The Tropics – Lincoln, IL – Fujifilm X-E5 – Vivid Velvia
After yesterday’s post, Thoughts on the Upcoming Fujifilm Camera, someone reached out to me on Instagram and proposed a question about the upcoming sixth-generation cameras: if I could ask Fujifilm three things about it, what would those questions be? It was an unusual message, but it did get some cogs turning in my brain. How might X-Trans VI look different than X-Trans V? While this seemingly should be pretty predictable, each X-series generation is actually unique in many ways. No two generations are alike, and so what will be different with the upcoming X-Trans VI cameras? Well, I came up with three questions, so let’s jump right in.
Will AF improve a little or a lot?
Space Guitar – White House, TN – Fujifilm X-T5 – Classic Amber
I’m one of those people who are completely satisfied with the autofocus performance of my Fujifilm cameras, going back all the way to X-Trans III. Even X-Trans I & II aren’t bad in daylight. Fujifilm’s current cameras are in the top 2% best autofocus cameras ever made (it’s very true, I did the math—feel free to double check it). Outside of some extreme use-cases, the cameras are very capable, and there seems to be a general lack of appreciation for just how good we have it today. Seriously, if the top 2% is not good enough for you, is it that you have some crazy unusual circumstances (which maybe you do), or is the issue something else? Of course, nobody wants to look in the mirror, but most of the AF woes on Fujifilm cameras are easily overcome if one really wishes to overcome them. The majority of the complaints are hyperbole, trolls, user-error, and things like that. With all of that said, Fujifilm has more room for improvement than any other major brand, as they’re clearly a step behind the Canikony brands (for logical reasons that I’ve talked about at length many times). There’s no doubt the sixth-generation will bring with it AF improvements, so will it be a small step forward, a large leap, or something in-between?
In my opinion, the best thing Fujifilm could do to improve autofocus has nothing to do with hardware, software, or algorithms. Fujifilm could do absolutely nothing to technically improve AF, but if they made it much more intuitive and automatic, it would be seen as a major improvement. Many people seem to be unaware that Fujifilm expects that their users will fine-tune the AF for their specific use-cases; even if they are aware, they may not know how to do it, or what a fine-tuned camera setting might look like for them. Fujifilm tried to offer some clarity on this a couple years ago, but instead of listening, people heavily mocked them for it online (sad). I cannot tell you how many times someone has complained to me how the AF on their X-series model “sucks” and how it’s totally not user-error, but then I suggest a settings change and (like magic) the AF is suddenly working well for them and it’s no longer garbage. Of course, what specific settings work well for you depends on how you use the camera and your subject and situation, so there’s no one quick fix. However, if on future models Fujifilm removed their fine-tuning expectation and just “made it work” no matter the user, that would go a long ways toward making people believe that their AF is actually good, because it’s currently much better than some people think, if only they dialed in the “right” settings for their individual situation. In other words, if user-error is the largest problem (and it is, even though nobody wants to hear or accept it), then Fujifilm should find a workaround for that, and the obvious answer is intuitiveness. If Fujifilm’s approach isn’t working well for a group of people because it expects more of them than they realize (and even if they do realize, they may not know what to do with it), then maybe it’s time adjust the approach.
What models will be included in the sixth generation?
Classic Design – Buckeye, AZ – Fujifilm GFX100S II – FRGMT B&W
Each generation has had its own set of X-series models—no two generations have had identical sets. I suspect that this trend will continue. But how will it look different? It’s hard to guess, but I believe it will include an X-Pro, it might not include two X-H models (only one), it could potentially have an X30-like pocketable zoom, and it’s possible that there will be only one successor to the X-T30 III and X-T50 (and not one for each). There could be an Eterna 28 (APS-C version of the Eterna 55). I would love to see an X70 successor. Maybe there will be an X half II? Perhaps the X100VII will have multiple focal-length versions? Could we finally get a monochrome-only camera? The only thing that’s certain is that it won’t be identical to the fifth generation, or any other previous generation. I would love to know the exact models that Fujifilm plans to produce for X-Trans VI, but perhaps they haven’t even thought that far in advance yet.
What new Film Simulations and/or JPEG options will come?
Buc-ees at Nighttime – Goodyear, AZ – Fujifilm X-T5 – Fluorescent Night
Over the years, Fujifilm has continuously sporadically added new Film Simulations and other JPEG options. For example, within the fourth-generation, Fujifilm added two new Film Simulations (Classic Negative and Eterna Bleach Bypass), Color Chrome Effect, Color Chrome FX Blue, Clarity, half-step Tone Curve adjustments, and a much more robust Monochromatic Color tool. It didn’t all come at once. In fact, fourth-gen can be divided into three groups (actually, more than that if you want to really parse things): X-T3 & X-T30, X-Pro3 & X100V, and X-T4, X-S10, X-E4, and X-T30 II. Fifth-generation saw two new Film Simulations (Nostalgic Neg. and Reala Ace, the latter retroactively given to previous models via firmware), but no other JPEG options. While it’s impossible to know what Fujifilm will do on future models, I think it’s safe to say that there will be some new features. And I cannot wait to find out what those will be.
Now it’s your turn! What questions would you like answered regarding the upcoming sixth-generation cameras? I would love to hear them in the comments below!
Ever since Fujifilm announced the GFX100RF back in April of last year, I’ve been saving up to purchase one. The desire for such a camera dates back 25+ years ago to my analog days, when I really wanted to shoot medium-format film. Cameras like the Contax 645, Pentax 645, and Fujica GS645 were all high on my list, but always just out of reach. In fact, in my early 20’s I sold my beloved Canon AE-1 with the intentions of using the profits (along with some other cash I had) to finally jump into medium-format photography; however, some unexpected car repairs sucked all that money up instead, and it never happened.
Now that I’m older, I’m not all that interested in medium-format film photography. I’m very happy with the image quality and aesthetics from my Fujifilm cameras (an understatement, if there ever was one), and the smaller size of the gear is much more ideal for me. Still, the larger sensor and higher resolution from GFX cameras does open some doors. For example, I’ve discovered that I really enjoy the XPan aspect ratio—while the 40mp X-series can be good for that (I wish that Fujifilm offered the crop in-camera), the 100mp GFX sensor is better, and the aspect ratio is available on GFX models. I purchased a GFX100S II back in 2024 with the purpose of making panoramas, but I found it’s harder to travel with that camera due to its bulk. Amanda likes it for portrait photography, so it has found a place in our house, but it’s not really serving my original purpose for it.
Enter the GFX100RF. It’s the smallest and lightest digital medium-format camera and lens combo, about the size and weight of an X-Pro3 with a “Fujicron” lens, roughly speaking. It’s definitely not pocketable, but it’s very small for medium-format. Of all the GFX cameras, this is the one that’s most easily portable. It’s also the most affordable, when considering that the lens is built-in. Of course, some will say that’s not really medium-format, but more of a super-full-frame; however, in my opinion, that’s splitting hairs. Call it what you want, the image quality speaks for itself.
The camera seems to be misunderstood by some, and I think it’s because so many compared it to the X100VI in the initial hype. The GFX100RF is not a medium-format X100VI; instead, it’s a medium-format X70. That’s not entirely 1:1, but it is much more accurate than saying it’s like the X100-series. While it doesn’t make sense for the GFX naming system, if Fujifilm had called it the GFX70RF, it likely would have cleared up the confusion. This is one of only two GFX cameras with the traditional tactile controls (the long discontinued GFX 50R is the other), and I much prefer this setup over the PASM design of the GFX100S II. In my opinion, Fujifilm should make a GFX100R, a successor to the 50R.
Approaching Haboob at Sunset – Buckeye, AZ – Fujifilm GFX100RF – Vivid Velvia
Earlier this year someone loaned me their GFX100RF for a couple of months. I cannot overstate how kind and generous that was! Seriously, who does that?! I’m incredibly thankful and appreciative. I very much enjoyed the extended test drive, and it only solidified my desire to own one someday. I continued to save, and finally was able to purchase one 15 months after it was announced. I went with the silver version because of course I did—I love the silver cameras! I captured my first image with it yesterday. As I was programming the C1-C7, I got a weather alert on my phone stating that a dust storm was approaching my location—and right at sunset! I grabbed the camera, headed to an overlook, and snapped my first photograph, which is above. I’m sure it won’t win any awards, but definitely not bad for the very first picture.
I’m working on a project that the GFX100RF is perfect for. I’ve done a little work on it already, but the bulk of it starts next week. I can’t wait to share it with you when the time is right (probably in the fall), so stay tuned! In the meantime, below are some pictures I captured using the borrowed GFX100RF. If Fujifilm made a version of the GFX100RF with a different focal-length, I would love that personally. I know that some would like an even wider lens; for me, something closer to a nifty-fifty would be perfect. Until that happens (which might be never), I’ll enjoy this camera for what it is, and not worry about what it’s not.
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
Over the weekend, PetaPixel published an article encouraging Fujifilm to make a digital XPan camera. Their idea was to make an X100VI-like camera with two 40mp sensors side-by-side, for 80mp 65:24 (XPan) aspect ratio pictures. If Fujifilm ever did that, I would buy it no questions asked. Within the first minute of the preorder opening, I’d purchase it. That would be a dream camera. But this isn’t Fujifilm’s only—or maybe even best—option, should they desire to pursue a digital XPan camera.
For those who don’t know, XPan was a collaborative project by Hasselblad and Fujifilm beginning back in the late 1990’s. The cameras used two frames of 35mm film to make a panoramic picture. While only moderately successful at the time, the cameras are now much beloved with a cult-like following. A digital version would certainly be niche, but it would also become iconic very quickly.
First, Fujifilm doesn’t necessarily need to make a dedicated XPan camera. The GFX cameras already have the XPan aspect ratio, and you could use the GFX100RF as an XPan-like camera, producing 50mp panoramic pictures. This is probably the closest you can get right now with Fujifilm, and it really is close-enough. Someone let me use their GFX100RF, and I loved using it for XPan pictures. Fujifilm could (and should!) add the XPan ratio to all of their 40mp cameras, which would produce 22mp panoramic pictures. There’s no good reason why I can’t make in-camera XPan pictures with my X100VI, X-T5, or X-E5, and I would if I could (unfortunately, it has to be cropped after-the-fact using software).
The Hasselblad and Fujifilm XPan cameras were interchangeable-lens models, so for a truly accurate XPan experience you need an interchangeable-lens camera. I would be surprised if Fujifilm ever made an interchangeable-lens XPan camera, but if they did, one option would be to use GF lenses. Perhaps make a version of the next X-Pro with a wide sensor and GF mount. More likely, in order to do a wide sensor (or two sensors side-by-side), Fujifilm would use a fixed-lens body, which was PetaPixel’s idea. If the WCL and TCL lenses also work with an X100-like XPan camera, I could see this as being a good compromise (I would be mildly surprised if the conversion lenses actually work for it, though).
