Fujifilm Camera | FUJI X WEEKLY

Fujifilm X-Pro2 — The camera that got away (again)

Posted on 17 Hours Ago by Ritchie Roesch

Back in 2018, I briefly owned a Fujifilm X-Pro2. I loved that camera! It was so much fun, and the perfect compliment to my Fujifilm X100F. To this day it remains my absolute favorite interchangeable-lens model by Fujifilm that I’ve ever purchased. Unfortunately, I had to sell it.

You see, I didn’t have a lot of money back then to spend on (what was at the time) my hobby. I’m sure that many of you can relate. I found a good deal on a used X-Pro2, but I really couldn’t afford it. Using PayPal credit, I was able to hold onto the camera for about six months, but when the interest came due, I had to let it go. I had high hopes that I could find a way to keep it, but it just didn’t work out. The day that I mailed the X-Pro2 off to its new owner was a sad one (although I’m sure it was quite happy for them). I’ve thought about that camera—and the summer of 2018 when I briefly owned it—many times since. I’ve often wondered if I’d like it just as much today as I did then.

Thankfully, the kind folks at MPB, who are fans of Fuji X Weekly and Film Simulation Recipes, provided me with the opportunity to find out. MPB is the sponsor of this article—this is the first ever sponsored post on this website, by the way—and they loaned me a Fujifilm X-Pro2 to try out for two weeks. For those who don’t know, MPB is an online platform where you can buy, sell, or trade used photo and video gear. “At MPB, there’s something for everyone who wants to try something new, hone their skills, or pursue their passion—and it won’t cost the earth.” If you’re in the market for used camera gear, be sure to check out their website—you can learn more about MPB here. Thank you, MPB, for making this article possible!

Fujifilm released the X-Pro2 eight years ago, in 2016. It’s a rangefinder-styled 24mp APS-C mirrorless camera with a hybrid optical/electronic viewfinder. The X-Pro2, which resembles a classic film camera, is rock-solid, and feels like it could last forever, even if you tossed it around a little. In my opinion, the X-Pro series is one of the most beautifully designed camera lines of all time. The X-Pro2 was an instant classic when it was newly released, and will continue to be for many years to come.

I chose the specific Fujifilm X-Pro2 that I wanted to borrow from the MPB website the same as if I were buying it. When the box arrived in the mail, the camera was exactly as the website described. The camera functioned like it was brand-new; the body had a few minor signs of wear, which I was well aware of due to the gear-specific ‘cosmetic condition’ rating displayed on the platform. There were no surprises, and I got precisely what I was expecting to get. Did I mention that the X-Pro2 is a beautiful camera?

When I had the X-Pro2 back in 2018, I brought it along with me on some epic roadtrips. It went with me to the Black Hills in South Dakota. It traveled with me through Colorado and New Mexico, including The Great Sand Dunes and Taos. I have many great memories associated with the X-Pro2. Was how I felt more about those adventures than the camera itself? Or was the camera truly that great?

As I was removing the X-Pro2 from the box, many of those memories came flooding back. It was a great joy to hold it once again. This time, I wouldn’t be able to take it on any roadtrips. Would I feel the same without some travel experiences to go along with the camera? I wondered what I would think about the X-Pro2 all these years later—would it hold up to the test of time?

Back in 2018, I mostly used three lenses with the X-Pro2: Fujinon 60mm f/2.4, Fujinon 16mm f/1.4, and Meike 35mm f/1.7. Of those three, the only one that I still own is the Meike, so I used it extensively during the two weeks that I had the X-Pro2. I also tried a Helios 44-2, Pentax-110 50mm f/2.8, and 7Artisans 35mm f/0.95. Each of those four lenses have unique characteristics and strengths. The X-Pro2 is especially fun to pair with vintage and manual lenses, and I very much enjoyed that approach with it.

I shoot JPEGs, and rarely edit my pictures (aside from some cropping/straightening). I found that this approach works very well for me. The photographs in this article are all camera-made JPEGs that are not post-processed. The Film Simulation Recipes that I used with the camera six years ago were mainly Kodachrome II, Dramatic Classic Chrome, Vintage Agfacolor, Acros, Acros Push Process, and Agfa Scala. A few of those pictures remain personal favorites to this day.

Above: My Fujifilm X-Pro2 photos from 2018.

For this project, the seven Recipes that I programmed into the C1-C7 Custom Presets on the X-Pro2 were Kodachrome II, Kodak Gold 200, Kodacolor, Classic Kodak, Color Negative, Provia Slide, and Acros. The Kodachrome II and Acros Recipes require the same White Balance type but different White Balance Shifts, so I used the Kodachrome II shift with the Acros Recipe; however, towards the end of the project I replaced Kodachrome II with Analog Monochrome, and switched the Acros WB Shift to be correct for that Recipe. You cannot program a WB Shift into the X-Pro2’s C1-C7 presets (like you can with newer Fujifilm models), but if each Recipe uses a different WB type (or share the same WB type and WB Shift), you don’t have to remember to adjust the WB Shift when changing Custom Presets, and you get a better user experience.

When reviewing the pictures after I returned the camera, I discovered that the Film Simulation Recipes I had used the most were Provia Slide, Acros, Kodak Gold 200, Kodachrome II, and Kodacolor (in that order). Provia Slide is a brand-new Recipe that I created on the X-Pro2, and it wouldn’t exist if MPB hadn’t loaned me the camera, and is a very positive side effect of their sponsorship. I’m quite happy with how several of these images turned out, even if I only had the local sights to capture.

Using Film Simulation Recipes on the Fujifilm X-Pro2 provides a film-like shooting experience and output, especially when combined with vintage or manual lenses. It’s an analog approach with the convenience of digital. Since the pictures don’t need to be edited, you can download them straight from the camera using WiFi and immediately share them—or send them off to be printed—right from your phone. That can save you a lot of time and hassle, while making the process more enjoyable and authentic.

Above: My Fujifilm X-Pro2 photos from 2024.

It was once again heartbreaking to mail off the Fujifilm X-Pro2. I very much wanted to keep it. The camera is just as great in 2024 as it was in 2018. I can’t help but think that 20 years from now the X-Pro2 will be sought after for the photographic experience and picture aesthetic that it provides. There aren’t very many digital cameras you can say that about. I feel like in today’s age where new camera models are constantly being released, and photographers just have to have the latest-and-greatest, it’s easy to overlook legendary cameras like the X-Pro2. And I do very much mean that the Fujifilm X-Pro2 is legendary—those who own it already know it, and those who don’t haven’t yet discovered it.

If you want to buy a Fujifilm X-Pro2, MPB has a number of them in stock right now. Or, if you prefer other Fujifilm cameras, they have many to choose from. If you have some gear to sell or trade in, they’ll give you a free (and non-binding) quote.

Will I buy a Fujifilm X-Pro2, this time to keep? I’d love to and I hope to, but I already own way too many cameras, so I’d first need to part ways with at least a couple that I rarely use. The X-Pro2 is extremely tempting. I don’t have an answer one way or the other yet, but the X-Pro2 is one that I certainly wish that I had.

Up next in this series: Is the Fujinon 23mm f/2 a good alternative to the Fujifilm X100VI? Stay tuned!

Free Fujifilm Photowalk is THIS Sunday!!

Posted on 2 Days Ago by Ritchie Roesch

*Fujifilm X100VI — Kodak Tri-X 400 Film Simulation Recipe* *— Scottsdale, AZ*

Grab your Fujifilm camera and join myself and Lucas White of Nuzira THIS Sunday, May 5th, for a free photowalk in Scottsdale, Arizona! Meet us at the Arizona Canal South Bridge promenade near the Pinball Wizard Public Art display at 5:30 PM. Explore the blending of modern cosmopolitan with off-beat western heritage through pictures. There will be the potential for street/urban, architecture, automobile, and landscape photography. It will be an opportunity to meet fellow Fujifilm photographers, and to chat about Fujifilm gear, film simulations, and Film Simulation Recipes. We’re going to have lots of fun!

If you think you might attend, please RSVP by May 3rd (click here). If you are in the area, I really hope to meet you there!

Free Fujifilm Photowalk on May 5th (+ all the details)

Posted on 7 Days Ago by Ritchie Roesch

Come join Ritchie Roesch of Fuji X Weekly and Lucas White of Nuzira on Sunday, May 5th, for an epic photowalk around Old Town Scottsdale, Arizona! Bring your Fujifilm gear to the Arizona Canal South Bridge promenade near the Pinball Wizard Public Art display at 5:30 PM. Explore the blending of modern cosmopolitan with off-beat western heritage through pictures. There will be the potential for street/urban, architecture, automobile, and landscape photography. It will be an opportunity to meet fellow Fujifilm photographers, and to chat about Fujifilm gear, film simulations, and Film Simulation Recipes. We’re going to have lots of fun!

Please RSVP by May 3rd so that we know how many are coming. Click here for more details and to RSVP. If you’re in the area, I hope to see you on May 5th from 5:30 to 7 PM for this Fujifilm-centric event! This photowalk is free, and family-friendly.

Free Fuji X Weekly Photowalk in Scottsdale

Posted on 11 Days Ago by Ritchie Roesch

Join me on a free Fujifilm-centric photowalk on Sunday, May 5th, in Old Town Scottsdale, Arizona, at 5:30 PM. Explore the blending of modern cosmopolitan with off-beat western heritage through pictures. There will be the potential for street/urban, architecture, automobile, and landscape photography. It will be an opportunity to meet fellow Fujifilm photographers, and to chat about Fujifilm gear, film simulations, and Film Simulation Recipes.

Mark your calendars now! More details coming soon, so stay tuned.

