, and the very first with vertical sensor. If you are looking for something unique, well, you won’t get much more so than the X half! With that said, I don’t recommend it for “serious” photography, only as an enjoyable snapshot camera. The elephant in the room is that it’s a little expensive for what it is, although not nearly as much as some have hyperbolically claimed across the internet.
X-M5
Situated as the base entry-level model, the Fujifilm X-M5 is a rangefinder-styled camera that leans slightly towards video-centric. It has a PASM dial instead of the traditional tactile controls that Fujifilm is known for. It’s the smallest, lightest, and least expensive X-series camera; however, it lacks an EVF and IBIS, so there are some obvious tradeoffs. It’s a fifth-generation camera that pairs the 26mp X-Trans IV sensor with X-Processor 5. The X-M5 is a good option for those on a tight budget, those looking for their first “real” camera, or those who want the absolute smallest and lightest model—if that’s not you, take a look at the options below. Still, I’ve heard positive things about the X-M5, so don’t let its position within the lineup scare you away.
X-T30 III
The Fujifilm X-T30 III is another entry-level model, but not quite as stripped down as the X-M5. Leaning stills-centric, it has an SLR shape, with an EVF in the center. It lacks IBIS, but that’s a fair tradeoff for the inexpensive price tag. The X-T30 III is probably the best value (what you get for what you pay) in the entire X-series, and is my top recommendation for those who are on a tight budget, looking for their first “real” camera, or who want a small and lightweight model. Like the previous camera, the X-T30 III pairs the 26mp X-Trans IV sensor with X-Processor 5.
X-S20
I have two Fujifilm X-S20 cameras in my household: one belongs to my wife, Amanda, and the other to my son, Jonathan. Most of the Fuji X Weekly YouTube and social media videos over the last year-and-a-half were recorded on an X-S20. This camera is a lower-mid-tier model that is video-centric. Like the X-M5, it has PASM in lieu of the traditional tactile controls that Fujifilm is known for. Like both of the previous two cameras, this one pairs the 26mp X-Trans IV sensor with the X-Processor 5. The X-S20 is a hybrid model with IBIS that is intended to be appealing to those coming from a Canikony brand background. If you are more of a videographer than photographer, this is an easy recommendation; if you are a photographer first-and-foremost, this is a good camera, but I would lean more towards the stills-centric models, like the next few below.
X-T50
The Fujifilm X-T50 is a mid-tier version of the X-T30 III. It’s not a successor to the X-T30, but a similar line. While the X-T30 III has the “old” 26mp X-Trans IV sensor and lacks IBIS, the X-T50 has the “new” 40mp X-Trans V sensor and includes IBIS. The X-T50 looks a little different, too, with a slightly more rounded and angular design. Overall, though, the two cameras are a lot more alike than not. The X-T50 is more premium, while the X-T30 III is a better value, and which of those two things are more important to you (best overall features vs best for the money) will determine which one to get. Between the X-T50 and X-E5, aside from their shape, the two cameras are nearly identical (only small differences), and you can’t go wrong with either; however, I like the X-E5 just a little more myself, for the styling, the ability to save Recipes into FS1-FS3 on the Film Dial (I hope that Fujifilm someday gives the X-T50 this option via a firmware update), and the feel of the camera.
X-E5
The X-E series used to be more entry-level, culminating with the X-E4, which served as the base model during its all-too-short run; however, the Fujifilm X-E5 is all grown up, and is now solidly mid-tier, sporting the 40mp X-Trans V sensor, better build quality, and IBIS. The camera is likely as close as you’re going to get to an interchangeable-lens X100VI. Because Fujifilm discontinued the X-Pro3 over three years ago and has not yet announced a successor, the X-E5 is currently Fujifilm’s highest-end interchangeable-lens rangefinder-styled camera. I’m really happy with mine, and look forward to creating many photographs with it in the coming years.
X100VI
Everyone’s favorite model—the most-viral camera of all-time—the Fujifilm X100VI is already beyond legendary. The fixed-lens camera, which has the 40mp X-Trans V sensor and IBIS, is perfect for street and travel photography. It’s also perfect for those who want to dip their toes into the X-series and find out what it’s all about without investing a bunch of money into a whole kit. While it isn’t fully weather-sealed, a filter adapter and filter will finish that task, giving more confidence in extreme conditions. Two conversion lenses add focal-length versatility. While not nearly as difficult to find as it used to be, the X100VI can still require patience and perseverance to buy. If I could only own one in this list, it would be this one—my “desert island” camera. If you’re ok with the one-camera-one-lens experience, the X100VI is a must-have; however, I do find that the X100-series makes the most sense when an interchangeable-lens option is also available to you—the X-E5 and X100VI pair especially well together as a combo.
X-T5
I purchased the Fujifilm X-T5 when it was first released, and it’s been a workhorse ever since. I’ve gotten a lot of use out of mine, both for stills and video. In a lot of ways, it’s the quintessential interchangeable-lens X-series camera. It’s also the most-premium of the traditional tactile control models, fitting a lower-top-tier placement. In addition to the 40mp sensor and IBIS, it’s weather-sealed and has dual card slots. If you use longer or heavier lenses, the X-T5 is a better base than the mid-tier and entry-level models. While stills-centric, the camera is no slouch when it comes to videography. There’s a lot to love about it, and if you are after the best full Fujifilm experience, the X-T5 is the camera to get. If you want to save a little, the X-T50 is similar, just without weather-sealing and with only one card slot, and in a smaller and lighter body.
X-H2
The Fujifilm X-H2 is Fujifilm’s flagship X-series stills-centric-leaning model, although it is also great for video, making it a great hybrid camera. While it has nearly identical features and specs as the X-T5, it is a step above it, offering better performance and heat dispersion. The most obvious difference is the design, which is more reminiscent of the GFX100S II. Like the X-M5 and X-S20, it has PASM instead of the traditional tactile controls that Fujifilm is known for. The X-H2 is intended to be appealing to those coming from a Canikony brand background. For those using larger and heavier lenses, this camera is the best base, due to the larger grip and better weight balance. If you’re a photographer that often uses large telephoto lenses, or you just need the best performer, the X-H2 is for you.
X-H2s
The X-H2s is outwardly identical to the X-H2 (aside from an S engraved on the front), but inwardly it’s notably different, with a 26mp X-Trans V stacked sensor designed for speed. This camera is the most video-centric X-series model, but it’s also the most ideal for those who need fast autofocus for stills, making it another great hybrid option. As such, it is the most premium model in the X-series lineup—the cream of the crop. If you are merely after the best-of-the-best, this is it, the camera that sits atop the highest tier. The majority of Fujifilm’s YouTube and social media videos over the last few years were recorded with this model. If you are a videographer or a sports or wildlife photographer, the X-H2s is the camera to get.
