Fujifilm Camera

Let’s Talk About X-Trans VI

Posted on by Ritchie Roesch

In my estimation, the next generation of Fujifilm cameras is right around the corner, likely to be announced early next year. I’ll tell you why I think that, and I’ll take some guesses at what X-Trans VI could look like—what might be different on the next generation of X-series cameras.

Fujifilm’s generational lifespan for the X-series is about three years. Some are a little longer, some are a little shorter. X-Trans I had the shortest lifespan of only about one year, or maybe two years, depending on how you classify the X-M1, which had an X-Trans I sensor paired with X-Trans II processor. Otherwise, though, three or three-and-a-half years is the average. Even though the X-S20 and X-M5 (and likely the X-T30 III when it is announced soon) have an X-Trans IV sensor, I consider them fifth generation cameras because they have the X-Processor 5 and everything that goes with that—they have some notable similarities to the other fifth generation models (the X-M1, on the other hand, had notable dissimilarities with X-Trans II models). The X-H2/X-H2s kicked off X-Trans V a little over three years ago, so we’re due for the next generation.

Fujifilm has been using the X-E series as a marker for the end of an X-Trans generation—not as the last camera, but as the second-to-last. The X-E1 was the second-to-last X-Trans I camera, with the X-M1 as the last; the X-E2s was released simultaneously with the X70, the last two X-Trans II cameras; the X-E3 was the second-to-last X-Trans III model, with only the X-H1 following; the X-E4 was the second-to-last X-Trans IV release (not including the X-S20 and X-M5), with the X-T30 II as the last. The Fujifilm X-E5 will most likely continue this pattern, and be the second-to-last fifth-generation model, with only the upcoming X-T30 III following. I think it’s safe to say, based on past patterns, that 2025 will be the final year for the fifth-generation, and the sixth-generation will kick off in 2026.

Fujifilm often announces cameras in January/February, which are shipped in February/March. There’s a reasonable chance that will continue; however, not every year sees a camera released at the very beginning. A spring announcement with a late-spring, early-summer release is also common. My best guess is that the first sixth generation camera will be announced on or before the end of May, but probably sooner. Keep in mind this is merely a guess and nothing more.

Captured with a Fujifilm X-M1

What will X-Trans VI look like? I think it will be more about speed and efficiency than resolution. X-Trans takes a lot more computing power than Bayer, which not only puts a strain on the processor, but can also be more prone to heat dispersion issues. By emphasizing speed and efficiency improvements, Fujifilm can minimize some of the drawbacks to X-Trans. Besides, 40mp is already more than enough resolution for the format. I’m not sure if Fujifilm plans to continue using the same sensors and just upgrade the processor, or if we’ll see new sensors, too—or maybe a mix. Or it could be that we’ll see “new” sensors that have identical specs to the old ones, with small design improvements.

Sony makes Fujifilm’s camera sensors, as they do for many camera companies. If Fujifilm wants a partially-stacked 40mp APS-C sensor, Sony has to be willing to manufacture and sell it to Fujifilm. I think such a sensor would be well received in an X-H3 and X-T6, and would help to address speed and efficiency. Would Sony make that sensor, and how much more will it cost than the non-stacked version? That’s a good question. I think there is potential for some cameras to have a partially-stacked 40mp sensor (X-H3 and X-T6), and some to have a non-stacked 40mp sensor (for example, X-T60 and X-E6).

What about the X-H3s? Will it continue with the 26mp stacked sensor? If the X-H3 has a partially-stacked sensor, that might narrow the gap sufficiently for Fujifilm to discontinue the X-H2s line altogether. I think it’s possible that Fujifilm offers some small under-the-hood improvements along with the X-Processor 6, and simply call it the X-H2s II (basically, a very minor update). I also think it’s possible that Fujifilm replaces the X-H2s with an X-series version of the upcoming GFX Eterna cinema camera. I’m not sure how well the X-H2 and X-H2s have sold, and if Fujifilm feels that both models are justified in the new generation. If there’s one camera potentially on the chopping block, it’s likely either the X-H2 or the X-H2s; however, my guess is that they both continue, unless an “X Eterna” model is introduced as a sort-of replacement for the X-H2s.

I also wonder if Fujifilm will continue to use the X-Trans IV sensor into the sixth generation. As far as I know, Sony doesn’t offer any APS-C sensor in-between the 26mp that X-Trans IV is built on and the 40mp that X-Trans V is built on. Maybe Sony has been developing (say) a 32mp sensor behind the scenes; after all, Fujifilm was the first and (so far) only customer of the 40mp sensor, so it could happen with another one. If so, Fujifilm would move beyond the X-Trans IV sensor in its lower-resolution sixth generation cameras, like the X-S30, X-M6, and X-T30 IV (perhaps the X-T30 III and X-T50 “merge” into one line, called the X-T60, with a 32mp X-Trans VI sensor). If not, I suspect that the X-Trans IV sensor will live on for a few more years, or maybe they make a minor change to it and call it 26mp X-Trans VI. It might even make sense for Fujifilm to offer three different resolution options.

Captured with a Samsung NX210 in 2013

It’s possible, albeit highly unlikely, that Fujifilm will stop using Sony sensors. Samsung makes pretty good camera sensors, and Fujifilm even helps with some of their technology. They used to manufacture APS-C sensors for their long-defunct NX line, including a 28mp one that was pretty well regarded at the time. I could see Fujifilm using a new sensor maker for X-Trans VI, but I would be highly surprised if that actually happens. Sony is tried-and-true, reliable, and comfortable—if it ain’t broke, don’t fix it.

My guess is that the next X-Pro, which might be called X-Pro4, X-Pro5, or maybe even X-Pro6, will be announced early next year, and will be the first sixth generation camera. I have no idea what will be different about it. I really hope that it has the XPan aspect ratio—it would be an absolute shame if it doesn’t. The X-Pro1 kicked off X-Trans I, the X-Pro2 launched X-Trans III (there was a significant gap in-between the two), and the X-Pro3 was the first camera with Classic Negative (and some other JPEG goodies). It’s overdue, so it makes sense to me that it will be the first X-Trans VI model.

After that, the X-H3 and X-H3s (or X Eterna) seem like logical options, followed by the X-T6, which might come in late 2026 or early 2027. I could see the X-S30 announced in May of 2027, and with it the new 32mp sensor (if such a sensor happens). Of course, this is all highly speculative. I have no inside information, these are merely guesses that should be taken with a huge amount of salt.

I do think that X-Trans VI should introduce a new Film Simulation or two. While Fujifilm is the in-camera JPEG processing leader, other companies are trying to close the gap, so Fujifilm should not be complacent. Some ideas: PRO Neg. H, that resembles Fujicolor PRO 400H film, and turns pastel with overexposure; Velvia XPRO, which mimics Fujichrome Velvia 50 that has been cross-processed; Fortia, which is simply the Pop Color Advanced Filter graduated to Film Simulation, resembling Fujichrome Fortia film; Natura, a facsimile of Fujicolor Natura 1600; Neopan, a new B&W option similar to Acros but with more contrast. I have many other ideas, but those should get Fujifilm started if they’re not sure what to do.

It shouldn’t stop with Film Simulations. Some other JPEG ideas are: Highlight and Shadow Color Toning, allowing for a split tone aesthetic (available for both color and B&W photos; something like the Monochromatic Color option, but specifically for Highlight and/or Shadow); Faded Shadow Effect (Strong, Weak, Off); Vignetting (Strong, Weak, Off); Halation Effect (Strong, Weak, Off); Light Leak Effect (On, Random, Off); Mid Tone adjustment within the Tone Curve (-2 to +4); Medium Grain size and strength; Extra Strong and Extra Large Grain Effect. Additionally, I’d like to see the Retro and Expired Film Filters from the X half make their way into Advanced Filters, and also the ability to set Grain and perhaps some other customizations within Advanced Filters. Last but certainly not least, all of the 40mp cameras should have the XPan aspect ratio. If Fujifilm introduced just half of those ideas, it would be highly celebrated.

I’d also like to see Fujifilm address the IQ options—the Recipe parameters—linked to other settings, such as AF, sound, etc., within C1-C7. I explained this problem last year, and provided Fujifilm with a potential solution that came from Fred Miranda—if you’re from Fujifilm, you may want to read that article. Also, John Peltier covered this topic in his Fujifilm X-E5 video. There’s more than one way that this could be addressed, and the X-E5 does sort-of somewhat fix it, but I think it’s important to find a solution sooner than later.

We’re nearing the end of the fifth generation of the X-series. In all likelihood, the sixth generation will come in 2026, which is right around the corner. I have no idea what changes that will bring, but it will certainly bring some. While I’m excited for the new cameras, I also want to express my opinion that camera successors come too quickly. If parts can be secured, camera makers should keep manufacturing models for many years. The refresh rate should be five-to-seven years; three years should be an exception and not a rule. Regular firmware updates can keep “old” products fresh. This also means you have to keep building the current models, and situations where a certain one is discontinued and the successor doesn’t come for a couple of years should be avoided. Discontinue the old model when the new one is six months out, and when the new one is released, it should be a substantial update, and not a minor refresh. This seems like a more realistic approach, and is more similar to how the camera industry worked for many, many decades—I hope we can get back to that. In the meantime, I’ll continue to enjoy the cameras I have, which are quite excellent photo-making machines. It’s fun to consider what the future might be, but it’s important to not lose sight of here and now, which is what actually matters.

The Fujifilm X-Series Buyers Guide — Which Camera is for You

Posted on by Ritchie Roesch

A common question I get is, “Which Fujifilm X-series camera should I buy?” With so many options, it can be difficult to figure out which one is right for you. Some models are quite alike, with overlapping features and similar price points, which can be confusing—especially if you’re new to the system. Each camera in Fujifilm’s lineup has its own role to play, and understanding that role makes it much easier to choose the right one for you. To help you out, I’ll break down each X-series camera below and explain its purpose in the lineup—what it’s best at, who it’s for, and why Fujifilm made it. With that foundation, you’ll be better equipped to make your decision.

Fujifilm X-H2s

The Fujifilm X-H2s is Fujifilm’s most premium X-series camera—the flagship model. It’s designed for speed, which makes it the most ideal option for videography, as well as sports and wildlife photography. It’s the only X-series camera—and only APS-C camera—with a stacked sensor, which allows it to be faster than other models. Interestingly, a large majority of the official Fujifilm videos (found on their various YouTube channels) are filmed on this camera—if you want to know what you can do with it cinematically, there are tons and tons of excellent examples online. Because the X-H2s is the top-of-the-line option, it is also the most expensive at $2,799 (after the recent price increase across the Fujifilm lineup).

A couple of possible downsides to the X-H2s are that it’s the largest (along with the X-H2, which shares the same body), which might make it less ideal for travel or walk-around photography, and it doesn’t have the traditional tactile exposure controls that Fujifilm is known for. This is a PASM model that’s specifically intended to be appealing to those coming from Canikony brand cameras, who might not appreciate Fujifilm’s retro-styled bodies. It’s weather sealed and has two card slots (one for CFexpress Type B). The rear LCD screen is vari-angle, and can twist many directions. I find it fascinating that camera reviewers often compare the X-H2s to full-frame models; those are somewhat unfair apples-to-oranges comparisons, but you see it often, which just goes to show that this camera punches above its weight class.

If you really need speed, the Fujifilm X-H2s is your best bet. It’s the top X-series option for video, sports, and wildlife. This is the most “pro” camera in the lineup, if that’s important to you. I have never used this camera personally.

Fujifilm X-H2

The Fujifilm X-H2 is nearly identical to the X-H2s. The main difference is that, instead of a 26mp stacked X-Trans V sensor intended for speed, it has a 40mp non-stacked X-Trans V sensor intended for resolution. It’s not quite as quick as the “s” version, so it’s not as ideal for video, sports and wildlife; however, it’s still snappy, and still excellent for those situations—it’s a great hybrid camera. You simply trade a little speed for megapixels, while saving $600. You get basically the same camera for significantly less money. If you need the fastest X-series model, the “s” version is the one to get; if not, the X-H2 is quite compelling, especially if you are moving over from one of the “big three” brands. I have not used the X-H2 personally.

Fujifilm X-Pro5

There is not currently an X-Pro5. The last camera in this series was the X-Pro3, released in 2019 and discontinued in 2022. A successor is overdue, and likely to come next year (my prediction is in the spring, but that’s merely a guess). Nothing is known about the camera (not even the name… “X-Pro5” is speculation); however, it probably won’t be too dissimilar from other X-Pro models. The X-Pro series offers classic rangefinder styling, a hybrid EVF/OVF, and durability (other than the rear LCD cable on the X-Pro3… that’s another story, and probably why that camera was discontinued). X-Pro is top-of-the-line out of all the retro-styled X-series models. These cameras are beloved, they’re classics—the Leica of Fujifilm, so to speak. There’s not much to say about it at this time other than it’s coming someday, and it will likely be over $2,000 (maybe well over) when it does come. I wouldn’t be surprised if Fujifilm kicked off the sixth generation with this camera. Whenever it is released, you’ll know, because it will definitely make headlines. The picture above is of an X-Pro1.

