At this time of year, I typically get asked which Fujifilm cameras are the best to gift to someone. It’s usually like, “I want to give my spouse a new camera, but I don’t know which one.” Or, “This will be my kid’s first real camera.” Or, “He has everything, so I’m really unsure.” The future recipient of the gift is usually a spouse, child, parent, or close friend. Sometimes they’re very experienced photographers, sometimes they’re complete novices. Budgets can also vary wildly.
It’s difficult to give good advice, since every situation is different, but I do make an attempt to give what I hope is helpful suggestions. For example, last year I published Your Gift Guide for Affordable Fujifilm Gear, which was intended to help those looking for secondhand options that are fairly affordable but still excellent. That article is just as valid this year as last, so you might still find it useful.
For 2025, I have one suggestion that I think will apply to almost everyone. No matter if you are buying for your spouse, child, parent, or friend. No matter if they are a seasoned photographer or brand-new. No matter if they have everything already or no camera equipment at all. This is something that I know most would love to receive. And it’s on sale right now.
Above: Various pictures captured with the Fujifilm X half
The gear that I recommend as a gift is the Fujifilm X half. This is a super fun pocket point-and-shoot that makes unique photos instantly. It’s easy enough that anyone—even a young child—can use it, so no worries if the recipient is a novice; it’s enjoyable enough that even those with high-end expensive gear will choose to use it occasionally. I own this camera, and both my wife and I appreciate it. No matter who you are, this is a camera that people will love to find underneath the Christmas tree.
The Fujifilm X half is perfect for travel snapshots, family events, and documenting everyday moments. It’s small and lightweight, so it’s easy to have with you. It’s simply to use. It delivers film-like results, and can even give a film-like shooting experience. It’s a very unique camera that’s so much fun to use. Last summer the X half was my most-used camera while on a long RV roadtrip up the east coast.
The primary criticism of the camera has been the price, which is a bit high for what it is. I said in my review that the camera should be $650-$700, and not $850. Well, right now and until December 28th, the Fujifilm X half is $200 off in America, which places it at a more affordable and reasonable $650. That’s almost 25% off! So, if you’re seeking out a Fujifilm camera to gift someone, the X half is my top recommendation for 2025.
Above: Various pictures captured with the Fujifilm X half
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
I’ve never been a staunch advocate of In Body Image Stabilization (IBIS). For the 25+ years that I’ve been creating photographs, only in the last four or five years have I even owned a camera with IBIS, and it has had only a minimal effect on my photography. So I’ve had a take it or leave it attitude towards it—nice to have sometimes, but far from essential. Nowadays, most of my cameras have built-in stabilization, including my X-E5, X-T5, X100VI, GFX100S II, X-T4 ES, Ricoh GR IV, and more. I still have many without IBIS, including an X-E4, X-T30, X100V, and some others. Yes, I own way too many cameras.
For the most part, the inclusion or exclusion of stabilization hasn’t had any significant impact on my photography. I’m not much of a videographer; if I were, I’d want IBIS—in fact, my wife is a videographer, and IBIS is essential for her. With that said, I know of several people who have done amazing video work on non-stabilized cameras. If I used long telephoto lenses, I’d want IBIS. I used to own the Fujinon 100-400mm, but I rarely used it, so I sold it—for that lens, IBIS can be helpful. The longer the lens, the more camera shake is exaggerated, and the more important IBIS is for handheld photography; the wider the lens, the less you need the camera to be stabilized.
Fujifilm X100V at 1/3 second exposure handheld
The picture above is nothing special, but, at 1/3 second, I do believe it is the longest I’ve successfully handheld a non-IBIS camera. The leaf shutter in the X100V certainly helped, but mostly I just utilized good techniques, including bracing myself and slowly exhaling as I lightly pressed the shutter release button, which was set on a two-second self-timer. It took several tries to get one sharp result. It was more work than that particular picture was worth, but it does demonstrate that the lack of IBIS isn’t necessarily a major deal.
Aside from that, I could always carry a tripod with me. Even a monopod will potentially offer the stabilization necessary for slow shutter speeds, but a tripod ensures the camera is perfectly still and I’ll get a sharp picture. Before I had cameras with IBIS, I would usually use a tripod for any shutter speed as long as or longer than half the reciprocal focal length of the lens. For example, with a 50mm lens, I can, with good techniques, get a sharp photo as slow as 1/30; anything slower than that needs a tripod. Even in that example, using 1/30th shutter speed with the 50mm lens is definitely pushing the envelope of what I can do, and it might depend on how much coffee I’ve had that day. If the lens is wider, the shutter speed can be slower. For a 12mm lens, 1/8 might not need a tripod, but 1/6 probably does.
I hate carrying tripods. Especially when traveling, or if I have to hike somewhere, the last thing I want is a tripod. When I was younger, carrying a tripod was less of a big deal (and I’m sure they were heavier back then, too), but now that I’m in my mid-40’s, it’s annoying, and I’d rather avoid it. That’s where IBIS comes in handy. I can go slower and not think twice about it. I don’t have to utilize crazy techniques. I can leave the tripod at home, and just enjoy photography—the camera will take care of my shakiness.
So even though I’m not a big IBIS advocate, and it’s still a feature that 99% of the time I see as nonessential for me, it can certainly be quite handy. It was definitely nice to have on my recent trip to The Great Smoky Mountains National Park, where I utilized it a number of times for flowing streams and waterfall pictures. I don’t think that every camera needs to have IBIS; however, when I’m packing my camera bag for an adventure, if I think I might be shooting in low-light situations or want a slow shutter speed for effect, you better believe that at least one of my bodies will be stabilized. Having at least one camera with IBIS is good to have.
The sun is beginning to set on Fujifilm’s fifth-generation of X-series cameras. Soon, dawn will break on X-Trans VI. This is a much-too-early speculation on what that might look like. In other words, take all of this with a massive grain of salt, because these are merely guesses. I don’t have any inside information. Many of my prior guesses were completely wrong, but a few were spot on—I anticipate that many of these will prove to be incorrect, too, but that some will turn out to be right.
I don’t know with certainty that the upcoming Fujifilm X-T30 III will be the final fifth-generation camera. The X-T30 II was the last fourth-generation model. The X-E series has often marked the end of a generation by being the second-to-last model. So with the recent release of the Fujifilm X-E5, and the upcoming announcement of the X-T30 III, I think it’s a pretty safe bet that the fifth-generation is coming to a close, and that the sixth-generation is right around the corner.
To start with, let’s talk about a potential timeline. I think the first sixth-generation camera will be the X-Pro5 (maybe they’ll call it X-Pro4), and it will be announced in January or February, and ship in February or March. After that will be the X-H3 and X-H3s, which will come in late-spring and/or summer. I’m going to go way out on a limb, and say that an X80 (followup to the X70) will come in fall of 2026. If this all happens, next year will be a busy year for the X-series.
In 2027, I see the X-T6 arriving in late-winter or early-spring. The X-S30 will likely follow in the summer or fall. I suspect there will be a GFX release or two, but that’s it for the X-series for that year. In 2028, I anticipate the X100VII in late-winter or early-spring, followed by the X-T60 in late-spring or early-summer, and the X-M5 in the fall. 2029 will wind down the sixth-generation, with an X-HF2 (not X-Trans, but technically X-series) early in the year and an X-E6 later in the year. There will not be a followup to the X-T30 III. It’s possible that the seventh-generation of X-Trans kicks off towards the end of 2029, possibly with an Eterna 28 (APS-C version of the GFX Eterna 55) cinema camera.
A lot will look the same between X-Trans V and X-Trans VI, as it will be mainly under-the-hood changes. I don’t anticipate any major resolution bump with X-Trans VI; I think it will be more about speed and efficiency. Will Fujifilm continue to use the same sensors? They might. I can see a partially stacked 40mp sensor in the X-Pro3, X-H2, X-T6, and maybe X100VII. I can see them using the 40mp X-Trans V sensor (but paired with a new processor) in the X-T60, X-E6, and maybe X100VII (the X100VII could go either way between non-stacked and partially stacked). I don’t think that the 26mp X-Trans IV sensor will be used any longer, but a new sensor (maybe 30mp) will be added to the lineup, found in the X80, X-S30, and X-M5. The X-H3s might continue to use the same 26mp stacked X-Trans V sensor, or it might have a new-and-improved stacked sensor.
My guess is that the X-Pro5 will have an aspect ratio dial like the GFX100RF, and will be the first X-series model with the XPan aspect ratio. It will probably have the classic EVF feature like the X-E5. It might even have a Film Dial like the X-E5. I really don’t know what else will be different, but I suspect there will be a few surprises. The X-H3s will be a lot like the X-H2s, but with some speed/efficiency improvements plus the ability to use video LUTs like the Eterna 55. The X-H3 will be a lot like the X-H2, but mainly just speed/efficiency improvements. The X80—if Fujifilm decides to make it—will be a massive success, and will serve as Fujifilm’s closest competitor to the Ricoh GR IV.
The X-T6 will be a lot like the X-T5, with mainly just speed and efficiency upgrades. The X-S30 will have a new sensor, I believe, that will boost the resolution a smidge; overall, I don’t think it will be much different than the X-S20. The X100VII will have a new-and-improved lens that can better take full advantage of the 40mp sensor, but otherwise will be quite similar to the X100VII. It could have an X-E5-like Film Dial, too. The X-T60 won’t be a whole lot different than the X-T50, just small improvements. The X-M6 will likely have a new sensor, but otherwise won’t be much different than the X-M5. The X-HF2 will have a hotshoe and/or better flash, but will still be pretty much the same. The X-E6, which might just be called the X-E5s, will just see some small improvements, like Classic Negative added to the Film Dial, and other minor refreshes.