To summarize Fujifilm’s fifth-generation X-series lineup: – The X half is the most fun, but X-series photographers are not the target audience. – The X-M5 is the smallest, lightest, and cheapest, but that comes with compromises. – The X-T30 III is also entry-level, but a step above the X-M5, and is the best overall value in the lineup. – The X-S20 is a video-centric mid-tier model with PASM. – The X-T50 is a stills-centric mid-tier model. – The X-E5 is a stills-centric mid-tier model, currently the most premium interchangeable-lens rangefinder-style camera in the lineup. – The X100VI is the viral fixed-lens rangefinder-style camera that everyone wants. – The X-T5 is a stills-centric upper-tier model with weather-sealing and dual card slots. – The X-H2 is a hybrid (but leans toward stills) flagship model with PASM. – The X-H2s is a hybrid (but leans towards video) flagship model with PASM, and is the only stacked sensor option in the lineup.
For those on a budget, the X-T30 III is my top recommendation. For those who are primarily videographers, I’d suggest either the X-S20 or X-H2s. For those who want a solid camera that’s not too big or small, or too feature-rich or too basic, or too expensive or too cheap, the X-T50 and X-E5 are two to strongly consider. The best overall traditional tactile control interchangeable-lens camera is the X-T5. The most fun camera is the X half, but it’s not for everyone. The X100VI is the most desired model. For sports or wildlife photographers, the X-H2 or X-H2s are the top options to consider.
Streaming Light Through the Mountains – Phoenix, AZ – Fujifilm X-T5 – Kodak Portra 400
I really wish that Fujifilm had reserved the top-tier highest-level camera for those who prefer the traditional tactile controls. You know, the ones that have been faithful customers for years and years. Those who have owned an X-Pro1, and an X-T1, and an X-H1, and an X-Pro3, and an X-T4 and/or an X-T5, who would really love to buy the best-of-the-best X-series camera, but just really dislikes the PASM experience. Those long-time loyal customers would really appreciate an X-H2/X-H2s type model, but with a shutter knob and ISO dial, and maybe a bit more classic styling. When Fujifilm reinvented the X-H line to obviously be most appealing to potential new customers and not the base, it seemed a tad disrespectful to some. I get why they did it (and there were both positive and negative consequences for it), but I believe a market exists for a top-end premium camera that isn’t the X-H2/X-H2s. Perhaps that is Fujifilm’s vision for the next X-Pro? I have no idea, but that would not match the historical characteristics of that line, so I really don’t think so. I truly hope that this is something Fujifilm has been considering, and perhaps might make happen sometime within the sixth-generation of the X-series.
I also think two other cameras that Fujifilm should strongly consider are 1) a long, long overdue successor to the much-beloved X70, and 2) a pocket zoom utilizing the 1″ sensor from the X half. The Fujifilm GFX100RF is a medium-format X70-like model; an X-series version would be extremely popular. A spiritual followup to the XQ2 or X30, but utilizing a 1″ sensor, would be very well received. Small fixed-lens cameras are all the rage right now, so Fujifilm should strike while the iron is hot.
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Fujirumors just reported that the Fujifilm X-Pro3 successor, which might be called X-Pro4 or X-Pro5 or maybe even X-Pro6, will come sometime after September. “After September” could be late this year, such as October or November, or it could be in 2027 sometime, or maybe even 2028. It’s still unknown when the long-overdue camera will be announced, but I hope it’s sooner than later.
There are three things that this report clarifies to me. First, the next X-Pro isn’t coming “early” in 2026 (I guessed that it was coming in early 2026). Based on the pattern of past releases, it should have come in late-2023 or early-2024, but here we are in February 2026 and there’s still not an X-Pro3 successor. Second, the camera is coming sometime, just not imminently. It might be late in 2026, or sometime in 2027, or even later. Who knows? But this is further confirmation that the camera is actively being developed, and the camera line hasn’t been abandoned. There will be another X-Pro, and it could come as early as October (but probably later). Third, it won’t be the first X-Trans VI camera—that might belong to the X-T6, which, according to Fujirumors, is coming in September. Fujifilm introduced X-Trans I with the X-Pro1, X-Trans III with the X-Pro2, and Classic Negative, Color Chrome FX Blue, and Clarity with the X-Pro3 (when you consider that the X-T3 and X-T30 were left on an island, the X-Pro3 could be considered the spiritual introduction of X-Trans IV). So it made sense to me that X-Trans VI would make its debut on the next X-Pro, but that won’t be the case. It also won’t be a fifth-generation camera, like some speculated it could be.
That’s the known, but what’s still unknown is what will be the same or different on the X-Pro4 (or X-Pro5 or X-Pro6, whatever they will call it). My best guess is that the controversial hidden rear screen of the X-Pro3 will be replaced with something different. Maybe it will be more like the GFX100RF screen, or maybe like the X-T5, or something else entirely. I wouldn’t be surprised to see a second screen, perhaps similar to the little vertical one on the X half, make an appearance. A Film Dial like on the X-E5 would make a lot of sense (but please include Classic Negative! And make each position capable of a Recipe, not just FS1-FS3). I really don’t have any other speculation. I’m sure there will be some surprise that will cause a stir, but overall it will be a lot like the previous iterations, which are all fairly similar to each other.
I really don’t know why the X-Pro3 successor is taking so long, other than the X-Pro3 was problematic. Specifically, the ribbon cable to the rear screen was too fragile, and gave a lot of problems, which has been well documented and lengthily discussed. I believe that Fujifilm prematurely halted production (as in, did not secure parts for more when there was still demand) of the X-Pro3 because of this. Had Fujifilm continued to manufacture the X-Pro3 another year or two, the gap wouldn’t seem quite as large. It’s that large gap, which is from late-2022 until now and beyond, that’s so puzzling. When the next X-Pro is released, it will have been at least four years since the last X-Pro was discontinued, which is a large enough gap for a whole different X-Pro to have existed within. It doesn’t make a lot of sense why Fujifilm would allow this to happen, other than they didn’t originally intend for the X-Pro3 to be as short-lived as it was, and how to move forward from the problem was for some reason difficult to figure out. But, it sounds like they got that sorted out, or at least are actively working towards it. It’s a shame, though, that—for over three years now—if you wanted to buy a brand-new X-Pro, which is an iconic camera line, you couldn’t. Soon enough you will be able to again, which is good news, even if long-overdue.
Fujifilm claims that the X half is “popular” but people on the internet seem to strongly disagree. So which is it: brilliant or bust? Is the Fujifilm X halfhighly successful or a failed product?
The “popular” claim comes from a statement by Fujifilm after the X half won the Nikkei Excellent Products and Services Award in the Trend Category. Fujifilm wrote on X, “The popular compact digital camera ‘X half’ won the ‘2025 Nikkei Excellent Products and Services Award Trend Category Award’! The award ceremony was held in Tokyo on February 2nd, and the award certificate was presented.” Then, in Fujifilm’s Q3 Business Summary Report, Fujifilm credits the GFX100RF, X half, and X-E5 for expanded sales and revenue growth in the imaging department, which seems to corroborate the claim that the X half is popular.