Fujifilm X100VI

The X100 series is legendary. It’s probably the most iconic Fujifilm line, with a beautiful retro rangefinder design, including a hybrid OVF/EVF. Pairing the 40MP X-Trans V sensor with a fixed 23mm (35mm full-frame equivalent) f/2 lens, the X100VI is perfect for street, travel, and documentary photography. This iteration is the first in the series to have IBIS. The leaf shutter, built-in flash, and built-in ND filter are three especially great but often overlooked features. The X100VI is compact and discreet, yet eye catching—no wonder it is the most viral camera of all time!

Because you cannot change the lens, this camera is not for everyone; however, it can inspire you to see differently because you’re limited to one focal length, which can force you to think more creatively. The Fujifilm X100VI is my “desert island” camera—if I could only have one model for the rest of my life, it would be this one. With that said, I find that the X100-series tends to pair really well with an interchangeable-lens model, for when the 35mm-equivalent focal length just isn’t the right choice. The X100VI isn’t a point-and-shoot; it’s a premium compact, which is reflected by the $1,799 MSRP (after the recent price increase).

Fujifilm X-T5

If there’s one quintessential interchangeable-lens Fujifilm camera, it’s probably the X-T5. It closely embodies Fujifilm’s retro styling and tactile controls, while packing in their latest 40mp X-Trans V sensor and processor. You get IBIS, a three-way tilting LCD, dual card slots, and weather sealing—all in a body that still feels compact. It’s basically an X-H2, but smaller, lighter, better-looking, and cheaper. This is a premium stills-centric model, yet it’s no slouch when it comes to video capabilities. A lot of comparisons have been made to the Nikon Zf, which is a full-frame camera (not necessarily a fair equivalence), yet the X-T5 holds its own pretty well, (again) punching above its weight class.

The X-T5 is a workhorse that can do a bit of everything. It seems well suited for landscapes, portraits, travel, etc., etc.. I used this camera extensively for about a year-and-a-half, then my wife, Amanda, used it for a year (mostly portraits, theater, and video), and now I have it back, and am enjoying photographing with it again. As a stills-centric yet good-for-everything camera, it’s easy to recommend. With an MSRP of $1,899, it’s under 2K but definitely not cheap.

Fujifilm X-T50

The Fujifilm X-T50 is the little brother of the X-T5. It has the same sensor, processor, and IBIS—it’s basically the same internally as the X-T5 and even the X-H2—but lacks weather sealing and dual card slots. It’s smaller and lighter, with a little more plastic. This was the first camera with a Film Dial, which adds a bit of aesthetic versatility, and is great for exploring which Film Simulations you might like best. This is Fujifilm’s mid-range retro SLR-styled camera, but is just as capable as the higher-end X-T5.

Because this camera is smaller and lighter, it’s a little better for travel or walk-around photography. The X-T50 is a bit more beginner or enthusiast orientated than the X-T5, but you can grow with it, since it’s just as capable as the higher end model. At $1,699, it’s only a little cheaper than the X-T5. If size and weight are a priority, that might be a reason to choose this camera, or if you want a slightly less complicated camera; otherwise, the X-T5 is the better option. I really like the X-T50 personally, particularly because of the Film Dial.

Fujifilm X-E5

The Fujifilm X-E5 is the newest X-series camera. It’s basically an X-T50, but in an X100VI-like body. It’s as close as you’re going to get to an interchangeable-lens X100VI, especially when paired with pancake lenses. It’s Fujifilm’s smallest camera with an EVF, which makes it especially great for travel photography, or just everyday carry. It’s also the only model where you can program up to 11 Recipes into it. The X-E5 is the most premium camera in the X-E series, and is solidly mid-tier, with improved build quality over its predecessor. I have no doubt that this will be a big hit, even with the $1,699 price tag. If you like retro rangefinder styling, this is the interchangeable-lens camera to buy.

Fujifilm X-S20

The Fujifilm X-S20 is the little brother of the X-H2s. It’s a hybrid model that’s especially good for video, but is no slouch for stills. It uses the “old” 26mp X-Trans IV sensor paired with the new X Processor 5. It is not weather sealed and has only one card slot. It’s not necessarily retro styled, and lacks the traditional tactile dials found on most Fujifilm models; instead, it has PASM controls similar to the X-H2s and X-H2, and it has an articulating rear LCD screen. It’s intended to be appealing to those coming from Canikony brand cameras. It only has C1-C4 and not C1-C7 like many other Fujifilm cameras, for those who use Film Simulation Recipes. There are two X-S20’s in my house: one belongs to my wife, Amanda, and the other belongs to my son, Jonathan. They both really love it—in fact, my wife chose the X-S20 over the X-T5. At $1,599, this is a mid-tier camera, but it is slightly more affordable than the X-T50 and X-E5.

Fujifilm X-T30 II / X-T30 III

The current entry-level X-series camera with an EVF and retro tactile controls is the Fujifilm X-T30 II. It has the 26mp X-Trans IV sensor and X Processor 4; however, it was the very last fourth-generation model, so it does have some options that the earlier 4th-gen cameras lack, making it seem a bit less dated. At $999, it is definitely more affordable than the options above, making it a compelling choice, and probably the best overall value right now—a great beginners camera. It doesn’t have IBIS, and may not be the best option for video—although, with a gimbal or tripod, it’s certainly capable of recording quality clips.

The X-T50 was not this camera’s successor, but a whole new highly similar line that is a bit more premium. Fujifilm is about to replace the X-T30 II with (what will likely be called) the X-T30 III. Because of this, the X-T30 II can be a bit tough to find in-stock, as I believe Fujifilm has stopped production of it. If you want the best affordable Fujifilm camera, be sure to buy an X-T30 II—that is, if you can find one. Fujifilm is expected to announce the X-T30 III later this year, likely in the fall. I anticipate it being nearly identical to the X-T30 II, just with the new X Processor 5, possibly with a Film Dial like the X-T50, and perhaps a couple hundred dollars more expensive. In all likelihood, the X-T30 III will be the last fifth-generation X-series camera.

Fujifilm X-M5

The Fujifilm X-M5 is the bargain basement entry-level X-series camera, with an MSRP of $899. It has a striking rangefinder-like retro design, but lacks traditional tactile controls (it has PASM instead) and lacks an EVF. It’s the smallest and lightest interchangeable-lens model in the lineup. Like the X-S20, it pairs the 26mp X-Trans IV sensor with the X Processor 5. It’s touted as a hybrid camera that’s excellent for video, but it lacks IBIS. In a sense, X-M5 is the little brother of the X-S20, and in a sense it’s the X-E5’s smaller sibling. If you have a tight budget or if you prioritize size and weight, this camera might be for you. Between this and the X-T30 II, if you are primarily a videographer, the X-M5 is your best bet, but if you are primarily a stills photographer, I recommend the X-T30 II. It seems like a good option as your very first camera, or else as a second camera for when your larger model isn’t ideal. I’ve never used the X-M5 personally.

Fujifilm X half

Last and maybe least is the Fujifilm X half. This is technically an X-series camera, but it’s not X-Trans, and isn’t APS-C, either. It has a 1″ Bayer sensor orientated vertically, with a fixed 32mm-equivalent f/2.8 lens. It’s essentially a digital version of half-frame cameras, like the Fujica Half, Olympus Pen, Kodak H35N, and Pentax 17. The X half has as much in common with the Instax Evo line as it does the X-series, and bridges a gap between the two systems, with a foot in both camps. It’s a heck-of-a-lot of fun, but definitely less serious than all of the options above. This could be a toy for the photographer who has everything, or a casual camera for events and vacations, or a first camera for your child that shows an interest in photography. You’re unlikely to capture portfolio-worthy pictures with the X half, but for social media or scrapbooks, this camera is quite excellent. Both my wife and I enjoy using it (and have fought over it), but neither of us would chose it as our primary model. At $850, it’s a bit expensive for what it is.

Conclusion

If you’re still unsure which Fujifilm cameras are right for you, let me break it down even more simply. If you are coming from one of the big three camera companies and want the easiest transition, you’re going to look at the X-H2s, X-H2, and X-S20. If you are primarily a videographer, you’ll want to consider those same three cameras, and I’ll throw in the X-M5 if you are on a tight budget. If you simply want the best-of-the-best, the X-H2s, X-H2, and X-T5 are your top options (and the next X-Pro, whenever that comes out). If you are primarily a stills photographer, the X-T5 is top-of-the-line (the next X-Pro will be, as well), the X-T50 and X-E5 are nearly as good (and smaller), and the X-T30 II is the best bargain. The best looking cameras are the next X-Pro (assuming that Fujifilm doesn’t change much), X100VI, and X-E5. If you don’t want to invest in a whole system, and just want to dip your toes into the Fujifilm world, the X100VI is what you should buy. If you don’t have a lot of money to spend, the X-T30 II and X-M5 are the two cameras you need to consider. If you have large hands and/or plan to use long lenses, the X-H2s, X-H2, and X-S20 have the best ergonomics, and I’ll throw in the X-T5 as a bonus. If you want small and lightweight, look at the X-M5, X-E5, X100VI, and (of course) the X half. If you want the most enjoyable, the X half, X100VI, X-E5, and the next X-Pro are the ones to consider. I’m sure I’m missing some situations, but I hope this provides clarity for some of you who are trying to decide which camera to purchase, and are just unsure.

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

Fujifilm X-H2:
Amazon, B&H, Moment, Nuzira
Fujifilm X-H2s:
Amazon, B&H, Moment, Nuzira
Fujifilm X-T5 in black:
Amazon, B&H, Moment, Nuzira
Fujifilm X-T5 in silver:
Amazon, B&H, Moment, Nuzira
Fujifilm X-T50 in black:
Amazon, B&H, Moment, Nuzira
Fujifilm X-T50 in silver:
Amazon, B&H, Moment, Nuzira
Fujifilm X-T50 in charcoal:
Amazon, B&H, Moment
Fujifilm X100VI in black:
Amazon, B&H, Moment, Nuzira
Fujifilm X100VI in silver:
Amazon, B&H, Moment, Nuzira
Fujifilm X-S20:
Amazon, B&H, Moment, Nuzira
Fujifilm X-E5 in black:
Amazon, B&H, Moment, Nuzira
Fujifilm X-E5 in silver:
Amazon, B&H, Moment, Nuzira
Fujifilm X-T30 II in black:
Amazon, B&H, Moment, Nuzira
Fujifilm X-T30 II in silver:
Amazon, B&H, Moment, Nuzira
Fujifilm X-M5 in black:
Amazon, B&H, Moment, Nuzira
Fujifilm X-M5 in silver:
Amazon, B&H, Moment, Nuzira
Fujifilm X half in black:
Amazon, B&H, Nuzira
Fujifilm X half in silver:
Amazon, B&H, Nuzira
Fujifilm X half in charcoal:
Amazon, B&H

Review: Fujifilm X-E5 — Pancakes & Recipes

Posted on by Ritchie Roesch

Fujifilm recently loaned me an X-E5 to try out for a week or so. I also got to play with one at the B&H BILD Expo last month, so I was already a bit familiar with the camera before it arrived in the mail. Included with the X-E5 was the brand-new Fujinon 23mm f/2.8 pancake lens, so I’ll also be discussing that in this review, too. Let’s dive right in!

The Fujifilm X-E5 is actually the sixth X-E camera. The X-E1, released in 2012, was the very first, and the third X-series model overall, with only the X100 and X-Pro1 predating it. The X-E2 came out only one year later, followed by the nearly identical X-E2s in 2016. A year after that, Fujifilm released the X-E3, which saw the first significant design change (although it was still pretty similar). The X-E4 came out in 2021, which was the most different, with an emphasis on minimalism, compactness, and affordability; however, it was still similar overall. We have another significant design change with the X-E5, yet it still retains the distinctive look of an X-E series model.

With the X-E5, Fujifilm quite noticeably improved the construction quality—for example, the top plate is a single piece of machined aluminum, and the camera seems less plasticky overall. It just feels more sturdy, more premium, more refined than the X-E4. With a pancake lens attached—like the new 23mm f/2.8—the camera closely resembles an X100VI, which was clearly intentional. The X-E5 is essentially an interchangeable-lens X100VI; for those who have asked for such a camera: here it is! The two models aren’t exactly the same, and they each have their advantages and disadvantages, but they’re certainly similar enough to justify the comparison.

I don’t want to dive too deeply into the specs, but some important notes are that the X-E5 has the same 40-megapixel X-Trans V sensor and processor as the X100VI, X-T50, and X-T5. Like those models, the X-E5 also has IBIS. This is a camera capable of capturing high quality photos and videos. Not surprising, the X-E5 is also much more expensive—plus a tad larger and heavier—than its predecessor.