My Fujifilm Camera Recommendations

Posted on 18 Days Ago by Ritchie Roesch

Recently, a lot of people have asked me which Fujifilm cameras do I recommend. Should they buy an X100VI? X-T5? X-H2? X-S20? You get the idea. This is an impossible question for me to answer because it is personal; what I might like in a camera you might dislike, as each person’s needs, experiences, and priorities are different. Still, I’ll try to give some thoughtful answers.

To make this even more challenging, some Fujifilm cameras are difficult to get. As the saying goes, a bird in the hand is worth two in the bush. Should you patiently wait for the Fujifilm X100VI? Or should you get an X-T30 II or X-T5 instead? I cannot tell you what you should or shouldn’t do, I can only offer my opinions, which should be taken with a grain of salt.

I learned photography during the film era, and used full-manual cameras for many years. Because of this, PASM mode-dial cameras never made sense to me and were always an awkward experience. Fujifilm’s retro designs and tactile controls are like home to me. For this reason, I’m not personally a big fan of the Fujifilm’s models that trade those for mode dials, such as the X-S10, X-S20, X-H2, and X-H2s. This is not to say that those are bad cameras (because they’re not), only that they’re not for me—you might, in fact, love them very much.

This article is specifically about new cameras, and not models that have been discontinued and are now only available used. I might make a part two that covers used models; there are so many to choose from, that’s a different beast altogether. For the sake of simplicity, I’m just talking about what is currently available brand-new.

Now, let’s get to it!

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

Best Overall: Fujifilm X-T5

Whether you are a photographer, videographer, or both, the Fujifilm X-T5 is the top allrounder. It’s Fujifilm’s most premium model with retro tactile controls. It has a 40mp X-Trans V sensor, IBIS, weather-sealing, dual-card slots—just excellent specs. There’s so much to love about this camera, but no camera is perfect; however, this is in my opinion the closest to perfect among the current interchangeable-lens options. I’ve been using mine for about a year-and-a-half now, and still really enjoying it.

Fujifilm X-T5 in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-T5 in silver:
Amazon, B&H, Moment, Wex, Nuzira

Best Budget: Fujifilm X-T30 II

The Fujifilm X-T30 II is currently Fujifilm’s most entry-level model, but don’t be fooled: this camera is highly capable. It has a 26mp X-Trans IV sensor, which is my personal favorite Fujifilm sensor generation. It’s not as feature rich as other models—it doesn’t have IBIS, weather-sealing, or dual-card slots—but it is more than good enough for most people, especially if you plan to use it more for still photography than video. The X-T30 II can sometimes be difficult to find—it was purportedly discontinued at one point, but new copies seem to appear now and then. If you have less than $1,000 to spend, the X-T30 II is definitely your best bet.

Fujifilm X-T30 II in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-T30 II in silver:
Amazon, B&H, Moment, Wex, Nuzira

Most Fun: Fujifilm X100VI

The Fujifilm X100VI is the camera that everyone wants but few can actually get. It’s the wildly successful successor to the X100V, which was also hard to find after it became a social-media sensation two-and-a-half years after it was initially released. The X100VI has a 40mp X-Trans V sensor, IBIS, and is (for the most part) weather-sealed. It has great stats; most importantly, it’s a lot of fun to use. The fixed lens, leaf shutter, built-in ND filter, and relatively compact size make it a joy to use. My wife gifted me an X100V for my birthday four years ago; just three weeks ago my X100VI arrived in the mail—these are my desert island cameras, and if I could only have one for the rest of my life, I’d be quite happy with either one of them. If you can get one, in my opinion it’s worth doing so; however, they’re definitely not for everyone, so only you can determine if you’ll appreciate it or not. Aside from that, the X100VI is not easy to get, and you might have to wait awhile for one to become available.

Fujifilm X100VI in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X100VI in silver:
Amazon, B&H, Moment, Wex, Nuzira

Nuzira is a Fujifilm camera store with a friendly dog

Posted on 21 Days Ago by Ritchie Roesch

You might have noticed that I began including affiliate links for Nuzira. Most likely you’ve never heard of them, so let me introduce you—it’s actually a fascinating story.

Located at 9420 East Doubletree Ranch Road—a nondescript industrial business park in Scottsdale, Arizona—is Nuzira. Walking in the door to Suite 107, I was immediately greeted by Lollipop, a kind and gentle dog with a short tail that wags quickly. As I stepped inside, I shook hands Lucas, who has a warm smile and an affinity for fedoras. This isn’t a typical camera store.

Nuzira began in 2009 when Lucas and Jennifer White, a husband-and-wife team, began supplying materials for government contracts. When certain agencies, such as the U.S. military, need specific items that they don’t normally have on hand, Nuzira can find and supply those. They’re a purchaser, a middleman between manufacturers and organizations. One day, they were contracted to provide some videography equipment, and that was an aha moment for them. You see, Lucas and Jennifer are hobby photographers, and they thought, why don’t we sell cameras? Why not include their personal passion in their business? So they decided that their company could also be a camera store.

Lucas and Jennifer put together an e-commerce website—Nuzira.com—as their main storefront. Their driving philosophy is to empower creators to thrive, and they have some big ideas for how to achieve that. While Nuzira has been around for 15 years, they’ve been a camera store for less than one, and a lot of their plans are still developing, and will take time to become reality. After speaking with Lucas, I have no doubts that it will get there. Their mission to foster a community of visual enthusiasts is in the early stages, but expect it to grow into something substantial.

Going back to Suite 107 in Scottsdale, Nuzira doesn’t look like a camera store. The front door opens to a small waiting room that is also the receiving room, where UPS, FedEx, and other curriers are the regulars. Next to that is a shipping room, where packages are prepared for transport. In the back are a couple of storage and supply rooms—the warehouse. To the right of the front door is Lucas and Jennifer’s office, which is currently doubling as the physical Nuzira store. You can walk in and buy cameras and lenses and accessories, but it’s not necessarily a good place to browse. It is, however, a great place to discuss photography with Lucas, who loves to talk shop. And if you need something specific, he might just have it in stock. One day they will have a more proper store, Lucas told me, but they’re still working out the details.

Nuzira is an authorized Fujifilm dealer. Both Lucas and Jennifer primarily use Fujifilm gear for their own photography, so that’s mostly what they carry. They also sell products by Sigma, Tamron, Tokina, Blackmagic, Manfrotto, NiSi, and more. Largely, though, it’s Fujifilm stuff. If you are anywhere in the U.S. and are buying Fujifilm gear, Nuzira.com is a great option. If you are in the Phoenix area, consider stopping in—Lollipop will give you a friendly greeting, and Lucas will be very happy to talk cameras with you.

For those wondering about the pictures at the top, they were captured with my Fujifilm X100VI using the 1976 Kodak and Kodak Tri-X 400 Film Simulation Recipes.

The New Reala Ace Film Simulation is Actually….

Posted on March 23 by Ritchie Roesch

My Fujifilm X100VI arrived in the mail yesterday. Eagerly I opened the box, pulled out the X100V (but with an “I” after the “V”), placed a freshly charged battery inside, inserted an SD Card, programmed my C1-C7 custom settings presets, and went out shooting. The main reason why I wanted the X100VI was for the brand-new Reala Ace film simulation. I think a big reason why Fujifilm cameras are so in-demand right now are the film simulations and the many Film Simulation Recipes that can achieve various film-like looks straight-out-of-camera, no editing needed. Anytime that Fujifilm adds a new film sim is a good time, and is always a top reason for myself to spend money on a new camera that I don’t actually need.

My very first impression of the X100VI is that it’s an X100V. The two models are identical twins at initial glance. That’s not a bad thing whatsoever, because I absolutely love my X100V; if it ain’t broke, don’t fix it. The new camera is slightly heavier (but, really, you need to have one in each hand to be able to tell), and there’s a small amount of noise when you shake the X100VI due to the IBIS inside, but otherwise there’s not a lot to distinguish the two apart. Internally, the new camera has IBIS (which I haven’t had a chance to test yet since I only used it in bright daylight so far), the 40mp X-Trans V sensor and processor, and the latest JPEG options, including Eterna Bleach Bypass, Nostalgic Neg., and Reala Ace—all of which are the largest distinctions between the old and new versions.

I tried Reala Ace right away. The new film simulation was named after Fujicolor Superia Reala Ace 100 color negative film, a version of Fujicolor Superia Reala 100 that was only sold in Japan. Reala was introduced in the late-1990’s and discontinued in 2013, and was the first Superia film (although initially it didn’t have Superia in the name), the first with their 4th emulsion layer. The Classic Negative film simulation, which is closely modeled after Superia film, is the best way to replicate Reala on your Fujifilm camera; specifically, try my Fujicolor Reala 100 Film Simulation Recipe. My Reala Ace Recipe was intended to mimic the new Reala Ace film sim using Classic Negative, but it can also be thought of as a v2 for replicating Fujicolor Reala film. Unfortunately, the new Reala Ace film simulation is not modeled after the film that it was named after.

When there are not many example photographs of a new film sim, there’s not a lot to go on for replicating it. It’s impossible to know if the samples are straight-out-of-camera with everything set to factory defaults, or if some of the parameters were adjusted, or if post-editing was done, unless the photographer discloses that. When Reala Ace was introduced on the GFX100 II, I believe that many of the samples that initially came out were post-edited to some degree (one photographer did specifically state that their’s was), and that makes sense since most GFX owners are not shooting SOOC JPEGs. My Reala Ace Recipe is probably as close as one can get to the Reala Ace film sim using Classic Negative, and is more similar to the actual film than the Reala Ace film sim is; overall, my Recipe is only a so-so match to the new film sim, and is off in several aspects.