Why do so many across the internet disagree? There are a few reasons, one of which is that a lot of camera stores regularly have the X half in stock at any given time, while the same can’t be said for some other Fujifilm cameras, like the X100VI. Another reason is that used models seem to be in abundance on eBay, KEH, MPB, etc., and for notably less than MSRP. A third reason is that Adorama recently was giving away an X half with the purchase of an X-T5. A final reason is probably just from all the negativity around the internet—how can a camera that’s been trashed so much possibly be popular?
The answer is simple: the Fujifilm X half is wildly popular in some parts of the world, and is at best only moderately popular in some other regions. For example, the X half was the most-sold camera in Japan last summer, outselling not only every single other Fujifilm camera, but every camera by every company. In many Asian markets, the X half is one of the most trendy cameras, even more so than the X100VI, the most viral camera of all time. Don’t quote me on this, but I’ve heard twice now that China is Fujifilm’s top market, even larger than U.S. sales (there’s probably some truth to that, even if it turns out to not be completely accurate). If it’s doing well in China, it’s doing well, period. When viewed overall globally, the X half can be described as popular and can be credited in-part for Fujifilm’s revenue growth, even if the camera is only selling so-so in some countries, like America.
Above: Various pictures captured with the Fujifilm X half
All those who hate the X half and scoff at it because it’s not for them (apparently, every release has to be for them, personally), can’t fathom or accept the camera as popular, award-winning, and successful. But it is. It’s just not popular everywhere on Earth, and that’s ok. Does it need to be? If it’s extraordinarily popular someplace, it can afford to be only moderately so in some other locations. Besides, there’s still time for it to catch on in the lackluster markets, once people realize how fun it is and how great it is for casual snapshots. After all, the X100V didn’t go viral until over two years after it was first released. We have an X half in our household, and whenever we go someplace—between myself, my wife, and my four kids—someone is using it.
The real measure of success for the X half has less to do with sales numbers than with the mission of the camera itself. It’s intended to be a bridge between Instax and the X-series. Instax is much bigger than X and GFX combined. Most Instax users have never owned an X-series model. How do you get some of those folks to dip their toes into the X-series, and potentially become future customers? The X half, of course! Just throwing out numbers and speculating, but say the camera ends up selling 500,000 copies worldwide over its production run, and 20% of those are first-time X-series purchases from folks with Instax experience (either current or former users); now, if just 20% of those later buy a different X-series camera (like the X-M5, X-T30 III, X-E5, or X100VI), Fujifilm has grown their X-series customer base by 20,000 photographers simply by tapping into a market segment that’s largely ignored by the industry at large. The camera market is highly competitive, and there are only so many growth opportunities, so this type of outside-of-the-box thinking makes a lot of sense.
Why should any of us care? First, you certainly don’t have to care. Fujifilm is just another large corporation trying to earn big profits. For me, I want Fujifilm to be successful because I appreciate using their products, and sales successes or failures today will shape the future of their products. If the X half is a complete failure like some assume it is, then we can safely bet that it will be the only 1″ sensor camera that Fujifilm releases for a long time, if not ever; however, if it is indeed “popular” and a notable reason for revenue gains, well, don’t be surprised to see another camera developed with that sensor, perhaps a compact zoom along the lines of the X30 or XQ2. That’s why I’m interested in this topic personally.
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The Fujifilm GFX100RF is my dream travel camera. I am so thoroughly impressed by it, even though I’ve only used it for a few days now. I don’t actually own it. I’m working on a Route 66 project, and a friend of mine (who has one) thought that my project would benefit from the camera, so he’s letting me borrow his for a time (thank you!!). I’ve said since the camera’s announcement that I really want to own one someday, but it’s also outside of my budget (especially since other cameras that I also want are also released, such as the X-E5, and I’ve diverted my savings towards that instead). I’m saving up for a GFX100RF of my own, and someday I’ll get there. In the meantime, I’m extraordinarily grateful for the opportunity to use one for the time being.
To be clear, this is not a review of the GFX100RF. Maybe someday I’ll write one, but this is definitely not it. This is simply my gushing over the initial use of the camera. It’s not my first time shooting a GFX. I own a GFX100S II and a couple of GF lenses. It takes beautiful pictures, but it is large and heavy. I dropped a lot of money on it just before the GFX100RF was announced, which was the most I’ve ever spent on photography gear. I use it sometimes, but I tend to gravitate more towards smaller and lighter cameras and lenses. My wife, Amanda, uses it every now and again, too, for portraits. It doesn’t collect dust, but I feel bad that I don’t pick it up more often, considering how expensive it was. Sometimes I think I should sell it, but I purchased it for a specific purpose (large panoramic prints) and I still intend to use it for that. For now, it stays.
The GFX100RF is essentially a medium-format Fujifilm X70, but with an EVF and two card slots. A number of people have claimed that the camera is basically an X100VI, but GFX; however, that’s not what it is, and I think it gave a lot of people false expectations. For example, if it’s supposed to be like an X100VI, why doesn’t it have IBIS? Or a larger maximum aperture? Those are probably the two largest points of contention. In my opinion, Fujifilm should consider making an actual X100VI-like GFX model, with a 45mm f/2.8 lens and IBIS; however, just like the X100-series is larger, heavier, and more expensive than the X70, people should have the expectation that this maybe-someday GFX camera will likewise be larger, heavier, and more expensive than the GFX100RF, because it will be. The GFX100RF is the smallest, lightest, and cheapest digital medium-format body-lens combo ever made, yet it feels exceptionally premium. It will be a true classic—I have no doubt that 20 years from now some people will still be using it.
Perhaps more important than the body are the photographs that it produces, which are just beautiful. I think this has more to do with the lens than anything else. In my opinion, GFX isn’t inherently better than the X-series for the majority of photos and photographers; 26mp is more than enough for most purposes, let alone 40mp, let alone 100mp. There’s not a major difference (only very small dissimilarities) in JPEG output from the 100mp GFX and the 40mp X-series, other than the resolution and high-ISO capabilities. You can easily achieve a medium-format-like shallow depth-of-field with the X-series using a large aperture lens, like the Fujinon 56mm f/1.2 (and shoot in the dark with it, too). So it really comes down to the lens, and the 35mm f/4 (28mm full-frame-equivalent) that is permanently attached to the camera is a really good one.
I’m not really sure how to end this, other than with the photographs that I captured on Route 66 earlier this week. It’s not the only camera that I used on the trip, or even the one that I used the most (surprising to me, the X-T5 was the one that I chose most often). But, when reviewing the photos, I was really impressed with the pictures. Plus, the camera was small and light enough to be ideal for travel. What’s not to love? Anyway, below are some of the pictures that I captured in northern Arizona with a Fujifilm GFX100RF this last Tuesday. I hope you enjoy!