Like the X-T50 and X-M5, the X-E5 has a Film Dial, although it’s implemented a bit differently. Instead of a knob, it’s a wheel on the back, with a little window on the top plate. This is a really cool design; however, there is a downside: it has fewer Film Simulations. The X-T50 and X-M5 have only eight of the 20 Film Sims on the knob, with three customizable slots for your favorites that were left out; the X-E5 has only six Film Simulations, with three customizable slots. The six Film Sims on the dial are Provia, Velvia, Astia, Classic Chrome, Reala Ace, and Acros. Somehow—shockingly and inexplicably—Classic Negative was left out, as was Nostalgic Negative. I know that not all of them could make the cut, but I definitely question why Classic Negative was not included—seems like a sin.

The three customizable slots—called FS1, FS2, and FS3—can be set to any Film Simulation. In addition to that, they can also be customized into Film Simulation Recipes (functionality that should be—and hopefully will be—brought to the X-T50 and X-M5 via a firmware update). This is the very first time that Fujifilm has used the term “Recipe” in a camera—amazing! You can have 11 different Recipes programmed into the X-E5: seven within the C1-C7 Custom Settings presets, one in the IQ Menu set, and three on the Film Dial. The Film Dial also works well with my Universal Negative and Film Dial Recipes, providing extra aesthetic versatility. Only the C1-C7 Recipes can be custom named, so you have to remember what the other four are.

While this is certainly a welcome evolution of this feature, it could be made even better. For example, all of the Film Simulations should have the option for Recipes, and not just FS1/FS2/FS3. One issue with this UI, though, is that Recipes are scattered: some in Custom Settings presets, some on the Film Dial, and one in the IQ Menu. I think, more ideally, you’d find them all in one place. A lot of Fujifilm users would appreciate a Custom Settings Dial instead of a Film Dial, with maybe C1-C9 or C1-C12 (more is better). There are a lot of different ways that this could be addressed, and it’s something that should be addressed for future models. Still, the opportunity to have three extra Recipes programmed into the camera at any one time is quite nice, and I’m thankful for it. This is the main reason why I preordered this camera, even though I own an X-E4 that I really like.

Included with the X-E5 was the new Fujinon XF 23mm f/2.8 R WR pancake. This lens is very similar to the Fujinon 27mm f/2.8 R WR, which happens to be one of my absolute favorite lenses. I’ve been saying for years that Fujifilm should have more pancake lenses in their lineup, since a major selling point of Fujifilm cameras are their compact size and minimal weight. A camera like the X-E5 paired with a handful of tiny pancakes is ideal for traveling. This particular camera and lens combo is especially great for everyday walk-around photography.

The lens is sharp with minimal flaws. It has great close-focus capabilities; it’s not a macro-lens by any means, but with 40mp to crop from, it’s possible to use it for near-macro photography. From a technical point-of-view (and mind you, I didn’t do any serious testing), it’s pretty darn good for what it is, a marvel of engineering; from an artistic point-of-view, it seems to lack a little of the magic (a.k.a. character) that the 27mm f/2.8 and 23mm f/2 lenses are known for. Like the 27mm, it isn’t the quietest Fujinon lens. If you are trying to decide between the 23mm f/2.8 and the 27mm f/2.8, that’s going to be a tough call—personally, I like the 27mm just a bit more; however, the close-focus capabilities of the 23mm is certainly a significant plus. If you are trying to decide between the 23mm f/2.8 and 23mm f/2, that’s also going to be difficult, and your decision might come down to just how small is small enough for you. If you are buying the Fujifilm X-E5, it seems like an easy choice to get it bundled with the 23mm f/2.8, since it’s only $200 more when the lens itself is $500—if you have no intentions of keeping it, just turn around and sell it for $450, which makes the camera more affordable.

Ants & Funyun – Tucson, AZ – Fujifilm X-E5 & 23mm f/2.8 – Kodachrome 64

Getting back to the X-E5, the camera has a couple of really cool features, but you can only use one of them, and not both. The first, which is borrowed from the GFX100RF, is called Surround View Mode. It allows you to see outside of the frame when using an aspect ratio other than 3:2, giving a faux optical viewfinder experience (sort of). This is particularly nice when using the 1:1 aspect ratio. The XPan ratio would have been a great addition, but (sadly) it’s still missing on X-series models. The second feature is called Classic Display Mode, which turns the EVF into a really cool retro 1980’s-inspired display. I like both, but I couldn’t figure out how to activate the Classic Display Mode for some time—eventually I asked a Fujifilm tech rep for help. As it turns out, if Surround View Mode is activated, even when using the 3:2 aspect ratio, Classic Display Mode is disabled (and vice versa). Fujifilm: I suggest that Surround View Mode be automatically disabled when in the 3:2 aspect ratio, so that Classic Display Mode can be used; when changing aspect ratios to anything other than 3:2, if Surround View is activated, it would automatically disable Classic Display. This way, you don’t have to jump through hoops to use both of these cool new features.

While the X-E4 saw a lot of buttons removed in the name of minimalism, Fujifilm gave them to the X-E5 in spades. Just the new front control lever alone allows for five customizable functions. The inclusion of the rear command wheel and M/C/S switch means that you shouldn’t be short of camera controls, no matter how many functions you need quick access to. Those who disliked the direction of the X-E4 should especially appreciate its successor.

Neighborhood Fireworks – Buckeye, AZ – Fujifilm X-E5 & 23mm f/2.8 – Kodak Vericolor VPS

What else can I tell you about the Fujifilm X-E5? It isn’t weather-sealed (although it seems to have some level of weather resistance—I wouldn’t put it under a faucet, though). It uses the “old” NP-W126S battery. I expected that, as those things would have increased the size, weight, and cost even more. The X-E5 is definitely more premium than previous X-E cameras. I had suggested that Fujifilm prioritize size, weight, and cost by keeping it nearly the same as the X-E4; however, my opinion was clearly in the minority. Most people asked for an interchangeable-lens X100VI, and the X-E5 is as close to that as you’re likely ever going to get. It’s a very nice camera.

It comes with a “nice” price tag, too. In America, it’s $1,700 for the body-only, and $1,900 when bundled with the new 23mm pancake lens. That’s pretty shocking, especially when it’s double the price of the X-E4; however, keep in mind that inflation and tariffs have impacted the price in addition to the more expensive components that Fujifilm used in the camera. Interestingly enough, the X-E1 was $999 in 2012, which is about $1,400 in today’s dollars; add to that tariffs, and you’ve pretty much got the X-E5 price tag, never mind the 40mp sensor, IBIS, and better build quality. While it seems expensive, it is not an entry-level model. And with Fujifilm raising the price (in America) of the X100VI to $1,800, the X-T50 to $1,600, the X-T5 to $1,900, the MSRP of the X-E5 makes a little more sense. I do think it’s worthwhile to buy at $1,700, which is why I have it preordered bundled with the 23mm f/2.8 lens.

Mission San Xavier del Bac – Tucson, AZ – Fujifilm X-E5 & 23mm f/2.8 – Kodak Vericolor VPS

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

Fujifilm X-E5 in black:
B&H, Moment, Nuzira
Fujifilm X-E5 in silver:
B&H, Moment, Nuzira

Example photographs, all camera-made JPEGs (with various Recipes) captured using a Fujifilm X-E5 & Fujinon 23mm f/2.8 lens:

Apparently, Fujifilm Price Increases are Coming Very Soon

Posted on by Ritchie Roesch

According to Fujirumors, Fujifilm is likely to raise the price by about 10% on most of their cameras and lenses beginning August 1st, which is Friday. It’s unclear if this is worldwide or just in America, but my suspicion is that it will just be in America, and is related to the tariffs. I also highly doubt that the X half and X-E5 will be affected, because the increase was already built into their MSRP.

Every major camera maker has either already increased their prices, or has announced that they will be soon—or both (already raised prices, but further price increases are forthcoming). While the X half and X-E5 were on the leading edge of the increase (and both were criticized for it), Fujifilm has largely delayed price increases on everything else. My guess is, with the Japan trade deal finalized, Fujifilm has something stable to determine what the increase should be, so that’s why it’s been delayed until now. I also suspect that Fujifilm will try to manufacture more of their U.S.-bound units in Japan instead of China, something they’ve already begun doing.

It’s also possible that this will be the first in a series of price increases. If Fujifilm were to raise the cost by (say) 20% all at once, that could scare off potential customers; however, by increasing it by “only” 10% now and another 10% later (perhaps on January 1st), it allows customers to acclimate more gradually to the higher prices. It’s like the frog in boiling water thing. Hopefully, though, this will be the one-and-only increase; if it is worldwide and not limited to America, I think that could possibly be an indication of it being only a one-time thing. It’s all just speculation at this point, and time will eventually tell—until then, take it all with a very large grain of salt.

Of course some will say that this is just Fujifilm being greedy or that Fujifilm has lost the plot and is out-of-touch with their customers. That’s all nonsense, spoken largely by trolls and click-bait content creators. Every camera maker is dealing with this same issue right now, and they are all raising their prices (RED is the only camera made in America as far as I’m aware, but I’m not sure how long that will last since they’ve been purchased by Nikon). I said back when the X half was announced that it was a foreshadowing of future price increases. When everyone complained about the cost, I said in time it would seem pretty normal, once the MSRP of everything else goes up. Now they’re going up. My suspicion is that we’re still five or six months out from all the dust settling, and it’s even possible that the X half and X-E5 could see a small price reduction at some point (since they were announced when there was a lot more uncertainty), who knows?

All of that is to say, if you’ve been eyeing a certain camera or lens, you might want to get your order in now and not wait until the price goes up later this week. If you delay, you may have to pay about 10% more. This is probably just for those in America, although I’m not 100% sure, and worldwide price increases are certainly a possibility, albeit a fairly slim possibility in my estimation.

Fujifilm should begin to make fewer X100VI cameras

Posted on by Ritchie Roesch

Fujifilm has already produced and delivered more copies of the X100VI than any other previous X100-series model. There are more X100VI’s in the hands of photographers right now than X100V, or X100F, or X100T, etc.. That’s truly amazing, since the X100VI was released only about a year-and-a-half ago, while the other models had production runs closer to four years.

The reason why Fujifilm has made so many copies of this camera is because of the unprecedented historic demand for it. By far, there were more preorders for the X100VI than any other camera by any manufacturer ever. No camera in the history of cameras has had so much interest at announcement. And, if the demand doesn’t relent anytime soon, it could possibly lead to the X100VI becoming the most-sold camera of all time (not including cellphones), which would be a highly improbable achievement. I don’t think that will happen—not even close—because surely the demand isn’t that strong. At some point, it will certainly back off to a more “normal” level, right?

There are still people lamenting that they can’t get their hands on a Fujifilm X100VI. They’d like to buy one, but can’t find it in stock anywhere. As soon as a camera store lists it in-stock, which doesn’t happen often, within hours or even minutes, they’re sold out again. So it might be easy to believe that the demand hasn’t relented. But that’s mostly just in America, and it seems to be partially related to the tariffs. Worldwide, the X100VI has been becoming easier and easier to find. It’s still out of stock at a lot of places, but overall, it’s not terribly hard to get one if you want one. People are reporting walking into their local camera store and finding a few copies on the shelf. So internationally—and depending on where exactly—the situation is a bit better than here at home.

What makes me think that supply and demand are equalizing is that there are used copies available for a reasonable price, like at B&H. Scalping continues on sites like eBay, but it’s not nearly as bad as it was last year. Things are slowly returning to normal. And this is where Fujifilm needs to be very, very careful, a situation that I’ve been predicting for more than a year.

With the X100VI, Fujifilm doubled the production numbers of the X100V from the get-go, from 7,500 units per month to 15,000. At one point last year they said that they wanted to double production again, making it four times that of the X100V, but later stated that that simply wasn’t possible. My best guess is that it is somewhere around three times more than the X100V right now, which would put it at about 22,000 copies per month, or about 265,000 units per year (these numbers are just guesses). The historically “normal” demand for an X100-series camera is 90,000 per year.

At some point, demand for the X100VI will drop. Once the majority of those who want one get one, Fujifilm will sell a lot fewer of them. If the market gets oversaturated, the value will decrease, and Fujifilm will be forced to reduce the price. Those selling them used will have to drop their price, too. This is a situation that Fujifilm really wants to avoid, as it would reduce brand strength. It would be a Lean Production failure if Fujifilm produced more X100VI’s than there are customers wanting to buy them. Fujifilm must proceed with caution.

The mistake of overproduction would be very easy. Since it takes many months from securing parts and scheduling manufacturing to delivering an assembled camera to a store, the demand must be forecasted in advance, probably at least six months. If Fujifilm is making 22,000 units per month, and the total international demand right now is 130,000, in six months Fujifilm would have overproduced 2,000 copies. That’s probably not a big deal, as they’ll surely sell those cameras; however, if they’ve still got 132,000 cameras in the process somewhere, to be manufactured over the following six months, that’s a massive and possibly devastating problem. That’s something that could sink the whole camera division.