*Default Reala Ace film sim, except DR200, Grain Weak/Small & High ISO NR -4*

Fujifilm placed the Reala Ace film simulation right above PRO Neg. Hi in the film sim list, and I quickly discovered why. The two PRO Neg. film simulations are not closely modeled after any emulsions, but are generally inspired by Fujifilm’s PRO lines of film, such as PRO 160S, PRO 160NS, PRO 160C, and PRO 400H. The main difference between PRO Neg. Hi and PRO Neg. Std is that the Hi version has more contrast and saturation, and the Std version has less. Reala Ace is quite similar to both PRO Neg. Std and PRO Neg. Hi, and you can more-or-less approximate the Reala Ace film sim with either. I found that PRO Neg. Std is actually the best option for replicating Reala Ace, so if your camera has PRO Neg. Std, you pretty much have Reala Ace. Fujifilm should have named the new film sim PRO Neg. C, since it is the third version of PRO Neg. (“C” is the third letter in the alphabet), and the emulsion that the new film sim is most similar to is Fujicolor PRO 160C (and not Reala).

To get close to Reala Ace (PRO Neg. C) using PRO Neg. Std, make these adjustments:
– For Reala Ace, I set both Highlight and Shadow to -0.5. Additionally, I used DR200, Grain Weak/Small, and High ISO NR -4; otherwise, everything else was factory defaults (Off, Auto, or 0).
– For PRO Neg. Std, I set Highlight to +1, Shadow to -0.5, Color to +2, Color Chrome FX Blue to Weak, DR200, and Grain Weak/Small; otherwise, everything else was factory defaults (Off, Auto, or 0).
You might question why, for example, I didn’t keep Reala Ace at Highlight/Shadow 0, and on PRO Neg. Std simply adjust Highlight to +1.5? I tried that, but for whatever reason, the changes I made are an ever-so-slightly closer match. Both are acceptable, though.

Can you guess which is Reala Ace (PRO Neg. C) and which is PRO Neg. Std in the sets below, Pic 1 or Pic 2?

There are, of course, some small differences. Reala Ace renders blue slightly deeper, but applying Color Chrome FX Blue Weak to PRO Neg. Std is a little too much to exactly match; CCEB Extra-Weak would be perfect, but that doesn’t exist. A WB Shift of -0.5 Blue (-1 Blue is too much) to PRO Neg. Std would be good if you could; I used Auto WB, but if you used Kelvin instead, you could try something like 5100K on PRO Neg. Std to replicate 5000K on Reala Ace. Setting Color to +2.5 on PRO Neg. Std would be great, but that doesn’t exist, either. There are small differences in both Highlight and Shadow rendering, but you’d need 0.25 adjustments to more accurately match them. There is a level of fine-tuning required to precisely replicate Reala Ace that’s not available on Fujifilm cameras, but you can get pretty darn close nonetheless.

The larger point is that if you want a Reala Ace (PRO Neg. C) film simulation look, all you really need is PRO Neg. Std. Simply increase Highlight by +1 and Color by +2 and you’re pretty much there—a little more fine-tuning can get you slightly closer. You can’t 100% match them, but you can get pretty darn close—nobody would be able to tell without a side-by-side comparison, and even then it’s not completely obvious without studying closely.

For those still wondering which is which in the photos above, Pic 1 in each set is PRO Neg. Std, and Pic 2 is Reala Ace. You can spot the differences when you know what to look for, but otherwise they’re very similar. Reala Ace is a little nicer at factory defaults than PRO Neg. Std, perhaps more like PRO Neg. Std that has been adjusted into a Film Simulation Recipe. I think there is potential for some new Recipes utilizing Reala Ace as the base; overall, I prefer my Reala Ace Recipe that uses Classic Negative. I am looking forward to seeing what can be done with the new film sim, so expect some Reala Ace (PRO Neg. C) Recipes soon!

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

Fujifilm X100VI in black: Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X100VI in silver: Amazon, B&H, Moment, Wex, Nuzira

So your Fujifilm X100VI didn’t ship… now what?

Posted on February 28 by Ritchie Roesch

My Fujifilm X100VI preorder was completed six minutes after the camera went live at the the top of the hour during the X Summit. It didn’t ship today. The store that I ordered from is not saying when it might ship, only that it could be weeks or months. I’m not worried or upset, though.

I’m guessing that many of you might be in the same boat as me. I’m sure some reading this didn’t preorder the new camera, but, with record-demand (not just for a Fujifilm model… the X100VI apparently had more preorders than any other camera by any brand ever), it’s a safe bet that many of you did order it. If you weren’t super quick (I thought I was, but obviously wasn’t quick enough), your order likely didn’t ship today. I’m sure that some of you did, in fact, receive a notice today that yours has shipped, and even a few of you might already have it in your possession. That’s awesome! Enjoy your new camera. For the rest of us, it’s easy to feel empty or even envious. If you preordered the X100VI but your copy wasn’t in the first batch, let me give you some reasons not to be dismayed.

*Closed Gas Station Store* – South Ogden, UT – Fujifilm X100V – Fujicolor Superia 1600

First, in time, you’ll get your new camera. Just be patient. The hype will subside, new copies will be made, and it will get to you before you know it. Waiting a few weeks or months is not a big deal. Yes, we’re used to everything being instant. But a little delay won’t hurt you. Just take a deep breath in and out, and let the FOMO go. Know that it’s going to work out alright, and before you know it you’ll be shooting with the new model.

Second, the X100VI won’t be a night-and-day difference from your other Fujifilm gear. It likely is an upgrade, but it’s not going to be a massive upgrade, unless you’re coming from an early X-series model. Keeping expectations in check will not only help limit disappointments, but also help with patience.

Third, whatever camera you do have already, it’s plenty good enough. It’s a positive exercise to go back to the old reviews of your gear and read the glowing praise, which serves as a reminder that the cameras we own are actually pretty darn good. New gear won’t make you a better photographer. A camera like the X100VI can be a lot of fun, and sometimes that enjoyment can motivate us to use our gear more; however, there are plenty of ways to find renewed enjoyment from our old gear, such as trying different Film Simulation Recipes, using vintage lenses, or simply taking it on adventures.

*Panic Purchases* – Farmington, UT – Fujifilm X-T30 – Dramatic Monochrome

So if you’re feeling disappointed that you’ll have to wait a bit longer for your new camera, I hope that this helps you feel a little better. A little patience will help ease your anxiousness, and a little fresh air is good for the spirit. So grab your current camera, whatever it is, and go out right now and shoot with it.

If you didn’t order the new Fujifilm X100VI but would like to, you’ll likely have a significant wait, but eventually it will be in stock.

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

Fujifilm X100VI in black: Amazon, B&H, Moment, Wex
Fujifilm X100VI in silver: Amazon, B&H, Moment, Wex

Fujifilm X100VI craze is HUGE — “Biggest launch we’ve ever seen”

Posted on February 22 by Ritchie Roesch

It’s been a whirlwind ever since Fujifilm announced the X100VI, the much-anticipated successor to the much-desired-but-hard-to-find X100V. According to Fujirumors, the X100VI has had the most preorders of any other Fujifilm camera ever. According to Sonyalpharumors, the new Fujifilm camera has 50 times more preorders than the Sony A7cII and Sony A7cR combined. Amateur Photographer states that the “Fujifilm X100VI breaks all records as sales are off the charts.” There are a couple of quotes within that article that are worth sharing:

“This is the most successful launch we’ve ever had,” a Fujifilm manager in the U.K. stated. “I’ve never seen anything like it.”

“The response has been unprecedented,” said Wex (the largest camera chain in the U.K.). “We have seen a huge surge in initial demand and are now on course to break all records for Wex.”

I decided to do my own sleuthing. I contacted several big camera stores, as well as a couple small local stores, and asked them about X100VI preorders. One of the big stores told me that they didn’t want to talk specifics, but that demand has been extremely high; there will be a delay in fulfilling all of the preorders, but they don’t know how long that delay will be—could be weeks, could be months.

Another big store was much more open. “We’ve never seen anything like this,” they told me. “Probably 10 to 12 times the next biggest launch we’ve ever seen.” One store’s waitlist is currently a little over two-years long (yes, two years already!), but they’re hoping that Fujifilm will increase delivery of units to them, so they can cut that time down from years to months. They also told me that Fujifilm will be shipping cameras to them on a weekly basis. If you’re not in the first batch, if you’re high on the list, you might only have to wait another week or two to receive yours.

*Gated Camera Store* – Phoenix, AZ – Fujifilm X100V – Fujicolor 100 Gold

The local stores are in a similar boat. While their waitlists have far fewer people on them, they also expect to receive far fewer copies of the camera, so it could be months before they are able to fulfill the current preorders.

“We are seeing the pent up demand from the previous model transform into strong commitment from existing customers, as well as huge levels of excitement and intrigued from new,” Wex explained in the Amateur Photographer article. In that same piece, Park Cameras gave this advice: “The sooner you get your preorder in, the sooner you’ll get your camera.”

If you weren’t super quick to preorder, you’ll likely have some wait before your’s arrives, and possibly a long wait; however, in time all of the preorders will be fulfilled. You might need to be extra patient. Just know that everyone—the camera stores and Fujifilm—are working extra hard to make sure you get it as quickly as possible. If you have yet to preorder but you’d like to, the quicker that you do so the faster the camera will be in your hands; however, be prepared that you might not get it for many months.

Where should you buy yours from? Personally, I’ve purchased gear from local stores, Amazon, B&H, Adorama, Moment, and I’m sure others. Of all of those, Moment is my personal favorite. They’re a pretty cool company, and they’re fans of Fuji X Weekly.