Housing for Hope – Kingman, AZ – Fujifilm GFX100RF – Agfa Ultra 100 v2
Joshua Tree Hotel – Kingman, AZ – Fujifilm GFX100RF – Agfa Ultra 100 v2
Herbie on Route 66 – Antares, AZ – Fujifilm GFX100RF – 1-Hour Photo
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I’m going to rate Fujifilm’s class of 2025 gear releases. I’ve never done something like this before. I’ve seen plenty of other people do end-of-the-year camera gear grading, which I sometimes agree with and sometimes don’t. Since 2025 is nearly over, I thought I’d try my hand at grading all the cameras and lenses that Fujifilm’s released over the last 12 months.
Specifically, there were five cameras—two GFX and three X-series (one is only sort-of X-series)—and three lenses, one of which is a GFX cinema lens. That’s eight items in total. For the sake of this article, I’m excluding Instax. Let’s dive in!
Cameras
Fujifilm released five cameras in 2025: three X-series and two GFX models. We’ll grade each camera individually, then each series as a whole, and finally grade all of the cameras as a group.
First up is the Fujifilm GFX100RF. This is a medium-format fixed-lens compact camera, and best thought of as the GFX equivalent of the Fujifilm X70. It’s the smallest, lightest, and cheapest medium format camera-lens combo from any brand. It’s the only retro-styled GFX camera currently being made, and only the second ever (the long-discontinued GFX 50R is the other). This camera is high on my bucket list, and I hope to someday purchase it, but at $5,600 it’s well outside of my current budget.
Common complaints about the GFX100RF are that 1) it lacks IBIS, 2) it has a maximum aperture of “only” f/4, and 3) it’s not fully weather-sealed (an adapter and filter are required to fully seal it). I’m perfectly ok with point three—it’s no problem for the X100-series, and it shouldn’t be seen as an issue for the GFX100RF. As far as points one and two, Fujifilm has said that the camera would need to be significantly larger and heavier to accommodate either of those, and especially both. Interestingly enough, the medium-format camera-lens combo that’s closest in size and weight to the GFX100RF (the Hasselblad 907X plus CFV 100C back with the 28mm lens) also lacks IBIS and has a maximum aperture of f/4 (but is much, much more expensive than the GFX). Fujifilm could certainly make a larger, heavier, and more expensive camera that’s similar in concept (just like they made both an X70 and an X100T), and I hope they someday do. Anyway, the GFX100RF deserves a very high grade, so I give it an A+.
Next is the Fujifilm X half, which is currently the smallest X-series camera; however, it’s not X-Trans. It’s a compact fixed-lens model with a vertically mounted 1″ sensor. Sitting in-between an Instax Evo and the X-M5, it’s intended to deliver an analog-like experience in a simple package. The designers took inspiration from half-frame 35mm cameras. The X half is a ton of fun, and great for snapshots of family vacations and things like that. I enjoy using it, and so does my wife.
Common complaints are that 1) it’s too expensive for what it is, 2) it has some flaws like the lack of a proper flash or hotshoe, and 3) it’s a gimmicky concept. I agree with point one, as the camera should be around $650-$700 in my opinion. I also agree with point two, and I hope those are addressed in a future iteration. As far as point three, I think it’s not really intended for the majority of people who typically buy X-series gear. Fujifilm had in mind a bridge between Instax and the X-series, a pathway for Instax customers to move up (remember, Instax is much larger than the X-series and GFX combined). From what I’ve seen, it seems to be successful in this regard, so, even though the usual crowd might bemoan it, the camera is largely a hit with those whom it was made for. I grade the X half a B-.
Third is the Fujifilm X-E5, which is the closest you’re likely to get to an interchangeable-lens X100VI. This camera is a much different model than its predecessor. The X-E4 was a minimalist low-budget model, serving as Fujifilm’s smallest, lightest, and cheapest camera with an EVF. Inexplicably, Fujifilm discontinued it when it was in high-demand, with months-long waitlists. The X-E5 is the long awaited successor; however, Fujifilm gave it many notable upgrades, and the camera is no longer minimalist or entry-level.
Common complaints are that 1) it’s so much more expensive than the X-E4 and 2) the EVF should have received an upgrade. For point one, the X-E4 was the cheapest (both in price and quality) of any X-E series model, while the X-E5 is the most premium iteration, so it stands to reason that it would be significantly more expensive. I agree with point two; however, it’s not a major issue whatsoever in practical use, only a minor point. My biggest complaint is that Classic Negative was left off the Film Dial, which is inexcusable. The X-E5 is one of my favorite cameras, and I give it an A.
Fourth is the GFX Eterna 55 cinema camera. I’ve seen it in person, I’ve talked to a couple of people who have personally used it. From what I understand, it’s not perfect, but it will likely be highly appreciated by certain segments of the professional cinema crowd. At some point in the coming few years, a major motion picture will be recorded using the Eterna 55, I’m certain. It’s Fujifilm’s most expensive model, but it’s reasonably priced for the segment that it’s in. I give the Eterna 55 an A-.
Last but not least is the Fujifilm X-T30 III, a mild refresh to the X-T30 II, which was a mild refresh to the Fujifilm X-T30, released in early 2019. It fills an important role in the X-series lineup, which is an affordable interchangeable-lens model with an EVF. While it doesn’t have all the bells-and-whistles of the more expensive models, it is very capable, and is the overall best value within the X-series. Fujifilm will sell a whole lot of X-T30 III cameras. I grade it a B+.
Now, to the overall grades, beginning with the X-series. To recap, I gave the X half a B-, the X-E5 an A, and the X-T30 III a B+, which puts the overall grade for the 2025 X-series releases as a B+. Now, to GFX. To recap, I gave the GFX100RF an A+ and the Eterna 55 an A-, which puts the overall grade as an A. That puts the total grade for both the X and GFX lines combined at an A-.
Lenses
Fujifilm only released three lenses in 2025: two X-series and one GFX. I’m not going to spend nearly as much time on this as I did the cameras. I’m going to grade each lens, and then give one overall grade for all the lenses.
First is the Fujinon 23mm f/2.8 pancake. I’ve long advocated for more pancake lenses for the X-series. The 27mm f/2.8 is one of my favorites, while the 18mm f/2 is barely a pancake, and is need of a refresh. The 23mm f/2.8 pancake has been long requested, adds a solid third pancake option for the X-series, and is a great performer; however, the 23mm focal-length is now a bit crowded with several options. That’s really the only complaint, if there is one. I grade this lens an A-.
Next up is the Fujinon XC 13-33mm f/3.5-5.6 kit zoom. I prefer primes, personally. This lens is the smallest X-series zoom, and the closest Fujifilm has to a pancake zoom, but I’m not excited about it in the least. I’m sure it’s good, and some people will really love it. I give it a C.