Yucca in the Sand – White Sands NP, NM – Fujifilm GFX100S II – Velvia Film – XPan
There is another option. It’s not perfect, but it would certainly simplify everything. This could be pretty easy for Fujifilm to do. It’s not as exciting, but it would work. Fujifilm could simply do anamorphic de-squeeze in-camera. For example, Fujifilm could make an XPan (1.8x) anamorphic lens that screws onto the future X100VII (like the WCL or TCL does), and the camera would then de-squeeze it, and show the wide image in the LCD or EVF. This would produce a 40mp XPan image. If Fujifilm wanted to do this for the interchangeable-lens models, they would need to make 1.8x anamorphic lenses (no such lens exists for X-mount). This, of course, comes with some negative side effects, namely a reduction in sharpness and “stretched” bokeh.
There isn’t a perfect solution. For those wanting a digital XPan camera right now, the GFX100RF is your best bet. If Fujifilm were to ever make a digital XPan camera, it would likely be a fixed-lens model; however, they could use GF lenses on an interchangeable-lens camera. An anamorphic lens with built-in de-squeeze is another option that would be easier to implement, but has downsides. What Fujifilm could and should do more than anything else is simply add the XPan aspect ratio to the 40mp models via a firmware update, and also include it on all sixth-generation cameras. With that said, if Fujifilm ever did make a dedicated digital XPan camera, I would be right at the front of the line to buy it.
First, until Fujifilm announces the camera, everything is speculation. For example, we don’t know what “reworked dials” even means (my guess: the lower sub-dials might get updated, but the dials themselves—shutter, ISO, exposure comp—will be nearly identical, but that’s merely a guess). We will all know soon enough, though, whenever Fujifilm does an X Summit for this model, which will likely be sometime in the summer or maybe fall. Second, I have zero inside information. I find out about new gear the same way that you do. I don’t know anything more about this than you.
It sounds like Fujifilm will likely kick off the sixth-generation with the X-T6. I’m not surprised at all that Fujifilm will continue to use a 40mp sensor, and I’ve said as much in the past. In my opinion, 40mp is already well more than enough resolution for almost everyone. Sometimes more megapixels is good, and sometimes it equals more problems. There are tradeoffs to increasing resolution; many times the positive benefits outweigh the negative, but as it gets higher and higher, the pros decrease and the cons increase, and at some point you round the top of the inverted U-curve. Few would argue that 40mp isn’t near the peak for APS-C. What I predicted awhile back is that the sixth-gen will be more about speed and efficiency, and the big change will likely be the processor and not necessarily the sensor.
It’s unknown if the the next generation will continue to use the X-Trans V 40mp sensor, or if it will be a new-and-improved X-Trans VI 40mp sensor. It could go either way, and maybe even both ways depending on the model (for example, X-T6 with new 40mp sensor, X-T60 with old 40mp sensor). I suppose it depends as much on what Sony is willing to manufacture (and how much it costs) as it does on what Fujifilm desires. I don’t have any predictions, I think it’s 50-50 on whether they will continue to use the same sensor or have an upgraded version. I wouldn’t be shocked to learn that it is partially-stacked, and I won’t be disappointed if it’s not.
Buc-ees at Nighttime – Goodyear, AZ – Fujifilm X-T5 – Fluorescent Night
As far as the new battery, I would bet that it’ll be like the NP-W126S, which was an improvement to the old NP-W126. You can use the new battery in older models, and the old battery in newer models (with a warning that it’s not optimized for it). That’s not negative. I’ll be shocked if it’s a complete redesign. If Fujifilm can improve the battery without losing compatibility, that’s a positive thing. Did you notice the puns?
The X-H2 already has 8K video. It’s my understanding that Fujifilm locked it out of the X-T5 due to heat dispersion issues, so if the processor is more efficient, it would make sense for it to be unlocked on the X-T6. No surprises here. If anything, maybe this is an indication that the X-H3 will have open gate.
I think autofocus is what most people are going to discuss. My opinion is probably different than most. I have talked about it at length over-and-over, and I hate to rehash everything. I’ll try to keep this as brief as possible, but buckle up, because this will be a little lengthy.
To begin with, Fujifilm’s autofocus in fifth-generation models is already pretty good, likely in the top 2% best of all autofocus cameras ever made, and plenty sufficient for most people and circumstances. That perspective is important, and too often ignored. There are a lot of people who seem to lack an appreciation for just how good we have it, how fortunate we are to be photographers right now. With that said, Fujifilm’s AF isn’t as good as the Canikony brands, and for several logical reasons: 1) the other brands had a significant head start (Sony through Minolta and Konica going back to the 1970’s; Canon and Nikon going back to the 1980’s), 2) the Canikony brands have much larger R&D budgets and can better recruit the best talents, 3) the Canikony brands (as reported by PetaPixel) for a long time prioritized AF over image quality improvements and in some cases even to the detriment of IQ, and 4) X-Trans takes a lot more processing power than Bayer, which in and of itself puts Fujifilm at an AF disadvantage. Outside of a paradigm shift, Fujifilm will never have AF that’s as good as the big three, and anyone who expects otherwise will always be disappointed. Expectations need to be kept realistic and in line with reality, but few seem to be grounded when it comes to this topic.
Misty Saguaro – Buckeye, AZ – Fujifilm X-T5 – Pacific Blues
There is some good news, though. First, the Canikony brands (especially Sony and Canon) are near the peak of an inverted U-curve. Their AF is already more than good enough for 99.99% of their customers, so AF improvements only have a practical benefit to a very small group that is only shrinking with each update. That gives Fujifilm an opportunity to catch up as it climbs the inverted U-curve. With each AF improvement that Fujifilm offers, they will get closer to the peak, but it will also have practical benefits for fewer and fewer people each time. For example, I’m personally 100% satisfied with the current AF, so each improvement is meaningless for me, and I imagine that’s true for a lot more people than some naysayers are willing to admit. Second, and I’ve said this before, AI might be the paradigm shift that levels the playing field (or it might not be, who knows?). If this “new AI autofocus” is truly significantly better than the current AI autofocus, it might close much of the gap.
I do believe that X-Trans VI will see improved autofocus, thanks to AI and (especially) more powerful and efficient processing, but the biggest thing that Fujifilm could (and probably should) do is simply make it more intuitive, requiring less fine-tuning from the user. As it is now, you have to optimize the settings for your specific use-cases, and a lot of people are unaware that they need to do that; even if they are aware, they are likely unsure of how to optimize it for their specific use. In other words, Fujifilm’s AF is much better than some believe, it’s just that they don’t know to get the most out of it. If Fujifilm could fix that (without making any other improvements), it would go a long ways towards making people believe that the AF is better. So I hope that improved intuitiveness is a part of Fujifilm’s autofocus plans for the next generation.
That’s all I have. Within a handful of months, if not sooner, I’m sure Fujifilm will announce the first sixth-generation camera. Until then, everything is speculation, and it’s difficult to know what’s true and what isn’t, and what any of it really means. It’s fun to get little tidbits, and peek behind the curtain, but all of it is an incomplete picture until the X Summit, and maybe even beyond that. That is to say, don’t take anything too seriously. Make sure that you consume it with very large grains of salt. It’s very easy to get worked up over something that’s not really even true (something I’ve been guilty of myself). It will get here when it gets here, and I’m sure it will be pretty cool, whenever that happens.
It’s been historically slow for Fujifilm so far in 2026, which makes it more difficult for Fujifilm-related bloggers to come up with interesting content to share with their readers. On the bright side, this can be a good opportunity to find and highlight things that might otherwise slip through the cracks and go unnoticed. That’s what this article is attempting to do. Nothing here is headline news, but hopefully there’s something that you’ll find intriguing or even possibly helpful.
Specifically, we’re talking about the Fujifilm X-E5, showcasing articles that are either explicitly or just vaguely related to it. This is a camera that I own and love. It’s as close as Fujifilm has ever gotten to an interchangeable-lens X100-series model. My favorite aspect of it is that you can program three additional Film Simulation Recipes than other cameras. It’s the most compact and lightweight interchangeable-lens X-series camera with the 40mp sensor and IBIS. There’s plenty to love.
Before we dive in, here’s a little X-E5 tidbit that I bet you don’t know, which I learned while at Fujikina Copenhagen. It takes a massive team—sometimes more than 100 people—to create a camera, but each one has a lead designer. There are several designers at Fujifilm. For example, the lead designer of the X100-series and X-T (single digit), as well as many other models, is Masazumi Imai, who gave a wonderful presentation at Fujikina. Each lead designer likes to leave a little easter egg hidden somewhere in the camera (which mostly goes unnoticed by the users). I’m not sure who was the lead designer of the X-E5, but I learned that the designer of that camera leaves a specific easter egg: hexagon feet. If you turn the X-E5 upside down and look at the four tiny feet at the bottom, they’re six-sided and not round. Any Fujifilm camera with hexagon feet had the same lead designer as the X-E5. I’m not sure which models those are, but apparently there are a few.
Now let’s look at some recent articles across the web that relate to the Fujifilm X-E5. Some of these are explicitly about the X-E5, and some are only related if you squint your eyes a little.
Fujifilm X-E5 Teardown
Kolari Vision just published their teardown of the Fujifilm X-E5. Seeing the X-E5 being taken apart makes a tear fall down my cheek (get it? Tear down, teardown?). Jokes aside, it’s fascinating to see how Fujifilm squeezed so much camera into such a small body. This also illustrates just how intrusive an infrared conversion actually is. I would love to see Fujifilm sell a full-spectrum infrared camera to the public, like they did very briefly with the Fujifilm X-T4 Extended Spectrum, so that you wouldn’t have to take it apart. Thankfully, Kolari (as well as some other companies) know what they’re doing, and your camera is in good hands if you send yours in for a conversion. I don’t have firsthand experience with that, but I’ve talked with several people who do, and they only have positive things to say.