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

Fujifilm X100VI in black: Amazon, B&H, Moment, Wex
Fujifilm X100VI in silver: Amazon, B&H, Moment, Wex

New: Fujifilm X100VI

Posted on February 20 by Ritchie Roesch

I’m pretty sure I’m last to the party today, but in case you haven’t yet heard the news, Fujifilm announced the new X100VI, the much-anticipated successor to the much-desired-but-hard-to-find X100V. There are a lot more similarities than differences between the two models, so I’ll jump right into what has changed.

For me, the big headliner is the Reala Ace film simulation. The X100VI will be the first X-series camera to get it. Apparently, Fujifilm is planning to bring Reala Ace to the other X-Trans V models—the X-H2s, X-H2, X-T5, and X-S20—via a Kaizen firmware update sometime in late-spring or summer (hurray, Kaizen!). If you have one of those cameras, with a little patience, you’ll get the new film sim. If you don’t have patience, try my Reala Ace Film Simulation Recipe.

For others, the big headlines are probably the 40mp sensor and IBIS. I like the 40mp X-Trans V sensor, but I actually like the 26mp X-Trans IV sensor just a tad more. More resolution can be great sometimes, but for most people, 26mp is already overkill for most purposes. The Digital Teleconverter benefits the most from the megapixel bump. IBIS is cool and all, but it does add a little weight, and for the most part is not a huge benefit for still photography on a camera like the X100VI; however, for video it can make a big difference. Speaking of video, the new camera has a nice jump in specs, but it will likely have heat dispersion issues similar to the X100V, which will limit its usefulness for cinema. In my opinion, these will help sell the camera, but for practical use, they’re somewhat minor upgrades that come with tradeoffs.

I will say this: the engineers and programers who worked on the X100VI project pulled off a small miracle of sorts. The size is “essentially” the same… the lens does protrude 2mm further out than on the X100V to accommodate IBIS. The new camera weighs only 0.1 pounds more. Most incredibly, Fujifilm claims that the X100VI gets a little bit better battery life than the X100V, even though it uses the same battery. I’m not sure if they measured with IBIS on or off, but if it is indeed with it on, that’s a significant feat that’s probably not getting enough press for how impressive it is.

Fujifilm is calling the new camera “X106” (ex-one-hundred-six). I think it’s a bit strange, but perhaps rolls off the tongue a tad easier than X100VI (ex-one-hundred-vee-eye). Fujifilm didn’t call the X100S “X102”, the X100T “X103”, the X100F “X104”, or the X100V “X105”. It was ex-one-hundred-es, ex-one-hundred-tee, ex-one-hundred-ef, and ex-one-hundred-vee. So why X106? And if you’re going to say “six” shouldn’t it be ex-one-thousand-six, as in X1006? I’m just going to say vee-eye, personally, as X106 doesn’t sound right to me. I’m sure Fujifilm put a lot of thought into it, but if there’s one area that (in my opinion) they messed up (what I’m sure will be an iconic camera), it’s the name. But it is what it is, and it’s not a big deal in the grand scheme of things.

The price of the X100VI is a little higher than the X100V, but that’s to be expected with inflation and the added resolution and IBIS. All things considered, $1,600 isn’t bad, especially since the X100V has been selling second-hand for that much or more. For a little higher price tag, you could get the limited-edition 90th Anniversary model. Hopefully, with the introduction of the X100VI, the price-gouging on the older versions will subside, and some normalcy will return to the used camera market. However, I suspect that the new camera will sell out rather quickly—if it’s not already—and will also be difficult to buy for awhile. The camera will begin shipping within the next couple of weeks, possibly before the end of the month.

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

Fujifilm X100VI in black: Amazon, B&H, Moment, Wex
Fujifilm X100VI in silver: Amazon, B&H, Moment, Wex

Fujifilm X Summit is Next Week — Fujifilm X100VI to be announced soon

Posted on February 13 by Ritchie Roesch

This time next week, the upcoming Fujifilm X100VI will be official. We already know some things about it, but there’s also plenty that we don’t; however, soon we’ll know everything. Fujirumors is the place to find all the latest leaked specs. I don’t have any inside information, and Fuji X Weekly isn’t a rumor site, but I do like to talk about upcoming gear, especially if it’s a model that I am particularly interested in (such as the Fujifilm X100V successor). Fujifilm is going to announce the new camera at their upcoming X Summit on February 19th/20th, and all will be clear then.

The date of the X Summit—whether the 19th or 20th—depends on your time zone. It will be in Toyko at 2:30 PM on the 20th, which means that it will be 10:30 PM on the 19th in Phoenix. That’s 9:30 PM for those in the Pacific time zone, and 12:30 AM (just after midnight) for those in Eastern time. Preorders should be open immediately following the event, so if you want to be first in line, you might be up really late on the 19th, or up really early on the 20th if you’re in Europe or Africa.

I’m going to tune in to this particular X Summit. I don’t always watch them—in fact, I don’t catch the majority of them. This is one that I’m particularly interested in, so I’ll definitely tune in.

Then, on the 20th at 10 AM Phoenix time, which is 9 AM Pacific and noon Eastern, Nathalie Boucry and I will discuss the X Summit and the newly announced camera, plus whatever else was said—there’s some talk about possibly a new lens or major X App update or possible firmware updates. I have no idea what else besides the X100VI will be announced (if anything), but whatever it is, we’ll talk with you about it live on YouTube. This will be Episode 2 of the current SOOC Live season. I hope that you can join us!

New: Kodak Retina retro-style digital mirrorless camera!!

Posted on February 8 by Ritchie Roesch

Introducing the brand-new Kodak Retina digital mirrorless camera! Inside this retro-styled body is a 40-megapixel APS-C BSI CMOS sensor. It has eight built-in presets that mimic classic Kodak film stocks. The pictures from the Kodak Retina look great straight-out-of-camera, no editing needed! This new camera is bold yet beautiful; classic yet modern; digital yet analog.

I was given a pre-production copy of the Kodak Retina camera to try out, and used that as an excuse to visit the majestic Grand Canyon in northern Arizona! I recorded the experience, which I just published to my YouTube channel. The video is my review of the new camera, plus an epic adventure by train to one of the natural wonders of the world. I’ve included it below—you don’t want to miss this one!

The Kodak Retina

Below are example pictures that I captured on this trip using the eight built-in presets included in the Kodak Retina:

Kodachrome 64

Portra 160

Portra 400

Gold 200

Ultramax 400

Ektachrome E100VS

Vision3 250D

Tri-X 400

At this point, I’m sure you’re already aware that there’s no such thing as a Kodak Retina digital camera. Kodak made Retina film cameras from the 1930’s up to 1970. While Kodak pretty much invented the digital camera, and were an important early innovator of the technology, they never made an interchangeable lens APS-C model. They did produce some full-frame DSLRs in the very early 2000’s, and made an APS-C back for a Nikon SLR in the late 1990’s, and even sold a Micro-Four-Thirds interchangeable-lens mirrorless in 2014 (manufactured by JK Imagining under the Kodak brand name); however, nothing remotely like my faux digital Retina was ever produced by Kodak. This was all just for fun—sorry if I got your hopes up.

The camera is actually a Fujifilm X-T5. That might have been obvious to you. I put some silver tape over the Fujifilm logo, and added a Kodak decal. If you look closely, you can tell that I did that. The lens is a TTArtisan 27mm f/2.8 in their limited edition yellow/orange color scheme, which is very Kodak-like; the lens is actually what inspired me to do this project. The camera strap is something I’ve owned for years now, and a red soft-shutter-release completed the look.

The pictures that I captured with this camera/lens combo are straight-out-of-camera JPEGs using eight of my Film Simulation Recipes:

I chose those particular Recipes because they mimic popular Kodak emulsions, which seemed appropriate since the X-T5 was disguised as a Kodak camera. You can find them—and over 300 more—in the Fuji X Weekly App, available for Android and Apple. Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

My thoughts with this camera were: what if, 15 years ago, Kodak had pivoted, and began making retro-styled mirrorless cameras with built-in film emulation presets? How much different would the industry look like today if they had? While Kodak didn’t pivot, Fujifilm did. Instead of a digital Retina, we have the X-T5. You don’t need Kodak to make this camera, because it already exists. The X-T5 (or any other Fujifilm model), combined with my Film Simulation Recipes, will do what I proposed a digital Kodak Retina would do. Fujifilm is doing what Kodak should have done but didn’t.

Now it’s your turn! What do you think of this project? How much different would the camera industry look today if a digital Kodak Retina actually existed? Let me know your thoughts in the comments!

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

Fujifilm X-T5 in black: Amazon B&H Moment
Fujifilm X-T5 in silver: Amazon B&H Moment
TTArtisan 27mm f/2.8 in black: Amazon
TTArtsian 27mm f/2.8 in yellow/orange: Amazon

What Would you Want from a Fuji X Weekly Event?

Posted on January 28 by Ritchie Roesch

I need your help!

I hope to organize a Fuji X Weekly meet-and-greet type event in the Phoenix, Arizona, area sometime later this year. While I’ve been to a few photography gatherings before, I’ve never hosted one. What I’d like to know is what you’d expect or hope for from a Fuji X Weekly meet-and-greet.

Obviously, it could be really simple. Come say hi, as I’d love to meet you. Let’s shake hands and talk gear informally. This would be the most simple to put together, but maybe the least exciting to attend?

It could be more convention-like, with booths from local camera stores and photography-related businesses. There could be presentations or workshops, and perhaps even guest speakers. A small expo would be a heck-of-a-lot more complex to organize, and would likely require an entrance fee to offset the costs. I doubt there would be enough interest to justify anything like this, but maybe this is what people would most want?