Lastly, we have the GF 32-90mm cinema lens. If I’m not mistaken, this is the first and currently only GFX lens offered by Fujifilm specifically for filmmaking. Unsurprisingly, this is the most expensive lens for GFX cameras. I don’t know much about it, but the little I have heard has been very positive. This rating is more of a shot in the dark, but I’ll give it an A.
To recap, I gave the Fujinon 23mm f/2.8 pancake an A-, the Fujinon XC 13-33mm zoom a C, and the GF 32-90mm cinema lens an A. Between the three, the overall grade is B+.
Conclusion
It’s also important to consider if the gear that Fujifilm released is the gear they should have released. Did they do enough? Did they introduce the wrong things? We should take that into consideration.
The largest hole is the very-long-overdue X-Pro3 successor, which probably should have come in 2023 or 2024; it’s the end of 2025, and we haven’t seen it yet. My guess is that it will arrive next year, probably within a few months, but that’s only a guess. I get that they might wait for it to be extra special, and perhaps it will be well worth the wait, but I do think some points need to be deducted for its continued absence. Fujifilm should make this camera their top priority for 2026.
The lens lineup has matured over the years, so it makes sense that they might release fewer and fewer new options each year, but there are still a few holes that I’d like to see them fill. Between X and GFX, four or five new or updated lenses each year is probably a better number than just three. I’m a big fan of one of their 2025 lenses, but overall it was a ho-hum year for glass, mostly because the class was so small.
I gave the cameras an A- and the lenses a B+. When factoring in the lack of an X-Pro and the small number of lenses introduced, overall I have to give Fujifilm a grade of B for the gear they released in 2025. Do you agree or disagree? What grade would you give Fujifilm for their class of 2025 gear? Let me know in the comments!
Fujirumors recently conducted a survey of the “best” and “worst” Fujifilm-related gear released in 2025. This included Fujifilm cameras—specifically, the X-E5, X-T30 III, X half, GFX100RF, and GFX Eterna 55—as well as lenses, including third-party lenses. Instax was in the list, too. The survey had two questions: which was the best, and which was the worst. The insinuation in the body of the article was that whatever product was chosen as the “worst” would be considered a flop.
No surprise to me, the Fujifilm X-E5 was ranked as the “best” Fujifilm-related product of 2025, receiving nearly 40% of the votes. It’s an excellent camera that’s been pretty well received. A strong argument can be made that the GFX100RF or Eterna 55 are technically the best, but the majority of those voting are likely not in the GFX system. The X-T30 III will probably end up selling more copies than any of the other cameras, which doesn’t necessarily make it the “best” only the best selling due to having the best value. It’s all subjective.
Above: Various pictures captured with the Fujifilm X half
The Fujifilm X half far and away received the most votes for “worst” Fujifilm-related product, receiving 50% of the responses. I’m not surprised because the survey was on Fujirumors, and the X half is largely not intended for the market that audience generally is. Just like I’d be shocked if the Instax Mini LiPlay won best product on that site, while it wouldn’t be shocking at all if it did so on an Instax-centric website.
The primary customers of the X half are not those in X-series; it’s those with an Instax camera, those who shoot film on a retro point-and-shoot, those who like digicams, and those who have an interest in photography but have no interest in using a mirrorless or DSLR model. They want film-like results without fuss. I would bet that two-thirds of those who have bought an X half don’t own and have never owned an X-series camera, aside from their new X half. If we were to revisit this in a couple of years, I would wager that the X half was the gateway into the X-series for thousands of people, which is exactly what the purpose of that camera is. Someone buys the X half today, next year they buy an X-T30 III or X100VI or something like that.
Above: Various pictures captured with the Fujifilm X half
The question, of course, is this: does that make the X half the worst Fujifilm-related product of 2025? If it’s successful at bringing in new customers, particularly an often overlook subset of potential customers, isn’t that good? I don’t know exactly how well the X half is or isn’t selling, especially since those statistics are hard to come by. Apparently, it was the number one selling camera in Japan over the summer, significantly outselling the second most popular. After talking with a few different camera stores, it seems to be doing well, but the camera is not nearly as hot as the X100VI or even the X-E5. I hear that it’s more popular in Asian markets than in Europe or America, so maybe that explains it.
I can tell you this: I have an X half, and it was my most-used camera on an RV roadtrip up the Atlantic coast over the summer. It’s fun for casual snapshots, and was perfect for documenting our journey. My wifeand I both use it, and sometimes we fight over it. With that said, it will never replace my X-T5 or X-E5 or X100VI or any other model. It’s not that type of camera. It’s going to give you the “worst” image quality of any current X-series model, but in the best way possible. So maybe it is the worst Fujifilm-related product, but that’s what makes it great. And it’s definitely not a flop, it’s just intended for a different group of people than the usual suspects, which certainly can be a great way to expand market share.
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I’ve never been a staunch advocate of In Body Image Stabilization (IBIS). For the 25+ years that I’ve been creating photographs, only in the last four or five years have I even owned a camera with IBIS, and it has had only a minimal effect on my photography. So I’ve had a take it or leave it attitude towards it—nice to have sometimes, but far from essential. Nowadays, most of my cameras have built-in stabilization, including my X-E5, X-T5, X100VI, GFX100S II, X-T4 ES, Ricoh GR IV, and more. I still have many without IBIS, including an X-E4, X-T30, X100V, and some others. Yes, I own way too many cameras.
For the most part, the inclusion or exclusion of stabilization hasn’t had any significant impact on my photography. I’m not much of a videographer; if I were, I’d want IBIS—in fact, my wife is a videographer, and IBIS is essential for her. With that said, I know of several people who have done amazing video work on non-stabilized cameras. If I used long telephoto lenses, I’d want IBIS. I used to own the Fujinon 100-400mm, but I rarely used it, so I sold it—for that lens, IBIS can be helpful. The longer the lens, the more camera shake is exaggerated, and the more important IBIS is for handheld photography; the wider the lens, the less you need the camera to be stabilized.
Fujifilm X100V at 1/3 second exposure handheld
The picture above is nothing special, but, at 1/3 second, I do believe it is the longest I’ve successfully handheld a non-IBIS camera. The leaf shutter in the X100V certainly helped, but mostly I just utilized good techniques, including bracing myself and slowly exhaling as I lightly pressed the shutter release button, which was set on a two-second self-timer. It took several tries to get one sharp result. It was more work than that particular picture was worth, but it does demonstrate that the lack of IBIS isn’t necessarily a major deal.