There will probably be two new Film Simulations added: one beginning with the X-Pro5, and another with the X100VII. Some potential Film Sim ideas are Fujicolor PRO 400H emulation that turns pastel with overexposure, Natura (modeled after Natura 1600), Fortia (more vibrant than Velvia), Cross Process (modeled after Velvia 50 that’s been cross processed), Instax, and a more contrasty B&W option. I think they will add a couple more JPEG options, too. I’d like to see Halation Effect (with the options of Off, Weak, Strong) and Light Leak (Off, Intermittent, On), which Fujifilm has already invented, they just need to incorporate. Faded black and vignetting are a couple other options worth considering. They should revamp the Advanced Filters, adding Retro and Expired Film from the X half, and allow Dynamic Range, White Balance, and Grain to be selected. There’s a lot that Fujifilm could do, but a suspect it will be limited to a couple of new Film Simulations, a couple of new JPEG options, and maybe some long-overdue improvements to the Advanced Filters.
Essentially, I think the sixth-generation will look a lot like the fifth, with mostly under-the-hood improvements. If Fujifilm has ever considered releasing an X80, they should probably do so sooner than later; if they do, that camera will be the X-Trans VI headliner. The X-Pro5 will probably be the most different compared to its predecessor. My guess is that there will not be an X-T30 IV or X-T40—the X-T30 III will be the final iteration of that camera; however, they will continue to sell it well into the sixth-generation lifecycle, quietly discontinuing it 2028. Of course, all of this is speculation. Fujifilm could certainly surprise us with all sorts of things—they’ve done it before, and they’ll do it again. A lot seems pretty predictable, though; however, we should expect the unexpected, at least here and there.
A common question I get is, “Which Fujifilm X-series camera should I buy?” With so many options, it can be difficult to figure out which one is right for you. Some models are quite alike, with overlapping features and similar price points, which can be confusing—especially if you’re new to the system. Each camera in Fujifilm’s lineup has its own role to play, and understanding that role makes it much easier to choose the right one for you. To help you out, I’ll break down each X-series camera below and explain its purpose in the lineup—what it’s best at, who it’s for, and why Fujifilm made it. With that foundation, you’ll be better equipped to make your decision.
Fujifilm X-H2s
The Fujifilm X-H2s is Fujifilm’s most premium X-series camera—the flagship model. It’s designed for speed, which makes it the most ideal option for videography, as well as sports and wildlife photography. It’s the only X-series camera—and only APS-C camera—with a stacked sensor, which allows it to be faster than other models. Interestingly, a large majority of the official Fujifilm videos (found on their various YouTube channels) are filmed on this camera—if you want to know what you can do with it cinematically, there are tons and tons of excellent examples online. Because the X-H2s is the top-of-the-line option, it is also the most expensive at $2,799 (after the recent price increase across the Fujifilm lineup).
A couple of possible downsides to the X-H2s are that it’s the largest (along with the X-H2, which shares the same body), which might make it less ideal for travel or walk-around photography, and it doesn’t have the traditional tactile exposure controls that Fujifilm is known for. This is a PASM model that’s specifically intended to be appealing to those coming from Canikony brand cameras, who might not appreciate Fujifilm’s retro-styled bodies. It’s weather sealed and has two card slots (one for CFexpress Type B). The rear LCD screen is vari-angle, and can twist many directions. I find it fascinating that camera reviewers often compare the X-H2s to full-frame models; those are somewhat unfair apples-to-oranges comparisons, but you see it often, which just goes to show that this camera punches above its weight class.
If you really need speed, the Fujifilm X-H2s is your best bet. It’s the top X-series option for video, sports, and wildlife. This is the most “pro” camera in the lineup, if that’s important to you. I have never used this camera personally.
Fujifilm X-H2
The Fujifilm X-H2 is nearly identical to the X-H2s. The main difference is that, instead of a 26mp stacked X-Trans V sensor intended for speed, it has a 40mp non-stacked X-Trans V sensor intended for resolution. It’s not quite as quick as the “s” version, so it’s not as ideal for video, sports and wildlife; however, it’s still snappy, and still excellent for those situations—it’s a great hybrid camera. You simply trade a little speed for megapixels, while saving $600. You get basically the same camera for significantly less money. If you need the fastest X-series model, the “s” version is the one to get; if not, the X-H2 is quite compelling, especially if you are moving over from one of the “big three” brands. I have not used the X-H2 personally.
Fujifilm X-Pro5
There is not currently an X-Pro5. The last camera in this series was the X-Pro3, released in 2019 and discontinued in 2022. A successor is overdue, and likely to come next year (my prediction is in the spring, but that’s merely a guess). Nothing is known about the camera (not even the name… “X-Pro5” is speculation); however, it probably won’t be too dissimilar from other X-Pro models. The X-Pro series offers classic rangefinder styling, a hybrid EVF/OVF, and durability (other than the rear LCD cable on the X-Pro3… that’s another story, and probably why that camera was discontinued). X-Pro is top-of-the-line out of all the retro-styled X-series models. These cameras are beloved, they’re classics—the Leica of Fujifilm, so to speak. There’s not much to say about it at this time other than it’s coming someday, and it will likely be over $2,000 (maybe well over) when it does come. I wouldn’t be surprised if Fujifilm kicked off the sixth generation with this camera. Whenever it is released, you’ll know, because it will definitely make headlines. The picture above is of an X-Pro1.
Fujifilm X100VI
The X100 series is legendary. It’s probably the most iconic Fujifilm line, with a beautiful retro rangefinder design, including a hybrid OVF/EVF. Pairing the 40MP X-Trans V sensor with a fixed 23mm (35mm full-frame equivalent) f/2 lens, the X100VI is perfect for street, travel, and documentary photography. This iteration is the first in the series to have IBIS. The leaf shutter, built-in flash, and built-in ND filter are three especially great but often overlooked features. The X100VI is compact and discreet, yet eye catching—no wonder it is the most viral camera of all time!
Because you cannot change the lens, this camera is not for everyone; however, it can inspire you to see differently because you’re limited to one focal length, which can force you to think more creatively. The Fujifilm X100VI is my “desert island” camera—if I could only have one model for the rest of my life, it would be this one. With that said, I find that the X100-series tends to pair really well with an interchangeable-lens model, for when the 35mm-equivalent focal length just isn’t the right choice. The X100VI isn’t a point-and-shoot; it’s a premium compact, which is reflected by the $1,799 MSRP (after the recent price increase).
Fujifilm X-T5
If there’s one quintessential interchangeable-lens Fujifilm camera, it’s probably the X-T5. It closely embodies Fujifilm’s retro styling and tactile controls, while packing in their latest 40mp X-Trans V sensor and processor. You get IBIS, a three-way tilting LCD, dual card slots, and weather sealing—all in a body that still feels compact. It’s basically an X-H2, but smaller, lighter, better-looking, and cheaper. This is a premium stills-centric model, yet it’s no slouch when it comes to video capabilities. A lot of comparisons have been made to the Nikon Zf, which is a full-frame camera (not necessarily a fair equivalence), yet the X-T5 holds its own pretty well, (again) punching above its weight class.
The X-T5 is a workhorse that can do a bit of everything. It seems well suited for landscapes, portraits, travel, etc., etc.. I used this camera extensively for about a year-and-a-half, then my wife, Amanda, used it for a year (mostly portraits, theater, and video), and now I have it back, and am enjoying photographing with it again. As a stills-centric yet good-for-everything camera, it’s easy to recommend. With an MSRP of $1,899, it’s under 2K but definitely not cheap.
Fujifilm X-T50
The Fujifilm X-T50 is the little brother of the X-T5. It has the same sensor, processor, and IBIS—it’s basically the same internally as the X-T5 and even the X-H2—but lacks weather sealing and dual card slots. It’s smaller and lighter, with a little more plastic. This was the first camera with a Film Dial, which adds a bit of aesthetic versatility, and is great for exploring which Film Simulations you might like best. This is Fujifilm’s mid-range retro SLR-styled camera, but is just as capable as the higher-end X-T5.
Because this camera is smaller and lighter, it’s a little better for travel or walk-around photography. The X-T50 is a bit more beginner or enthusiast orientated than the X-T5, but you can grow with it, since it’s just as capable as the higher end model. At $1,699, it’s only a little cheaper than the X-T5. If size and weight are a priority, that might be a reason to choose this camera, or if you want a slightly less complicated camera; otherwise, the X-T5 is the better option. I really like the X-T50 personally, particularly because of the Film Dial.
Fujifilm X-E5
The Fujifilm X-E5 is the newest X-series camera. It’s basically an X-T50, but in an X100VI-like body. It’s as close as you’re going to get to an interchangeable-lens X100VI, especially when paired with pancake lenses. It’s Fujifilm’s smallest camera with an EVF, which makes it especially great for travel photography, or just everyday carry. It’s also the only model where you can program up to 11 Recipes into it. The X-E5 is the most premium camera in the X-E series, and is solidly mid-tier, with improved build quality over its predecessor. I have no doubt that this will be a big hit, even with the $1,699 price tag. If you like retro rangefinder styling, this is the interchangeable-lens camera to buy.
Fujifilm X-S20
The Fujifilm X-S20 is the little brother of the X-H2s. It’s a hybrid model that’s especially good for video, but is no slouch for stills. It uses the “old” 26mp X-Trans IV sensor paired with the new X Processor 5. It is not weather sealed and has only one card slot. It’s not necessarily retro styled, and lacks the traditional tactile dials found on most Fujifilm models; instead, it has PASM controls similar to the X-H2s and X-H2, and it has an articulating rear LCD screen. It’s intended to be appealing to those coming from Canikony brand cameras. It only has C1-C4 and not C1-C7 like many other Fujifilm cameras, for those who use Film Simulation Recipes. There are two X-S20’s in my house: one belongs to my wife, Amanda, and the other belongs to my son, Jonathan. They both really love it—in fact, my wife chose the X-S20 over the X-T5. At $1,599, this is a mid-tier camera, but it is slightly more affordable than the X-T50 and X-E5.