A third option is a group photowalk. Let’s not just talk gear, but use our gear. Let’s meet up somewhere and take pictures, perhaps in an urban setting, or some place that’s especially good for photography. If the location is ideal, it could be all in one place, and no need to drive around (other than to the event).

I’m sure there are many other ideas, and I’d love to hear them. Even if you would never come to Phoenix because it is too far away, I’d still greatly appreciate your feedback. I want to make this event special for those who can attend (and, who knows, maybe it will be the first of many?), but I’m unsure what direction it should go. Perhaps one of these ideas resonates with you, or none of them, or some aspect about one is intriguing but another aspect is not. Leave me a comment with your ideas and opinions!

Also, how likely would you attend this event, for those who live near the area? Let me know that, too, with a comment. I really look forward to hearing your input!

I don’t know yet when this meet-and-greet will happen (or even for certain that it will, although I really hope it will). Most likely it will be either in the spring or fall, but preferably in the spring. As soon as I have more concrete answers, I’ll let you know. In the meantime, your input is much needed, and will help me out tremendously. Thank you!

XPan III — The Digital Panoramic Camera That Should Exist

Posted on January 19 by Ritchie Roesch

*Hasselblad XPan III mockup — Photo by Tony Andersen*

Tony Andersen loves XPan cameras. He is from Finland, and has admired Hasselblad for a long time. Tony has the original Hasselblad XPan film camera, and the idea of a digital version excites him. So much so, in fact, that he made a pretty cool mockup of what it could look like—using a Fujifilm X-Pro1. Let’s talk about what makes XPan special, discuss some considerations for a digital model, plus look at Tony’s mockup. We’ll conclude with some current options for XPan photography.

For those that don’t know, XPan cameras were a joint venture between Hasselblad and Fujifilm in the late-1990’s through the mid-2000’s, right at the pinnacle of film. XPan models were interchangeable-lens rangefinder cameras that used approximately two frames of 35mm film to capture panoramic pictures in a 65:24 aspect ratio. These cameras were quite niche and only sold moderately well when they were new, but today they are highly desirable among landscape photographers who still shoot film, and interest in XPan has been seemingly growing recently. Hasselblad and Fujifilm made two models; Hasselblad called theirs XPan and XPan II, while Fujifilm named theirs TX-1 and TX-2. Interestingly, Fujifilm’s X-Pro, X-E, and (especially) X100 series cameras all share some design elements with XPan, and, in a way, can trace their lineage to those models.

*The original Hasselblad XPan camera — Photo by Tony Andersen*

While it is certainly possible to crop any photograph to the 65:24 aspect ratio, the problem is that you are tossing approximately half of the resolution in the trash. The XPan cameras didn’t utilize a narrow section of 35mm film to create a panorama, but instead used nearly two frame’s worth of real estate. This allowed photographers to achieve high-quality, detail-rich images in a wide format, yet in a camera that was still relatively compact. If one wanted just a regular 3:2 frame, the XPan cameras were capable of that, too. To digitally recreate this, one would need to have a wide sensor with a good deal of resolution. Ideally, a digital XPan camera should have around 50-megapixels (or more), and produce a minimum of 24mp when cropped to 3:2.

Tony’s mockup of a digital XPan camera began with a used X-Pro1. He chose the camera because it has a similar look to XPan, and has essential features: solid build-quality, hybrid-viewfinder, manual retro controls. It has the original X-Trans I sensor, which Tony appreciates. Plus, “it has a nice shutter click sound, which makes the analogue experience better.”

*Fujifilm X-Pro1 — Photo by Ritchie Roesch*

*XPan crop — Fujifilm X-Pro1 — Color Negative Film — Photo by Ritchie Roesch*

“I used an angle grinder to remove the edge of the lens side viewfinder frame,” he told me, “so that I could continue to make a seemingly wider viewfinder out of it. Then I measured the original XPan and used filler and plastics to model a wider version of the X-Pro1. I didn’t even know I could do sculpturing. I wanted a camera that looks and feels like the XPan. I’ve been working on the X-Pro1 for over a year.”

“I was able to replicate the XPan color with three different layers of spray paint,” Tony continued. “I made from wood a new grip for the X-Pro1 and put leather around it. I found that the original grip on the XPan was uncomfortable and too small.”

*Modified X-Pro1 with a coat of spray paint — Photo by Tony Andersen*

*Modified X-Pro1 on the workbench — Photo by Tony Andersen*

Tony used a Fujinon 16mm f/2.8 lens to replicate a Hasselblad 45mm f/4 XPan lens (both have a full-frame-equivalent 24mm focal length). He used a 3D-printer to create a lens hood that disguises the Fujifilm lens to more closely resemble the Hasselblad. He also has an adapter to use the XPan lenses on the X-Pro1. There were only three lenses made for XPan cameras: 30mm f/5.6, 45mm f/4, and 90mm f/4. An 11mm lens for the X-Pro1 would be necessary to replicate the 30mm, but there is no such lens: you can choose either 10mm or 12mm. For the 90mm, the Fujinon 33mm f/1.4 would be the best bet.

Just recently, Tony added a film advance lever from an old Kiev 6C camera to his X-Pro1. The lever is only for looks, and doesn’t actually do anything; however, Tony envisions that if a digital XPan camera were ever manufactured, a film advance lever could be included, and could serve any number of functions. It could be utilized to cock the shutter like on the Epson R-D1, or it could be a programmable lever that activates various features, such as flash, or built-in ND filter, or something like that.

*Hasselblad XPan (left) and faux Hasselblad XPan III (right) — Photo by Tony Andersen*

*XPan Crop — Fujifilm X-Pro1 — Photo by Tony Andersen*

While Tony’s “XPan III” has a 16mp Trans I CMOS sensor, he believes that most ideally such a camera should have a 50mp XPan-shaped CCD sensor. The reason why he would prefer a CCD sensor over CMOS is because CCD sensors inherently behave more like film, and can produce images that appear more similar to analog. Theoretically it is possible to program such a sensor to produce “digital film emulsions” where the aesthetic is partially created at the hardware level, and not just from the camera’s firmware or software on a computer. There are advantages and disadvantages to both CCD and CMOS; however, the camera industry has committed to advancing CMOS technology and has put very little into CCD development. It would be intriguing to explore CCD, but almost certainly any digital XPan camera manufactured today would have a CMOS sensor.

To simulate what CCD XPan photographs might look like, Tony captured some images with his Phase One P65+ (which as a 60mp CCD sensor), cropped them to the 65:24 aspect ratio, and edited the files in Lightroom to resemble Velvia 50 and Kodak Panatomic-X film scans. He believes that it should be possible to achieve similar results straight-out-of-camera from a digital XPan III camera.

*XPan crop — “Fujifilm Velvia ISO 50” — Phase One P65+ — Photo by Tony Andersen*

*XPan crop — “Kodak Panatomic-X ISO 32” — Phase One P65+ — Photo by Tony Andersen*

Tony hopes that his X-Pro1 project will bring an increased awareness and interest to XPan cameras, both the film models and especially a potential digital version. “Maybe even catch the eye of Fujifilm or Hasselblad.”

“Fujifilm might be the most logical choice for a digital XPan,” Tony stated, “as it would be better placed in their product line. The GFX 50R could be a nice base to build the new camera on. The GFXPan camera could use the current sensor—the 102mp—modify it to 44x17mm by removing the upper and lower rows to achieve a 65×24 aspect ratio. Then redevelop the firmware to use only this aspect in the viewfinder, maybe redesign the optic for 2.7:1 wide like the XPan.”

*XPan crop — Fujifilm X-T5 — CineStill 400D v1* — Photo by Ritchie Roesch

*XPan crop — Fujifilm X-T5 — Fujicolor Reala 100 — Photo by Ritchie Roesch*

It was with Fujifilm’s partnership that the XPan film cameras were made, and it was with a Fujifilm X-Pro1 that Tony made an XPan III mockup. I find the idea of Fujifilm creating a digital XPan camera—called TX-3 or GFXPan—highly intriguing. It could be with a slightly stretched sensor inside an X-Pro body (similar to Tony’s mockup). Much more likely, it would be something in the GFX realm; however, it would need to have the retro controls and styling like the GFX 50R, and not be a PASM model like most GFX cameras. Obviously, either way, it would be a niche product, but it seems like there is enough interest—and a growing interest—that such a camera would sell well enough to be profitable. It would certainly make headlines! People would be talking about Fujifilm, which would be good for Fujifilm.

For some unknown reason, Fujifilm X-series cameras inexplicably don’t have the XPan aspect ratio as an in-camera option (GFX cameras do, though). I would strongly encourage Fujifilm to include the 65:24 aspect ratio on their X-series cameras with the 40mp X-Trans V sensor. It would be simple for them to do, and it seems like an obvious no-brainer. It would be amazingly cool if they ever produced a digital XPan, but at the very least Fujifilm should offer the XPan aspect ratio as an option in the X-series. Yes, you can do it with post-editing software, but I much prefer to do things in-camera whenever possible.