I’m just little ol’ me sitting in my office trying to stay cool from the brutal Arizona sun, but even I can see early signs that supply and demand are equalling out. That should be a huge caution flag for Fujifilm. They should strongly consider scaling back production. Perhaps drop it back to 15,000 units monthly ASAP, and work towards “only” 7,500 units monthly by 12 months from now. Obviously Fujifilm wants to capitalize on this lightning-in-a-jar situation as much as possible, and they’d love to sell a quarter-million-plus copies per year without hardly any promotion—what a dream circumstance! But they should also listen to that nagging feeling that this won’t last forever, because it won’t.

I wouldn’t doubt if the X100VI sold twice as many units as the X100V or any other prior X100-series camera by the time its production run has ended. It might even sell four times as many. At some point, though, all the people who want one will have one. Aside from that, trends change quickly. All it takes is some shift in market dynamics or some other camera to catch the attention of social media influencers for the X100VI to be yesterday’s news. Overproduction is a real problem that Fujifilm is well acquainted with and desperately wants to avoid, and no other X-series camera has had a higher risk of overproduction than the X100VI. Fujifilm should ask themselves if now is the time to scale back, because it would be very easy to overshoot this, something that they’d certainly regret doing.

The Totally Unexpected Camera Coming in 2025… was Completely Expected

Posted on by Ritchie Roesch

Fujirumors posted an article today entitled BREAKING: This Totally Unexpected Fujifilm Camera is Coming in 2025 – And I Know You Won’t Believe Me. I believe it and even expected it, because I’ve been saying it for over a year. If you regularly read Fuji X Weekly, you probably believe it, too, and might even have expected it yourself. I can’t tell you how many times I’ve predicted it over the last 14 months—probably a good handful. For some (including myself), this is not a surprise in the least.

In the third paragraph of my Fujifilm X-T50 review (published on May 16, 2024), I stated, “The X-T50 is not the successor to the X-T30 II, but a whole new (yet highly similar) line. Fujifilm plans to sell the X-T30 II alongside the X-T50, similarly to what they did with the X-T3 and X-T4 a few years back. This also means that there is a potential future successor to the X-T30 II, perhaps called the X-T30 III or X-T40; I don’t know that for sure, but I think it is a fair assumption. The main thing for you to know is that the X-T50 is not a replacement for any previous model, but a whole new camera.”

Just two months ago, in my article entitled My Hopes for the Fujifilm X-E5 (published on May 21st), I concluded with this: “My prediction, which is merely a guess and nothing more, is that an X-T30 III (an X-T30 II but with X-Processor 5) will be announced in the fall….” It looks like that guess was pretty much correct.

For those still scratching their heads, Fujirumors just leaked that the X-T30 II’s successor (which isn’t the X-T50) is coming sometime in 2025. And this is taking the Fujifilm community by surprise. Many people apparently assumed that the X-T50 was the X-T30 II’s successor, even though Fujifilm said from the get-go that it wasn’t. Fuji X Weekly might have been the only website that predicted the X-T30 III (or maybe they’ll call it X-T40, but I doubt it). I don’t have any inside information, I only took Fujifilm at their word, and followed the sequence of past releases to predict this outcome. It just made sense to me.

So what will the Fujifilm X-T30 III look like? I think it will be exactly the same as the X-T30 and X-T30 II (which was mostly just a firmware update to the X-T30), except with the X-Processor 5. In other words, it will have Nostalgic Neg. and Reala Ace, but otherwise will be pretty much identical to the X-T30 II. Some are predicting an X-T50 but with the 26mp sensor instead of 40mp, but I don’t think so, personally. There will be a price increase, because of inflation (and, in America, the tariffs). The X-T30 II was $900 in 2021, which is $1,070 today, so don’t be surprised if the X-T30 III is about $1,050-$1,100 USD for the body-only outside of America, and $1,300-$1,400 in the US due to tariffs. That’s just the new normal, I think.

The question that some will certainly ask is why does this camera need to exist. The X-M5 is the new entry-level model. The X-S20 is the hybrid PASM model underneath the X-H2/X-H2s. The X-E5 has been upgraded to a mid-tier camera. The X-T50 is also a mid-tier model. Where does the X-T30 III fit into that? I believe that it will be the lowest-tier non-PASM camera, underneath the X-T50 and X-T5. This line has been historically successful for Fujifilm. It offers a more affordable option for those who want an EVF. But… I think it will also be an indication of what’s to come very soon with the other models (aside from the X-E5 and X half): price increases (at least in America, maybe not worldwide). Other brands have already announced higher prices, and Fujifilm will be doing so soon, too, in my opinion.

Of course, I’ve been wrong about plenty of things before. For every one thing that I’ve predicted correct, I’ve predicted two or three completely incorrect. That’s the trouble with guessing the future (ask Robert Zemeckis). I cannot say with any level of certainty what the X-T30 II’s successor will be like, so my predictions should be taken with a large grain of salt. But the fact is that the X-T30 II’s successor is coming soon, and I’m not surprised by it.

Fujifilm should add these X half features to the X-series

Posted on by Ritchie Roesch

I got a surprise package in the mail from Fujifilm: the brand-new X half! I will write a review of the camera in a few weeks probably—I haven’t had it nearly long enough to provide any proper insights. It’s a fun little camera, with some positive and negative aspects. We’ll talk about all of that at some point in the future. Today I want to write about how Fujifilm could implement some features of this camera into future X-series models.

Specifically, I want to discuss a few of the new Filters. Filters are not Film Simulations (although some of them are based on Provia); on all other X-series models, these are known as Advanced Filters. The X half has the usual array: Toy Camera, Miniature Effect, Pop Color, High-Key, Low-Key, Dynamic Tone, Soft Focus, and Partial Color. There are also some new ones, that apparently are borrowed from the Instax Evo line: Canvas, Retro, Vignette, Blur, Fisheye, Color Shift, Mirror, Double Exposure, Light Leak, Halation, and Expired Film. Some of these are uninteresting, and probably should have been left off the camera so that one could navigate the menu faster. But some of these are great, and should be included in future X-series models—just maybe not in the same way.

My favorite is Light Leak. With this filter, the camera puts a random faux light leak on your images. You don’t know what you’re going to get, and that serendipity can be thrilling, especially when it just really works with the image. I would love Light Leak to become a JPEG option (like Color Chrome Effect and Grain) on all X-series cameras moving forward. You should have three choices: All (where every picture gets a light leak), Random (where some pictures get it, but most don’t), or Off (for those who don’t want it at all). This would be such a fun thing for Fujifilm to add, and it seems like it wouldn’t be very difficult to do.

Film Leak Filter — Fujifilm X half

Next up is Expired Film, which has three options: Green, Red, and Neutral. This should be a new Advanced Filter on future X-series cameras. On the X half, your Grain settings get applied to the Filters (at least some of them; I haven’t tested them all yet), and not just the Film Simulations; however, on the X-series, you can’t apply Grain to the Advanced Filters. So this is actually two suggestions for Fujifilm: add Expired Film to Advanced Filters, and allow Grain to be selected for Advanced Filters.

Expired Film (Green) Filter — Fujifilm X half diptych

Third is Halation, which puts a red glow around bright highlights. This Filter should be a JPEG option that can be applied to any Film Simulation. I suggest three choices: Off, Weak, Strong. I would love to pair this effect with my CineStill 800T Recipe to more accurately mimic the film. The X half is not necessarily a great option for nighttime photography, so it’s almost a waste on this camera, but I definitely see potential for this effect on other X-series models.

Halation Filter — Fujifilm X half

I haven’t used Retro yet, but I’m sure it would be fine to join the Advanced Filter club. Vignette should probably be added as a JPEG option (like Color Chrome Effect and Grain). In my opinion, Fujifilm should graduate Pop Color to Film Simulation, and call it Fortia. In-camera diptychs are just a ton of fun, but I don’t see that coming to other cameras. The Film Camera Mode is pretty cool, and I’d like to see something similar be included in the next X-Pro or X100-series model (although maybe implemented slightly differently). The X half has plenty of unique features and functions, which is what makes it an interesting camera. In my opinion, some of these need to find their way into other models, and not remain solely on the X half.

Bargain or Bust? The price of a unique experience

Posted on by Ritchie Roesch

In 1978, Pentax surprised the photographic world with the Auto 110, a tiny interchangeable-lens SLR that used 110 film cartridges. It was the smallest ILC ever made. For only $249, you got the body, a 24mm f/2.8 lens, a case, and a strap. Pentax discontinued the Auto 110 in 1986.

The concept of this camera was portability and simplicity. It was the smallest and lightest SLR ever made—probably the only one that’s pocketable. It was one of the most simple SLRs to operate. In order to accomplish these goals, Pentax built it around the 110 film format, which was considered subpar and only for amateurs. And that was the paradox: interchangeable-lens SLRs were for enthusiasts and pros, while 110 film was not.

Serious photographers would never, ever use 110 film. The camera was fully auto except for focus; at the time, anything auto was largely considered for novices, as “real photographers” used full manual. Interchangeable-lens SLR cameras were the standard for hobbyists and professionals. The Pentax Auto 110 occupied a weird space of being too robust and expensive for the uninitiated, yet too lackluster for anyone remotely serious. Who would buy it? While plenty of photographers scoffed at the Pentax Auto 110, it sold fairly well, and Pentax continued to make it for eight years—a pretty long run. So how did Pentax pull it off? Why was the camera not a flop?

There is a market for compact, unique, fun, less-serious cameras. The Pentax Auto 110 was able to get the most out of the small film format, delivering image quality that was plenty good enough for everyday moments. No, the pictures weren’t going to grace the cover of magazines or hang on museum walls, but they could be placed into photo albums, or in an 8″x10″ frame and hung in the hallway. It was so small and lightweight that the camera didn’t get in the way, and could be easily carried everywhere. It was simple enough to operate that most anyone could do it, as the complications of larger SLRs were removed. At the very least, it was a conversation starter (still is).

The Auto 110 was more affordable than other SLRs, at only $249. The Canon A-1, released the same year, was $625 (with a 50mm lens). Pentax released the iconic K1000 two years prior—in 1976—with an MSRP of $299 (with a 50mm lens), so for just $50 more one could get a much more respectable camera. It’s pretty interestingly if you adjust these numbers for inflation: $249 in 1978 is $1,230 today, $299 is $1,477, and $625 is $3,087! None of these cameras were cheap, not even the Auto 110.

Which brings me to what I want to discuss today, and that’s the cost of the Fujifilm X half. Unless something unexpected happens, this will be the last post about the new camera until after I get back from the B&H BILD Expo next month, so if you are tired of hearing about it, just bear with me a moment—I promise that we’ll get to other things. Let’s dive in!

Bench with a View – Prefumo Canyon, CA – Fujifilm X-E4 & Pentax-110 24mm – Pacific Blues Recipe

Probably the biggest criticism of the X half is the price. $850 seems like a lot of money, because it is. The camera is a little expensive. I’ve seen plenty of people say that if it was $400 or $500, that would be the right cost. If it was 2015, I might agree, but there’s been some significant inflation since then. $500 in 2015 is $680 today, which is what I estimate would be a fair price for this camera (I said $700, but close enough). The reality is that things are expensive in 2025. And if you consider that the X half is probably the first to be adjusted for the tariffs, I think it’s more of a foreshadowing of what’s to come across the entire camera market in the coming months.

Yet the X half is still much cheaper—$380 cheaper—than the Pentax Auto 110 was in 1978, accounting for inflation. I knew the late-1970’s were rough economically, but I didn’t realize just how expensive things were. While there is plenty that’s divergent, I see some parallels between the Auto 110 and the X half, namely portability, simplicity, and casual fun. If the X half was transported back in time to 1978, it would sell for $172, which would have been considered a good bargain for the time; however, in 2025, $850 is a lot of money for what it is. Even as prices seem to skyrocket, it’s still much better than it was in the late-1970’s.

So where does that leave us? I think it’s good to have a healthy historical perspective, but that doesn’t help the wallet feel any less empty. I don’t know the future, but I think it’s unlikely that the tariffs are fully settled, and as things fall into place over the coming months, the opportunity to lower the price is a strong possibility. If the camera sells really well, and the backorder list is long, even if Fujifilm could drop the price, they would be silly to do so (but who knows, maybe they will). I don’t see the historic X100VI demand, but all indications are that preorder sales have been strong. I believe that the camera will do quite well for Fujifilm. Time will tell, though.