Fujifilm X-T30 II / X-T30 III
The current entry-level X-series camera with an EVF and retro tactile controls is the Fujifilm X-T30 II. It has the 26mp X-Trans IV sensor and X Processor 4; however, it was the very last fourth-generation model, so it does have some options that the earlier 4th-gen cameras lack, making it seem a bit less dated. At $999, it is definitely more affordable than the options above, making it a compelling choice, and probably the best overall value right now—a great beginners camera. It doesn’t have IBIS, and may not be the best option for video—although, with a gimbal or tripod, it’s certainly capable of recording quality clips.
The X-T50 was not this camera’s successor, but a whole new highly similar line that is a bit more premium. Fujifilm is about to replace the X-T30 II with (what will likely be called) the X-T30 III. Because of this, the X-T30 II can be a bit tough to find in-stock, as I believe Fujifilm has stopped production of it. If you want the best affordable Fujifilm camera, be sure to buy an X-T30 II—that is, if you can find one. Fujifilm is expected to announce the X-T30 III later this year, likely in the fall. I anticipate it being nearly identical to the X-T30 II, just with the new X Processor 5, possibly with a Film Dial like the X-T50, and perhaps a couple hundred dollars more expensive. In all likelihood, the X-T30 III will be the last fifth-generation X-series camera.
Fujifilm X-M5
The Fujifilm X-M5 is the bargain basement entry-level X-series camera, with an MSRP of $899. It has a striking rangefinder-like retro design, but lacks traditional tactile controls (it has PASM instead) and lacks an EVF. It’s the smallest and lightest interchangeable-lens model in the lineup. Like the X-S20, it pairs the 26mp X-Trans IV sensor with the X Processor 5. It’s touted as a hybrid camera that’s excellent for video, but it lacks IBIS. In a sense, X-M5 is the little brother of the X-S20, and in a sense it’s the X-E5’s smaller sibling. If you have a tight budget or if you prioritize size and weight, this camera might be for you. Between this and the X-T30 II, if you are primarily a videographer, the X-M5 is your best bet, but if you are primarily a stills photographer, I recommend the X-T30 II. It seems like a good option as your very first camera, or else as a second camera for when your larger model isn’t ideal. I’ve never used the X-M5 personally.
Fujifilm X half
Last and maybe least is the Fujifilm X half. This is technically an X-series camera, but it’s not X-Trans, and isn’t APS-C, either. It has a 1″ Bayer sensor orientated vertically, with a fixed 32mm-equivalent f/2.8 lens. It’s essentially a digital version of half-frame cameras, like the Fujica Half, Olympus Pen, Kodak H35N, and Pentax 17. The X half has as much in common with the Instax Evo line as it does the X-series, and bridges a gap between the two systems, with a foot in both camps. It’s a heck-of-a-lot of fun, but definitely less serious than all of the options above. This could be a toy for the photographer who has everything, or a casual camera for events and vacations, or a first camera for your child that shows an interest in photography. You’re unlikely to capture portfolio-worthy pictures with the X half, but for social media or scrapbooks, this camera is quite excellent. Both my wife and I enjoy using it (and have fought over it), but neither of us would chose it as our primary model. At $850, it’s a bit expensive for what it is.
Conclusion
If you’re still unsure which Fujifilm cameras are right for you, let me break it down even more simply. If you are coming from one of the big three camera companies and want the easiest transition, you’re going to look at the X-H2s, X-H2, and X-S20. If you are primarily a videographer, you’ll want to consider those same three cameras, and I’ll throw in the X-M5 if you are on a tight budget. If you simply want the best-of-the-best, the X-H2s, X-H2, and X-T5 are your top options (and the next X-Pro, whenever that comes out). If you are primarily a stills photographer, the X-T5 is top-of-the-line (the next X-Pro will be, as well), the X-T50 and X-E5 are nearly as good (and smaller), and the X-T30 II is the best bargain. The best looking cameras are the next X-Pro (assuming that Fujifilm doesn’t change much), X100VI, and X-E5. If you don’t want to invest in a whole system, and just want to dip your toes into the Fujifilm world, the X100VI is what you should buy. If you don’t have a lot of money to spend, the X-T30 II and X-M5 are the two cameras you need to consider. If you have large hands and/or plan to use long lenses, the X-H2s, X-H2, and X-S20 have the best ergonomics, and I’ll throw in the X-T5 as a bonus. If you want small and lightweight, look at the X-M5, X-E5, X100VI, and (of course) the X half. If you want the most enjoyable, the X half, X100VI, X-E5, and the next X-Pro are the ones to consider. I’m sure I’m missing some situations, but I hope this provides clarity for some of you who are trying to decide which camera to purchase, and are just unsure.
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Fujifilm recently loaned me an X-E5 to try out for a week or so. I also got to play with one at the B&H BILD Expo last month, so I was already a bit familiar with the camera before it arrived in the mail. Included with the X-E5 was the brand-new Fujinon 23mm f/2.8 pancake lens, so I’ll also be discussing that in this review, too. Let’s dive right in!
The Fujifilm X-E5 is actually the sixth X-E camera. The X-E1, released in 2012, was the very first, and the third X-series model overall, with only the X100 and X-Pro1 predating it. The X-E2 came out only one year later, followed by the nearly identical X-E2s in 2016. A year after that, Fujifilm released the X-E3, which saw the first significant design change (although it was still pretty similar). The X-E4 came out in 2021, which was the most different, with an emphasis on minimalism, compactness, and affordability; however, it was still similar overall. We have another significant design change with the X-E5, yet it still retains the distinctive look of an X-E series model.
With the X-E5, Fujifilm quite noticeably improved the construction quality—for example, the top plate is a single piece of machined aluminum, and the camera seems less plasticky overall. It just feels more sturdy, more premium, more refined than the X-E4. With a pancake lens attached—like the new 23mm f/2.8—the camera closely resembles an X100VI, which was clearly intentional. The X-E5 is essentially an interchangeable-lens X100VI; for those who have asked for such a camera: here it is! The two models aren’t exactly the same, and they each have their advantages and disadvantages, but they’re certainly similar enough to justify the comparison.
I don’t want to dive too deeply into the specs, but some important notes are that the X-E5 has the same 40-megapixel X-Trans V sensor and processor as the X100VI, X-T50, and X-T5. Like those models, the X-E5 also has IBIS. This is a camera capable of capturing high quality photos and videos. Not surprising, the X-E5 is also much more expensive—plus a tad larger and heavier—than its predecessor.
Like the X-T50 and X-M5, the X-E5 has a Film Dial, although it’s implemented a bit differently. Instead of a knob, it’s a wheel on the back, with a little window on the top plate. This is a really cool design; however, there is a downside: it has fewer Film Simulations. The X-T50 and X-M5 have only eight of the 20 Film Sims on the knob, with three customizable slots for your favorites that were left out; the X-E5 has only six Film Simulations, with three customizable slots. The six Film Sims on the dial are Provia, Velvia, Astia, Classic Chrome, Reala Ace, and Acros. Somehow—shockingly and inexplicably—Classic Negative was left out, as was Nostalgic Negative. I know that not all of them could make the cut, but I definitely question why Classic Negative was not included—seems like a sin.
The three customizable slots—called FS1, FS2, and FS3—can be set to any Film Simulation. In addition to that, they can also be customized into Film Simulation Recipes (functionality that should be—and hopefully will be—brought to the X-T50 and X-M5 via a firmware update). This is the very first time that Fujifilm has used the term “Recipe” in a camera—amazing! You can have 11 different Recipes programmed into the X-E5: seven within the C1-C7 Custom Settings presets, one in the IQ Menu set, and three on the Film Dial. The Film Dial also works well with my Universal Negative and Film Dial Recipes, providing extra aesthetic versatility. Only the C1-C7 Recipes can be custom named, so you have to remember what the other four are.
While this is certainly a welcome evolution of this feature, it could be made even better. For example, all of the Film Simulations should have the option for Recipes, and not just FS1/FS2/FS3. One issue with this UI, though, is that Recipes are scattered: some in Custom Settings presets, some on the Film Dial, and one in the IQ Menu. I think, more ideally, you’d find them all in one place. A lot of Fujifilm users would appreciate a Custom Settings Dial instead of a Film Dial, with maybe C1-C9 or C1-C12 (more is better). There are a lot of different ways that this could be addressed, and it’s something that should be addressed for future models. Still, the opportunity to have three extra Recipes programmed into the camera at any one time is quite nice, and I’m thankful for it. This is the main reason why I preordered this camera, even though I own an X-E4 that I really like.
Included with the X-E5 was the new Fujinon XF 23mm f/2.8 R WR pancake. This lens is very similar to the Fujinon 27mm f/2.8 R WR, which happens to be one of my absolute favorite lenses. I’ve been saying for years that Fujifilm should have more pancake lenses in their lineup, since a major selling point of Fujifilm cameras are their compact size and minimal weight. A camera like the X-E5 paired with a handful of tiny pancakes is ideal for traveling. This particular camera and lens combo is especially great for everyday walk-around photography.
The lens is sharp with minimal flaws. It has great close-focus capabilities; it’s not a macro-lens by any means, but with 40mp to crop from, it’s possible to use it for near-macro photography. From a technical point-of-view (and mind you, I didn’t do any serious testing), it’s pretty darn good for what it is, a marvel of engineering; from an artistic point-of-view, it seems to lack a little of the magic (a.k.a. character) that the 27mm f/2.8 and 23mm f/2 lenses are known for. Like the 27mm, it isn’t the quietest Fujinon lens. If you are trying to decide between the 23mm f/2.8 and the 27mm f/2.8, that’s going to be a tough call—personally, I like the 27mm just a bit more; however, the close-focus capabilities of the 23mm is certainly a significant plus. If you are trying to decide between the 23mm f/2.8 and 23mm f/2, that’s also going to be difficult, and your decision might come down to just how small is small enough for you. If you are buying the Fujifilm X-E5, it seems like an easy choice to get it bundled with the 23mm f/2.8, since it’s only $200 more when the lens itself is $500—if you have no intentions of keeping it, just turn around and sell it for $450, which makes the camera more affordable.