There’s an interesting article over at PetaPixel entitled Photographers Are Tired of Big Cameras. Essentially, Chris Niccolls wants a smaller camera than he normally uses, and he’s going for the Fujifilm X-E5. He is constantly using all sorts of gear from all sorts of brands as part of his job, but for his own personal photography, he wants something smaller than the Sony a7R V that he normally shoots with. After trying nearly everything under the sun, he really likes the X-E5 for its compact size and good image quality. The author of the article, Jaron Schneider, then makes an odd disclaimer: the X-E5 doesn’t necessarily have “excellent” image quality; instead the camera has “just good” image quality, which he notes is good enough for Chris. I understand that “good” and “excellent” are subjective, but it was a weird comment that seemed unnecessary for the message of the article. The image quality of the X-E5 is “just good” compared to what? I understand that the people at PetaPixel have experience with pretty much every single camera made within the last 25 years, and some models have better image quality than others, but what aspect of the X-E5’s image quality is subpar? I wish that more context had been provided, because it comes across as a put-down to both Fujifilm and Chris. I think the overall story—a growing trend towards smaller, lighter gear—is fascinating. That Fujifilm is at the forefront of the discussion is also intriguing. So much more could have been said; instead, I’m wondering what was meant by an offhand comment.
Learn
Last but not least, I saw in a Pal2Tech video yesterday that Chris Lee has launched a new project on his website called Learn. He has a ton of great resources, including a Fujifilm X-E5 setup guide (among many, many other things). You should definitely check it out, there’s so much information available. It seems like it isn’t complete, so I suspect that this will only grow into even a greater resource in the coming months.
According to Fujifilm, using any non-licensed program (including Fujifilm’s own SDK) “to connect to, or control, any compatible Fujifilm camera, will void the camera’s limited product warranty.” I spoke with Fujifilm and confirmed this to be true. I was also told that they only give licenses to large corporations “like Adobe.” I bring this up because more and more, there are programs and apps that can connect to your Fujifilm camera, to remote control it or push Recipes to it, and so forth. Very few of these seem to tell you that doing so voids your camera’s warranty. I was also told by someone at Fujifilm that each time you connect, a marker is left in the camera, which Fujifilm could find to prove that a non-licensed program was connected to the camera.
Personally, I would be extremely cautious connecting any Fujifilm model that is still under warranty to any non-licensed software or app (anything that’s not officially from or supported by Fujifilm). Depending on your country, X-series gear can have up to a three year warranty, and GFX up to five year. You may want to look into the specifics of your camera and country to determine the exact length of your manufacturer warranty; for a lot of people, it will be just one year.
I bring this up because most of these programs and apps don’t tell you this. The developers are well aware (or at least should be) that if you connect your camera to their software it will void your warranty, but I think they’re afraid that if you knew the risk, you’d be less inclined to use their program, and they’d be less profitable. They’d rather be a bit shady than lose potential customers. The risk that they themselves are taking is that if your warranty gets denied and they didn’t disclose to you that using their app would void the warranty, you could hold them accountable (although good luck with that). My guess is that thousands (maybe tens of thousands) of Fujifilm photographers have unknowingly voided their warranty—they are completely unaware, and might be learning about it for the first time right now. That’s terrible, and it should be unacceptable.
With some of these programs, it’s even more shady than that. For example, many of them aggregate Recipes; however, some of the creators of those Recipes have no idea that their Recipes are even in the apps, and much of the time they are not even given credit, which is a shame. Worse, many photographers (who create Recipes) have their photos in these apps without permission or even credit (in other words, illegally). Someone who doesn’t even make Recipes is profiting off of those who do, including off of their photos. You’ll find tons of my Recipes, and when I’ve asked them to be removed, I have been told that there’s nothing technically illegal about it, so pound sand. That might be true (there could be a strong plagiarism argument), but it’s not cool in the least to do so. Someone who doesn’t even make Recipes shouldn’t be profiting off of those who do. With regards to my photos, that’s a daily (and uphill) battle to get them removed. If you’ve ever created and published a Recipe anywhere on the internet, there’s a good chance you’ll find it in at least one of these programs, and maybe your photos, too.
My Fujicolor 100 Gold Recipe and my photo used without permission or even credit in someone else’s app.
I’ve hesitated to say anything because some will take this as sour grapes. They will think that I’m just upset over competition. Look, there are legitimate creators doing wonderful things for the community, and I’ve happily pointed them out and linked to their websites or channels many times on Fuji X Weekly over the years. I’m for the community, and I think it’s great that so many are not only using Recipes, but are creating them, too. It’s a wonderful thing, and I never imagined that all of this would grow and grow and grow so much. It’s truly an honor to have a front-row seat. What I’m saying is: does that non-official-Fujifilm program that connects to your camera, whether software or app, tell you that by doing so your warranty will be voided? If not, that’s a big problem. You should be made aware, and from there you can make an educated decision to connect or not connect. If it’s hidden in the fine print, that’s an issue, too, because few actually read the fine print, yet it absolves the developer of responsibility.
Of course, Fujifilm themselves deserve some blame. You should be able to push Recipes into the Custom Settings presets (C1-C7 for most cameras, C-C6 or C1-C4 for others) right from the X App. You can do it from X RAW Studio, but it isn’t obvious. For that matter, there should be a mobile version of X RAW Studio. There’s a lot more that Fujifilm could and should do to make adding Recipes to your camera easier (something I’ve encouraged them to do, and even offered my assistance with). And maybe it’s a bit my own fault, too, because I’ve spent more than a year trying to go about all of this “the right way” by attempting to work with Fujifilm on something that was highly unlikely to ever work out, and ultimately didn’t. Because of this, my own implementation of a similar feature has been delayed and delayed and delayed. I desperately want to avoid voiding your warranty. If I did make something that would void your warranty, I would make everyone very well aware and not hide it, so that you could make whatever informed decision that you’re comfortable with.
Anyway, I need to end this post. I truly hope nobody gets hosed by an unknowingly voided warranty. Make whatever choice that you want, but I do think it’s beyond time for someone to say something publicly, so at least you know the potential consequences of the choice that you are making. I’m sorry that it has to come from me, I’d rather not be the messenger. I’ve put this off for a very long time hoping that something would change, but it seems to only have gotten worse with time.
Edit: I want to add a few quick things. First, you should learn the warranty laws that are specific to your country and state/region. Some places have stronger protections than others, some of which may prevent your warranty from automatically being voided just because you connect to an unlicensed program. Second, just because technically speaking your warranty has been voided, that doesn’t mean that Fujifilm won’t still honor it. They may or may not—in my estimation, depending on exactly what the problem is, there is a good chance that they will honor it. Third, even if they don’t, you might still have legal options (I’m not an attorney, nor am I an expert in warranty laws). I am only trying to make people aware of the potential risk, because they should absolutely be aware that there is a risk.
If Fujifilm wanted to, they could do something really cool, that would be a massive sales success. The perfect time for them to do this is now, or really beginning two or three years ago and continuing at least a little while into the future; however, the ideal opportunity won’t last forever. Trends change, paradigms shift. Right now, though, is really good. What is this thing that Fujifilm should do? Alternative focal-length versions of the X100-series camera.
Most famously, both Leica and Ricoh have made a second focal-length versions of their fixed-lens camera. For Leica, it’s the Q3 43, a 43mm version of the Q3 (which normally has a 28mm lens). For Ricoh, it’s the GR IIIx, a 26mm (39mm full-frame equivalent) version of the GR III, which normally has an 18.3mm (28mm equivalent) lens. The Sigma DP series has had two, three, or even four focal-length variants, depending on the iteration. For instance, the DP Quattro series had a 14mm f/4 (21mm equivalent), 19mm f/2.8 (28.5mm equivalent), 30mm f/2.8 (45mm equivalent), and 50mm f/2.8 (75mm equivalent) versions, with everything identical except the lens. Fujifilm could and should do something similar.
Fujifilm’s solution has been the WCL-X100 and TCL-X100 conversion lenses. Simply screw a lens onto the end of the fixed-lens, and the camera becomes either 18mm (28mm equivalent) or a 32mm (48mm equivalent) respectively. That works well in a pinch, but if you want a nifty-fifty focal length all of the time, the extra weight and size of the TCL-X100 defeats the purpose of the camera. In other words, the wide and tele conversion lenses work well for a lightweight travel kit when used occasionally, but they are much less practical when needed frequently. I have walked around all day with the TCL-X100 attached to the camera many times, and it become a bit annoying after awhile.
Something that I’ve come to realize over the last couple of years is that my favorite focal length is the 40mm-60mm (full-frame equivalent) range. I like going wide sometimes, and I like going telephoto sometimes, but most often, I prefer a “standard” focal length. This is probably because when I first learned photography—and for nearly the first decade of my photography—I used a 50mm lens. It’s very natural to me, and I oftentimes find my compositions stronger and my appreciation for the images higher when I use a focal length in that 40mm-60mm range. I don’t want to strictly use nifty-fifty lenses. I think it’s good to stretch outside of my comfort zone—just within the last handful of months, I have gone as wide as 12mm and as long as 600mm. Having experience across a broad range of focal lengths is good. But if there was a 50mm (equivalent) X100-series camera, I would much prefer it over the 23mm (35mm equivalent) version that Fujifilm makes. For you, maybe it would be something wider than the current 23mm lens, or maybe the 23mm lens is perfect.
What I propose to Fujifilm (assuming that they read this—sometimes they do, and sometimes they don’t), is to make alternative focal-length versions of the X100. The X100VI is probably more than halfway through its lifecycle. I assume that the next version will arrive in about a year-and-a-half or so, maybe two years tops. That’s probably enough time that Fujifilm could do this with the X100VI near the end of its lifecycle. More likely, though, it would not be the X100VI, but the X100VII. When the next iteration comes, Fujifilm could make alternative focal-length versions of the camera.
What would make the most sense is 18mm (28mm equivalent) and 33mm (50mm equivalent) versions, in addition to the regular 23mm (35mm equivalent). Literally have three different X100VII cameras. Maybe call the 18mm version X100VII-Wide (X100VII-W), the regular version X100VII-Classic (X100VII), and the 33mm version X100VII-Standard (X100VII-S). People who have hesitated to buy the X100-series because the focal length isn’t ideal for them (it’s either too wide or not wide enough) would purchase the version that is more ideal. And you’d have people buy two of them, or maybe even all three (I knew someone who owned all four Sigma DP Quattro cameras). If Fujifilm were to do this, all three versions would be sales successes. I don’t think they’d have any trouble selling as many as they manufactured.
The great thing about this is that the WCL-X100 and TCL-X100 lenses would still work. If you purchased the X100VII-Wide camera, the WCL-X100 lens would gave it a 14.5mm (22mm equivalent) focal length. I know it would work because the wide conversion lens works well on the X70. The TCL-X100 would give the X100VII-Standard a 46mm (70mm equivalent) focal length. The conversion lenses would still serve a purpose, and won’t become any less relevant just because there are three versions of the camera.