Aside from that, I could always carry a tripod with me. Even a monopod will potentially offer the stabilization necessary for slow shutter speeds, but a tripod ensures the camera is perfectly still and I’ll get a sharp picture. Before I had cameras with IBIS, I would usually use a tripod for any shutter speed as long as or longer than half the reciprocal focal length of the lens. For example, with a 50mm lens, I can, with good techniques, get a sharp photo as slow as 1/30; anything slower than that needs a tripod. Even in that example, using 1/30th shutter speed with the 50mm lens is definitely pushing the envelope of what I can do, and it might depend on how much coffee I’ve had that day. If the lens is wider, the shutter speed can be slower. For a 12mm lens, 1/8 might not need a tripod, but 1/6 probably does.
I hate carrying tripods. Especially when traveling, or if I have to hike somewhere, the last thing I want is a tripod. When I was younger, carrying a tripod was less of a big deal (and I’m sure they were heavier back then, too), but now that I’m in my mid-40’s, it’s annoying, and I’d rather avoid it. That’s where IBIS comes in handy. I can go slower and not think twice about it. I don’t have to utilize crazy techniques. I can leave the tripod at home, and just enjoy photography—the camera will take care of my shakiness.
So even though I’m not a big IBIS advocate, and it’s still a feature that 99% of the time I see as nonessential for me, it can certainly be quite handy. It was definitely nice to have on my recent trip to The Great Smoky Mountains National Park, where I utilized it a number of times for flowing streams and waterfall pictures. I don’t think that every camera needs to have IBIS; however, when I’m packing my camera bag for an adventure, if I think I might be shooting in low-light situations or want a slow shutter speed for effect, you better believe that at least one of my bodies will be stabilized. Having at least one camera with IBIS is good to have.
Fujifilm’s Film Dial is probably the third most controversial design decision from the brand. First is the entirety of the X half camera, which has a vertically orientated sensor and frame advance lever. Second is the backwards-mounted rear LCD on the X-Pro3. Unlike the other controversies, the Film Dial is not just found on one model, but three (soon to be four) with certainly more to come in the future. With these contentious features, it’s understandable that people have mixed reactions.
Some people love the Film Dial. Some people could take-it-or-leave-it and its inclusion or exclusion is unimportant. Some people don’t mind it, but would prefer a different dial instead. And some people just loathe it.
Fujifilm had sent me an X-T50 to try out prior to its announcement. I didn’t know what the Film Dial was—it looked cool, but how do you use it? Initially, I didn’t really like it. I shoot with Film Simulation Recipes, and most Recipes work well with one specific Film Simulation and not nearly as well with others. Since the Film Dial (except on the X-E5… we’ll get to that later) only changes the Film Simulation and nothing else, it seemed like a useless feature to my photography. But then I had an epiphany: what if there was a “universal” Recipeor two, which was specifically designed for use with any and all Film Simulations? The Film Dial would become an important tool for maximizing in-camera picture aesthetics. So I went from disliking it to loving it rather quickly.
I think some of the criticisms are valid. Is a Film Dial more useful than a Drive Dial or ISO Dial? Fujifilm has never replaced an ISO Dial with a Film Dial, and I hope they never do. Complaining that a Film Dial was implemented instead of an ISO Dial is a little silly since the camera lines in question never had an ISO Dial in the first place. Still, of the two potential knobs, many people would prefer ISO over Film Simulation, and perhaps that is something Fujifilm should take into consideration. Fujifilm has replaced the Drive Dial with the Film Dial, and, for those who commonly use the Drive Dial, I can see how that might be annoying. Instead of a knob on top, Drive is now a button like on the X-E, X100, and X-Pro series. Most ideal might be to use a dual knob like the ISO/Drive dial on the X-T series (except Film Simulations instead of ISO), but Fujifilm hasn’t tried that yet—who knows, they might at some point. I don’t think this is a big deal for most people, but it is understandable. There was a similar sentiment when the four-way D-Pad was removed on most models, and it turned out that the majority acclimated without much heartache. My guess is that the lack of a Drive Knob on certain models will prove to be rather trivial in the long run.
The majority of complaints are from the loathers. They really hate the Film Dial and don’t even want to see it when they look at their camera. It bothers them deeply. Some even claim that they’ll leave the brand over its inclusion. It’s like kryptonite or something. I find this very, very strange. It’s weird. The main issue seems to be that the Film Dial is something they’d never, ever use. They dislike Film Simulations so much that they don’t want anyone to even think that they might (gasp!) use one. Of course the irony is that, outside of some drastic measures, they’re using one: Provia. That’s how their camera sees the world, and where their RAW edits begin. Yes, they can manipulate the files any which way and make any number of unique adjustments, but you have to admit that using Provia has at least a small influence over the final edited photo. Almost all of the Film Simulation haters are using a Film Simulation if they shoot a Fujifilm camera, but they’re either ignorant to that fact or they’re fully aware and are just being dishonest.
For (nearly) the last 15 years, many people have been buying and using Fujifilm cameras without digging into the menus, and as such never ventured beyond the Provia/STD Film Simulation. I’ve had a number of people tell me this. They’ve owned many Fujifilm cameras over the years, and never bothered to change the various IQ Menu items like Film Simulation, Dynamic Range, Color, etc., etc., until recently. When people say that they don’t use Film Simulations, what they often mean is that they’ve never tried anything other than Provia. They don’t know what they’re missing, and perhaps they don’t realize that it can be beneficial to their photography.
For example, a strictly RAW photographer might dismiss Film Simulations (and only use Provia), but not realize that a different Film Simulation might help them to better pre-visualize the shot. Perhaps a different Film Simulation is a closer aesthetic match to their style, and seeing the scene in those colors might help them, and maybe even improve their photography. I know of several photographers—some fairly well known—that use Recipes for this purpose. They’re not JPEG photographers—they RAW edit, and a couple even sell Lightroom presets—but the Recipes help them to visualize the finished photo while in the field, which helps them produce better pictures. Those who dismiss Film Simulations forfeit this great tool.
There’s no right or wrong way to do photography. There’s no right or wrong way to use Film Simulations or Recipes (I’m surprised sometimes how people use Recipes, occasionally in very unexpected ways). Do what works best for you, whatever that is. If you only ever want to use Provia and factory-default IQ settings, that’s cool. I just don’t understand the disdain that some have for the other Film Sims, and (more importantly) for those who appreciate them. There shouldn’t be such hate. There are some buttons that I never use on some of my cameras, and I don’t look at those buttons with disgust or think less than of people who do use them—it would be ridiculous of me to do so. How silly and strange would that be! Yet there are people who do just that when it comes to the Film Dial, and are very open about it, plastering it across the internet.
A long-time Fujifilm photographer told me recently that he never bothered with the various Film Simulations because he shoots RAW and didn’t see the point in trying them. Then he purchased a Fujifilm X-T50. Seeing the Film Dial on the top of the camera made him curious, so he began to try the different Film Sims, and he realized that he likes some more than Provia, especially Classic Negative. Eventually this led him to find Film Simulation Recipes, and he begun shooting JPEGs for the first time. He told me that none of this would have happened if the camera had a Drive Dial instead of a Film Dial. That’s why Fujifilm is putting one of their greatest assets—their amazing in-camera profiles—right on top of their cameras for all to see, and super convenient to use. It was such a great move by the brand.