Ants & Funyun – Tucson, AZ – Fujifilm X-E5 & 23mm f/2.8 – Kodachrome 64
Getting back to the X-E5, the camera has a couple of really cool features, but you can only use one of them, and not both. The first, which is borrowed from the GFX100RF, is called Surround View Mode. It allows you to see outside of the frame when using an aspect ratio other than 3:2, giving a faux optical viewfinder experience (sort of). This is particularly nice when using the 1:1 aspect ratio. The XPan ratio would have been a great addition, but (sadly) it’s still missing on X-series models. The second feature is called Classic Display Mode, which turns the EVF into a really cool retro 1980’s-inspired display. I like both, but I couldn’t figure out how to activate the Classic Display Mode for some time—eventually I asked a Fujifilm tech rep for help. As it turns out, if Surround View Mode is activated, even when using the 3:2 aspect ratio, Classic Display Mode is disabled (and vice versa). Fujifilm: I suggest that Surround View Mode be automatically disabled when in the 3:2 aspect ratio, so that Classic Display Mode can be used; when changing aspect ratios to anything other than 3:2, if Surround View is activated, it would automatically disable Classic Display. This way, you don’t have to jump through hoops to use both of these cool new features.
While the X-E4 saw a lot of buttons removed in the name of minimalism, Fujifilm gave them to the X-E5 in spades. Just the new front control lever alone allows for five customizable functions. The inclusion of the rear command wheel and M/C/S switch means that you shouldn’t be short of camera controls, no matter how many functions you need quick access to. Those who disliked the direction of the X-E4 should especially appreciate its successor.
What else can I tell you about the Fujifilm X-E5? It isn’t weather-sealed (although it seems to have some level of weather resistance—I wouldn’t put it under a faucet, though). It uses the “old” NP-W126S battery. I expected that, as those things would have increased the size, weight, and cost even more. The X-E5 is definitely more premium than previous X-E cameras. I had suggested that Fujifilm prioritize size, weight, and cost by keeping it nearly the same as the X-E4; however, my opinion was clearly in the minority. Most people asked for an interchangeable-lens X100VI, and the X-E5 is as close to that as you’re likely ever going to get. It’s a very nice camera.
It comes with a “nice” price tag, too. In America, it’s $1,700 for the body-only, and $1,900 when bundled with the new 23mm pancake lens. That’s pretty shocking, especially when it’s double the price of the X-E4; however, keep in mind that inflation and tariffs have impacted the price in addition to the more expensive components that Fujifilm used in the camera. Interestingly enough, the X-E1 was $999 in 2012, which is about $1,400 in today’s dollars; add to that tariffs, and you’ve pretty much got the X-E5 price tag, never mind the 40mp sensor, IBIS, and better build quality. While it seems expensive, it is not an entry-level model. And with Fujifilm raising the price (in America) of the X100VI to $1,800, the X-T50 to $1,600, the X-T5 to $1,900, the MSRP of the X-E5 makes a little more sense. I do think it’s worthwhile to buy at $1,700, which is why I have it preordered bundled with the 23mm f/2.8 lens.
Mission San Xavier del Bac – Tucson, AZ – Fujifilm X-E5 & 23mm f/2.8 – Kodak Vericolor VPS
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According to Fujirumors, Fujifilm is likely to raise the price by about 10% on most of their cameras and lenses beginning August 1st, which is Friday. It’s unclear if this is worldwide or just in America, but my suspicion is that it will just be in America, and is related to the tariffs. I also highly doubt that the X half and X-E5 will be affected, because the increase was already built into their MSRP.
Every major camera maker has either already increased their prices, or has announced that they will be soon—or both (already raised prices, but further price increases are forthcoming). While the X half and X-E5 were on the leading edge of the increase (and both were criticized for it), Fujifilm has largely delayed price increases on everything else. My guess is, with the Japan trade deal finalized, Fujifilm has something stable to determine what the increase should be, so that’s why it’s been delayed until now. I also suspect that Fujifilm will try to manufacture more of their U.S.-bound units in Japan instead of China, something they’ve already begun doing.
It’s also possible that this will be the first in a series of price increases. If Fujifilm were to raise the cost by (say) 20% all at once, that could scare off potential customers; however, by increasing it by “only” 10% now and another 10% later (perhaps on January 1st), it allows customers to acclimate more gradually to the higher prices. It’s like the frog in boiling water thing. Hopefully, though, this will be the one-and-only increase; if it is worldwide and not limited to America, I think that could possibly be an indication of it being only a one-time thing. It’s all just speculation at this point, and time will eventually tell—until then, take it all with a very large grain of salt.
Of course some will say that this is just Fujifilm being greedy or that Fujifilm has lost the plot and is out-of-touch with their customers. That’s all nonsense, spoken largely by trolls and click-bait content creators. Every camera maker is dealing with this same issue right now, and they are all raising their prices (RED is the only camera made in America as far as I’m aware, but I’m not sure how long that will last since they’ve been purchased by Nikon). I said back when the X half was announced that it was a foreshadowing of future price increases. When everyone complained about the cost, I said in time it would seem pretty normal, once the MSRP of everything else goes up. Now they’re going up. My suspicion is that we’re still five or six months out from all the dust settling, and it’s even possible that the X half and X-E5 could see a small price reduction at some point (since they were announced when there was a lot more uncertainty), who knows?
All of that is to say, if you’ve been eyeing a certain camera or lens, you might want to get your order in now and not wait until the price goes up later this week. If you delay, you may have to pay about 10% more. This is probably just for those in America, although I’m not 100% sure, and worldwide price increases are certainly a possibility, albeit a fairly slim possibility in my estimation.
Fujifilm has already produced and delivered more copies of the X100VI than any other previous X100-series model. There are more X100VI’s in the hands of photographers right now than X100V, or X100F, or X100T, etc.. That’s truly amazing, since the X100VI was released only about a year-and-a-half ago, while the other models had production runs closer to four years.
The reason why Fujifilm has made so many copies of this camera is because of the unprecedented historic demand for it. By far, there were more preorders for the X100VI than any other camera by any manufacturer ever. No camera in the history of cameras has had so much interest at announcement. And, if the demand doesn’t relent anytime soon, it could possibly lead to the X100VI becoming the most-sold camera of all time (not including cellphones), which would be a highly improbable achievement. I don’t think that will happen—not even close—because surely the demand isn’t that strong. At some point, it will certainly back off to a more “normal” level, right?
There are still people lamenting that they can’t get their hands on a Fujifilm X100VI. They’d like to buy one, but can’t find it in stock anywhere. As soon as a camera store lists it in-stock, which doesn’t happen often, within hours or even minutes, they’re sold out again. So it might be easy to believe that the demand hasn’t relented. But that’s mostly just in America, and it seems to be partially related to the tariffs. Worldwide, the X100VI has been becoming easier and easier to find. It’s still out of stock at a lot of places, but overall, it’s not terribly hard to get one if you want one. People are reporting walking into their local camera store and finding a few copies on the shelf. So internationally—and depending on where exactly—the situation is a bit better than here at home.
What makes me think that supply and demand are equalizing is that there are used copies available for a reasonable price, like at B&H. Scalping continues on sites like eBay, but it’s not nearly as bad as it was last year. Things are slowly returning to normal. And this is where Fujifilm needs to be very, very careful, a situation that I’ve been predicting for more than a year.
With the X100VI, Fujifilm doubled the production numbers of the X100V from the get-go, from 7,500 units per month to 15,000. At one point last year they said that they wanted to double production again, making it four times that of the X100V, but later stated that that simply wasn’t possible. My best guess is that it is somewhere around three times more than the X100V right now, which would put it at about 22,000 copies per month, or about 265,000 units per year (these numbers are just guesses). The historically “normal” demand for an X100-series camera is 90,000 per year.
At some point, demand for the X100VI will drop. Once the majority of those who want one get one, Fujifilm will sell a lot fewer of them. If the market gets oversaturated, the value will decrease, and Fujifilm will be forced to reduce the price. Those selling them used will have to drop their price, too. This is a situation that Fujifilm really wants to avoid, as it would reduce brand strength. It would be a Lean Production failure if Fujifilm produced more X100VI’s than there are customers wanting to buy them. Fujifilm must proceed with caution.
The mistake of overproduction would be very easy. Since it takes many months from securing parts and scheduling manufacturing to delivering an assembled camera to a store, the demand must be forecasted in advance, probably at least six months. If Fujifilm is making 22,000 units per month, and the total international demand right now is 130,000, in six months Fujifilm would have overproduced 2,000 copies. That’s probably not a big deal, as they’ll surely sell those cameras; however, if they’ve still got 132,000 cameras in the process somewhere, to be manufactured over the following six months, that’s a massive and possibly devastating problem. That’s something that could sink the whole camera division.
I’m just little ol’ me sitting in my office trying to stay cool from the brutal Arizona sun, but even I can see early signs that supply and demand are equalling out. That should be a huge caution flag for Fujifilm. They should strongly consider scaling back production. Perhaps drop it back to 15,000 units monthly ASAP, and work towards “only” 7,500 units monthly by 12 months from now. Obviously Fujifilm wants to capitalize on this lightning-in-a-jar situation as much as possible, and they’d love to sell a quarter-million-plus copies per year without hardly any promotion—what a dream circumstance! But they should also listen to that nagging feeling that this won’t last forever, because it won’t.
I wouldn’t doubt if the X100VI sold twice as many units as the X100V or any other prior X100-series camera by the time its production run has ended. It might even sell four times as many. At some point, though, all the people who want one will have one. Aside from that, trends change quickly. All it takes is some shift in market dynamics or some other camera to catch the attention of social media influencers for the X100VI to be yesterday’s news. Overproduction is a real problem that Fujifilm is well acquainted with and desperately wants to avoid, and no other X-series camera has had a higher risk of overproduction than the X100VI. Fujifilm should ask themselves if now is the time to scale back, because it would be very easy to overshoot this, something that they’d certainly regret doing.