*XPan Ratio — iPhone 14 Pro — RitchieCam App — Slide Film Filter — Photo by Ritchie Roesch*

I don’t know if a digital XPan III will ever come to fruition, but there are currently a few cameras to consider if you are looking for an alternative. Fujifilm GFX models have the XPan aspect ratio as an in-camera option, and they also have plenty of resolution and film-like results; however, only the GFX 50R has the retro-styling and controls similar to the film cameras, which means that the GFX 50R is your best bet. Most Fujifilm X-series cameras have the retro design and controls plus film simulations and Film Simulation Recipes; the X-T5 and X-H2 have enough resolution, but you have to crop to XPan post-capture. The Panasonic S1R has sufficient resolution and the XPan aspect ratio as an in-camera option, but it doesn’t deliver the retro experience or film-like straight-out-of-camera results. My RitchieCam iPhone App also has the XPan aspect ratio; when used with the 48mp 1x camera on the iPhone 14/15 Pro/Pro Max, it has enough resolution, and is an in-your-pocket option that produces film-inspired results straight-out-of-camera. None of these are fully ideal. Hopefully someday Fujifilm and/or Hasselblad will release an XPan III camera with a 65:24 sensor shape. As it stands now, these are your best alternatives to a camera that does not yet—and may never—exist, but should.

I want to give Tony Andersen a big “thank you” for sharing his XPan III mockup and photographs. Hopefully Tony’s enthusiasm for the XPan format will some day result in an XPan III type camera from one of the camera manufacturers. It definitely deserves to happen someday, and Fujifilm seems like the perfect camera maker to do it.

Report: The Fujifim X100V Successor will be Called…

Posted on January 8 by Ritchie Roesch

According to Fujirumors, the upcoming X100V successor will be called X100VI. This new camera will apparently be announced at an X Summit on February 20th.

I had speculated that it would be called X100Z, but I was wrong. A lot of people thought it would be X100R, but that was also incorrect. Instead, Fujifilm took the boring route, and chose X100VI as the name. How very Sony of them, right?

Will people pronounce it X100-Vee-Eye, X100-Six, X100-The-Sixth, or X100-Mark-Six? I will call the camera X100-Vee-Eye personally; however, it’s not a very exciting name. I’m sure Fujifilm had a list of potential names on a dry-erase board at their Japan office, and they looked at that short list daily for months. After much consideration and deliberation, they chose the option they felt was the safest. Playing it safe is often riskier than being bold, and the potential reward is almost always smaller. Fujifilm should have gone with a striking name, something that rolls off the tongue and stirs the imagination. Something that grabs your attention and demands that you take a closer look. X100V did that, but X100VI does not. X100Z, X100R, X100X, X100G—names like that—stand out much more than X100 VI, X100 VII, X100 VIII, X100 IX, etc.; one set it exciting and imaginative and surprising, while the other is boring and clinical and routine.

The name is probably the least important aspect of the camera; however, a boring name does not give confidence to the rest of the model. If Fujifilm is unwilling to take a small risk with the name, what else about it are they playing safe? The original X100, which launched the entire X-series (note: the X-Pro1, which came out about a year-and-a-half later, was the first X-mount and first X-Trans), was a very daring product that took the camera industry by surprise. Since the release of the X100, Fujifilm has done a lot of risk-taking, and most often it has worked out really well for them. Nowadays it seems as though Fujifilm wants to evolve to become more like the Canikony brands, which too-often values caution and complacency over bold risks.

In any event, I’m sure that the X100VI will be an excellent camera, every bit as good as the X100V, and just a bit better. What will be different about it? Nothing is known at this point. My guess is that it will have the 40mp X-Trans V sensor and processor, as well as the latest JPEG options (maybe not Reala Ace; however, don’t worry, because I have a Film Simulation Recipe that mimics it), but otherwise will be 99% the same as the X100V. That’s only speculation, and as was demonstrated at the top of this article, my guesses are not always right. Fujifilm could very well give the X100-series a pretty significant refresh with the VI iteration, but if the name is any indication, it seems like they plan to play it as safe as they can this time around.

How to Get Into Fujifilm on a Small Budget

Posted on December 20 by Ritchie Roesch

Since Fujifilm has discontinued what was their entry-level models (such as the X-T200 pictured above), it’s a little more expensive nowadays to get into the X system. If you are on a tight budget, your options are limited, but you still have some good cameras to choose from. Note: this article is based on current pricing as of the time of publication. Let’s dig into this!

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

If your budget is $1,000 and you want something brand-new:

Fujifilm X-T30 II + 15-45mm — Amazon — B&H — Moment

That is your only option, but it is a good one; however, if you think outside the box, there’s another way to approach this:

Choose one of the cameras below:
Fujifilm X-T30 II — Amazon — B&H — Moment
Fujifilm X-S10 — Amazon — B&H — Moment
Add one of these lenses:
7Artisans 25mm f/1.8 — Amazon
Meike 25mm f/1.8 — Amazon
Meike 35mm f/1.7 — Amazon
Meike 35mm f/1.4 — Amazon
7Artisans 35mm f/1.4 — Amazon
TTArtisan 35mm f/1.4 — Amazon
TTArtisan 50mm f/2 — Amazon
Meike 50mm f/1.7 — Amazon

If your budget is under $1,000:

You’ll have to go the second-hand route. Some places to look are B&H’s used department, KEH, MPB, and eBay. I’m sure there are other websites, too. Some used camera models to consider are:

Fujifilm X-T30
Fujifilm X-T20
Fujifilm X-T3
Fujifilm X-T2
Fujifilm X-T1
Fujifilm X-H1
Fujifilm X-E3
Fujifilm X-E2/X-E2s
Fujifilm X-E1

Aside from the camera body, you’ll need a lens. A few to consider are:

TTArtisan 27mm f/2.8 — Amazon — B&H
TTArtisan 35mm f/1.8 — Amazon — B&H
Fujinon 35mm f/2 — Amazon — B&H — Moment

If you shop around, it’s possible to find a good deal, and even get a Fujifilm camera and lens for less than $400. Almost no matter your budget, there are options, but the less you have to spend, the more difficult it will be and the fewer choices you’ll have; however, don’t fret! Just keep an eye out for good deals, and with some patience you are bound to find something that you can afford. My introduction to Fujifilm, which was on a tight budget, was via a used X-E1. I know first-hand that it is possible.

Some Current Camera Deals for Christmas

Posted on December 15 by Ritchie Roesch

With Christmas just 10 days away, you might be looking for some last-minute camera deals as a gift to yourself or a photographer (or budding photographer) in your family. This website is all about Fujifilm, and for the most part there haven’t been a lot of Fujifilm deals. There hasn’t been a lot for me to recommend to you. You can always pay full price for gear, but you don’t need me to point that out—the service that I’d rather offer is showing where you can save some money. So let’s get into that.

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

Fujifilm GFX100S — $1,600 off — Amazon — B&H

Fujifilm X-H2s with MKX 18-55mm — $1,200 off — B&H

Fujifilm X-H2s with MKX 50-135mm — $1,200 off — B&H

Fujifilm GFX50S II — $1,000 off — Amazon — B&H

Fujifilm X-H2s with 150-600mm — $600 off — Amazon

GF 110mm — $550 off — Amazon — B&H

Fujinon 200mm — $500 off — Amazon — B&H

GF 32-64mm — $450 off — Amazon — B&H

GF 45-100mm — $450 off — Amazon — B&H

GF 80mm — $450 off — Amazon — B&H

GF 100-200mm — $400 off — Amazon — B&H

Fujinon 150-600mm — $400 off — Amazon — B&H

Fujinon 100-400mm — $400 off — Amazon — B&H

Fujinon 50mm — $300 off — Amazon — B&H

Fujinon 8-16mm — $200 off — Amazon — B&H

Fujinon 18-120mm — $200 off — Amazon — B&H

Fujifilm X-H2s — $200 off — Amazon — B&H

Fujifilm X-H2 — $150 off — Amazon — B&H

Fujinon 50-140mm — $150 off — Amazon — B&H

Fujifilm X-S10 — $100 off — Amazon — B&H — Moment

Fujinon 16-55mm — $100 off — Amazon — B&H

Fujinon 16mm — $100 off — Amazon — B&H

Fujinon 56mm — $100 off — Amazon — B&H

Fujinon 80mm — $100 off — Amazon — B&H

Fujinon 90mm — $100 off — Amazon — B&H

It’s a really good time to get into GFX if you’ve been thinking about it, as that’s where the best discounts are. The 50mm f/1 lens is $300 off, and that’s the most intriguing bargain to me, personally. The 90mm f/2 is one of my favorite lenses; while the discount is only $100, it is on sale, and it’s an easy one for me to recommend. If you’ve thought about doing some serious cinematography with Fujifilm, the X-H2s bundled with the cinema lenses are significantly discounted. Otherwise, the deals are pretty pedestrian right now.

My Fujifilm X-E5 Wish List

Posted on December 13 by Ritchie Roesch

What should a Fujifilm X-E5 look like? What features would I like it to have?

I’m not convinced that Fujifilm will ever make an X-E5, as they’ve indicated that they might not, but if they do, it’s likely that they will begin working on it soon, at least preliminarily. If Fujifilm does make an X-E5, I think spring 2025 is a likely timeframe for its release. Just to be clear, I have zero inside information, and can only speculate. Just in case Fujifilm does begin to work on an X-E5 soon, I thought it would be worthwhile to tell them what I’d like it to be like. Of course, there’s a pretty good chance that they’ll never read this—I don’t believe that Fuji X Weekly is on their list of websites to regularly visit—so this might be for nothing. Optimistically, let’s assume that Fujifilm will read this article, and maybe they’ll even take my ideas into consideration.

Before I get into it, I want to argue why Fujifilm should make an X-E5. I understand why they don’t want to: Fujifilm believes that the market segment that the X-E line is in is shrinking, and will soon be dried up. Fujifilm made a decision to pivot, focusing more on higher-end gear, and less on lower-end gear. While the X-E line has never been considered an “entry-level” product by users, as the tier below it disappeared, it became the default entry-level camera for Fujifilm, since it is the cheapest model. Historically, the X-E line has had somewhat sluggish sales, and often comes out at the tail end of a sensor generation. The X-E3, for example, could still be purchased brand-new at a discount just two years ago; however, the X-E4 sold surprisingly well during its short time, especially towards the end.