For a lot of people, the X100-series is their gateway into the Fujifilm world. You can try out the X-series without investing into a whole system. Once they’ve decided that they really like it, a camera like the X-T5, X-T50, X-E5, etc., often follows, along with some lens purchases. Not everyone who owns an X100-series camera travels this same path. For me, the X-E1 was my gateway, and an X100F came later. I purchased an X100V when it was new, followed by the X100VI when it was released. I own a number of interchangeable-lens cameras, as well. The X100-series is great for travel, street, or everyday snapshots where it’s more about being in the moment than fumbling with lenses and accessories. For me, the most ideal X100-series camera would have a nifty-fifty focal length lens. A wide version would be nice, too, sometimes—I really like the GFX100RF and X70; however, the GFX is much larger and heavier (although super small and lightweight for medium-format), and the X70 is old and doesn’t have many of the Film Sims and JPEG options of the latest models (can’t do nearly as many Recipes). I would buy more than one version, but the X100VII-Standard would get the most use by far. It would be really cool if Fujifilm did this.
We’re in uncharted waters. Fujifilm has never waited until beyond May to announce at least one X-series or GFX model. Typically, the first half of the year is busy, with at least one and oftentimes two new cameras. For example, last year Fujifilm announced the GFX100RF in March and the X halfin May; in 2024, Fujifilm unveiled the X100VI in February and the GFX100S II in May; in 2018, Fujifilm had announced three cameras by the end of May: X-A5, X-H1, and X-T100. Twice, the first camera of the year wasn’t announced until the end of May—in 2022, Fujifilm announced the X-H2s on May 31st, and the following year they announced the X-S20 on May 24th. That’s recent history. But not once has June 1st arrived without at least one new camera announced. Until this year.
What does it mean? Fujifilm has the luxury of time. Their cameras are selling extraordinarily well. The X100VI is their all-time best-selling model. It’s still out of stock almost everywhere, even though Fujifilm is manufacturing nearly four times as many units each month than with previous iterations of the series. It’s a smashing success, and still highly in-demand over two years after its release. The X-T30 III is another massive success. The X-M5, X-E5, and even the three-and-a-half year old X-T5 all have very strong sales. The X half is one of the most popular cameras by any brand in some Asian markets. The GFX100RF is selling great for a GFX model. What’s the hurry?
I’ve been saying for years that camera-makers introduce new models much too quickly. A five-to-eight year product run lifecycle should be common, not a rare exception. I have zero issues with Fujifilm taking extra time before releasing the next generation of cameras. Use the time to make the upgrade more meaningful. This would have been a great opportunity for some Kaizen firmware updates, and maybe that is in the works. In my opinion, all of the 40mp cameras should be given the XPan aspect ratio, and that would be an easy implementation.
I have no idea when the next Fujifilm camera will come, but the one most glaringly missing from the lineup is an X-Pro. I’m pretty certain that this is being developed as we speak, so it has not been abandoned. But if there is one camera that Fujifilm should hurry along, it’s this. Just guessing, I think it might come sometime in 2027, but I’ve certainly guessed wrong about this before. A successor to the X70 is another that I would encourage Fujifilm to fast track. I would like the next GFX to be a rangefinder-styled body, a followup to the GFX 50R. Beyond that, I think it’s perfectly fine to take things slow, and let a little extra time pass before discontinuing a model and announcing its successor.
Oftentimes the first half of the year is busier for product announcements than the latter half, but not always. Things have been historically quiet in the Fujifilm world so far, but I expect that to change. If Fujifilm announces a couple of cameras and a few lenses before the end of the year, I would not be surprised. For now, though, everything is quiet, and that’s ok with me.
PetaPixel published a couple of articles recently detailing an interview with Fujifilm at CP+. Phototrend also interviewed Fujifilm at this event, which resulted in some interesting answers. PetaPixel’s conversation was much different, so let’s talk about what was said and what it means.
For one article, PetaPixel asked, “How will Fujifilm fix its video autofocus woes?” Fujifilm answered, “There are two improvements we can make, one based on the algorithm and then one based on the device itself. So we have the fifth-generation device now, and so to make an improvement here, we just need to improve the algorithm. That’s the maximum we can do.”
The basic takeaway from the interview is that for fifth-generation cameras, which are the current models, Fujifilm is working on potential firmware updates for autofocus improvement. My guess is that they are taking their time to ensure there are no issues. They want to avoid something like a couple of years ago when the firmware update had a significant AF bug. Maybe this update will be released soon or maybe it will never see the light of day, who knows? Fujifilm did say, though, that they are actively working on it. Also, they are planning to improve autofocus through hardware (think faster readouts, quicker processing, increased memory buffers, better heat dispersion, etc.), which will benefit sixth-generation cameras, which will be here before you know it.
I’m really tired of talking about Fujifilm’s autofocus. For the majority of the last 10 years, this wasn’t a top topic within the community. It’s really only over the last few years that it’s become a big deal, and I find that very odd and quite telling. I’ve discussed this all at length numerous times, so I want to avoid rehashing everything, but some things need to be re-said, I suppose. I’m sure you’ve seen the hyperbolic, troll-like statements that flood the comments section of any article or video even slightly related to this topic.
It’s important to keep expectations realistic. Let’s ground ourselves in reality. The Canikony brands had a major head start in developing AF (going back to the 1970’s), have a much larger R&D budget, can better attract the best and most experienced experts in the field, and have put the majority of their eggs in the AF basket, ignoring image quality improvements or even sometimes to the detriment of IQ (as reported by PetaPixel). Those who expect Fujifilm to have “class leading” autofocus, or at least to have it be on par with the big three camera makers, are living in a fantasy land. It’s not going to happen outside of a major paradigm shift (perhaps AI is that paradigm shift). When you buy a Fujifilm camera, it’s important to know that it’s not going to have AF as good as the Canikony brands—that should be your expectation, because it’s the truth, and it only makes sense if you think about it for a mere moment.
That doesn’t mean Fujifilm’s autofocus is bad. Of course it isn’t bad! If you were to take the lowest-end, bottom-rung, entry-level X-M5, which costs only $900, and hop into your DeLorean, blast some Huey Lewis, go back in time 10 years, and show people that this is what Fujifilm’s autofocus will be in a decade, the camera would impress a whole lot of people. The community would be all excited for the eventual autofocus performance that the X-M5 demonstrated. Hurray for Fujifilm’s future AF! For some reason, the perspective that a lot of people who complain about Fujifilm’s autofocus seem to have is that photography has only been around for a few years. Do we not remember autofocus from any brand 20 years ago? 30? 50? I guess we don’t, because we lack an appreciation for how incredibly awesome even so-called “bad” autofocus is today. That AF system that you call garbage can run circles around the best AF from not terribly long ago, and yet our photography and cinematography isn’t any better than it was back then. I think a lot of people just don’t appreciate how good they have it today.
With that said, there is certainly room for Fujifilm to improve autofocus. I think all of the Canikony brands have reached a point of diminishing returns. They are quickly approaching, are at, or are maybe just beyond the peak of an inverted U-curve. The practical benefit of an AF improvement from (say) Sony helps a tiny fraction of their customers, while for 99.99%, the AF capabilities are already beyond what they need. Now for Fujifilm, who isn’t quite as far along, an AF improvement might have a practical benefit for (say) 15% of their customers, and maybe the next improvement benefits 12%, perhaps 7% for the following one, and so forth, as they climb the inverted-U. They are working on this right now. For the majority of people, though, Fujifilm’s AF is already plenty good enough for most subjects and situations.
Fujifilm’s autofocus is nowhere near as bad as some on the internet would have you believe—not even close—but there is something that Fujifilm could do that would have an immediate major impact on this perception: intuitiveness. It took me awhile to figure out that this is likely the number one issue. People apparently want to take their camera out of the box, throw in a freshly charged battery, and shoot amazing pictures, without ever setting it up. Some of this might be explained by beginners who just purchased their first camera, but I believe the majority are not beginners. In fact, I think (quite ironically) that most are the same people who would tell you that you must shoot RAW, and only amateurs shoot JPEGs. Perhaps this is because those who use Film Simulations and Recipes are constantly in their camera’s menu, so making adjustments and customizations is normal and no big deal. Whatever the reason, there are those who just want the AF to “work” without setting any of it up first. So if Fujifilm were to make a major stride in how intuitive their AF is without improving any other aspect, it would be seen as a big upgrade.
Fujifilm allows you to customize how autofocus works on your camera; however, I think a lot of people don’t realize that not only can they do this, but they’re expected to do so. Even if someone does realize, they probably don’t know how, or what the most ideal settings are for their use case. This is something Fujifilm could have done a much better job communicating to their customers; sadly, in recent times when they have tried, they were heavily mocked for doing so. Far too often, people would rather blame something else than take any sort of responsibility for a failure. Telling people that they’re the problem is never well received. But the truth is that those who complain about Fujifilm’s AF have the power to fix most—if not all—of their woes, and they’ve had this power the whole time. An example of this is Camera Conspiracies, who constantly mocked Fujifilm’s AF until he figured out the right settings for his needs. I think there are merits to Fujifilm’s approach, but either they need to do a much better job getting the word out on how to best use their system, or they need to make it work well for everyone—no matter someone’s individual needs—as factory-default settings.
In the next PetaPixel article, Fujifilm stated, “What we want to do as a company is make sure the photography culture remains for the foreseeable future. If we don’t continue to offer something exciting, fun for the users, then people won’t be really interested in photography itself. That would be a nightmare for us, we believe photography is such an important part of everyone’s lives. We think that’s our mission, to make sure everybody understands and knows that if they ever want to try something related to photography, we’d be there to offer as many options as possible.”
I find that fascinating. If camera makers don’t offer exciting and fun-to-use gear, photography itself is in jeopardy, says Fujifilm. And that makes sense. If the pros and hobbyists get burned out because photography is no longer enjoyable, they’ll quit. If potential newcomers are satisfied with their cellphones and AI-generated images, and no “real” camera seems interesting or fun to them, they’ll never even explore photography in the first place. It’s possible that cameras like the X100VI, X half, X-E5, and GFX100RF are actually saving photography, and are not just gear existing within the industry. It’s interesting to think about, and maybe something that other camera makers should pay more attention to.
This article is already longer than I wanted it to be, so let me wrap this up real quick. The way these two topics relate is that Fujifilm could make a variety of the most exciting gear ever released, but if a bunch of trolls and Negative Nancies (my apologies to anyone named Nancy) complain about it, will those products actually save photography? Maybe, maybe not. I think it’s important for Fujifilm to address the first topic aggressively—not because their AF is bad, but because people can’t accept that it is good just because it isn’t quite as good as the Canikony brands (which apparently makes it trash). Fujifilm’s two options are to better communicate how to best use their AF, or to make it more intuitive and work better out-of-the-box at factory-default settings. The latter is the path that will be best received. The firmware and hardware refinements that Fujifilm mentioned to PetaPixel I’m sure will be welcomed and appreciated, but it doesn’t address what I think is the largest problem, which is intuitiveness. Once fixed, when the fun gear is announced, there will be fewer negative comments that unfairly scare away potential buyers. Or maybe trolls will be trolls, and none of it matters.