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.
I got a surprise package in the mail from Fujifilm: the brand-new X half! I will write a review of the camera in a few weeks probably—I haven’t had it nearly long enough to provide any proper insights. It’s a fun little camera, with some positive and negative aspects. We’ll talk about all of that at some point in the future. Today I want to write about how Fujifilm could implement some features of this camera into future X-series models.
Specifically, I want to discuss a few of the new Filters. Filters are not Film Simulations (although some of them are based on Provia); on all other X-series models, these are known as Advanced Filters. The X half has the usual array: Toy Camera, Miniature Effect, Pop Color, High-Key, Low-Key, Dynamic Tone, Soft Focus, and Partial Color. There are also some new ones, that apparently are borrowed from the Instax Evo line: Canvas, Retro, Vignette, Blur, Fisheye, Color Shift, Mirror, Double Exposure, Light Leak, Halation, and Expired Film. Some of these are uninteresting, and probably should have been left off the camera so that one could navigate the menu faster. But some of these are great, and should be included in future X-series models—just maybe not in the same way.
My favorite is Light Leak. With this filter, the camera puts a random faux light leak on your images. You don’t know what you’re going to get, and that serendipity can be thrilling, especially when it just really works with the image. I would love Light Leak to become a JPEG option (like Color Chrome Effect and Grain) on all X-series cameras moving forward. You should have three choices: All (where every picture gets a light leak), Random (where some pictures get it, but most don’t), or Off (for those who don’t want it at all). This would be such a fun thing for Fujifilm to add, and it seems like it wouldn’t be very difficult to do.
Film Leak Filter — Fujifilm X half
Next up is Expired Film, which has three options: Green, Red, and Neutral. This should be a new Advanced Filter on future X-series cameras. On the X half, your Grain settings get applied to the Filters (at least some of them; I haven’t tested them all yet), and not just the Film Simulations; however, on the X-series, you can’t apply Grain to the Advanced Filters. So this is actually two suggestions for Fujifilm: add Expired Film to Advanced Filters, and allow Grain to be selected for Advanced Filters.
Expired Film (Green) Filter — Fujifilm X half diptych
Third is Halation, which puts a red glow around bright highlights. This Filter should be a JPEG option that can be applied to any Film Simulation. I suggest three choices: Off, Weak, Strong. I would love to pair this effect with my CineStill 800T Recipe to more accurately mimic the film. The X half is not necessarily a great option for nighttime photography, so it’s almost a waste on this camera, but I definitely see potential for this effect on other X-series models.
Halation Filter — Fujifilm X half
I haven’t used Retro yet, but I’m sure it would be fine to join the Advanced Filter club. Vignette should probably be added as a JPEG option (like Color Chrome Effect and Grain). In my opinion, Fujifilm should graduate Pop Color to Film Simulation, and call it Fortia. In-camera diptychs are just a ton of fun, but I don’t see that coming to other cameras. The Film Camera Mode is pretty cool, and I’d like to see something similar be included in the next X-Pro or X100-series model (although maybe implemented slightly differently). The X half has plenty of unique features and functions, which is what makes it an interesting camera. In my opinion, some of these need to find their way into other models, and not remain solely on the X half.
In 1978, Pentax surprised the photographic world with the Auto 110, a tiny interchangeable-lens SLR that used 110 film cartridges. It was the smallest ILC ever made. For only $249, you got the body, a 24mm f/2.8 lens, a case, and a strap. Pentax discontinued the Auto 110 in 1986.
The concept of this camera was portability and simplicity. It was the smallest and lightest SLR ever made—probably the only one that’s pocketable. It was one of the most simple SLRs to operate. In order to accomplish these goals, Pentax built it around the 110 film format, which was considered subpar and only for amateurs. And that was the paradox: interchangeable-lens SLRs were for enthusiasts and pros, while 110 film was not.
Serious photographers would never, ever use 110 film. The camera was fully auto except for focus; at the time, anything auto was largely considered for novices, as “real photographers” used full manual. Interchangeable-lens SLR cameras were the standard for hobbyists and professionals. The Pentax Auto 110 occupied a weird space of being too robust and expensive for the uninitiated, yet too lackluster for anyone remotely serious. Who would buy it? While plenty of photographers scoffed at the Pentax Auto 110, it sold fairly well, and Pentax continued to make it for eight years—a pretty long run. So how did Pentax pull it off? Why was the camera not a flop?
There is a market for compact, unique, fun, less-serious cameras. The Pentax Auto 110 was able to get the most out of the small film format, delivering image quality that was plenty good enough for everyday moments. No, the pictures weren’t going to grace the cover of magazines or hang on museum walls, but they could be placed into photo albums, or in an 8″x10″ frame and hung in the hallway. It was so small and lightweight that the camera didn’t get in the way, and could be easily carried everywhere. It was simple enough to operate that most anyone could do it, as the complications of larger SLRs were removed. At the very least, it was a conversation starter (still is).
The Auto 110 was more affordable than other SLRs, at only $249. The Canon A-1, released the same year, was $625 (with a 50mm lens). Pentax released the iconic K1000 two years prior—in 1976—with an MSRP of $299 (with a 50mm lens), so for just $50 more one could get a much more respectable camera. It’s pretty interestingly if you adjust these numbers for inflation: $249 in 1978 is $1,230 today, $299 is $1,477, and $625 is $3,087! None of these cameras were cheap, not even the Auto 110.
Which brings me to what I want to discuss today, and that’s the cost of the Fujifilm X half. Unless something unexpected happens, this will be the last post about the new camera until after I get back from the B&H BILD Expo next month, so if you are tired of hearing about it, just bear with me a moment—I promise that we’ll get to other things. Let’s dive in!
Probably the biggest criticism of the X half is the price. $850 seems like a lot of money, because it is. The camera is a little expensive. I’ve seen plenty of people say that if it was $400 or $500, that would be the right cost. If it was 2015, I might agree, but there’s been some significant inflation since then. $500 in 2015 is $680 today, which is what I estimate would be a fair price for this camera (I said $700, but close enough). The reality is that things are expensive in 2025. And if you consider that the X half is probably the first to be adjusted for the tariffs, I think it’s more of a foreshadowing of what’s to come across the entire camera market in the coming months.
Yet the X half is still much cheaper—$380 cheaper—than the Pentax Auto 110 was in 1978, accounting for inflation. I knew the late-1970’s were rough economically, but I didn’t realize just how expensive things were. While there is plenty that’s divergent, I see some parallels between the Auto 110 and the X half, namely portability, simplicity, and casual fun. If the X half was transported back in time to 1978, it would sell for $172, which would have been considered a good bargain for the time; however, in 2025, $850 is a lot of money for what it is. Even as prices seem to skyrocket, it’s still much better than it was in the late-1970’s.
So where does that leave us? I think it’s good to have a healthy historical perspective, but that doesn’t help the wallet feel any less empty. I don’t know the future, but I think it’s unlikely that the tariffs are fully settled, and as things fall into place over the coming months, the opportunity to lower the price is a strong possibility. If the camera sells really well, and the backorder list is long, even if Fujifilm could drop the price, they would be silly to do so (but who knows, maybe they will). I don’t see the historic X100VI demand, but all indications are that preorder sales have been strong. I believe that the camera will do quite well for Fujifilm. Time will tell, though.
If you can accept the X half for what it is, and forgive it for not being what it’s not, it could be a really fun camera for capturing everyday moments. It’s not a serious camera for serious photography, yet it is priced nearly as if it is—just like the Pentax Auto 110 was. If you think you’d enjoy it, then consider grabbing one at some point; if not, it’s very easy to pass, and consider a more advanced model instead—you can get a Fujifilm X-T30 II with a lens today for less than a Pentax K1000 with a lens cost in the late-1970’s, adjusting for inflation. There are plenty of options for those that want an enthusiast or pro camera. The X half is one of a kind—the most unique digital camera ever made—and as such, it’s not going to be for everyone, and that’s ok.
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There’s been a lot of negativity within the community about the new Fujifilm X half camera. A lot of positivity, too, but definitely a lot of gloom. I think it stems from a misunderstanding of who the camera is for. Understanding better the intended market segment might help to make sense of the camera. I think it’s also important to state that just because a particular model is not for you personally, doesn’t mean that it shouldn’t exist—if it becomes commercially successful (which I’m confident it will be), that is a strong argument that it should indeed exist because it obviously filled a market void, but maybe just not the particular void affecting you. It’s certainly ok to express your opinions about it, but preferably in a kind and constructive way. Not everything I said was positive because in all honesty, not everything about it is roses and rainbows; however, that doesn’t mean the camera is junk. With that out of the way, let’s get into this.
So who is the Fujifilm X half for? In my opinion, there are several primary groups. And just because someone doesn’t fit any of those groups, that doesn’t mean they won’t buy or appreciate the camera. I think this is a polarizing model that is definitely not for everyone, or even for most people. Some of you will love it, some of you will hate it, and that’s ok. This camera isn’t for everyone who regularly reads this website. In fact, the target audience most likely has never heard of Fuji X Weekly, or is maybe only vaguely familiar (but probably not).
One group is those who have recently discovered the joys of film photography, particularly those who have purchased the Pentax 17 or Kodak H35N—but not exclusively those people. Some have a 35mm point-and-shoot from the ’90’s. Some have been using Fujifilm Quicksnap disposable cameras. Film photography has seen a significant resurgence from the younger generation; however, it’s been hindered by the high cost of film and development, and sometimes the lack of availability. A camera that provides a similar experience and even aesthetic, but with the convenience of digital and with a one-time-fee entry point will be appealing to some of these people.