*Pacific Poppies* – Montaña de Oro SP, CA – Fujifilm X-E4 – Pacific Blues Recipe

Inexplicably, Fujifilm discontinued the X-E4 while demand was high—so high, it exceeding Fujifilm’s ability to manufacture them, which caused a backorder list that was months long. Because Fujifilm discontinued the X-E4 while demand was high but supply was low, used models are now selling for ridiculous prices. I’m sure Fujifilm had a good reason for axing the camera—GxAce would say that it was a casualty of the global chip shortage of the early ’20’s—but it left a pretty significant market void. I’m surprised that Fujifilm let it slip through their fingers, but I’m sure it was simply a case of limited resources, and making more X-E4 bodies was less of a priority than other things.

The reason why Fujifilm should make an X-E5 and not let the X-E line die is because there is market demand for it right now. Three years ago, you could buy an X-T30, X-E3, X-T200, or X-A7. If you had a smaller budget or wanted a compact body for travel, you had those four options. Now, there’s only two: the often-out-of-stock X-T30 II or the X-S10. The X-S series is kind of in a different category with a divergent design from most of Fujifilm’s past models; while Fujifilm has marketed the X-S20 as their ideal travel camera, it is a bit on the heavy side for that, plus is more expensive, and not really in the entry-level price range. Currently, for those wanting something under $1,000, or something that’s especially compact and lightweight, you don’t have much to choose from. This is by design, and mainly because the bottom-end market isn’t as big as it was five years ago.

If Fujifilm made an X-E5, there would be demand for it, but (as they say) time is of the essence. The longer Fujifilm dillydallies, the less excitement their might be. You have to strike while the iron is hot, and the iron is hot right now. Will it still be hot two years from now? I have no idea. The safer move would be to simply un-retire the X-E4 and manufacture more copies of it. I don’t think that will happen, so let’s focus on the X-E5.

*Working* – Salt Lake City, UT – Fujifilm X-E4 – Kodak Vision3 250D Recipe

My ideal X-E camera wouldn’t be all that much different from the X-E4. I love my Fujifilm X-E4, but I know not everyone was excited about it. Some say that it was a step backwards from the X-E3 because Fujifilm went minimalistic with it—a little too minimalistic. For the X-E5, a few simply changes and improvements would make it better. Some people will say that it must have IBIS, but that would make it bigger, heavier, and more expensive. Fujifilm would have to carefully consider if it would be worthwhile to do that. If they added IBIS plus weather-sealing, they could increase the cost and make the line more mid-tier. That’s one option, but that’s not what I would suggest, personally. I would only make a handful of changes to the X-E4, and engrave a 5 on the front instead of a 4. Here are my X-E5 suggestions:

Reinstate the M/C/S switch.
Put an ISO ring around the Shutter knob like the X100V has.
Reinstate a rear command dial.
Make the rear screen three-way-tilting like the X-T5.
Improve the OVF, perhaps a little bigger and higher resolution.
Use the current sensor with the new X-Trans V processor like the X-S20.
Add a small grip to the front similar to the X100V.
Consider using rounded strap eyelets instead of rectangular.

That’s it! Super simple. There’s no need to reinvent the wheel. That would be a really nice refresh that I think a lot of people would appreciate. That would keep the cost low and the camera small and lightweight.

*Reflection of a Broken Door* – Litchfield Park, AZ – Fujifilm X-E4 – Fujicolor 100 Gold Recipe

It would be really smart for Fujifilm to update the 18mm f/2 lens, which is long-overdue for a refresh, and introduce a new pancake option: perhaps a 23mm f/2.8 or 40mm f/2.8. They could offer a few different bundle options: the upcoming 16-50mm f/2.8-4.8, the updated 18mm f/2, a new pancake (whatever they decide to go with), the 27mm f/2.8, or all three pancake lenses. The X-E line just begs to be used with pancake lenses, which really illustrates the benefit of APS-C, but sadly Fujifilm only has two. I bet that three pancake lenses bundled with the X-E5 would be a popular option, especially if a few influencers were to demonstrate just how great that would be for a travel photography kit.

Which brings me to the marketing angle. What makes Fujifilm cameras great? What is the essence of shooting with the X series? Hint: it’s what makes the X100V so popular. In my opinion, Fujifilm has done a rather poor job of expressing this and particularly communicating why it should be desirable (maybe they don’t understand it themselves?). Largely, it has come from outside sources—TikTokers, Instagramers, YouTubers… heck, I’ll take a little credit for it myself—who have done Fujifilm’s marketing job for them. The X-E5 (as I suggest the camera should be) would be the quintessence of many aspects of this: cool-yet-functional vintage styling, great implementation of exposure-triangle controls, small and lightweight, and of course out-of-camera JPEGs that look great. Fujifilm needs to focus on that. They need to communicate why the X-E5 fulfills (in many ways) the essence of shooting with the X series, and why that essence is desirable for photographers. Yes, social media influencers and bloggers will do some of that for Fujifilm, and that’s great organic promotion, but Fujifilm themselves needs to do a much better job than they have in the past. If done right, the X-E5 could be a smashing success in spite of shrinking market segments.

Will Fujifilm make an X-E5? Maybe, maybe not. I’d lean towards no if I had to pick one over the other. Should they? Absolutely yes! It would be a real shame for Fujifilm to kill the line when there is so much demand for it. I love the X-E series—the X-E1 was my introduction to Fujifilm—and it deserves to continue. I hope that it does.

My Fujifilm Christmas Wish List

Posted on December 9 by Ritchie Roesch

*A Fujifilm X100V captured with a Fujifilm X-T5 + Fujinon 90mm + Reala Ace Recipe*

Fujifilm has never asked me what I’d like for Christmas, nor do I expect them to ever ask that question. I do believe there is a chance that they read this website occasionally, so I thought I would take a moment to share with them—on the off-chance that they find this article—some gear that they could “give” to me that would really make my holiday special. To be clear, I’m not suggesting that Fujifilm should send me free products (although, if they ever did, I wouldn’t say no…); instead, this is simply a list of gear that I’d love to see Fujifilm release, which would be the perfect Christmas gift for me, and probably a lot of you, too.

I don’t want to take up too much of your time, so let’s dive right into my Fujifilm Christmas Wish List! The order is least-to-most desired, but really I’d be happy with any of them.

#10 — Fujinon 135mm f/2.8

The longest prime lens that Fujifilm offers—aside from the really huge and extremely expensive 200mm f/2—is the Fujinon 90mm f/2, which is one of my absolute favorite lenses. I feel like there’s a massive gap that should be filled to some extent, and a 135mm option seems quite logical—after all, it used to be a very common focal length.

This theoretical 135mm Fujinon lens, which would be 202mm full-frame-equivalent, shouldn’t be too large or expensive. For example, I have a vintage Vivitar 135mm f/2.8 lens that is surprisingly compact. So the design team goals should be to keep it a similar size and weight to the Fujinon 90mm f/2, and with an MSRP no more than $1,200 (under $1,000 would be even better). Of course some compromises might be necessary, and one that I’m ok with is the maximum aperture; I’d prefer f/2.8, but f/3.5 would be fine if something’s got to give (the price should be a little less if it is f/3.5). I think such a lens would be appreciated by those who find the 90mm not-quite-long-enough sometimes, which would likely be a fairly sizable group. I could see it being used by some sports, wildlife, portrait and landscape photographers. Yes, there are several zooms that cover the longer focal lengths, but some of us (myself included) much prefer primes over zooms.

#9 — Fujifilm GFX100R

I’m not in the GFX system, but if Fujifilm ever made a GFX100R, I’d buy it. I cannot afford GFX gear, but I’d still buy it. Why? XPan. Such a camera would be the closest one could get to an XPan III, the digital version of the XPan II. The GFX100R would produce 50mp 65:24 aspect ratio images. A GFX50R II would be alright, too, but a GFX100R would be even more spectacular.

Yes, I know the GFX100 and the GFX100S and the GFX100 II (and even the upcoming GFX100S II) are capable of 50mp XPan-crop pictures, but none of them will provide an XPan-like experience. The only camera that’s close is the GFX50R, but that model is five years old now and missing the latest film sims and JPEG settings and such. Ideally, whether it is a GFX50R II or GFX100R, the body should be X-Pro like in design. One other option that Fujifilm could consider is a GFXPan, where the sensor is shaped in the 65:24 aspect ratio instead of 4:3 (basically, the current 100mp sensor, but half as tall). That would be incredible!

#8 — Fujifilm X-Pro4

This one is near the bottom of the list because 1) I suspect that it’s already well in the works and 2) I don’t know how they’ll make it better than the X-Pro3, aside from some things that could just be a firmware update. So what do I think Fujifilm could do to make the X-Pro4 different-enough from the X-Pro3 to justify it? One idea is an APS-H sized sensor with maybe 50-ish megapixels. That would not only garnish a lot of attention, but it would (more importantly) allow for an XPan crop with over 20mp, and perhaps as much as 25mp. Whether they do this or use the 40mp APS-C sensor of the X-H2 and X-T5, they should still include the XPan aspect ratio as an in-camera option. Another idea is IBIS. A lot of people would welcome that, and it’s probably expected from a camera of this price point, but Fujifilm needs to be careful with how it affects the size, weight, and cost. Most likely, aside from a bump in pixel-count, the biggest change will be a different rear screen. I don’t have any idea how they’ll change it, but I’m certain that they will do so in some way. I think the OVF should be made to be more like the one in the X-Pro2.