The Film Dial isn’t perfect, though. First, the X-T50 and X-M5 (along with the upcoming X-T30 III) should have the ability to save Recipes into FS1, FS2, and FS3, just like the Fujifilm X-E5. I really hope Fujifilm does that. Second, why can’t all of the Film Simulations on the Film Dial have the ability to save Recipes? I should be able to program a Provia Recipe, a Velvia Recipe, an Astia Recipe, a Classic Chrome Recipe, etc., etc., into the various slots on the dial. That would be strongly welcomed by a large portion of Fujifilm’s customers. Third, Classic Negative was inexplicably left off the X-E5 Film Dial; I know that not every Film Simulation can make the cut, but Classic Negative should have been included. There’s room for improvement, and I think Fujifilm is working towards making it better.
Personally, I like the Film Dial and appreciate seeing it on more and more cameras. It can be quite useful, especially when paired with a “universal” Recipe. And it will only improve with time. Those who complain about the Film Dial, there’s validity to some of the criticisms and Fujifilm should ponder those; however, some criticisms are just plain silly. Those who say that it’s dumb or garbage or makes them feel sick or want to change brands—I just don’t get it. Nobody said that you have to use the Film Dial (simply keep it set to C), or even that you have to buy a camera with a Film Dial. Nobody is forcing you to do it. And the world doesn’t revolve around you, anyway. People use cameras in all sorts of ways, and all of those ways are valid. Fujifilm has no obligation to make a camera for your preferences and your preferences alone. To think otherwise is strange and narcissistic. The Film Dial is not kryptonite, and you’re not Superman. It can be a useful tool if you take a moment to figure out how to best utilize it for your photographic circumstances—even if you’re a strictly RAW shooter who dislikes Film Simulations, it can be used to your advantage. For the JPEG photographer, it adds significant straight-out-of-camera aesthetic versatility. In other words, the Film Dial is awesome! I think it’s quite smart for Fujifilm to prominently place it on particular cameras, like the X-T50, X-M5, and X-E5.
The sun is beginning to set on Fujifilm’s fifth-generation of X-series cameras. Soon, dawn will break on X-Trans VI. This is a much-too-early speculation on what that might look like. In other words, take all of this with a massive grain of salt, because these are merely guesses. I don’t have any inside information. Many of my prior guesses were completely wrong, but a few were spot on—I anticipate that many of these will prove to be incorrect, too, but that some will turn out to be right.
I don’t know with certainty that the upcoming Fujifilm X-T30 III will be the final fifth-generation camera. The X-T30 II was the last fourth-generation model. The X-E series has often marked the end of a generation by being the second-to-last model. So with the recent release of the Fujifilm X-E5, and the upcoming announcement of the X-T30 III, I think it’s a pretty safe bet that the fifth-generation is coming to a close, and that the sixth-generation is right around the corner.
To start with, let’s talk about a potential timeline. I think the first sixth-generation camera will be the X-Pro5 (maybe they’ll call it X-Pro4), and it will be announced in January or February, and ship in February or March. After that will be the X-H3 and X-H3s, which will come in late-spring and/or summer. I’m going to go way out on a limb, and say that an X80 (followup to the X70) will come in fall of 2026. If this all happens, next year will be a busy year for the X-series.
In 2027, I see the X-T6 arriving in late-winter or early-spring. The X-S30 will likely follow in the summer or fall. I suspect there will be a GFX release or two, but that’s it for the X-series for that year. In 2028, I anticipate the X100VII in late-winter or early-spring, followed by the X-T60 in late-spring or early-summer, and the X-M5 in the fall. 2029 will wind down the sixth-generation, with an X-HF2 (not X-Trans, but technically X-series) early in the year and an X-E6 later in the year. There will not be a followup to the X-T30 III. It’s possible that the seventh-generation of X-Trans kicks off towards the end of 2029, possibly with an Eterna 28 (APS-C version of the GFX Eterna 55) cinema camera.
A lot will look the same between X-Trans V and X-Trans VI, as it will be mainly under-the-hood changes. I don’t anticipate any major resolution bump with X-Trans VI; I think it will be more about speed and efficiency. Will Fujifilm continue to use the same sensors? They might. I can see a partially stacked 40mp sensor in the X-Pro3, X-H2, X-T6, and maybe X100VII. I can see them using the 40mp X-Trans V sensor (but paired with a new processor) in the X-T60, X-E6, and maybe X100VII (the X100VII could go either way between non-stacked and partially stacked). I don’t think that the 26mp X-Trans IV sensor will be used any longer, but a new sensor (maybe 30mp) will be added to the lineup, found in the X80, X-S30, and X-M5. The X-H3s might continue to use the same 26mp stacked X-Trans V sensor, or it might have a new-and-improved stacked sensor.
My guess is that the X-Pro5 will have an aspect ratio dial like the GFX100RF, and will be the first X-series model with the XPan aspect ratio. It will probably have the classic EVF feature like the X-E5. It might even have a Film Dial like the X-E5. I really don’t know what else will be different, but I suspect there will be a few surprises. The X-H3s will be a lot like the X-H2s, but with some speed/efficiency improvements plus the ability to use video LUTs like the Eterna 55. The X-H3 will be a lot like the X-H2, but mainly just speed/efficiency improvements. The X80—if Fujifilm decides to make it—will be a massive success, and will serve as Fujifilm’s closest competitor to the Ricoh GR IV.
The X-T6 will be a lot like the X-T5, with mainly just speed and efficiency upgrades. The X-S30 will have a new sensor, I believe, that will boost the resolution a smidge; overall, I don’t think it will be much different than the X-S20. The X100VII will have a new-and-improved lens that can better take full advantage of the 40mp sensor, but otherwise will be quite similar to the X100VII. It could have an X-E5-like Film Dial, too. The X-T60 won’t be a whole lot different than the X-T50, just small improvements. The X-M6 will likely have a new sensor, but otherwise won’t be much different than the X-M5. The X-HF2 will have a hotshoe and/or better flash, but will still be pretty much the same. The X-E6, which might just be called the X-E5s, will just see some small improvements, like Classic Negative added to the Film Dial, and other minor refreshes.
There will probably be two new Film Simulations added: one beginning with the X-Pro5, and another with the X100VII. Some potential Film Sim ideas are Fujicolor PRO 400H emulation that turns pastel with overexposure, Natura (modeled after Natura 1600), Fortia (more vibrant than Velvia), Cross Process (modeled after Velvia 50 that’s been cross processed), Instax, and a more contrasty B&W option. I think they will add a couple more JPEG options, too. I’d like to see Halation Effect (with the options of Off, Weak, Strong) and Light Leak (Off, Intermittent, On), which Fujifilm has already invented, they just need to incorporate. Faded black and vignetting are a couple other options worth considering. They should revamp the Advanced Filters, adding Retro and Expired Film from the X half, and allow Dynamic Range, White Balance, and Grain to be selected. There’s a lot that Fujifilm could do, but a suspect it will be limited to a couple of new Film Simulations, a couple of new JPEG options, and maybe some long-overdue improvements to the Advanced Filters.