Another group is the digicam lovers. Surprisingly, the number one digital camera brand in Japan in 2024 was Kodak (actually, JK Imaging using the Kodak brand name). They’re selling a ton of cheap digicams that are basically 15-year-old tech and designs. Nobody in the camera world takes this seriously, but it is a sizable demographic. Retro digicams from 15 or 20 years ago are all the rage right now, too. The X half offers a graduation of sorts for those looking for a more premium option.
A third group is Instax users. Instax is the camera division’s money maker much more than the X-series is. Instant film photography is big and has been for awhile, and Fujifilm is king of the hill. At some point one can outgrow Instax; the Evo series is supposed to help with that, but it’s not a big step. So how can Fujifilm convince Instax photographers to take the leap into the X-series world? With a digital camera that offers a simple and analog-like experience with some Instax compatibility, of course!
In my opinion, those are the three main groups. That’s a pretty large umbrella, and you only need a small portion from each to sell a lot of copies. If you are not in one of those groups, you may still find the camera appealing, and might buy and love it (I might be one of those people); however, you’re not necessarily the target market for the X half. What’s fascinating—genius, really—is that this is a potential stepping stone into the system from the bottom. There’s always a lot of discussions about market share, and convincing those from other brands to join the fold. This camera is intended to bring in outsiders, and grow the brand unconventionally yet organically. Then, later, some of these people will buy an X-M5, X-T50, X100VI, etc., as their second X-series camera. I bet thousands get into the system this way.
Unfortunately, some of those who aren’t the target market have been trashing the camera online (not on this website, but elsewhere), and—much worse—speaking harshly of those who might buy it. My estimation is that the majority of sales will come from first-time Fujifilm photographers. I think it will sell fairly well to the existing X-series customer base because it’s a fun concept, but primarily it’s going to be someone’s first dip into the X-series pool. Instead of degrading these folks for liking and buying the camera, we should gladly welcome them into the community. If they have a good experience, they may just stick around for awhile, and that’s a very good thing for the brand and photography in-general. I think we need to be more welcoming and accepting of these newcomers, and not criticize them for making the purchase. I don’t think anyone here is doing that, but I’ve definitely seen it elsewhere, and it’s not healthy. It’s ok if this camera isn’t for you, but it is certainly for someone, and they’re going to absolutely love it.
Fujifilm announced a new camera last night called X half. It also goes by the name X-HF1, apparently. This is a 32mm (full-frame-equivalent) f/2.8 fixed-lens compact camera with a vertically mounted 1″ sensor, and is probably the most unique digital camera ever made—or, at the least, it offers the most unique photographic experience in all of digital photography. This isn’t a review, but I did want to give my thoughts on the release.
I haven’t used the camera, or even seen it in-person. I was up late last night watching the announcement and various review videos that were published, trying to figure out what this camera is. Now I’m awake typing this article after less than five hours of sleep, so if there are any typos, please excuse me. I’ve barely started my first cup of coffee. Anyway, Fujifilm released two videos, which I’ve included below.
In the weeks leading up to the release, I published two article about the X-HF1, speculating what it might be. The first was Why the Upcoming Fujifilm Half-Frame Camera is Genius, and I guessed that this was going to be an amazing camera, specifically designed for both a film-like photographic experience and recording vertical videos for TikToks and Reels. The second was What if the upcoming Fujifilm Xhalf is something different?, where I second-guessed my prior article, and wondered if the camera was going to be stripped down, less video-centric, and more Instax than X-series. Well, the X half seems to fall right in-between (maybe closer to the second take), and both articles had some things right and some wrong.
The new camera is intended to produce a film-like experience, and is capable of doing so in a unique way. In Film Camera Mode, you choose your “film” (Film Simulation) and how many frames (36, 54, or 72), and then you shoot through the Optical Viewfinder until the roll is fully exposed, using the frame advance lever in-between shots. You cannot see your pictures until after the roll is finished and “developed” in their new app that is just for this camera. I think this is super cool, and I hope this mode comes to some future camera, maybe the upcoming X-E5. There is a missed opportunity: Fujifilm offers photo printing services, so you should be able to order 4″x6″ prints of your roll of “film” from the new app. It would be so much fun to order prints, then wait until they arrive in the mail before reviewing the pictures. It would encourage people to print their photos, which isn’t done nearly enough nowadays. And it would be a way for Fujifilm to make some extra money on a service they already offer. Maybe they’ll update the app to include this in the future, as it seems like an obvious oversight.
The X half has a 20mp 1″ Bayer sensor, but only uses 18mp because it crops out 2mp to accommodate the 3:4 aspect ratio (the sensor is 2:3). If you want to crop your pictures to 2:3, you’ll lose a little more resolution, but it is still plenty for social media and web use, as well as prints smaller than 16″x24″. It would have been nice if one could choose to use the full sensor and the 2:3 aspect ratio, but with the X-HF1, Fujifilm significantly stripped down the menu and customizations. They made the camera about simplicity, but in doing so you lose out on some of what makes Fujifilm cameras special; namely, you cannot use Film Simulation Recipes with this camera, since you cannot control the various parameters like you can on any other X-series model.
Instead of 20 Film Simulations, this camera only has 13: Provia, Velvia, Astia, Classic Chrome, Reala Ace, Classic Negative, Nostalgic Negative, Eterna, Acros, Acros+Y/+R/+G, an Sepia. It’s too bad Sepia made the cut over PRO Neg. Hi, PRO Neg. Std, and Eterna Bleach Bypass. While you cannot use Recipes, the Film Simulations seem to produce a slightly divergent look than the standard Film Sims, almost as if Fujifilm programmed each with its own Recipe, for what that’s worth. There are also so-called Advanced Filters, including a few new ones borrowed from the Instax Evo cameras.
While the X half does shoot vertical video, the quality seems suspect. I’m sure there are some who will appreciate this and will create some interesting content with it, but it’s a big miss in my opinion. They should have allowed 1080p in the 9:16 aspect ratio so it would have been more useful for social media video creation. The X-HF1 could have been a trendy camera for TikToks, Reels, and Shorts, but I just don’t see that happening with the video implementation. The capability of video-video and still-video diptychs are a bit intriguing, but I don’t think that will catch on as anything more than a passing curiosity. Or don’t included video capabilities at all—I think that would have made a bigger statement (and would have been viewed more positively) than how it was implemented.
So what do I make of the X half? It looks nice. It’s very compact, which is perfect for everyday carry or travel. It’s minimalistic, which can be good. It offers a very unique shooting experience that looks like a lot of fun. It seems like a bridge between Instax and the X-series, and I think it’s fair to consider it more like a very-high-end Instax Evo camera without a printer than a bottom-end X-series model (it’s basically both). It will certainly be a very controversial camera (maybe the most), with perhaps the biggest controversy being the price: an MSRP of $850, which seems high for what it is. Some people are going to love it, and some are going to hate it. I think it will be especially popular with Gen Z and Gen Alpha, who are currently fascinated with classic digicams and film cameras, including half-frame models like the Pentax 17. Me? I applaud Fujifilm for daring to be different, and going way outside the box. I did preorder one last night, but I’m a bit unsure if I’m actually going to like it or not. Now excuse me while I pour that second cup of coffee….
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
One of Fujifilm’s most beloved lines is the X-E series. While never the most popular, X-E cameras have a passionate cult-like following. My first Fujifilm camera was an X-E1, so I have a special place in my heart for the line. The X-E4 is currently my favorite for travel photography, especially when paired with pancake lenses. At this time, Fujifilm doesn’t offer an X-E camera—the last one was the X-E4, but it was discontinued over two years ago.
The X-E1, which was announced in the fall of 2012, was a striking camera that caught a lot of people’s attention with its retro styling and compact design; however, there were some initial issues (later rectified via firmware updates) that hindered the perception of it. One year later, Fujifilm released the X-E2, which had a new sensor and was largely free of the problems that had given its predecessor bad press. This was a successful model for Fujifilm, but the X-series was still pretty new, with a small (but quickly growing) market share. The X-E2s was released three years later; it was almost just a firmware update disguised as a new camera, and Fujifilm later gave that same firmware to the X-E2. A lot of people consider the X-E2 and the X-E2s (which had a pretty short run) to be the same camera, because they basically are (although not 100%). In the fall of 2017, Fujifilm announced the X-E3, at a time when the X-series seemed to be hitting its stride, with several commercially successful models coming before (X-Pro2, X100F, X-T2, X-T20). I think there were some high sales expectations for the X-E3; however, demand turned out to be sluggish, and the camera had to be discounted in order to move the inventory. Because it was considered a bit of a “flop” (too many copies were manufactured for the actual demand), there were some rumblings that the X-E3 might be the last model in that series. Thankfully it wasn’t.
White Bridge across Pond – Charleston, SC – Fujifilm X-E4 – Pacific Blues Recipe
In March of 2021, Fujifilm released the X-E4. I preordered my copy the moment it was announced; if I hadn’t, I might not own one today. Fujifilm used the sales figures of the X-E3 to estimate the demand for its successor, which was a fair assumption, but what they didn’t know is that the X100V was about to go viral, and it was going to take the X-E4 with it. Demand for the X-E4 turned out to be much greater than it had been for the X-E3; however, as luck would have it, this was during the Covid global parts shortage, and Fujifilm had trouble securing materials to manufacture more copies. Two years after it was released, and with a very long backorder list, the camera was discontinued.
Because there was so much unfulfilled demand, the second-hand market for the X-E4 went nuts. It was pretty common to find a used X-E4 selling for 50% more than the MSRP of a new model, and sometimes double. Crazy! If sales had been slow, it very well might have been the final nail in the X-E coffin; however, sales were good, except that Fujifilm discontinued the camera at the peak of its popularity because they ran out of parts. Now, a little over two years later, apparently a new model is forthcoming. Interestingly, in 2023 I predicted that the X-E5 might come in the spring of 2025… not a bad guess, only slightly off. Let me quickly discuss what I hope for with the X-E5.