There’s a lot of talk within the Fujifilm community about in-body image stabilization (IBIS). Some believe that it is an essential feature that every new camera must have, and others don’t really care if their model has it or not. My position is that for most photographers and most situations, it’s far from a requirement, but it is nice to have from time-to-time. Notice that I said photographers; if you are a videographer, IBIS is much more important.
For still photography, IBIS makes no difference unless you are using a slow shutter speed or a long telephoto lens, and you don’t have a tripod. If you carry around a tripod, IBIS isn’t necessary, but carrying around a tripod isn’t fun, so if that can be avoided I will avoid it. The rule of thumb to avoid blur from camera shake (not movement within the image itself) when hand-holding, your shutter speed should be at least the reciprocal of the focal length of the lens. For example, use 1/30 for a 30mm lens and 1/200 for a 200mm lens. That’s the minimum shutter speed generally speaking—depending on how well you can hold still, you might be able to go slower or you may need to be faster.
The two photos above are great examples of when IBIS comes in handy. Both break the rule of thumb for reciprocal focal-length shutter speed by a significant margin. For myself, it’s pretty rare that I’m using a 1/6 shutter speed, or using a 600mm lens. I’m sure that for some photographers, those are both common situations; however, I would wager that it’s fairly rare for the majority of shooters. If you are not using slow shutter speeds or long telephoto lenses, you probably don’t need IBIS.
I have a number of cameras with IBIS, including my X-T5 and X-E5 that captured the above pictures. But for most of my nearly 30 years of photography, I did not have a model with IBIS. For those without it, are they tough out of luck? Is IBIS essential? Does every single camera released today need to include it?
Above left: Fujifilm X-T30 at 0.4 second exposure with tripod; Above right: Fujifilm X-T30 & Fujinon 100-400mm @400mm handheld.
Of course, the solution that we used “back in the day” (which was not long ago) was a tripod. If you have a tripod, you can use whatever shutter speed you want. Even a monopod helps in marginal situations. But obviously tripods are a pain to lug around, so if you can avoid it, that’s positive. For telephoto lenses, you can use a faster shutter speed, but that might require a higher ISO, which is less than ideal. The two photos above, which were made using an X-T30 (a camera without IBIS), are examples of achieving desired results with a non-IBIS camera—for the left image, I used a tripod; for the right picture, I used a faster shutter speed.
It’s not the end of the world if you don’t have IBIS. In fact, you are in the same situation that the vast majority of photographers have found themselves in throughout the last 200 years. You are in a very, very large crowd. But IBIS can be nice to have sometimes. For some people, it can be an especially useful feature.
The main argument for why every new camera must include IBIS is that the tool exists, so why not include it? There is no harm in having it, and it will certainly be helpful to some. Of course, this ignores that IBIS makes the camera more expensive, most likely larger and heavier (at least a little, maybe a lot), and drains the battery quicker. In the last few years there have been significant strides in minimizing the negative side effects, but it’s unfair if we ignore those aspects altogether. For example, Fujifilm stated that to include IBIS in the GFX100RF, the camera would need to be nearly double the size. I was able to get a sharp handheld image at 1/8 shutter speed (see the image above), so IBIS would only have a minor benefit, yet its inclusion would make me not want the camera due to the dramatic increase in bulk. Perhaps if they are able to engineer it so that the camera stays nearly the same dimensions (like they did with the X100VI), then it would be more practical to include.
In other words, there are tradeoffs. Some people might prefer IBIS at all costs. Some people might prefer smallest/lightest/cheapest at all costs. And most are somewhere in the middle, perhaps leaning one way or another, but overall desiring a good balance of the pros and cons. And that’s where I am. It’s nice to have IBIS sometimes, but it’s far from the end of the world if a camera doesn’t have it. Now, if I were a videographer or I frequently used long telephoto lenses or hiked to waterfalls often, I would likely feel different.
The last argument that I want to tackle for the essentialness of IBIS is that higher-resolution cameras will more easily show camera shake—more megapixels means more need for stabilization. There is some logic to this. It actually has more to do with pixel density than resolution. When more densely packed, a given amount of camera movement shifts the image across more pixels, making small motion blur more noticeable when viewed at 400%. For example, people will say that the 100mp GFX sensor needs IBIS because it has 100mp; however, the pixel density is the same as the 26mp APS-C X-Trans IV sensor. If IBIS isn’t necessary on X-Trans IV cameras like the X-T3, X-E4, and X100V, it’s hard to make the argument that it is a requirement for 100mp GFX models, but you see people make this argument all the time, stating it as if it’s a known fact. An argument that it is necessary on the 40mp X-Trans V sensor (due to the higher pixel density) is a stronger case, especially when you consider that every one of those cameras has IBIS; however, the counter-argument is that while it might very marginally show motion blur more easily, it is buried under more resolution, so when viewed at the same size as an identical image from a lower pixel density sensor, you wouldn’t notice.
For some people, IBIS really is necessary, and thankfully you’ve got lots of options. 10 years ago Fujifilm didn’t offer any IBIS models. The first X-series camera with IBIS was the X-H1, released in 2018. Even in 2020, the X-T4 was your only option (aside from the X-H1, which was already discontinued). Now you have the X-H2s, X-H2, X-T5, X100VI, X-T50, and X-E5, plus some GFX models. Fujifilm has come a long ways with this, and I’m sure they will continue to make strides. But if you don’t have a model with IBIS, don’t fret. There are a lot of strategies that allow you to get the shots you want without it, which have been used for decades, if not centuries. IBIS is an excellent tool that is extremely helpful (and essential) to some, maybe not helpful at all to a few, and nice to have occasionally but not really essential for most. My guess, though, is that a time will come when every camera includes it, especially as pixel density continues to increase as camera makers chase resolution. A someday 60mp X-series model will certainly need it, and maybe an 180mp GFX camera.
Someone wrote to me and asked for clarification on Fujifilm’s X-series camera line. “There are a lot of options,” he said, “but I don’t get why. What’s the purpose of each model? How can I know what one is right for me?” I’ve seen this question a lot, so I thought I’d attempt to clear it up. Hopefully, by the end, you’ll better know why each camera exists and whether it is good for you or not. For this article, we’ll start at the bottom of the lineup and work our way up.
Just as a reminder—most of you are well aware, but some might not be—I don’t work for Fujifilm. This shouldn’t be seen as an official understanding of each camera by the company. These are my personal opinions, which could be different—maybe much different—than Fujifilm’s. For some reason, sometimes people think that my words are official positions of the brand, but my affiliation with them is very loose. I’m definitely independent. I’m just a guy who really loves using Fujifilm cameras, and I write about my experiences and share my Fujifilm Recipes.
X half
The Fujifilm X half, which is also called X-HF1, is only kind-of sort-of an X-series camera. Technically it is, but it’s the only one currently with a 1″ sensor or that’s not X-Trans. Those things in and of themselves don’t exclude it from the X-series, as Fujifilm has used small-sensors and the Bayer-array for the X-series in the past. What makes the X half only sort-of an X-series model is that it shares a heritage with the Instax Evo cameras. In other words, the X half is a bridge between the two systems, and is intended to convince some Instax users to dip their toes into the X-series world. It’s a super fun fixed-lens camera for casual photography and a film-like experience, and the very first with vertical sensor. If you are looking for something unique, well, you won’t get much more so than the X half! With that said, I don’t recommend it for “serious” photography, only as an enjoyable snapshot camera. The elephant in the room is that it’s a little expensive for what it is, although not nearly as much as some have hyperbolically claimed across the internet.
X-M5
Situated as the base entry-level model, the Fujifilm X-M5 is a rangefinder-styled camera that leans slightly towards video-centric. It has a PASM dial instead of the traditional tactile controls that Fujifilm is known for. It’s the smallest, lightest, and least expensive X-series camera; however, it lacks an EVF and IBIS, so there are some obvious tradeoffs. It’s a fifth-generation camera that pairs the 26mp X-Trans IV sensor with X-Processor 5. The X-M5 is a good option for those on a tight budget, those looking for their first “real” camera, or those who want the absolute smallest and lightest model—if that’s not you, take a look at the options below. Still, I’ve heard positive things about the X-M5, so don’t let its position within the lineup scare you away.
X-T30 III
The Fujifilm X-T30 III is another entry-level model, but not quite as stripped down as the X-M5. Leaning stills-centric, it has an SLR shape, with an EVF in the center. It lacks IBIS, but that’s a fair tradeoff for the inexpensive price tag. The X-T30 III is probably the best value (what you get for what you pay) in the entire X-series, and is my top recommendation for those who are on a tight budget, looking for their first “real” camera, or who want a small and lightweight model. Like the previous camera, the X-T30 III pairs the 26mp X-Trans IV sensor with X-Processor 5.
X-S20
I have two Fujifilm X-S20 cameras in my household: one belongs to my wife, Amanda, and the other to my son, Jonathan. Most of the Fuji X Weekly YouTube and social media videos over the last year-and-a-half were recorded on an X-S20. This camera is a lower-mid-tier model that is video-centric. Like the X-M5, it has PASM in lieu of the traditional tactile controls that Fujifilm is known for. Like both of the previous two cameras, this one pairs the 26mp X-Trans IV sensor with the X-Processor 5. The X-S20 is a hybrid model with IBIS that is intended to be appealing to those coming from a Canikony brand background. If you are more of a videographer than photographer, this is an easy recommendation; if you are a photographer first-and-foremost, this is a good camera, but I would lean more towards the stills-centric models, like the next few below.
X-T50
The Fujifilm X-T50 is a mid-tier version of the X-T30 III. It’s not a successor to the X-T30, but a similar line. While the X-T30 III has the “old” 26mp X-Trans IV sensor and lacks IBIS, the X-T50 has the “new” 40mp X-Trans V sensor and includes IBIS. The X-T50 looks a little different, too, with a slightly more rounded and angular design. Overall, though, the two cameras are a lot more alike than not. The X-T50 is more premium, while the X-T30 III is a better value, and which of those two things are more important to you (best overall features vs best for the money) will determine which one to get. Between the X-T50 and X-E5, aside from their shape, the two cameras are nearly identical (only small differences), and you can’t go wrong with either; however, I like the X-E5 just a little more myself, for the styling, the ability to save Recipes into FS1-FS3 on the Film Dial (I hope that Fujifilm someday gives the X-T50 this option via a firmware update), and the feel of the camera.