If you can accept the X half for what it is, and forgive it for not being what it’s not, it could be a really fun camera for capturing everyday moments. It’s not a serious camera for serious photography, yet it is priced nearly as if it is—just like the Pentax Auto 110 was. If you think you’d enjoy it, then consider grabbing one at some point; if not, it’s very easy to pass, and consider a more advanced model instead—you can get a Fujifilm X-T30 II with a lens today for less than a Pentax K1000 with a lens cost in the late-1970’s, adjusting for inflation. There are plenty of options for those that want an enthusiast or pro camera. The X half is one of a kind—the most unique digital camera ever made—and as such, it’s not going to be for everyone, and that’s ok.

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 half in black:
Amazon, B&H, Moment
Fujifilm X half in charcoal:
Amazon, B&H, Moment
Fujifilm X half in silver:
Amazon, B&H, Moment

The Fujifilm X half Target Market — Why most get this wrong, and why it matters

Posted on by Ritchie Roesch

There’s been a lot of negativity within the community about the new Fujifilm X half camera. A lot of positivity, too, but definitely a lot of gloom. I think it stems from a misunderstanding of who the camera is for. Understanding better the intended market segment might help to make sense of the camera. I think it’s also important to state that just because a particular model is not for you personally, doesn’t mean that it shouldn’t exist—if it becomes commercially successful (which I’m confident it will be), that is a strong argument that it should indeed exist because it obviously filled a market void, but maybe just not the particular void affecting you. It’s certainly ok to express your opinions about it, but preferably in a kind and constructive way. Not everything I said was positive because in all honesty, not everything about it is roses and rainbows; however, that doesn’t mean the camera is junk. With that out of the way, let’s get into this.

So who is the Fujifilm X half for? In my opinion, there are several primary groups. And just because someone doesn’t fit any of those groups, that doesn’t mean they won’t buy or appreciate the camera. I think this is a polarizing model that is definitely not for everyone, or even for most people. Some of you will love it, some of you will hate it, and that’s ok. This camera isn’t for everyone who regularly reads this website. In fact, the target audience most likely has never heard of Fuji X Weekly, or is maybe only vaguely familiar (but probably not).

One group is those who have recently discovered the joys of film photography, particularly those who have purchased the Pentax 17 or Kodak H35N—but not exclusively those people. Some have a 35mm point-and-shoot from the ’90’s. Some have been using Fujifilm Quicksnap disposable cameras. Film photography has seen a significant resurgence from the younger generation; however, it’s been hindered by the high cost of film and development, and sometimes the lack of availability. A camera that provides a similar experience and even aesthetic, but with the convenience of digital and with a one-time-fee entry point will be appealing to some of these people.

Another group is the digicam lovers. Surprisingly, the number one digital camera brand in Japan in 2024 was Kodak (actually, JK Imaging using the Kodak brand name). They’re selling a ton of cheap digicams that are basically 15-year-old tech and designs. Nobody in the camera world takes this seriously, but it is a sizable demographic. Retro digicams from 15 or 20 years ago are all the rage right now, too. The X half offers a graduation of sorts for those looking for a more premium option.

A third group is Instax users. Instax is the camera division’s money maker much more than the X-series is. Instant film photography is big and has been for awhile, and Fujifilm is king of the hill. At some point one can outgrow Instax; the Evo series is supposed to help with that, but it’s not a big step. So how can Fujifilm convince Instax photographers to take the leap into the X-series world? With a digital camera that offers a simple and analog-like experience with some Instax compatibility, of course!

In my opinion, those are the three main groups. That’s a pretty large umbrella, and you only need a small portion from each to sell a lot of copies. If you are not in one of those groups, you may still find the camera appealing, and might buy and love it (I might be one of those people); however, you’re not necessarily the target market for the X half. What’s fascinating—genius, really—is that this is a potential stepping stone into the system from the bottom. There’s always a lot of discussions about market share, and convincing those from other brands to join the fold. This camera is intended to bring in outsiders, and grow the brand unconventionally yet organically. Then, later, some of these people will buy an X-M5, X-T50, X100VI, etc., as their second X-series camera. I bet thousands get into the system this way.

Unfortunately, some of those who aren’t the target market have been trashing the camera online (not on this website, but elsewhere), and—much worse—speaking harshly of those who might buy it. My estimation is that the majority of sales will come from first-time Fujifilm photographers. I think it will sell fairly well to the existing X-series customer base because it’s a fun concept, but primarily it’s going to be someone’s first dip into the X-series pool. Instead of degrading these folks for liking and buying the camera, we should gladly welcome them into the community. If they have a good experience, they may just stick around for awhile, and that’s a very good thing for the brand and photography in-general. I think we need to be more welcoming and accepting of these newcomers, and not criticize them for making the purchase. I don’t think anyone here is doing that, but I’ve definitely seen it elsewhere, and it’s not healthy. It’s ok if this camera isn’t for you, but it is certainly for someone, and they’re going to absolutely love it.

New: Fujifilm X half

Posted on by Ritchie Roesch

Fujifilm announced a new camera last night called X half. It also goes by the name X-HF1, apparently. This is a 32mm (full-frame-equivalent) f/2.8 fixed-lens compact camera with a vertically mounted 1″ sensor, and is probably the most unique digital camera ever made—or, at the least, it offers the most unique photographic experience in all of digital photography. This isn’t a review, but I did want to give my thoughts on the release.

I haven’t used the camera, or even seen it in-person. I was up late last night watching the announcement and various review videos that were published, trying to figure out what this camera is. Now I’m awake typing this article after less than five hours of sleep, so if there are any typos, please excuse me. I’ve barely started my first cup of coffee. Anyway, Fujifilm released two videos, which I’ve included below.

In the weeks leading up to the release, I published two article about the X-HF1, speculating what it might be. The first was Why the Upcoming Fujifilm Half-Frame Camera is Genius, and I guessed that this was going to be an amazing camera, specifically designed for both a film-like photographic experience and recording vertical videos for TikToks and Reels. The second was What if the upcoming Fujifilm Xhalf is something different?, where I second-guessed my prior article, and wondered if the camera was going to be stripped down, less video-centric, and more Instax than X-series. Well, the X half seems to fall right in-between (maybe closer to the second take), and both articles had some things right and some wrong.

The new camera is intended to produce a film-like experience, and is capable of doing so in a unique way. In Film Camera Mode, you choose your “film” (Film Simulation) and how many frames (36, 54, or 72), and then you shoot through the Optical Viewfinder until the roll is fully exposed, using the frame advance lever in-between shots. You cannot see your pictures until after the roll is finished and “developed” in their new app that is just for this camera. I think this is super cool, and I hope this mode comes to some future camera, maybe the upcoming X-E5. There is a missed opportunity: Fujifilm offers photo printing services, so you should be able to order 4″x6″ prints of your roll of “film” from the new app. It would be so much fun to order prints, then wait until they arrive in the mail before reviewing the pictures. It would encourage people to print their photos, which isn’t done nearly enough nowadays. And it would be a way for Fujifilm to make some extra money on a service they already offer. Maybe they’ll update the app to include this in the future, as it seems like an obvious oversight.

The X half has a 20mp 1″ Bayer sensor, but only uses 18mp because it crops out 2mp to accommodate the 3:4 aspect ratio (the sensor is 2:3). If you want to crop your pictures to 2:3, you’ll lose a little more resolution, but it is still plenty for social media and web use, as well as prints smaller than 16″x24″. It would have been nice if one could choose to use the full sensor and the 2:3 aspect ratio, but with the X-HF1, Fujifilm significantly stripped down the menu and customizations. They made the camera about simplicity, but in doing so you lose out on some of what makes Fujifilm cameras special; namely, you cannot use Film Simulation Recipes with this camera, since you cannot control the various parameters like you can on any other X-series model.

Instead of 20 Film Simulations, this camera only has 13: Provia, Velvia, Astia, Classic Chrome, Reala Ace, Classic Negative, Nostalgic Negative, Eterna, Acros, Acros+Y/+R/+G, an Sepia. It’s too bad Sepia made the cut over PRO Neg. Hi, PRO Neg. Std, and Eterna Bleach Bypass. While you cannot use Recipes, the Film Simulations seem to produce a slightly divergent look than the standard Film Sims, almost as if Fujifilm programmed each with its own Recipe, for what that’s worth. There are also so-called Advanced Filters, including a few new ones borrowed from the Instax Evo cameras.

While the X half does shoot vertical video, the quality seems suspect. I’m sure there are some who will appreciate this and will create some interesting content with it, but it’s a big miss in my opinion. They should have allowed 1080p in the 9:16 aspect ratio so it would have been more useful for social media video creation. The X-HF1 could have been a trendy camera for TikToks, Reels, and Shorts, but I just don’t see that happening with the video implementation. The capability of video-video and still-video diptychs are a bit intriguing, but I don’t think that will catch on as anything more than a passing curiosity. Or don’t included video capabilities at all—I think that would have made a bigger statement (and would have been viewed more positively) than how it was implemented.

So what do I make of the X half? It looks nice. It’s very compact, which is perfect for everyday carry or travel. It’s minimalistic, which can be good. It offers a very unique shooting experience that looks like a lot of fun. It seems like a bridge between Instax and the X-series, and I think it’s fair to consider it more like a very-high-end Instax Evo camera without a printer than a bottom-end X-series model (it’s basically both). It will certainly be a very controversial camera (maybe the most), with perhaps the biggest controversy being the price: an MSRP of $850, which seems high for what it is. Some people are going to love it, and some are going to hate it. I think it will be especially popular with Gen Z and Gen Alpha, who are currently fascinated with classic digicams and film cameras, including half-frame models like the Pentax 17. Me? I applaud Fujifilm for daring to be different, and going way outside the box. I did preorder one last night, but I’m a bit unsure if I’m actually going to like it or not. Now excuse me while I pour that second cup of coffee….

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 half in black:
Amazon, B&H, Moment
Fujifilm X half in charcoal:
Amazon, B&H, Moment
Fujifilm X half in silver:
Amazon, B&H, Moment

My Hopes for the Fujifilm X-E5

Posted on by Ritchie Roesch

One of Fujifilm’s most beloved lines is the X-E series. While never the most popular, X-E cameras have a passionate cult-like following. My first Fujifilm camera was an X-E1, so I have a special place in my heart for the line. The X-E4 is currently my favorite for travel photography, especially when paired with pancake lenses. At this time, Fujifilm doesn’t offer an X-E camera—the last one was the X-E4, but it was discontinued over two years ago.

The X-E1, which was announced in the fall of 2012, was a striking camera that caught a lot of people’s attention with its retro styling and compact design; however, there were some initial issues (later rectified via firmware updates) that hindered the perception of it. One year later, Fujifilm released the X-E2, which had a new sensor and was largely free of the problems that had given its predecessor bad press. This was a successful model for Fujifilm, but the X-series was still pretty new, with a small (but quickly growing) market share. The X-E2s was released three years later; it was almost just a firmware update disguised as a new camera, and Fujifilm later gave that same firmware to the X-E2. A lot of people consider the X-E2 and the X-E2s (which had a pretty short run) to be the same camera, because they basically are (although not 100%). In the fall of 2017, Fujifilm announced the X-E3, at a time when the X-series seemed to be hitting its stride, with several commercially successful models coming before (X-Pro2, X100F, X-T2, X-T20). I think there were some high sales expectations for the X-E3; however, demand turned out to be sluggish, and the camera had to be discounted in order to move the inventory. Because it was considered a bit of a “flop” (too many copies were manufactured for the actual demand), there were some rumblings that the X-E3 might be the last model in that series. Thankfully it wasn’t.

White Bridge across Pond – Charleston, SC – Fujifilm X-E4 – Pacific Blues Recipe

In March of 2021, Fujifilm released the X-E4. I preordered my copy the moment it was announced; if I hadn’t, I might not own one today. Fujifilm used the sales figures of the X-E3 to estimate the demand for its successor, which was a fair assumption, but what they didn’t know is that the X100V was about to go viral, and it was going to take the X-E4 with it. Demand for the X-E4 turned out to be much greater than it had been for the X-E3; however, as luck would have it, this was during the Covid global parts shortage, and Fujifilm had trouble securing materials to manufacture more copies. Two years after it was released, and with a very long backorder list, the camera was discontinued.

Because there was so much unfulfilled demand, the second-hand market for the X-E4 went nuts. It was pretty common to find a used X-E4 selling for 50% more than the MSRP of a new model, and sometimes double. Crazy! If sales had been slow, it very well might have been the final nail in the X-E coffin; however, sales were good, except that Fujifilm discontinued the camera at the peak of its popularity because they ran out of parts. Now, a little over two years later, apparently a new model is forthcoming. Interestingly, in 2023 I predicted that the X-E5 might come in the spring of 2025… not a bad guess, only slightly off. Let me quickly discuss what I hope for with the X-E5.

Beach Chairs – Folly Beach, SC – Fujifilm X-E4 – Velvia Film

A lot of people wanted to buy the X-E4 but just couldn’t find one in stock, so I wouldn’t change much. If it ain’t broke, don’t fix it. There are five things I would do different, and otherwise I’d leave it alone. I don’t think Fujifilm needs to reinvent the wheel here.