Beach Chairs – Folly Beach, SC – Fujifilm X-E4 – Velvia Film
A lot of people wanted to buy the X-E4 but just couldn’t find one in stock, so I wouldn’t change much. If it ain’t broke, don’t fix it. There are five things I would do different, and otherwise I’d leave it alone. I don’t think Fujifilm needs to reinvent the wheel here.
The five things that I would change, which would make the X-E5 pretty much perfect in my eyes, are simple: use the Shutter/ISO combo dial of the X100/X-Pro series, include an M/C/S switch, include a rear command dial, improve the EVF resolution, and use the X-Processor 5. That’s it. Keep the design the same, keep the sensor the same, use the same battery—keep almost all of it the same. Do this, and it will be a very successful camera.
Some people will demand IBIS and claim that the X-E5 must have it or the camera’s a dud. I don’t care if it does or doesn’t have IBIS, I’m fine either way. For still photography, IBIS is nice, but is oftentimes very overstated. It’s not a critical feature whatsoever for most people and circumstances. It does add weight (and probably size), cost, and battery life—in other words, there are tradeoffs. I’m ok with either choice, but I definitely lean towards its exclusion.
Will it have a small grip like the X-E3? It could, but if it doesn’t have IBIS, it’s lightweight enough that the omission is not a problem (it’s not a problem on the X-E4); personally, I’d welcome it for times when a larger lens is attached to the camera. They could include a built-in flash (the X-E1 and X-E2 had a flash), but it doesn’t bother me even slightly that the X-E4 doesn’t have one. I’d be a little surprised if the X-E5 has the 40mp X-Trans V sensor, but it certainly could. I’m more inclined to believe that it will have the 26mp X-Trans IV sensor like the X-S20 and X-M5, if for no other reason than to keep the cost down. The Film Dial? I like it personally, and I’d be curious to see how it might be implemented, but it doesn’t seem like an easy addition (the EVF is in the way), so I’m guessing no, the camera won’t have it.
One final point I’d like to make in this article is in regards to timing. The X-E1 was the second-to-last X-Trans I camera (X-M1 was last), the X-E2s was the second-to-last X-Trans II camera (X70 was last), the X-E3 was the second-to-last X-Trans III camera (X-H1 was last), and the X-E4 was the second-to-last X-Processor 4 model (X-T30 II was last). Fujifilm has used the X-E series to mark the sunset of each generation, with one camera model to follow. It’s reasonable to assume that we’re nearing the end of the fifth-generation. My prediction, which is merely a guess and nothing more, is that an X-T30 III (an X-T30 II but with X-Processor 5) will be announced in the fall, and the X-Pro4 (maybe called X-Pro5), which will be the first sixth-generation camera, will be announced in January or February of 2026. I’ve guessed wrong many times before, so take this with a massive grain of salt.
Tree of Broken Glass – North Salt Lake, UT – Fujifilm X-E1
Ever since I first saw the Fujifilm X100, X-Pro1, and X-E1 in 2011 and 2012, I wanted to buy one. These cameras were significantly different from the other digital models on the market, and seemingly more similar to classic film cameras. I’d see them in various camera magazines, and I’d eagerly read the reviews and study the pictures. I was fairly new to digital photography, having purchased my first DSLR in 2009, but I found the experience frustrating and disappointing. It was so much different than film, and I felt like I was learning photography all over again.
I had been a stubborn digital holdout for a decade, choosing film because I disliked digital. I would brag that I could easily distinguish a digital image from a film photo. But digital technology quickly advanced, becoming better and better. I knew that I needed to get onboard the train before getting completely left behind at the station. Because I had a couple of 35mm Pentax bodies, and you could use K-Mount lenses on Pentax DSLRs, I initially went with that brand. I have absolutely nothing against Pentax (I own a couple of Ricoh GR cameras), but it just wasn’t a good fit for me.
Barn by the Tetons – Grand Teton NP, WY – Fujifilm X-E1
Unfortunately, at the time that the original Fujifilm X-series cameras were released, I could not afford them. They were outside of my budget. Oh, if I just had a few hundred dollars more to spend on a camera, I’d buy one, I would tell myself. However, Fujifilm was just out of reach.
Time went on, and I jumped from brand-to-brand-to-brand, never satisfied with my gear. I thought maybe I was just being discontented, and I should try harder to find gratification with what I had. But contentment seemed illusive. After a number of years, I sold all of my digital gear except for one point-and-shoot digicam and my cellphone (I still had a couple of film cameras), and—for the most part—took a break from photography. Well, that break was short-lived, because I moved to Utah, which is a photographer’s playground, and I couldn’t resist the urge to create photographs.
Bison In The Road – Antelope Island SP, UT – Fujifilm X-E1
This time, I was determined to buy a Fujifilm camera. I had never owned one, and didn’t really know what to expect, but I knew they were different. I couldn’t afford the current offerings, so I purchased a used Fujifilm X-E1, which was now a four-year-old model. The X-Pro2 was brand-new, and I would have loved to buy it, but it was not anywhere near my budget. The current X-E model was the X-E2s, and that was also unattainable for me at the time. Happily, I found an X-E1 that I could afford, so I bought it. The manual controls felt natural and made so much sense to me. I was reminded of why I loved photography. It was instantly clear to me that Fujifilm cameras were what I had been looking for all along.
The purchase of that X-E1 sent me on a path that I’m still on today, and it’s been an incredible journey! To say that it changed my life is a massive understatement, no hyperbole. Although it wasn’t a brand-new camera, I loved it. I have a special place in my heart for the X-E1, and all of the other X-E models, including my Fujifilm X-E4, which is one of my favorite cameras today. I find it sad that Fujifilm is not currently making any X-E bodies (the X-E4 was discontinued two years ago), but I’m hopeful that the series will continue on, and the next iteration isn’t too far out.
Fujifilm recently released the GFX100RF; while the press has been largely positive, there have been a lot of criticisms in the comments section of articles and in forums. The complaints mostly revolve around two things: the lack of IBIS, and a maximum aperture of only f/4. What should Fujifilm do about this?
It’s important to understand that the Fujifilm GFX100RF is the smallest, lightest, and cheapest digital medium-format camera-lens combo ever made. It’s the most affordable (aside from used) and portable option for digital medium-format photography. That was Fujifilm’s goal for this model, and they achieved it quite fantastically. With that in mind, all of the positive press is easily understood. So what accounts for all the negative comments? I believe there are a few possible explanations.
First, the GFX system is niche, and is not for everyone. Most photographers don’t need it, but some do, and some who don’t “need” it enjoy GFX anyway; however, it’s not mainstream, and likely never will be. Because the initial expectations were that the GFX100RF was a medium-format X100VI, people thought this was going to be a camera for the masses. It’s not. It’s a niche camera in a niche system. While it might offer the best way to dip your toes into GFX before deciding whether or not to take the plunge, it is not a camera that most will appreciate. It will never sell nearly as many copies as the X100VI (although it could become the best-selling GFX model). Perhaps the comparisons to the X-series camera created some unrealistic expectations. Even though there are some similarities to the X100VI and even the X70, this camera is definitely divergent from both, and those comparisons should be taken with a grain of salt. If the new camera was literally a medium-format X100VI, it would be a lot different, including bulkier and more expensive. Some might want that, but this camera is not a medium-format X100-series model. It should be appreciated for what it is (smallest, lightest, cheapest), and not criticized for not being what it was never intended to be (a medium-format X100VI).
Second, I think most of the complaints are from those who have little or no experience with medium-format cameras, and have unrealistic understandings of the norms and physics of the format. Literally, there are some who have said they’d never buy the camera unless it had an f/1.7 lens. Yeah, Fujifilm could do that, but it would be so large, heavy, and expensive, I doubt anyone would buy. My guess is that the majority of those criticizing the camera were never going to buy it, but were always going to find an excuse to pass. Interestingly, the closest medium-format camera-lens combo in size and weight is the Hasselblad 907X (plus CFV 100C back) with the 28mm f/4 lens—which also lacks IBIS, has an f/4 maximum aperture, and costs nearly twice as much as the GFX100RF.
Which brings me to third: trolls. The internet is full of them, and the Fujifilm community is no exception. In fact, I’d say that the number of trolls lurking around Fujifilm content has dramatically increased over the last couple of years. It doesn’t help that one troll can have many accounts, and use a variety of personas. You might see a whole thread conversion, and not realize that it’s just one person talking to themselves using multiple names. It makes them appear to hold a popular opinion, but in reality most disagree. If you are an internet troll, you quite literally need professional help, and I urge you to seek out the mental health help you obviously desperately need. Interestingly, when you meet photographers in-person, you realize that trolls don’t exist in real life, they’re only on the internet. I met hundreds and hundreds of photographers over the last year, and can attest that none of them are trolls. But go to the comments section of most photography sites (thankfully, not this one), and probably anywhere from a quarter to a half of the comments are from trolls. I’d encourage content creators to crack down on internet trolls—if you don’t put up with them, they tend to go away, which makes the experience better for the real people who want to enjoy your website.
Now, this is what I propose to Fujifilm: make an actual medium-format X100VI. Call it the GFX100RF-XL. Give it a 45mm f/2 lens, or, if that’s just an impossible maximum aperture (which it probably is), go with f/2.8. Give it IBIS and an optical viewfinder (maybe like what’s in the X-Pro2). Yes, the body might need to be 25% or even 50% bigger. The lens would likely be 150% or 200% larger, maybe more. It might weigh twice as much as the GFX100RF. It’ll probably cost three thousand dollars more. But there are a lot of people who claim to want this, so give it to them. Let them have the opportunity to put their money where their mouth is. If it’s a big success, then they’ll have proven their criticisms both valid and valuable. Win-win. If the camera struggles to sell well, then Fujifilm knows to ignore those people in the future (so you better pony up if Fujifilm does this!).