X-E5
The X-E series used to be more entry-level, culminating with the X-E4, which served as the base model during its all-too-short run; however, the Fujifilm X-E5 is all grown up, and is now solidly mid-tier, sporting the 40mp X-Trans V sensor, better build quality, and IBIS. The camera is likely as close as you’re going to get to an interchangeable-lens X100VI. Because Fujifilm discontinued the X-Pro3 over three years ago and has not yet announced a successor, the X-E5 is currently Fujifilm’s highest-end interchangeable-lens rangefinder-styled camera. I’m really happy with mine, and look forward to creating many photographs with it in the coming years.
X100VI
Everyone’s favorite model—the most-viral camera of all-time—the Fujifilm X100VI is already beyond legendary. The fixed-lens camera, which has the 40mp X-Trans V sensor and IBIS, is perfect for street and travel photography. It’s also perfect for those who want to dip their toes into the X-series and find out what it’s all about without investing a bunch of money into a whole kit. While it isn’t fully weather-sealed, a filter adapter and filter will finish that task, giving more confidence in extreme conditions. Two conversion lenses add focal-length versatility. While not nearly as difficult to find as it used to be, the X100VI can still require patience and perseverance to buy. If I could only own one in this list, it would be this one—my “desert island” camera. If you’re ok with the one-camera-one-lens experience, the X100VI is a must-have; however, I do find that the X100-series makes the most sense when an interchangeable-lens option is also available to you—the X-E5 and X100VI pair especially well together as a combo.
X-T5
I purchased the Fujifilm X-T5 when it was first released, and it’s been a workhorse ever since. I’ve gotten a lot of use out of mine, both for stills and video. In a lot of ways, it’s the quintessential interchangeable-lens X-series camera. It’s also the most-premium of the traditional tactile control models, fitting a lower-top-tier placement. In addition to the 40mp sensor and IBIS, it’s weather-sealed and has dual card slots. If you use longer or heavier lenses, the X-T5 is a better base than the mid-tier and entry-level models. While stills-centric, the camera is no slouch when it comes to videography. There’s a lot to love about it, and if you are after the best full Fujifilm experience, the X-T5 is the camera to get. If you want to save a little, the X-T50 is similar, just without weather-sealing and with only one card slot, and in a smaller and lighter body.
X-H2
The Fujifilm X-H2 is Fujifilm’s flagship X-series stills-centric-leaning model, although it is also great for video, making it a great hybrid camera. While it has nearly identical features and specs as the X-T5, it is a step above it, offering better performance and heat dispersion. The most obvious difference is the design, which is more reminiscent of the GFX100S II. Like the X-M5 and X-S20, it has PASM instead of the traditional tactile controls that Fujifilm is known for. The X-H2 is intended to be appealing to those coming from a Canikony brand background. For those using larger and heavier lenses, this camera is the best base, due to the larger grip and better weight balance. If you’re a photographer that often uses large telephoto lenses, or you just need the best performer, the X-H2 is for you.
X-H2s
The X-H2s is outwardly identical to the X-H2 (aside from an S engraved on the front), but inwardly it’s notably different, with a 26mp X-Trans V stacked sensor designed for speed. This camera is the most video-centric X-series model, but it’s also the most ideal for those who need fast autofocus for stills, making it another great hybrid option. As such, it is the most premium model in the X-series lineup—the cream of the crop. If you are merely after the best-of-the-best, this is it, the camera that sits atop the highest tier. The majority of Fujifilm’s YouTube and social media videos over the last few years were recorded with this model. If you are a videographer or a sports or wildlife photographer, the X-H2s is the camera to get.
To summarize Fujifilm’s fifth-generation X-series lineup: – The X half is the most fun, but X-series photographers are not the target audience. – The X-M5 is the smallest, lightest, and cheapest, but that comes with compromises. – The X-T30 III is also entry-level, but a step above the X-M5, and is the best overall value in the lineup. – The X-S20 is a video-centric mid-tier model with PASM. – The X-T50 is a stills-centric mid-tier model. – The X-E5 is a stills-centric mid-tier model, currently the most premium interchangeable-lens rangefinder-style camera in the lineup. – The X100VI is the viral fixed-lens rangefinder-style camera that everyone wants. – The X-T5 is a stills-centric upper-tier model with weather-sealing and dual card slots. – The X-H2 is a hybrid (but leans toward stills) flagship model with PASM. – The X-H2s is a hybrid (but leans towards video) flagship model with PASM, and is the only stacked sensor option in the lineup.
For those on a budget, the X-T30 III is my top recommendation. For those who are primarily videographers, I’d suggest either the X-S20 or X-H2s. For those who want a solid camera that’s not too big or small, or too feature-rich or too basic, or too expensive or too cheap, the X-T50 and X-E5 are two to strongly consider. The best overall traditional tactile control interchangeable-lens camera is the X-T5. The most fun camera is the X half, but it’s not for everyone. The X100VI is the most desired model. For sports or wildlife photographers, the X-H2 or X-H2s are the top options to consider.
Streaming Light Through the Mountains – Phoenix, AZ – Fujifilm X-T5 – Kodak Portra 400
I really wish that Fujifilm had reserved the top-tier highest-level camera for those who prefer the traditional tactile controls. You know, the ones that have been faithful customers for years and years. Those who have owned an X-Pro1, and an X-T1, and an X-H1, and an X-Pro3, and an X-T4 and/or an X-T5, who would really love to buy the best-of-the-best X-series camera, but just really dislikes the PASM experience. Those long-time loyal customers would really appreciate an X-H2/X-H2s type model, but with a shutter knob and ISO dial, and maybe a bit more classic styling. When Fujifilm reinvented the X-H line to obviously be most appealing to potential new customers and not the base, it seemed a tad disrespectful to some. I get why they did it (and there were both positive and negative consequences for it), but I believe a market exists for a top-end premium camera that isn’t the X-H2/X-H2s. Perhaps that is Fujifilm’s vision for the next X-Pro? I have no idea, but that would not match the historical characteristics of that line, so I really don’t think so. I truly hope that this is something Fujifilm has been considering, and perhaps might make happen sometime within the sixth-generation of the X-series.
I also think two other cameras that Fujifilm should strongly consider are 1) a long, long overdue successor to the much-beloved X70, and 2) a pocket zoom utilizing the 1″ sensor from the X half. The Fujifilm GFX100RF is a medium-format X70-like model; an X-series version would be extremely popular. A spiritual followup to the XQ2 or X30, but utilizing a 1″ sensor, would be very well received. Small fixed-lens cameras are all the rage right now, so Fujifilm should strike while the iron is hot.
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Me, at Create With Us, During Setup – Minneapolis, MN – Fujifilm X-E5 – 1970’s Summer
I returned home late last night from Fujifilm’s Create With Us event in Minneapolis, Minnesota. This was their third annual Create With Us—I was fortunate to be at the last one, too, which was in Austin, Texas. It was a very quick trip: I flew out Saturday evening, and the returning flight landed just before midnight on Sunday. It was a whirlwind, but I’m so glad that I got to be a part of it.
Fujifilm assigned me three jobs: assist with a Fujifilm X-E5 and X-T50 touch-and-try station, cohost a Tech Talk with Christopher Gilbert, and lead a photowalk. The topic of the Tech Talk was straight-out-of-camera photography. Christopher and I discussed the various Film Simulations, how to set up a Film Simulation Recipe in the camera, and how to reprocess a RAW file using the in-camera RAW converter. It was a fun experience, and hopefully educational for those in the audience (the next Tech Talk is on Wednesday, October 1st).
The photowalk was great. It was supposed to be limited to 15 attendees, plus myself and two assistants (someone from Fujifilm, and a local photographer), and two models. We ended up with over 25 people in total (including myself, the two assistants, and the two models). The new Fujifilm North America CEO Ryuichi “Richie” Matoba (forgive me if his official title is not exactly that) also attended. He was the CEO of Fujifilm Australia, but as of a month ago Richie was given the reins of the North America office. It was an incredible honor to have him join the photowalk! I didn’t get a chance to talk much with him, but I would love an opportunity for a longer conversation (I have a lot of feedback and ideas), should he happen to read this.
It was an honor to photograph with and meet in-person all those who attended the photowalk. The two models were great, too. I’m grateful for those who stopped by the touch-and-try booth to say hello. It was a really good event, and I’m sure all who attended can attest to that. If there’s ever a Create With Us event near you in the future, be sure to attend—it’s well worth whatever effort it takes to get there.
The only camera I brought with me was my Fujifilm X-E5. This is such a great travel camera, and for a quick there-and-back adventure, I really didn’t need anything else. I especially appreciate that you can program up to 11 Recipes into the X-E5. I attached the new Fujinon 23mm f/2.8 pancake lens to the camera, and also brought along a Pentax-110 50mm f/2.8 lens and adapter for a second option. One spare battery, which I didn’t even use, rounded out the kit.
Probably the most interesting thing that I learned at Create With Us was from a somewhat off-handed comment from a Fujifilm employee. It would have been really easy to overlook what was said. I don’t think it was intended to be interpreted as an official statement, but I was fascinated by it, so I want to share it with you: “Each sensor generation has its own unique charm. Some people like the Provia rendering of X-Trans I, some people like the Velvia rendering of X-Trans II—each one is different.” I might not have the quote 100% correct, but that’s the gist of it.
The insinuation was (at least as I understood it when it was said) is that the small differences in image rendering between sensor generations, and even the much more subtle differences camera-to-camera within the same sensor generation, is intentional and even a feature. It’s kind of like when an emulsion is updated, it looks slightly different than it used to; one person might prefer the “old” version of the film, while another might prefer the updated iteration. For example, when Kodak went from the second to third generation of Kodachome in 1974, some photographers liked the change, and some (like William Eggleston) didn’t. If you preferred the old version of Kodachrome, you were soon out of luck once it sold out. Fujifilm cameras are a different story because you can still buy the old models on the second-hand market. You can find and use the one with the charm that you most prefer. Maybe that’s the X-Pro1. Perhaps it’s the X-T1. It could be the X100F. Possibly it’s the X-E4. Maybe it’s the X-T50. Or some other camera. It’s up to you to find the one that you especially love, and the intention is that you’ll continue making photographs with it for a long time, and not just for a couple of years until the next iteration is released.