The five things that I would change, which would make the X-E5 pretty much perfect in my eyes, are simple: use the Shutter/ISO combo dial of the X100/X-Pro series, include an M/C/S switch, include a rear command dial, improve the EVF resolution, and use the X-Processor 5. That’s it. Keep the design the same, keep the sensor the same, use the same battery—keep almost all of it the same. Do this, and it will be a very successful camera.

Some people will demand IBIS and claim that the X-E5 must have it or the camera’s a dud. I don’t care if it does or doesn’t have IBIS, I’m fine either way. For still photography, IBIS is nice, but is oftentimes very overstated. It’s not a critical feature whatsoever for most people and circumstances. It does add weight (and probably size), cost, and battery life—in other words, there are tradeoffs. I’m ok with either choice, but I definitely lean towards its exclusion.

Tram Track – Houston, TX – Fujifilm X-E4 – Pacific Blues Recipes

Will it have a small grip like the X-E3? It could, but if it doesn’t have IBIS, it’s lightweight enough that the omission is not a problem (it’s not a problem on the X-E4); personally, I’d welcome it for times when a larger lens is attached to the camera. They could include a built-in flash (the X-E1 and X-E2 had a flash), but it doesn’t bother me even slightly that the X-E4 doesn’t have one. I’d be a little surprised if the X-E5 has the 40mp X-Trans V sensor, but it certainly could. I’m more inclined to believe that it will have the 26mp X-Trans IV sensor like the X-S20 and X-M5, if for no other reason than to keep the cost down. The Film Dial? I like it personally, and I’d be curious to see how it might be implemented, but it doesn’t seem like an easy addition (the EVF is in the way), so I’m guessing no, the camera won’t have it.

One final point I’d like to make in this article is in regards to timing. The X-E1 was the second-to-last X-Trans I camera (X-M1 was last), the X-E2s was the second-to-last X-Trans II camera (X70 was last), the X-E3 was the second-to-last X-Trans III camera (X-H1 was last), and the X-E4 was the second-to-last X-Processor 4 model (X-T30 II was last). Fujifilm has used the X-E series to mark the sunset of each generation, with one camera model to follow. It’s reasonable to assume that we’re nearing the end of the fifth-generation. My prediction, which is merely a guess and nothing more, is that an X-T30 III (an X-T30 II but with X-Processor 5) will be announced in the fall, and the X-Pro4 (maybe called X-Pro5), which will be the first sixth-generation camera, will be announced in January or February of 2026. I’ve guessed wrong many times before, so take this with a massive grain of salt.

Fujifilm Teases the Upcoming Xhalf in New Video

Posted on by Ritchie Roesch

Fujifilm released a new teaser video (which you’ll find below) for the upcoming Xhalf camera, and it is quite interesting, because it showcases camera’s designer. The concept becomes much more clear, even if spoken in vague terms.

First, it starts with clarification: the upcoming camera is indeed X-series. I had wondered if it was going to be X-series, or maybe in the Instax line. Now we know for sure. Perhaps that is an indication that my initial speculation is more likely to be true.

“I personally use both digital and film cameras in various formats,” the product designer states, “ranging from point and shoot to medium format. But specs and tech aren’t always everything. I designed this camera so that you can express yourself in a different way. I hope you will enjoy telling your story with this camera.”

I don’t know if the photos and footage in this video were created using the upcoming camera. Fujirumors thinks that it was, but I couldn’t find anything that says one way or the other. It seems to be, though. The previous teaser video wasn’t, but they also stated that in the description. I think it’s fairly safe to assume that this latest video was indeed created using the new camera, but it’s still a possibility that some or all of it was not.

The photo on the left in the above screenshot caught my attention. It looks a lot like the Fujicolor 100 Gold Film Simulation Recipe. There are some others that can produce a similar look, such as Pacific Blues or Superia Negative (there are a couple others, too), or maybe it’s not one of my Recipes or even a Recipe at all. It doesn’t really mean anything, but I found it interesting nonetheless.

The Xhalf will be announced on May 22 at 1 AM Eastern Time, which is 10 PM Pacific Time on the 21st (just two days from now). I’m pretty excited to learn the specifics about this model, which will certainly be one of the most unique digital cameras ever made. If you are in Los Angeles on the 22nd, be sure to go to the X Summit Experience that Fujifilm is hosting.

Ode to my First Fujifilm Camera

Posted on by Ritchie Roesch

Tree of Broken Glass – North Salt Lake, UT – Fujifilm X-E1

Ever since I first saw the Fujifilm X100, X-Pro1, and X-E1 in 2011 and 2012, I wanted to buy one. These cameras were significantly different from the other digital models on the market, and seemingly more similar to classic film cameras. I’d see them in various camera magazines, and I’d eagerly read the reviews and study the pictures. I was fairly new to digital photography, having purchased my first DSLR in 2009, but I found the experience frustrating and disappointing. It was so much different than film, and I felt like I was learning photography all over again.

I had been a stubborn digital holdout for a decade, choosing film because I disliked digital. I would brag that I could easily distinguish a digital image from a film photo. But digital technology quickly advanced, becoming better and better. I knew that I needed to get onboard the train before getting completely left behind at the station. Because I had a couple of 35mm Pentax bodies, and you could use K-Mount lenses on Pentax DSLRs, I initially went with that brand. I have absolutely nothing against Pentax (I own a couple of Ricoh GR cameras), but it just wasn’t a good fit for me.

Barn by the Tetons – Grand Teton NP, WY – Fujifilm X-E1

Unfortunately, at the time that the original Fujifilm X-series cameras were released, I could not afford them. They were outside of my budget. Oh, if I just had a few hundred dollars more to spend on a camera, I’d buy one, I would tell myself. However, Fujifilm was just out of reach.

Time went on, and I jumped from brand-to-brand-to-brand, never satisfied with my gear. I thought maybe I was just being discontented, and I should try harder to find gratification with what I had. But contentment seemed illusive. After a number of years, I sold all of my digital gear except for one point-and-shoot digicam and my cellphone (I still had a couple of film cameras), and—for the most part—took a break from photography. Well, that break was short-lived, because I moved to Utah, which is a photographer’s playground, and I couldn’t resist the urge to create photographs.

Bison In The Road – Antelope Island SP, UT – Fujifilm X-E1

This time, I was determined to buy a Fujifilm camera. I had never owned one, and didn’t really know what to expect, but I knew they were different. I couldn’t afford the current offerings, so I purchased a used Fujifilm X-E1, which was now a four-year-old model. The X-Pro2 was brand-new, and I would have loved to buy it, but it was not anywhere near my budget. The current X-E model was the X-E2s, and that was also unattainable for me at the time. Happily, I found an X-E1 that I could afford, so I bought it. The manual controls felt natural and made so much sense to me. I was reminded of why I loved photography. It was instantly clear to me that Fujifilm cameras were what I had been looking for all along.

The purchase of that X-E1 sent me on a path that I’m still on today, and it’s been an incredible journey! To say that it changed my life is a massive understatement, no hyperbole. Although it wasn’t a brand-new camera, I loved it. I have a special place in my heart for the X-E1, and all of the other X-E models, including my Fujifilm X-E4, which is one of my favorite cameras today. I find it sad that Fujifilm is not currently making any X-E bodies (the X-E4 was discontinued two years ago), but I’m hopeful that the series will continue on, and the next iteration isn’t too far out.

Some People Don’t Like the Fujifilm GFX100RF, This is What Fujifilm Should Do

Posted on by Ritchie Roesch

Fujifilm recently released the GFX100RF; while the press has been largely positive, there have been a lot of criticisms in the comments section of articles and in forums. The complaints mostly revolve around two things: the lack of IBIS, and a maximum aperture of only f/4. What should Fujifilm do about this?

It’s important to understand that the Fujifilm GFX100RF is the smallest, lightest, and cheapest digital medium-format camera-lens combo ever made. It’s the most affordable (aside from used) and portable option for digital medium-format photography. That was Fujifilm’s goal for this model, and they achieved it quite fantastically. With that in mind, all of the positive press is easily understood. So what accounts for all the negative comments? I believe there are a few possible explanations.

First, the GFX system is niche, and is not for everyone. Most photographers don’t need it, but some do, and some who don’t “need” it enjoy GFX anyway; however, it’s not mainstream, and likely never will be. Because the initial expectations were that the GFX100RF was a medium-format X100VI, people thought this was going to be a camera for the masses. It’s not. It’s a niche camera in a niche system. While it might offer the best way to dip your toes into GFX before deciding whether or not to take the plunge, it is not a camera that most will appreciate. It will never sell nearly as many copies as the X100VI (although it could become the best-selling GFX model). Perhaps the comparisons to the X-series camera created some unrealistic expectations. Even though there are some similarities to the X100VI and even the X70, this camera is definitely divergent from both, and those comparisons should be taken with a grain of salt. If the new camera was literally a medium-format X100VI, it would be a lot different, including bulkier and more expensive. Some might want that, but this camera is not a medium-format X100-series model. It should be appreciated for what it is (smallest, lightest, cheapest), and not criticized for not being what it was never intended to be (a medium-format X100VI).

Second, I think most of the complaints are from those who have little or no experience with medium-format cameras, and have unrealistic understandings of the norms and physics of the format. Literally, there are some who have said they’d never buy the camera unless it had an f/1.7 lens. Yeah, Fujifilm could do that, but it would be so large, heavy, and expensive, I doubt anyone would buy. My guess is that the majority of those criticizing the camera were never going to buy it, but were always going to find an excuse to pass. Interestingly, the closest medium-format camera-lens combo in size and weight is the Hasselblad 907X (plus CFV 100C back) with the 28mm f/4 lens—which also lacks IBIS, has an f/4 maximum aperture, and costs nearly twice as much as the GFX100RF.

Which brings me to third: trolls. The internet is full of them, and the Fujifilm community is no exception. In fact, I’d say that the number of trolls lurking around Fujifilm content has dramatically increased over the last couple of years. It doesn’t help that one troll can have many accounts, and use a variety of personas. You might see a whole thread conversion, and not realize that it’s just one person talking to themselves using multiple names. It makes them appear to hold a popular opinion, but in reality most disagree. If you are an internet troll, you quite literally need professional help, and I urge you to seek out the mental health help you obviously desperately need. Interestingly, when you meet photographers in-person, you realize that trolls don’t exist in real life, they’re only on the internet. I met hundreds and hundreds of photographers over the last year, and can attest that none of them are trolls. But go to the comments section of most photography sites (thankfully, not this one), and probably anywhere from a quarter to a half of the comments are from trolls. I’d encourage content creators to crack down on internet trolls—if you don’t put up with them, they tend to go away, which makes the experience better for the real people who want to enjoy your website.

Now, this is what I propose to Fujifilm: make an actual medium-format X100VI. Call it the GFX100RF-XL. Give it a 45mm f/2 lens, or, if that’s just an impossible maximum aperture (which it probably is), go with f/2.8. Give it IBIS and an optical viewfinder (maybe like what’s in the X-Pro2). Yes, the body might need to be 25% or even 50% bigger. The lens would likely be 150% or 200% larger, maybe more. It might weigh twice as much as the GFX100RF. It’ll probably cost three thousand dollars more. But there are a lot of people who claim to want this, so give it to them. Let them have the opportunity to put their money where their mouth is. If it’s a big success, then they’ll have proven their criticisms both valid and valuable. Win-win. If the camera struggles to sell well, then Fujifilm knows to ignore those people in the future (so you better pony up if Fujifilm does this!).

I do think it’s worth exploring if the demand is actually real—I believe that some of it is real. There are people who would be all over a medium-format X100VI, despite the size, weight, and cost increase. It would be a dream-come-true for them. Why not find out just how many there are? If money was no object to me, I’d happily own both a GFX100RF and a GFX100RF-XL. At the very least, this camera would grab headlines, and bring attention to the brand. Most likely it won’t sell as many copies as the GFX100RF, but it would likely sell well enough to justify its existence, and become a legendary model in time, if not right away.

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

Fujifilm GFX100RF in black:
Amazon, B&H, Nuzira, WEX
Fujifilm GFX100RF in silver:
Amazon, B&H, Nuzira, WEX
Fujifilm X100VI in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X100VI in silver:
Amazon, B&H, Moment, Wex, Nuzira

Why Fujifilm made the GFX100RF so small and lightweight

Posted on by Ritchie Roesch

PetaPixel posted a couple of articles relating—directly and indirectly—to the Fujifilm GFX100RF, which I found quite interesting. In the first, Every Design Decision on the Fujifilm GFX100RF Was Made to Keep It Compact, they interviewed Makoto Oishi, a Product Planning Manager at Fujifilm, to discuss the ethos of the new camera’s design. In the second article, Compact and Interchangeable Lens Camera Demand Is Diverging, PetaPixel looks at a BCN+R report about market trends between fixed-lens and interchangeable-lens models.