Essentially, I think the sixth-generation will look a lot like the fifth, with mostly under-the-hood improvements. If Fujifilm has ever considered releasing an X80, they should probably do so sooner than later; if they do, that camera will be the X-Trans VI headliner. The X-Pro5 will probably be the most different compared to its predecessor. My guess is that there will not be an X-T30 IV or X-T40—the X-T30 III will be the final iteration of that camera; however, they will continue to sell it well into the sixth-generation lifecycle, quietly discontinuing it 2028. Of course, all of this is speculation. Fujifilm could certainly surprise us with all sorts of things—they’ve done it before, and they’ll do it again. A lot seems pretty predictable, though; however, we should expect the unexpected, at least here and there.
Me, at Create With Us, During Setup – Minneapolis, MN – Fujifilm X-E5 – 1970’s Summer
I returned home late last night from Fujifilm’s Create With Us event in Minneapolis, Minnesota. This was their third annual Create With Us—I was fortunate to be at the last one, too, which was in Austin, Texas. It was a very quick trip: I flew out Saturday evening, and the returning flight landed just before midnight on Sunday. It was a whirlwind, but I’m so glad that I got to be a part of it.
Fujifilm assigned me three jobs: assist with a Fujifilm X-E5 and X-T50 touch-and-try station, cohost a Tech Talk with Christopher Gilbert, and lead a photowalk. The topic of the Tech Talk was straight-out-of-camera photography. Christopher and I discussed the various Film Simulations, how to set up a Film Simulation Recipe in the camera, and how to reprocess a RAW file using the in-camera RAW converter. It was a fun experience, and hopefully educational for those in the audience (the next Tech Talk is on Wednesday, October 1st).
The photowalk was great. It was supposed to be limited to 15 attendees, plus myself and two assistants (someone from Fujifilm, and a local photographer), and two models. We ended up with over 25 people in total (including myself, the two assistants, and the two models). The new Fujifilm North America CEO Ryuichi “Richie” Matoba (forgive me if his official title is not exactly that) also attended. He was the CEO of Fujifilm Australia, but as of a month ago Richie was given the reins of the North America office. It was an incredible honor to have him join the photowalk! I didn’t get a chance to talk much with him, but I would love an opportunity for a longer conversation (I have a lot of feedback and ideas), should he happen to read this.
It was an honor to photograph with and meet in-person all those who attended the photowalk. The two models were great, too. I’m grateful for those who stopped by the touch-and-try booth to say hello. It was a really good event, and I’m sure all who attended can attest to that. If there’s ever a Create With Us event near you in the future, be sure to attend—it’s well worth whatever effort it takes to get there.
The only camera I brought with me was my Fujifilm X-E5. This is such a great travel camera, and for a quick there-and-back adventure, I really didn’t need anything else. I especially appreciate that you can program up to 11 Recipes into the X-E5. I attached the new Fujinon 23mm f/2.8 pancake lens to the camera, and also brought along a Pentax-110 50mm f/2.8 lens and adapter for a second option. One spare battery, which I didn’t even use, rounded out the kit.
Probably the most interesting thing that I learned at Create With Us was from a somewhat off-handed comment from a Fujifilm employee. It would have been really easy to overlook what was said. I don’t think it was intended to be interpreted as an official statement, but I was fascinated by it, so I want to share it with you: “Each sensor generation has its own unique charm. Some people like the Provia rendering of X-Trans I, some people like the Velvia rendering of X-Trans II—each one is different.” I might not have the quote 100% correct, but that’s the gist of it.
The insinuation was (at least as I understood it when it was said) is that the small differences in image rendering between sensor generations, and even the much more subtle differences camera-to-camera within the same sensor generation, is intentional and even a feature. It’s kind of like when an emulsion is updated, it looks slightly different than it used to; one person might prefer the “old” version of the film, while another might prefer the updated iteration. For example, when Kodak went from the second to third generation of Kodachome in 1974, some photographers liked the change, and some (like William Eggleston) didn’t. If you preferred the old version of Kodachrome, you were soon out of luck once it sold out. Fujifilm cameras are a different story because you can still buy the old models on the second-hand market. You can find and use the one with the charm that you most prefer. Maybe that’s the X-Pro1. Perhaps it’s the X-T1. It could be the X100F. Possibly it’s the X-E4. Maybe it’s the X-T50. Or some other camera. It’s up to you to find the one that you especially love, and the intention is that you’ll continue making photographs with it for a long time, and not just for a couple of years until the next iteration is released.
The specific hardware and software in the camera plays a role in the image rendering. It would be extraordinarily difficult to 100% match the output of various sensors and processors. You can get very, very close, though; however, 100% exactly matching is not quite possible. That’s certainly a part of it. Maybe you don’t want to perfectly match the output anyway, if it would require ignoring a benefit of the updated technology. It could be that the new technology allows the programmers to better achieve the intended results, which were less possible with the older technology. Perhaps the vision of what those results should be has been tweaked a little over time. All of that is a factor. But that’s not the point that was made: each Fujifilm camera generation has its own unique quality, which was purposefully crafted, and you might especially like the particular charm of one more than the others. Since they’re not all perfectly identical, you get to decide which is your favorite.
My personal favorite is the fourth generation. I think the JPEG output of the X100V, X-T4, and X-E4 (I own those specific models) is special. The fifth generation, which has the advantage of Nostalgic Neg. and Reala Ace, is a very close second-favorite for me. There’s an obvious difference in output between those two generations, most notable (but not limited to) how deeply blue is rendered on some film simulations. Whether you prefer either of those two generations—or a different one entirely—is up to you; I really like the output from the Fujifilm X-Pro2, for example.
We’re all unique. Each of us have our own unique styles. We all have our own tastes. As the saying goes: Different strokes for different folks. The beauty of Fujifilm’s approach is that no X-series camera generation is objectively better than another. Each one might be considered subjectively better, just depending on who you ask, but they each have their own charm. You might even prefer certain aspects of one and certain aspects of another, and use both.
When it comes to other brands, for the most part you really don’t hear people talk about the picture charm of various models. People don’t discuss the image quality magic of (say) the Canon Rebel T7i or debate which Sony A6000 series model has the best picture profile rendering. This seems more exclusive to Fujifilm, and it’s because Fujifilm intended each iteration to have a unique allure, which sparks the discussions and debates, but more importantly it provides an avenue to connect with and really love the gear you use.
Below are the photographs that I captured on the Create With Us photowalk in Minneapolis with my Fujifilm X-E5.
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