The specific hardware and software in the camera plays a role in the image rendering. It would be extraordinarily difficult to 100% match the output of various sensors and processors. You can get very, very close, though; however, 100% exactly matching is not quite possible. That’s certainly a part of it. Maybe you don’t want to perfectly match the output anyway, if it would require ignoring a benefit of the updated technology. It could be that the new technology allows the programmers to better achieve the intended results, which were less possible with the older technology. Perhaps the vision of what those results should be has been tweaked a little over time. All of that is a factor. But that’s not the point that was made: each Fujifilm camera generation has its own unique quality, which was purposefully crafted, and you might especially like the particular charm of one more than the others. Since they’re not all perfectly identical, you get to decide which is your favorite.
My personal favorite is the fourth generation. I think the JPEG output of the X100V, X-T4, and X-E4 (I own those specific models) is special. The fifth generation, which has the advantage of Nostalgic Neg. and Reala Ace, is a very close second-favorite for me. There’s an obvious difference in output between those two generations, most notable (but not limited to) how deeply blue is rendered on some film simulations. Whether you prefer either of those two generations—or a different one entirely—is up to you; I really like the output from the Fujifilm X-Pro2, for example.
We’re all unique. Each of us have our own unique styles. We all have our own tastes. As the saying goes: Different strokes for different folks. The beauty of Fujifilm’s approach is that no X-series camera generation is objectively better than another. Each one might be considered subjectively better, just depending on who you ask, but they each have their own charm. You might even prefer certain aspects of one and certain aspects of another, and use both.
When it comes to other brands, for the most part you really don’t hear people talk about the picture charm of various models. People don’t discuss the image quality magic of (say) the Canon Rebel T7i or debate which Sony A6000 series model has the best picture profile rendering. This seems more exclusive to Fujifilm, and it’s because Fujifilm intended each iteration to have a unique allure, which sparks the discussions and debates, but more importantly it provides an avenue to connect with and really love the gear you use.
Below are the photographs that I captured on the Create With Us photowalk in Minneapolis with my Fujifilm X-E5.
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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.
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.
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.
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.
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My latest camera purchased arrived in the mail a few days ago: a Fujifilm GFX100S II. Along with the camera I also got a couple of lenses to go with it: Fujinon GF 80mm f/1.7 and GF 30mm f/3.5. This was, by far, the most money that I’ve ever spent on gear, and it was with some apprehensiveness that I clicked the Proceed with Purchase button. Let me explain why I bought it.
My first GFX experience was with the GFX 50S, which I was able to borrow for a couple of weeks in early 2021. It was a dream-come-true to try, but I was not convinced that it was something I wanted to own. Not only was it pretty far outside of my budget, but it was big, heavy, and slow, and didn’t provide any major advantages to my photography over the X-series. If I was given one I wouldn’t say no, but I wasn’t about to shell out many thousands of dollars for it.
The next GFX experience came earlier this year when Fujifilm invited me to a retreat in the Catskill Mountains of New York. Some photographers, including myself, were loaned preproduction Fujifilm X-T50‘s to try out, and some were loaned preproduction GFX100S II’s. While I didn’t get a chance to use one myself, I did get to see the amazing images that other photographers created with it, including Bryan Minear. I’ll never forget when Bryan and I got completely drenched on an early-morning photo outing in the rain.
A few days later Fujifilm had a rooftop launch party for the GFX100S II and X-T50 in New York City (above Foto Care), and myself and Bryan were enlisted to help. We were placed together at a touch-and-try station for the GF 500mm f/5.6 lens. I didn’t know much about the gear, so I wasn’t particularly helpful. I did get to touch-and-try very briefly, though, but not enough to form any sort of opinions of the gear. I met a number of interesting and talented people, and had an amazing time, so I’m extremely grateful and honored for the opportunity.
Most recently, when Bryan and I cohosted a photowalk in Ann Arbor last month, he let me try out his GFX100S II camera with the Fujinon 80mm f/1.7 lens attached. It was a beast, but also produced amazing images. It was that experience that pushed me over the edge to want one. Prior to this, I would have said that there’s no way I’m buying one, I can’t afford it. Instead, I began looking at what it would take to buy one. I had already began saving for the next camera purchase, so I was already partway along the path, but, you know, GFX is quite expensive.
It might seem like I just suddenly wanted one, like I was smitten with G.A.S., which is partially true. Actually, I’ve been thinking about it for some time now. Specifically, I have had an interest in creating 65:24 XPan panoramas, and the GFX cameras are especially excellent for that. I also want to explore square photographs, and GFX is quite good for that, too. My hope is to make large prints of these images, if I should capture any worthy of being printed.
Above: Me, as photographed by Bryan Minear using a Fujifilm GFX100S II & Fujinon 80mm f/1.7 with the XPan aspect ratio, in Ann Arbor, Michigan.
There’s also the benefit of figuring out which Film Simulation Recipes work best with the camera, and what modifications, if any, need to be considered. I haven’t made much headway with that just yet, but hopefully over the coming weeks I can publish some findings. I’ve had a number of requests for GFX Recipes, but, without any GFX gear, that’s tough to do. I should be able to make some big strides regarding this now that I have a GFX100S II in my hands.
I’m not a big fan of the heft, or the non-tactile controls, but the images are incredible! However, for everyday use, there’s no way that you can tell it’s GFX, and not X-series. In fact, I published a few pictures on Fuji X Weekly that were captured with the GFX100S II, and nobody noticed. You have to crop deeply and/or print very large to really appreciate it, I think. Those who truly “need” GFX are a small group, and I’m not one of them …yet, anyway. I’m making plans where I hope the GFX100S II proves to be a necessity for what I’m creating, so we’ll see if it does.
Above: Vultures circling a desert ridge; photo by Ritchie Roesch with a Fujifilm GFX100S II & Fujinon 80mm f/1.7 with the XPan aspect ratio and Kodachrome 64 Film Simulation Recipe.
I had to sell a couple of items to afford the camera (and to make room on the shelf for it). Even then, it was a stretch to pay for it. I had some trepidation when I ordered it, but I think it might eventually be worthwhile. Now I’ve just got to get it to the places I want to take it to—mostly, National Parks—in order to create the images that I imagine capturing with it.
I’ll try not to bombard you with GFX articles. I plan to keep this website primarily focused on X-series gear, and only sprinkled with with GFX content. But I can’t guarantee that. I might end up absolutely loving the camera, and speaking more about it than I initially intend. Or maybe it will mostly collect dust, as I choose smaller, lighter, more fun gear. Time will tell. But, for this first post, I will share with you some of my first pictures captured with the new camera.
I’ve received a bunch of feedback from Fujifilm photographers over the last few years about one specific thing, and I have never had a good answer to it. But just today I received a note from Fred Miranda with an excellent idea on how Fujifim could possibly fix the issue without too much trouble.
On some X-Trans IV and all X-Trans V cameras, the Custom Settings presets (often called C1-C7) save a lot more than IQ parameters. Focus settings, self timer settings, and even sound settings (and a whole lot more) must be programmed into the Custom Settings. The problem is that if you adjust some parameter because of the situation you are photographing in, the camera will forget this setting and restore whatever is saved into C1-C7 whenever the camera is powered off or goes to sleep.
One example is the focus mode on my Fujifilm X-E4. Since Fujifilm did not include an M/C/S switch, you have to set this within C1-C7. Since I mostly use autofocus lenses, this isn’t typically a problem, but whenever I use a manual focus lens, I need to set it to “M”. Whenever I power the camera Off and then On or change to a different C1-C7 Custom Settings preset, I have to set it back to “M” again. Otherwise, I must reprogram my Custom Settings to be “M” instead of “S” or “C”, and remember to change it back the next time I use an autofocus lens.
Another example is in situations with bright highlights (such as shooting into the sun), I prefer to use DR400 with the Reggie’s Portra Recipe, instead of DR-Auto, which will only choose DR100 or DR200. If I make this change and the camera goes to sleep, when I wake it up, it will be back at DR-Auto, unless I reprogrammed the Custom Settings preset with DR400 (which I’ll have to remember to change back).
There are probably a thousand different examples that I could give, and the specific ones that might annoy you the most might be different than what annoys me, but the larger point is that this is an annoyance for a lot of people. Some learn to “deal with it” (it is what it is) or sometimes they sell their X-Trans V model and return to their older camera. I think it is something that Fujifilm should address, and it might even be an easy fix.
The Custom Settings presets used to not behave this way—in fact, it doesn’t on my X-T30, X-T4 and X100V. C1-C7 used to be just for the IQ settings, which are the Film Simulation Recipe parameters. All the other settings—focus, sound, etc., etc.—were set within the menu. I think this worked well, except that “Base” was confusing (until you realize that it simply means the settings you are currently using). There are advantages and disadvantages to both concepts, so I don’t think simply going back to the old way is the answer. But the new process has some problems, for sure.
Fujifilm’s solution is Auto Update Custom Settings. If you Enable it, when you make a change, the camera will remember that change, and automatically adjust your C1-C7. However, one issue is that if you Enable Auto Update Custom Settings, your C1-C7 will most likely drift out of whack over time, and eventually not resemble what you programmed. This probably works for some, but it isn’t a good option for everyone. I always select Disable.
The proposed solution that Fred Miranda shared with me is a simple firmware update. In the Edit/Save Custom Settings menu, when you select (for example) C1, there are two empty lines: one above Edit/Check, and one below Edit Custom Name. Perhaps at the bottom Fujifilm could add Save IQ Settings Only, with the option to Enable or Disable. It could be default disabled (and, out of the box, the cameras would work the same as they do today), and enabled only if the user wants it to be enabled (what I would choose).
If you Enable Save IQ Settings Only, then all of the other options—AF/MF, Shooting Settings, Wrench, etc.—are greyed out when you program your C1-C7, as you won’t be able to set those within C1-C7. Whatever you have programmed into the Menu when no C1-C7 is selected (a.k.a. “None Selected” or, in the Q-Menu, “A/S/M/P”), is what those settings will be. Basically, it would make your C1-C7 function like it used to, and only be IQ (Recipe) settings.
What’s cool about this is that not only would it give you the choice, but it would give you the choice for each Custom Preset. You could Enable some, and Disable others. It gives you a lot more flexibility with how C1-C7 operates (make it work best for you). This seems like a fairly simple firmware update to create, so it shouldn’t require a lot of resources to implement. An easy fix, as they say, that should make everyone happy.
Now I don’t know if it would work with the PASM models, like the X-H2s, X-H2, X-S20, X-S10, or X-M5. The concept might need to be modified or completely nixed for those cameras, I’m not sure (I don’t own any, personally). But for the X-E4, X-T30 II, X-T5, X100VI, and X-T50, it should work like a charm. The X-T5, X-T50, and X100VI might be a good starting point. And it should definitely be implemented in future cameras—there’s plenty of time to bring this to whatever is in the pipeline.