Makoto told PetaPixel, “[O]ur first priority was how to make it smaller and lighter weight.” That’s pretty much the entirety of the article, as the rest is simply explaining why the camera does not have IBIS or a larger maximum aperture than f/4 and other design choices. It’s worth reading, if you are curious about those things. The main point: Fujifilm set out to make it as small and lightweight as possible. Interestingly, they did create mockups of versions with IBIS and larger apertures, but it required the camera to be significantly larger and heavier, which went against their “first priority” of small size and less weight. IBIS alone, according to this interview, would have doubled the camera’s size, because the lens would have to project to a much larger area.

The lens is pretty remarkable in that it is extremely compact for medium-format, and it barely covers the sensor. That’s why IBIS wasn’t practical, as it would have required a different and much larger lens. That’s why the maximum aperture is “only” f/4, as a larger aperture would not only have required a larger lens, but it would likely begin to show vignetting and corner softness when wide open. All of the design choices make sense when viewed through the prism of Fujifilm’s top priority: size and weight. The engineers succeeded, and did so quite fantastically.

Driveway – Charleston, SC – Fujifilm GFX100S II & 30mm f/3.5 – Superia Negative Recipe

Now you might disagree with the “first priority” that Fujifilm gave the GFX100RF team. You might not appreciate that the GFX100RF is the smallest, lightest, and cheapest digital medium-format camera-lens combo that has ever been made. You might have wished that Fujifilm’s top goal was to make this as premium of a camera as possible, or balanced somewhere in-between premium and size/weight/cost. I think that’s where a lot of the criticisms are found. There are some (quite) vocal critics who disagree with the design ethos, and wished that this camera was different.

This is where the second PetaPixel article comes in. Interestingly, interchangeable-lens camera sales are declining year-over-year, while fixed-lens camera sales are increasing because of a renewed interest in compact cameras. Who is leading the fixed-lens camera market? Kodak. Surprised? It’s JK Imaging selling cheap point-and-shoots on Amazon under the Kodak PixPro name—cameras that are basically 15-year-old tech digicams. Second is Fujifilm, thanks to the massive success of the X100VI, which has already outsold all of the previous X100-series models, and also the Instax Evo line. Canon is third—largely because of their nine-year-old (but still in production) ELPH 360 digicam—but declining (the PowerShot V1 will certainly change that trajectory to some degree). Kenko Tokina is fourth with their tiny toy cameras and digicams. Panasonic is fifth and on the rise, due to the sales success of the DC-ZS99. Ricoh is sixth, thanks to the GR III and GR IIIx, and would probably rank higher if they manufactured those cameras at a higher rate to meet the current demand. Most of the fixed-lens cameras that are selling like hotcakes right now are cheap point-and-shoots; the exceptions are the Fujifilm X100VI and Ricoh GR III/GR IIIx.

If you are trying to understand why Fujifilm chose to make size, weight, and cost the priority for the GFX100RF, that’s why. Simply, it’s market trends. By making the camera as small, lightweight, and affordable as possible, Fujifilm gave it the best chance for market success. The early indicators seem to show that it was the best choice, but only time will tell. That’s not going to make those who wish that Fujifilm had made other aspects—like stabilization and maximum aperture—more important feel any better, but I hope it sheds some light on the why, even if you disagree.

With the massive success of the X100VI, if sales figures for the GFX100RF are good, and if Fujifilm were to release some other fixed-lens option (say, the half-frame camera that’s been rumored), it’s quite possible that Fujifilm will find itself at the very top of the fixed-lens market, which is a growing segment. But, I think it’s also quite possible that, as the months pass by, more and more fixed-lens cameras will be released by other manufacturers, heating up the competition, and making it more difficult to stay on top. Getting quality (and exciting) products out ahead of competitors is going to be a big long-term win for Fujifilm in my opinion; however, predicting the future is impossible, and I’ve certainly been wrong plenty of times before, so who knows? It does seem like smart moves to me, though. Overall, the GFX100RF is likely only going to be a small contributor to Fujifilm’s fixed-lens sales numbers (it’s a $4,900 camera, after all, and GFX models don’t move nearly as quickly as X-series), but it will probably do well for the company’s bottom line, which is good if you’d like to see them continue to make interesting cameras well into the future.

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

Fujifilm GFX100RF in black:
Amazon, B&H, Nuzira, WEX
Fujifilm GFX100RF in silver:
Amazon, B&H, Nuzira, WEX

New: Fujifilm GFX100RF — First Ever Fixed-Lens GFX

Posted on by Ritchie Roesch

Fujifilm just announced this morning the brand-new GFX100RF, the first ever fixed-lens compact digital medium-format camera. This new camera uses the same 100mp sensor found in the GFX100 II and GFX100S II, and has a built-in 35mm (28mm full-frame-equivalent, or 18mm APS-C-equivalent) f/4 lens. All for only $4,899! There are several things that make this new camera special—plus a couple that don’t—so let’s dive right in.

The Fujifilm GFX100RF is the most portable digital medium-format camera ever made. It’s the most lightweight digital medium-format camera/lens combination, and it’s the smallest GFX. It’s probably the smallest medium-format, but it depends on how exactly you define smallest. The Hasselblad 907X (plus CFV 100C back) with the 28mm f/4 lens was previously considered the smallest and lightest, and while it might arguably be the “smallest” (it is less wide, but deeper), it is no longer the lightest. For portability, the GFX100RF is the best option in medium-format, making it a compelling camera for travel or even everyday carry.

A few months ago I purchased my first GFX camera, the GFX100S II, with the specific purpose of creating XPan panoramic images that I want to print large. One problem with GFX in general is the size and heft of the gear, which do not lend themselves well for lugging all over the place. Of course, Ansel Adams and the great photographers of the past would laugh at that. While I much prefer smaller gear for travel, I “need” to bring my GFX100S II for the XPan pictures. The 40mp sensor in my X-series cameras produces plenty of resolution for the XPan crop, but it is not quite enough for how large I hope to print. The GFX100RF would be perfect for this, except that I just dropped a ton of money on a GFX camera and a couple lenses back in December.

Which brings me to point number two: the GFX100RF is the cheapest way to get into digital medium-format photography, aside from buying used. If you’ve wanted to get into digital medium-format but have been priced out, this new camera might be for you. It wasn’t even a decade ago that it would cost you at least $10,000 for just the camera body, and thousands more for a lens. Now the entry fee is only $5,000, and that includes the lens! Most people, though, don’t need so much resolution, and medium-format is far more of a luxury than a need.

Another unfortunate aspect of the GFX system is the lack of retro-styled cameras with the traditional tactile controls that Fujifilm is known for. This not only makes the cameras stylish, but also fun, and (IMHO) more functional. The long-discontinued GFX50R is the only other option, so this type of design is long-overdue. Thankfully, Fujifilm is bringing it back to GFX! I bet if this camera does well, there will be more retro-styled models in the future—perhaps a GFX100R.

The GFX100RF has a couple of unique features. One is an aspect ratio knob, which also includes a couple of new aspect ratios not typical found on Fujifilm cameras. Now you can choose between 4:3, 5:4, 1:1, 3:2, 7:6, 65:24, 17:6, and 16:9, and you can switch between those without digging through the menu. Another is a digital teleconverter, with a wheel that shuffles through the options: 45mm, 63mm, and 80mm (I’m not sure if those crops are GFX focal-length measurements or full-frame). Also, interestingly, the GFX100RF uses the same 49mm filter thread size as the X100-series. I can’t say this with 100% confidence, but I’m pretty sure the WCL-X100 and TCL-X100 will work on the new camera (this is mere speculation), which is absolutely amazing if they do; however, I doubt that they are officially supported, and they may not cover the entire frame. Oh, and the GFX100RF is the first GFX model with a leaf shutter, which is especially useful for high speed flash sync.

Now onto a couple of negatives. I’ve covered these before (here and here), so I’ll try to make this quick. I think the camera will be well-received and well-loved, and these two issues will prove to be relatively minor in the long run.

First is the lack of IBIS. An expensive camera lacking IBIS in 2025 is a shocker for some. There are photographers who consider it an essential feature, and won’t buy a camera without it. I’m not in that camp personally. This isn’t a video-centric model, and it has a wide-angle lens, so it doesn’t really need IBIS. Sure, it would be nice to have, but it would have made the camera larger, heavier, and more expensive (at least a little). Two of the biggest selling points (portability and price) would have taken a bit of a hit. I’m sure Fujifilm debated extensively internally if it should have it or not, and ultimately they chose to exclude IBIS for the reasons I just stated. I would have been happy with or without stabilization, as it’s just not a big deal on a camera like this; however, those who do believe it is an essentially feature will likely pass.

Second is the maximum aperture of only f/4, which is not particularly impressive. While f/4 is common on medium-format, it’s not especially bright, which will make the camera less practical after the sun goes down or in dimly lit indoor situations. Generally speaking, shallow depth-of-field isn’t a major focus of wide-angle lens photography, but for those wondering, f/4 on GFX has a similar depth-of-field as f/2 on the X-series. The GFX100RF is more of an “f/8 and be there” camera, so I don’t think the small maximum aperture will be a problem for most people and situations.

That’s my analysis of the new camera. I think many will order it for its portability, price, and style. It’s not a camera that most people need, but I bet it will be highly desired. I want one! I kind of wish I had waited to jump into GFX, because if I hadn’t purchased a GFX100S II a few months ago I would have ordered the GFX100RF today. Instead, I will have to save up and wait. Oh, well. Whenever the opportunity comes to buy the camera, I’m certain that I will be thrilled with it. I’m sure those who have already preordered the camera will love it when it arrives next month.

You can preorder the Fujifilm GFX100RF today. I’ve heard there has already been a lot of preorders, so don’t be surprised if there is a bit of a wait before your order ships. The camera will officially be released and ship on April 24th.

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

Fujifilm GFX100RF in black:
Amazon, B&H
Fujifilm GFX100RF in silver:
Amazon, B&H

Fujifilm X100VI Already Surpassing the Lifetime Production of the X100V

Posted on by Ritchie Roesch

While at the CP+ Show in Japan, PetaPixel interviewed Yuji Igarashi, who is the General Manager of the Professional Imaging Group, Imaging Solutions Division, of the Fujifilm Corporation. He said some interesting things regarding the Fujifilm X100VI production situation. Now, it’s important to take it with a grain of salt. Sometimes people will harshly judge an interpretation of what someone said in a different language, lacking grace for interpretation errors and dialect and cultural differences. Keeping that in mind, let’s get into it.

“We’ve more than doubled our production compared to the previous model,” Yuji Igarashi stated. “But on top of that, we are also still increasing production. Now we can produce higher than [15,000 units per month] and we have been, but it’s not like we can produce double that [amount again].”

Not much new there. Fujifilm told us from the outset that they had doubled production from the previous model, from 7,500 units per month to 15,000. We also already knew that for a year now they have been trying to increase production further. Fujifilm told PetaPixel that they have been unable to accomplish 30,000 units per month, but they are definitely beyond 15,000.

“We’ve been doing what we can to increase our production for the X100VI,” Yuji explained, “but the processes are quite complicated—especially for pieces like the top plate. To make these sharp edges, it goes through many processes. So, this type of camera is not so suited for ramping up production.” In other words, they’re doing all that they can, but there are significant challenges that prevent them from churning out even more cameras.

“In one year since we launched this product,” Yuji continued, “compared to the previous models which took us to sell three or four years, we’ve already shipped an equivalent amount.” This was shocking to me. Fujifilm is stating that—even with the manufacturing limitations—they have already built and delivered as many X100VI’s, which was released just one year ago, as the previous iteration over nearly a four year period. Just as many people have an X100VI in their hands as have an X100V, yet it only took Fujifilm one year to do that for the new camera vs four years for the X100V. And it’s a similar situation for the X100F and the previous versions.

This completely shreds the (quite stupid) theory that Fujifilm is purposefully creating shortages in order to manipulate the market. The unprecedented demand of the X100VI was and is real. No camera has been as in-demand as the X100VI ever. In all of history, no model from any brand received more preorders than the X100VI, it’s not even close. Despite building a ton of copies, Fujifilm has not yet met the initial demand, but they’re getting close. “So I know people are quite frustrated when they say it’s still not available,” Yuji said. “I think one issue is that the first-day orders were so big when it was announced, that’s why people say they’ve been waiting for eight, or 10 months, which we totally understand is so frustrating. So until we clear that, some people will still continue to say, ‘We’ve been waiting for 10 months.'”