#7 — Fujifilm X-Pro3 Acros Edition

While we wait for the X-Pro4, Fujifilm could release a monochrome-only version of the X-Pro3. This camera would make some big headlines, and get a ton of attention. While such a model would surely be niche, Pentax proved that it could still be successful, and I think there’s been enough interest in the Fujifilm world for such a camera that it will sell out, however many copies Fujifilm decides to make. I’d certainly buy one if Fujifilm ever decided to produce it. Heck, I’d buy one almost no matter what body they decided to do it with, but the X-Pro makes the most sense to me, followed closely by the X100.

#6 — Fujifilm X100Z Variants

We’ve known for awhile now that the next Fujifilm camera will be the X100V successor. I don’t know what they’ll name it, but my guess is X100Z. The X100V successor is not in this list because we already know that it’s coming, and it will probably be announced next month, or early-February at the latest. What I would like to put on this wish-list are variants of the camera. For example, Sigma made three versions of the DP Merrill models, and four of the DP Quattro. They were all basically the same, except for the lens permanently attached to the front. I could see Fujifilm doing something similar, with maybe a 30mm-ish “standard” lens, another with a 50mm-ish portrait lens, and maybe a wide-angle version with a 14mm or 16mm lens, to go along with the main 23mm option. Fujifilm could sell multiple versions of the X100Z (or whatever they name it), just with different focal-length lenses. Not only would people be able to buy their preferred focal length option, but you’ll have some people buy all of them.

#5 — Another Fujinon Pancake Lens

A big advantage to APS-C over full-frame is the size and weight of the gear, so it is shocking to me that Fujifilm has only two pancake lenses: the 27mm f/2.8 and 18mm f/2. The 18mm model is only kind-of a pancake, and is in desperate need of an update. Fujifilm should have a series of pancake offerings. Maybe a 16mm f/3.5, the 18mm f/2 (but updated, please!), a 23mm f/2.8, the 27mm f/2.8, and maybe a 40mm-ish f/2.8. It would make my day if Fujifilm were to announce even one more pancake lens, and it would make so much sense if they did.

#4 — Fujifilm X-E5

I had to include this—and put it fairly high on this list—because Fujifilm has indicated that the X-E line might be finished. It would be a huge shame if that’s true. I love the X-E line, and the X-E4 is one of my favorite models. This line is especially great for travel, and is the perfect body to pair pancake lenses with. I don’t need a new X-E camera, but I don’t want this line to end, so I would consider buying an X-E5 just to show support for its continuation in the lineup. Hopefully this will encourage Fujifilm to produce an X-E5, perhaps in time for Christmas 2024.

#3 — Fujifilm Minimalist Model

I would love a rangefinder-styled camera without all the bells and whistles. Just the basic controls that you need. It should have a shutter knob with an ISO ring, a C1-C7 knob, and exposure compensation knob on the top. It must have an M/C/S switch somewhere. Otherwise, it should be kept clean and simple. No rear screen, only a box-top screen like on the X-Pro3, but it should have a hybrid viewfinder. No video mode or even the Advanced Filters and such. It should be a “pure photography” concept that delivers the most film-like experience of all the models. I don’t think Fujifilm would ever consider such a camera, but they absolutely should have a “digital-film” model. This concept would seem to fit Fujifilm’s profile perfectly! Maybe call it simply the X1.

#2 — Fujifilm X200

A lot of people have basically demanded that Fujifilm should jump into the full-frame market, but they’re not going to, and in my opinion it is a smart move. They’d go from being a big fish in a decent sized pond to a small fish in a large and overcrowded pond. One big problem is that they’d have to develop a whole new line of lenses, which, if they weren’t successful, could bankrupt the division. One way that Fujifilm could dip their toes into the full-frame market in a way that’s pretty much guaranteed to be successful and won’t require the new-lens-lineup investment—in other words, somewhat small risk and big reward—is to make a full-frame version of the X100-series. Call it the X200. Perhaps differentiate it from the X100 by giving it a 30mm (going slightly more wide-angle) or 40mm (slightly more telephoto) lens, and increase the maximum aperture to f/1.8. If full-frame is simply out of the question, perhaps go the fuller-than-full-frame route, and make a GFX200, which would be a GFX version of the X100. Personally, I would have a hard time saying no to such a camera.

#1 — Fujifilm X80

The Fujifilm X70 was such a great little camera! It had a much-too-short production run thanks to Sony’s sudden discontinuation of the sensor inside that model, and it’s a real shame that Fujifilm never made a successor. Especially considering how well the Ricoh GR III is selling right now, it would make a lot of sense for Fujifilm to produce a successor to the X70. From what I can tell, the demand for such a camera has been increasing. So many people have told me that they’d buy one. I know that I would be first in line! Come on, Fujifilm! Make an X80 already! Consider it your Christmas gift to me and all of your customers who have been dreaming of it for years.

Report: We Now Know What 2 (of the 3) upcoming Fujifilm cameras will be

Posted on November 27 by Ritchie Roesch

Fujifilm will announce three upcoming cameras in the first part of 2024. Fujirumors is reporting what the second upcoming Fujifilm camera will be. We already know what the first one will be, so now the first two are known. There will be a third camera announced, which we don’t know anything about, and we’ll get to that in a moment.

The first upcoming camera will be the X100V successor, which has been rumored for some time now. Not much is known about it, other than it will have a new lens. A lot of people think that Fujifilm will name it X100R (a.k.a. X100Roku), but I think they’ll steer clear of any association with the video streaming service, and name it X100Z instead.

The “new lens” part of the upcoming X100-series model is curious, because the X100V, which was the fifth iteration of the series, was the first with a new lens. So why will the X100Z (or whatever Fujifilm names it) have a new lens? The leading theories are:

The current lens cannot fully resolve 40mp, and the new camera will have the 40mp X-Trans V sensor, so a new lens is necessary to take full advantage of the high-resolution sensor. In my opinion, this makes the most sense, although (if it is the reason) I would be slightly surprised that the current lens cannot resolve 40mp.
Fujifilm will increase the maximum aperture to f/1.8 or f/1.7 to better compete against the Leica Q3.
The new camera will have IBIS, and a lens redesign is necessary to accommodate.
Fujifilm has improved the leaf shutter, which requires a redesign of the lens.
Fujifilm will eliminate the IR hotspot on the lens, and in turn will sell a full-spectrum version.

There could be some other reasons, but those are the ones I have heard. I highly doubt it will be the last one, although it would be cool if it was. Most likely it is to resolve more resolution, but nobody knows at this point, so it could be anything.

The second upcoming camera will be the GFX100S II. Wait, what? Seriously?!

So, yeah, the GFX lineup will have the 100 II and 100S II. I’m not sure what will be different about the two models, other than the 100S II will be less expensive than the 100 II, so perhaps a little less feature-rich and slightly smaller. Honestly, I couldn’t be less excited about this, but it’s probably because I’m not in the GFX system.

I’m not entirely shocked that the upcoming camera will be the GFX100S II, but it is still a head-scratcher. First, once released, it will mean that 8 out of the last 12 Fujifilm cameras will have been PASM models (2/3rds of them). The only four non-PASM cameras will have been the X-E4 (which has been discontinued and is selling for ridiculous prices), the X-T30 II (which was basically just a firmware update and has been discontinued, although you can still find it if you search hard enough for it), the X-T5, and the X100Z (or whatever Fujifilm calls it). It will also mean that 4 out of the last 11 Fujifilm releases will have been GFX models; however, the GFX50S II has already been discontinued, and presumably the GFX100S will be discontinued very soon. I do think that the GFX system needs a divergent option, as it would seem like the GFX100 II and GFX100S II will be pretty similar to each other. A GFX100R, which would be the successor to the long-discontinued GFX50R, seems like the most obvious choice, but I don’t think Fujifilm plans to release another GFX camera with traditional tactile controls.

My best guess is that the third camera will be the X-Pro4, and that it will be announced sometime in May. I have no inside information (I never do, I get it from Fujirumors like everyone else…), but based on past releases, this makes the most sense to me. I hope that I’m right, because there’s a lot of pent-up demand and eagerness for this camera. If it’s not an X-Pro4, a lot of people will be disappointed.

So where does that leave the X-T40 (or X-T30 III or X-T50 or whatever Fujifilm will name it)? It could and should still happen, but I think Fujifilm is trying to move out of that market segment. They’re focusing more on premium products, and less on lower-tier, as they believe the bottom of the market is continuously drying up. Either Fujifilm makes that series more premium (and in turn more expensive)—kind of like what they did with the X-S20—or they do a very modest update, and it might be the last model in the series. Or it could be that the X-T30 II was the last one. My hunch is that there will be at least one more, perhaps released sometime in the second half of 2024. It certainly could be the third camera and not the X-Pro4—I think a lot of people would be shocked (in a negative way) if that were the case.

Where does this leave the X-E5? I think this line is done. The X-E4 was the last. I truly hope I’m wrong about this, though, because I love the X-E cameras. If one does come, most likely it will be in 2025 and not 2024. Since there’s so much demand for the X-E4 and not much supply, it would make a lot of sense to expedite a successor, but I don’t think that Fujifilm is currently doing so.

What about the X80? The Fujifilm X70 was discontinued in December of 2016, and there has been demand for a successor ever since. I’ve noticed that the demand for an X80 has been building recently, growing larger and more vocal. Certainly the recent sales success of the Ricoh GR III should cause Fujifilm to consider it. I don’t, however, believe that Fujifilm has any current plans to release an X80. If they did, I’d be first in line to buy one!