I want to thank Fred for sharing this idea with me. I hope that Fujifilm reads this, and, if they do, takes it into consideration. This would improve the experience for many on the newer models, and I think it will prove itself worthwhile in the long run.
Back in May, Teiichi Goto, Fujifilm President and CEO, in response to a question about their inventory situation and plan, stated, “The most important point is how much brand strength to create and how to maintain it. Therefore, it would be quite unfortunate to manufacture too much and lower the price. What Fujifilm has been trying to do for a long time is finally coming true now. We intend to drive the entire imaging business, including Instax, while concentrating on building brand strength and not reducing the value of the properties purchased by our customers.” When asked if the current inventory situation is normal, Mr. Goto replied, “Yes.”
A lot of people interpreted that to mean that Fujifilm is purposefully causing market shortages. But they’re wrong, and I’m growing a bit tired of seeing this myth perpetuated over and over. I addressed it once, back in July, making a strong case that Fujifilm is not purposefully creating market shortages, but is simply getting better at “Lean” production. Unfortunately, based on what I keep seeing online, I think it needs to be said again, so here we go.
First, you have to understand that Mr. Goto spoke those words in Japanese, and they were later translated into English. Translating isn’t as easy as Google makes it seem. These two languages are very different. Fujifilm, for a number of years, translated “Daylight” White Balance as “Fine” in English. It’s as much an art as it is a science, and it is quite easy to get wrong, even subtly—small misinterpretations can cause big misunderstandings. This article that I’m typing right now might not fully translate well into Japanese, and could perhaps be misunderstood in that language. With that perspective, I think it’s important to read Mr. Goto’s words with a bit of grace and with a grain of salt.
In order for someone to come to the conclusion that Mr. Goto’s intended communication was “purposefully create market shortages” one must have zero grace for translation errors, plus make a mental pretzel, because nowhere is that sentiment overtly stated, only vaguely implied. If you squint your eyes just right, it’s right there in-between the lines. Yet people go around stating it as fact. It’s not fact, it’s simply a misunderstanding.
Which brings me to the second point. You cannot understand what Fujifilm said without a basic understanding of the Lean Business Philosophy. If you don’t have that understanding, your local library or book store has an excellent selection on this topic, I’m sure. Just as a teaser, you can read this Harvard Business Review article, which gives a very brief synopsis of what the Lean strategy is. Like a lot of Japanese companies, Fujifilm operates under this philosophy, so understanding it will provide you with the context in which to best understand Mr. Goto’s words.
I have read a book or two on the topic. My interpretation of Teiichi Goto’s statement is this: – “Brand strength” = not overproducing, which devalues the products. – “Maintaining brand strength” = better forecasting future market trends, so as to not overproduce. – Overproducing is bad for both Fujifilm and Fujifilm’s customers. – Fujifilm has always strived to not overproduce products, but not very successfully; however, they’re getting better at it. – Getting better at not overproducing is a driving force for Fujifilm.
Now you might think, what’s so bad about overproducing? In the Lean Business Philosophy, overproducing—and overbuying, which is related—is a sin. It’s bad. It’s better to buy one too few parts than one too many. It’s better to produce one too few products than one too many. Overproducing and overbuying means you now have warehousing issues, which cause all sorts of headaches across multiple departments. In order to deal with that, the company will often sell the products at a nice discount in order to get it out of the warehouse. This is bad for the company, because they are likely taking a loss, and it’s bad for the consumer because it reduces the resell value of the product they spent a bunch of money on. Those looking for a bargain might desire overproduction, but the discounts come at a price.
In a perfect world, every company would manufacture just the right amount of every product, so that the demand would be perfectly met, and there would never be any over or under production. But, we don’t live in a perfect world. Demand is difficult to predict, and it is being predicted months and months in advance. It takes quite some time to secure all of the parts from various suppliers, assemble those parts into cameras, and get them onto store shelves. The camera that just came in stock at your local camera store likely began six months ago or more, as Fujifilm approached the various vendors to get the necessary parts to build it, and schedule the manufacturing to get it assembled. They predicted back in the summer that you would be buying the camera in December, and built it based on that prediction. If it was possible to make the exact number of a copies of all of their products to perfectly meet the demand, I’m 100% convinced that Fujifilm would do it. But, like The Price is Right, they don’t want to do that at the expense of going over (especially way over), which is the same as losing.
Fujifilm has guessed wrong many times in the past. Some cameras that were overproduced are the X-E3, X-H1, and X-T4. Those aren’t the only ones, but those are some recent examples. Fujifilm had to sell them at a discount, which reduced their resell value for those who purchased them new. It’s a lose-lose. So they’re working hard to not repeat that. It might mean the camera you want hasn’t been sitting on the shelf at your local camera store collecting dust as it is waiting to be sold, but that’s not a bad thing when you think about it.
But what about the never-available Fujifilm X100VI? That’s an extreme case. It’s not everyday that a camera goes viral, and no camera has ever gone as viral as the X100VI. It holds the record as the most preordered camera in the history of cameras, and the most in-demand camera of 2024, and probably ever. Nobody could have anticipated that, but people think they should have, and, despite manufacturing the X100VI at four-times the rate of the X100V, people accuse Fujifilm of purposefully producing too few in order to artificially inflate demand.
Let’s say that Fujifilm decided to increase production of the X100VI to 60,000 units per month (basically, doubling current numbers). It would take them months to acquire all the parts and get assembly scheduled, meaning that Fujifilm would be predicting that the global demand for the X100VI would be at least 60,000 units per month next summer. But let’s say the market flips between now and then, and demand for the X100VI plummets to only 10,000 units per month (which, incidentally, is closer to what the demand was for the X100V). Because Fujifilm has set into motion six months of 60,000 units, they will have over-manufactured 250,000 copies before the end of next year, a shocking number! Fujifilm has the tough position of trying to keep up with shifting demands while being careful not to overproduce, and predicting all of it months in advance.
Let’s cut Fujifilm a little slack, and have a bit of grace, as they navigate changing market conditions. I don’t envy them, as I’m sure it’s not easy. If Fujifilm is getting better at the Lean strategy, I think that’s good, and not something they should be criticized for. I’m all for maintaining brand strength, because it’s good for all of us.
It’s the holiday season, and Christmas is right around the corner. Maybe you want to give a gift to your photographer friend or family member something that they will absolutely love. Perhaps your spouse, child, grandchild, or niece/nephew is interested in following in your footsteps, and are hoping to find their first “real” camera under the tree. If you are shopping for a fellow photographer or budding photographer, I’ve got some gift ideas for you!
For my 40th birthday, my wife got me a Fujifilm X100V, which was such an incredible gift! For her 40th birthday, I gave her a Fujifilm X-T4. While those were certainly wonderful presents, they were very unusual for us, as we don’t typically spend anywhere near that much for birthdays and Christmas, and probably a lot of you reading this don’t either. There are tons of great more affordable options and it’s easy to get overwhelmed, so for this article I’m going to narrow the premise, which hopefully will provide some of you with a little better clarity.
First off, I’m assuming that you don’t have a small fortune to spend, and so you don’t mind buying used gear, which is more affordable, and perhaps a bit more practical as a gift. MPB, the sponsor of this article (where all my suggested gift ideas can be purchased from), is the largest global platform where you can buy, sell, or trade used photo and video gear—each piece checked by hand before being MPB Approved. If you’re thinking about upgrading or gifting gear this holiday season, embracing used is a great way to keep costs down without compromising on quality. Secondly, this website is Fujifilm-centric, so all of my suggestions will be related to that brand of gear.
Let’s jump right in!
Fujifilm X-T1 — Best learning camera
For someone who wants their first “real” camera to learn photography on, the Fujifilm X-T1 is my top recommendation. First, it has manual tactile controls to learn the principles of photography with (such as the exposure triangle). Second, while it is “old” for digital technology (released in 2014, a full decade ago), it is still very capable. This was Fujifilm’s flagship model when it was introduced, and 10 years later it holds up pretty well. Interestingly, in 2021, Antonio Faccilongo won the World Press Photo Story of the Year with a photograph captured with this model. Third, the X-T1 is quite affordable, and can be purchased for less than $500. You will need a lens to go with it, and my top recommendation is the Fujinon 35mm f/2, which can be had for less than $300 used. Depending on the exact copies you pick, you can get a camera and lens combo for under $800, and even under $700 if you don’t mind a few scuffs.
Fujifilm X-S10 — Affordable hybrid for videography
While many cameras are great for photography, some don’t excel at both stills and video. My top recommendation for an affordable hybrid—a camera that’s good for both stills and video—is the Fujifilm X-S10, which has in-body-image-stabilization (IBIS), an important feature for videography. If you are buying for someone who has shown an interest in creating TikTok or YouTube videos, you’ll want to strongly consider the X-S10. It can be had for under $900, which makes it the most expensive camera in this list; however, I think it pairs well with the Fujinon 15-45mm f/3.5-5.6, which is one of the more affordable lenses at about $150.
Fujifilm X-A2 – Most affordable camera
I get asked somewhat frequently what is the cheapest way to get into Fujifilm, usually from those wanting to buy a camera for their child or grandchild. Is it possible to do so under $500? Well, it is possible, but just barely. The Fujifilm X-A2 can be had for under $350, and the Fujinon 15-45mm f/3.5-5.6 is about $150, which brings you in right around $500. The X-A line was Fujifilm’s most budget-friendly series. The X-A2 was released in 2015 and is approaching 10 years old; however, it is still surprisingly capable, with similar technical stats as the Fujifilm X-T1.
Fujifilm X30 — Fun for the one who has everything
For the photographer who has it all, the Fujifilm X30 is a fun little camera! There’s a pretty good chance that the photographer you are shopping for doesn’t have this model. It’s older, and doesn’t have particularly impressive stats, but what it lacks technically it more than makes up for in pure joy. Nobody is going to make a career out of this camera, but for fun snapshots that have a ton of character, the X30 is one to take a close look at. It’s not necessarily cheap at around $700, but at least you don’t have to buy a lens for it, since it is a fixed-lens camera.
Fujinon WCL-X100 II & TCL-X100 II — Conversion lenses for X100-series cameras
If you are searching for a holiday gift for the photographer or budding photographer in your life, I hope that this list provided you with some clarity. I always enjoy receiving camera-related clothes and coffee mugs and things like that as gifts, but if you really want to give a camera or lens, those do cost a lot of money, and I think that this list has some excellent suggestions; however, feel free to browse MPB’s current inventory, as you just never know what you might find.