Now you might say that the math isn’t mathing. If Fujifilm hasn’t been able to quadruple production, how could they possibly build as many units in one year as they did over nearly four? First, Fujifilm produced a bunch of copies in the months prior to the camera’s announcement, in anticipation of strong initial demand. Also, the X100V was effected by the pandemic parts shortage, which for a time limited the number of copies they could manufacture. If Fujifilm managed to make (say) 300,000 units, that would likely be close to the total number of X100V’s manufactured in total. And that 300K guesstimate might be in the ballpark. We know that 180,000 were manufactured at a minimum post launch, and 60,000 might have been manufactured prior to launch. If Fujifilm has been able to increase production by 6,000 units on average over the last 10 months, then you’d have 300K. While that’s a lot of cameras, apparently there were around 500,000 day-one preorders in China alone, so the initial demand has still not been met a whole year later.

Thankfully, slowly but surely Fujifilm is catching up. Here and there the X100VI has been seen in-stock at camera stores, particularly the black version. If you want to buy one, the wait isn’t nearly as long now. You might still have to be patient for a month or maybe a few, but the 10-month-long waits are in the past. It’s a good time to get your order in if you’ve been waiting. Or, if you’ve been hoping to find it at a local camera store, they might just have one right now—maybe.

The challenge for Fujifilm is to tread carefully on production numbers. If they suddenly find that the demand has been met, and they’re building over 20,000 units per month, they could end up overproducing a lot of copies. Since it takes months from the time parts are ordered until finished cameras are delivered, if the market suddenly shifts, it’s possible that Fujifilm could manufacture a hundred thousand copies more than are needed and can be sold. That amount of overproduction would be a tough blow to the bottom line, and possible could cripple the camera division. As wait times dwindle, Fujifilm should strongly considered reducing the number of units that they manufacture monthly. At some point, 15,000 copies each month will be much too much. Hopefully that is a long ways off, but it will arrive eventually, and it will need to be handled quite carefully when it approaches.

See also: Evergreen + Fuji X Weekly Protective Case for Fujifilm X100VI / X100V / X100F

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

News: Fujifilm X Summit in Prague + Las Vegas X Summit Experience

Posted on by Ritchie Roesch

In just 10 days—on March 20th—Fujifilm will announce a new product, purportedly a fixed-lens GFX camera, in Prague. This X Summit takes place at 11:00 AM local in the Czech Republic, which is 2:00 AM Pacific Time and 5:00 AM Eastern Time in the United States. I won’t be awake for that. By the time I brew my first cup of coffee, the camera will have been long announced, and preorders already open. If you want to get this camera right away, my recommendation is to set your alarm clock.

Since most Americans will be fast asleep when the announcement happens, Fujifilm North America is having their own party, which they’re calling an X Summit Experience, in Las Vegas at the WPPI Expo. This will be at 10:30 AM Pacific Time on the 20th. If you are in the Las Vegas area, I’m sure it will be worthwhile to stop by—just be sure to register.

Fujifilm did something similar to this with the launch of the X-T50 and GFX100S II. The X Summit for that was in Australia, which was the middle of the night for most of America. So they had an X Summit Experience on a Manhattan rooftop later in the day to celebrate the announcements. I was invited to be a part of that, and it was a ton of fun. So definitely, if you are in Vegas on the 20th, be sure to go. Unfortunately, I won’t be there for this one.

It’s possible that more than one thing will be announced at this X Summit. Four products—two cameras and two lenses—were unveiled at the Sydney X Summit in 2024; however, since nothing has leaked, I would be surprised if anything else was officially announced. But, I do suspect there could be some extras, such as a future product tease, and/or more info on the upcoming GFX Eterna cinema camera. I won’t catch it live, but will probably watch it on YouTube later in the day.

See also:
WCL-X100 & TCL-X100 for GFX??!!
Is $5,000 a Bargain or Bust?
Is IBIS Really Necessary? Is F/4 too Small?
10 Frames in New Mexico — Fujifilm GFX100S II XPan Photographs
Fujifilm Grain Comparison: GFX100S II vs. X-T5
Film Simulation Recipes for Fujifilm GFX Cameras

Hidden Gems: Underrated Fujifilm Cameras for SOOC Photography

Posted on by Ritchie Roesch

Fujifilm is renown in the photography world for blending modern technology with vintage styling, delivering an experience similar to classic film cameras with colors inspired by analog looks. While newer models often steal the spotlight, some older Fujifilm cameras remain hidden gems—overlooked, yet still highly capable. These cameras seem to pair especially well with my Film Simulation Recipes for straight-out-of-camera photos that don’t require editing. If you’re looking for a capable, budget-friendly camera that embraces the magic of Fujifilm’s film simulations, consider these four hidden treasures.

Fujifilm X-T1: The Classic Workhorse

Released in 2014, the Fujifilm X-T1 was a game-changer for the X-series. It introduced the rugged, SLR-style design with dedicated dials that many Fujifilm photographers love. With a 16mp X-Trans II sensor, the X-T1 may not have all the latest film simulations and JPEG options, or stats that impress compared to the latest models, but don’t let that fool you—it still produces fantastic images in 2025.

This was one of the first cameras with Classic Chrome, which is the long-time most popular film simulation for those who use Recipes. Kodachrome II, Kodachrome 64, Classic Kodak Chrome, and Kodacolor are a few of the Classic Chrome Recipes that work beautifully on the X-T1, producing a vintage film-like aesthetic straight-out-of-camera. The Fujifilm X-T1 is an excellent introduction to the Fujifilm experience without breaking the bank, and it’s easy to recommend as someone’s first interchangeable-lens model to learn photography on.

Fujifilm X-T1 & Kodak Portra 160 Recipe
Fujifilm X-T1 & Kodak Portra 160 Recipe
Fujifilm X-T1 & Ektachrome 100SW Recipe

Fujifilm X-Pro2: The Soul of Film Photography

The Fujifilm X-Pro2 is a dream camera for photographers who love the rangefinder experience. Introduced in 2016, it was the first Fujifilm camera with the 24mp X-Trans III sensor and the first to feature Acros, one of my favorite film simulations. This camera was a notable step forward in emulating film-like results thanks to added JPEG options like faux grain. Of the three X-Pro iterations, the X-Pro2 is my personal favorite.

This camera is a fantastic choice for those who want an analog-like shooting experience. With its optical/electronic hybrid viewfinder and vintage aesthetics, it feels like using an old film camera. Recipes like Vintage Kodachrome, Kodachrome II, Kodak Gold 200, and Acros Push Process (to name a few) look great on the X-Pro2. This camera is especially great for manual vintage lenses, which makes the experience even more retro.

Fujifilm X-Pro2 & Kodachrome II Recipe
Fujifilm X-Pro2 & Provia Slide Recipe
Fujifilm X-Pro2 & Acros Recipe

Fujifilm X-T20: The Compact Powerhouse

When I met Omar Gonzalez on a Manhattan rooftop last year, he seemingly wasn’t carrying a camera. So I asked him if he brought one with him, and, if so, which one? He smiled, and pulled out of his sweater pocket a Fujifilm X-T20. He then told me that the X-T20 is his everyday casual camera for just walking around with. That should speak volumes. He also mentioned that the C1-C7 Custom Setting Presets were filled with Fuji X Weekly Recipes.

With the same X-Trans III sensor as the X-Pro2 and X-T2, the Fujifilm X-T20 offers exceptional image quality in a more compact, lightweight body—ideal for street photographers, travelers, and creatives on the go. Despite its size, the X-T20 retains the essential dials that make Fujifilm cameras so enjoyable to use. Recipes like Provia Slide, Everyday Astia, Agfa Optima, and Agfa Scala produce stunning yet nostalgic images on this camera. The X-T20 is an excellent choice for photographers who want a mix of convenience, quality, and affordability.

Fujifilm X-T20 & Kodachrome II Recipe
Fujifilm X-T20 & Velvia Recipe
Fujifilm X-T20 & Fujicolor Pro 400H Recipe

Fujifilm X30: The Forgotten Compact

The Fujifilm X30 might just be the most underrated Fujifilm camera. This fixed-lens compact camera from 2014 features a 2/3-inch 12mp X-Trans II sensor and a 28-112mm (full-frame-equivalent) f/2.0-2.8 lens that has a lot of character. It’s small size is ideal for everyday carry, yet it is quite versatile thanks to the zoom lens.

The pictures from this camera are amazing, with a ton of character—I especially love the lens flare. The photos are instant memories, and that’s the selling point of the X30, as the spec sheet is not especially impressive, and the camera seems a bit outdated in 2025. Recipes like Pro Film, Lomography Color 100, CineStill 800T, and Monochrome Red are excellent options. The X30 is an everyday-carry camera—just grab it while heading out the door on ordinary outings.

Fujifilm X30 & Kodachrome 64 Recipe
Fujifilm X30 & Pro Film Recipe
Fujifilm X30 & CineStill 800T Recipe

Conclusion

While the latest Fujifilm cameras have more features and film simulations, these four underrated models remain exceptional tools for photographers who appreciate the magic of film simulations and Recipes. Each one offers a unique experience: the rugged reliability of the X-T1, the rangefinder soul of the X-Pro2, the compact power of the X-T20, and the travel-friendly versatility of the X30.

When paired with the right Film Simulation Recipes, these cameras prove that you don’t need the newest gear to get great results. If you’re looking for a Fujifilm camera that delivers timeless images and an engaging shooting experience, don’t overlook these hidden gems. You might just discover your new favorite camera.

Find these Film Simulation Recipes in the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Introducing the Fuji X Weekly + WEX Photo Video Fujifilm X-T50 Collaborative Bundle

Posted on by Ritchie Roesch

Last year, WEX Photo Video asked if I’d be interested in assembling a Fujifilm-related camera bundle. It could be anything that I wanted, just as long as the products made sense together. I decided on a first-time-Fujifilm type of kit. If you are in the market for your very first Fujifilm camera, this bundle would serve as an excellent all-in-one starting point.

The camera I chose for this bundle is the Fujifilm X-T50. It’s simple and fun enough for beginners, yet sophisticated and capable enough for advanced users—in other words, the camera will keep up with you as you grow. No matter where you are on your photographic journey—from brand-new hobbyist to experienced pro—the Fujifilm X-T50 is an excellent camera, so it’s easy to recommend. The silver version is my favorite, so that’s what I chose for the bundle.

“Fuji X Weekly is an amazing resource for photography enthusiasts, especially those diving into the world of Fujifilm. Created by Ritchie Roesch, Fuji X Weekly has become the go-to for Fujifilm photographers looking to explore their camera’s potential. Known for its collection of Film Simulation Recipes, Fuji X Weekly empowers users to recreate the iconic looks of classic film stocks directly in their cameras without the need for post-processing. This bundle celebrates the creativity that Fuji X Weekly represents and is picked by Ritchie to offer you a perfect starting point to explore the Fujifilm system and capture stunning images with ease.”

—Wex Photo Video

What’s a camera without a lens? The Fujinon 35mm f/2 is one of my favorites. It’s small, lightweight, optically excellent, and affordable. I’ve owned this lens for a long time, and still use it regularly. On X-series cameras, because of the APS-C crop factor, it’s a “nifty-fifty” standard prime, something every photographer should have, and the perfect lens for learning composition. The silver version of the Fujinon 35mm f/2 looks strikingly good on the silver X-T50.

To complete the kit, included is a spare NP-W126S battery, SanDisk Extreme 256GB SD Card, and SmallRig Leather Half Case. A memory card is essential to get started, and this SanDisk is one that I personally have in a few of my cameras. The extra battery isn’t essential, but very nice to have—especially for traveling—so I wanted it included. The SmallRig Half Case adds a little style and extra protection.

Altogether, these five items—silver Fujifilm X-T50 camera, silver Fujinon 23mm f/2 lens, spare battery, 256GB SD Card, and leather half case—is an excellent kit for someone just getting started with Fujifilm. With this bundle, you’re good to go—there’s nothing else you need to buy to begin your photographic journey.

This Fuji X Weekly + Wex Photo Video collaborative bundle is not available anywhere else. Fujifilm doesn’t offer the X-T50 and 35mm f/2 as a kit (they should!). The only place you can get these bundled together is at Wex. Right now, this kit is only £1,661.90 (about $2,100 USD). The MSRP for these five items, if purchased separately, is £1,841.90; however, because the X-T50 and 35mm lens are currently on sale, the price is £180 less. There’s no extra discount for purchasing these items together; this is meant to simplify the purchasing process for someone in the market for their first Fujifilm camera.

Fuji X Weekly + Wex Photo Video Fujifilm X-T50 Collaborative Bundle
Included:
– Silver Fujifilm X-T50 camera
– Silver Fujinon 35mm f/2 lens
– Spare NP-W126S battery
– SanDisk 256GB SD Card
– Small Rig Leather Half Case

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

See also:
Fujifilm X-T50 — The “Digital Film” Camera — But who is it for?
Fujifilm X-T50 Film Dial Settings + 14 New Film Simulation Recipes
Putting the Film Dial to Practice — Four Cities with the Fujifilm X-T50

Find nearly 400 Film Simulation Recipes for Fujifilm cameras in the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.