I do think it’s worth exploring if the demand is actually real—I believe that some of it is real. There are people who would be all over a medium-format X100VI, despite the size, weight, and cost increase. It would be a dream-come-true for them. Why not find out just how many there are? If money was no object to me, I’d happily own both a GFX100RF and a GFX100RF-XL. At the very least, this camera would grab headlines, and bring attention to the brand. Most likely it won’t sell as many copies as the GFX100RF, but it would likely sell well enough to justify its existence, and become a legendary model in time, if not right away.
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
Last year, WEX Photo Video asked if I’d be interested in assembling a Fujifilm-related camera bundle. It could be anything that I wanted, just as long as the products made sense together. I decided on a first-time-Fujifilm type of kit. If you are in the market for your very first Fujifilm camera, this bundle would serve as an excellent all-in-one starting point.
The camera I chose for this bundle is the Fujifilm X-T50. It’s simple and fun enough for beginners, yet sophisticated and capable enough for advanced users—in other words, the camera will keep up with you as you grow. No matter where you are on your photographic journey—from brand-new hobbyist to experienced pro—the Fujifilm X-T50 is an excellent camera, so it’s easy to recommend. The silver version is my favorite, so that’s what I chose for the bundle.
“Fuji X Weekly is an amazing resource for photography enthusiasts, especially those diving into the world of Fujifilm. Created by Ritchie Roesch, Fuji X Weekly has become the go-to for Fujifilm photographers looking to explore their camera’s potential. Known for its collection of Film Simulation Recipes, Fuji X Weekly empowers users to recreate the iconic looks of classic film stocks directly in their cameras without the need for post-processing. This bundle celebrates the creativity that Fuji X Weekly represents and is picked by Ritchie to offer you a perfect starting point to explore the Fujifilm system and capture stunning images with ease.”
—Wex Photo Video
What’s a camera without a lens? The Fujinon 35mm f/2 is one of my favorites. It’s small, lightweight, optically excellent, and affordable. I’ve owned this lens for a long time, and still use it regularly. On X-series cameras, because of the APS-C crop factor, it’s a “nifty-fifty” standard prime, something every photographer should have, and the perfect lens for learning composition. The silver version of the Fujinon 35mm f/2 looks strikingly good on the silver X-T50.
To complete the kit, included is a spare NP-W126S battery, SanDisk Extreme 256GB SD Card, and SmallRig Leather Half Case. A memory card is essential to get started, and this SanDisk is one that I personally have in a few of my cameras. The extra battery isn’t essential, but very nice to have—especially for traveling—so I wanted it included. The SmallRig Half Case adds a little style and extra protection.
Altogether, these five items—silver Fujifilm X-T50 camera, silver Fujinon 23mm f/2 lens, spare battery, 256GB SD Card, and leather half case—is an excellent kit for someone just getting started with Fujifilm. With this bundle, you’re good to go—there’s nothing else you need to buy to begin your photographic journey.
This Fuji X Weekly + Wex Photo Video collaborative bundle is not available anywhere else. Fujifilm doesn’t offer the X-T50 and 35mm f/2 as a kit (they should!). The only place you can get these bundled together is at Wex. Right now, this kit is only £1,661.90 (about $2,100 USD). The MSRP for these five items, if purchased separately, is £1,841.90; however, because the X-T50 and 35mm lens are currently on sale, the price is £180 less. There’s no extra discount for purchasing these items together; this is meant to simplify the purchasing process for someone in the market for their first Fujifilm camera.
Find nearly 400 Film Simulation Recipes for Fujifilm cameras in the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
One of the first things that I hoped to accomplish after buying a Fujifilm GFX100S II camera last month is to understand how compatible X-series Film Simulation Recipes are with GFX, and what adjustments should be made, if any. I had anticipated this being a fairly easy task, and in a sense it was, but I really struggled with this project.
Fujifilm has made a number of GFX models since February of 2017: GFX50S, GFX50R, GFX100, GFX100S, GFX50S II, GFX100 II, and GFX100S II. There are a few different sensors and processors, and the cameras can be separated into different generations. The GFX50S, GFX50R and GFX50S II share the same sensor, but the GFX50S II falls into a different generation than the original two. The GFX100 and GFX100S share the same sensor, but are different generations. The GFX100 II and GFX100S II share the same sensor, but not the same sensor as the first two 100mp GFX models. It’s a bit of a puzzle. The only GFX camera that I own is the GFX100S II, and I briefly had the opportunity to borrow a GFX50S four years ago. My GFX experience is very limited at this point.
One issue that I found when comparing Recipes captured on X-Trans vs GFX is that the lenses are not the same. Different lenses can produce slightly different results depending on the micro-contrast and coatings. While not a big deal, it would have been preferable to have used the same lens across all the tests; however, even if I could, the focal length wouldn’t be the same. For example, when I adapt my vintage Helios 44-2 lens, the focal length on X-Trans is 87mm while it is 46mm on GFX; aside from that, the Helios is noticeably softer on the GFX. So the comparisons I made were never fully 1:1, unfortunately.
I did make a number of comparisons between the photos captured with the GFX100S II and those made on an X-T5 and X-E4, utilizing the same Recipes. The main difference between X-Trans IV and X-Trans V rendering is that blue is a little deeper on X-Trans V with the Classic Chrome, Classic Negative, Eterna, and Eterna Bleach Bypass film simulations—there are some other minor differences, but the blue rendering is the main one. On the GFX100S II, blue behaves more like X-Trans V. The overall rendering is very similar to X-Trans V, but not 100% identical. For example, Grain is scaled differently on GFX. There are several insignificant differences that I noticed upon close side-by-side comparisons, but without carefully studying deep crops, the GFX images look pretty identical to the X-Trans V photos. Except they also don’t.
This is the paradox I discovered: the pictures look so similar when comparing colors, tints, shadows, etc., etc., but there is something that’s clearly different. But what? I couldn’t put my finger on it.
I asked a few people I know who have a GFX camera, and one suggested color fidelity, that the same exact colors just seem more alive (or maybe more lifelike) on GFX. My wife, Amanda, suggested that it’s depth, that it feels like you can step into the GFX photos, while the X-series photos seem a little flat in comparison. This could simply be the depth-of-field or the micro-contrast of the GFX lenses (or both). As I thought about it, I was reminded of the Sigma DP2 Merrill camera I used to own that similarly had a (so-called) “3D pop” to the pictures. High-ISO digital noise looks different on GFX, with splotchy colors that are typical from a Bayer sensor (and not the more film-grain-like noise from X-Trans); however, it’s not particularly obvious, buried in all that resolution. It’s probably a combination of all of those things and more that make the nearly identical colors and contrast appear different in a way that is difficult to describe, but it’s all so subtle that it’s easy to miss and dismiss, so perhaps it doesn’t matter.
With that information, I made a decision regarding Film Simulation Recipes in the Fuji X Weekly App. I added the GFX100 II and GFX100S II as compatible cameras to all X-Trans V Recipes, as well as X-Trans IV Recipes (excluding those for the X-T3/X-T30) that don’t use Classic Chrome, Classic Negative, Eterna or Eterna Bleach Bypass (the same Recipes as the X-T5, for example). Use those Recipes on the GFX100 II and GFX100S II, as they look great. I updated the App yesterday to show those Recipes as compatible with those two cameras. For the other (non-X-T3/X-T30) X-Trans IV Recipes, dropping Color Chrome FX Blue down one spot (Weak instead of Strong, Off instead of Weak) also makes them compatible.
After that, I thought about the other GFX models. Shouldn’t they be in the App, too? Why should they be left out? I don’t own any of those other GFX models, so I dug through the manuals—plus did several Google searches—to try to piece together how they should be categorized in the Fuji X Weekly App. That took a few verified and unverified assumptions. Also, I realized an assumption I made several years back was incorrect.
I categorized GFX100S the same as the newer X-Trans IV cameras; Recipes that are compatible with (for example) the X-T4 are also compatible with the GFX100S. I categorized the GFX100 the same as the X-T3 and X-T30.
The 50mp GFX cameras are a bit of a problem because shadows are rendered slightly lighter, and a .5 Shadow increase is necessary for those models (the GFX50S and GFX50R don’t have .5 Highlight and Shadow adjustments). A few years ago when I had the GFX50S for a few weeks, I created three Recipes for 50mp GFX. I made an assumption that those Recipes would also be compatible with the GFX100, but I believe that camera has deeper shadow rendering like the other 100mp cameras, so that assumption was incorrect; however, I left it alone in the App. If not for the shadow rendering, X-T3/X-T30 Recipes would be compatible with the GFX50S and GFX50R—you can still use those Recipes, just know that it will look slightly different (try them anyway, you might like the results). The one camera that was left out of the App is the GFX50S II. You can use X-Trans IV Recipes the same as the GFX100S; however, a .5 Shadow adjustment should be made. If a Recipe calls for -1 Shadow, use -0.5 instead, and if a Recipe calls for +2 Shadow, use +2.5 instead.
This isn’t a perfect categorization of the GFX models, but I think it’s good. If I made a mistake in this, please let me know—like I said, my GFX experience is quite limited. For those with GFX cameras, I hope this provides a little clarity as to which Recipes to use. I’m sure that having these cameras in the App will be helpful to some photographers with GFX models, so if you have a GFX camera, open up the Fuji X Weekly App and take a look.
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Unfair Comparisons – Buckeye, AZ – Fujifilm GFX100S II – Astia Summer
I’m planning to do a number of comparison tests between the JPEGs from the Fujifilm GFX100S II and my X-series models, like the Fujifilm X-T5. What’s different? What’s the same? I haven’t come to very many conclusions yet. There’s clearly a difference, but it seems so subtle it is tough to put a finger on what exactly is divergent.
For this article, I’m comparing the faux Grain between the GFX100S II and the X-T5. This isn’t a carefully controlled scientific test. When my wife (on the X-T5) and I (on the GFX100S II) captured these images, we did not intend for them to be used in any sort of comparison test. I chose these because they were made in the same location (White Sands National Park in New Mexico). They were captured with the new Kodak Gold Max 400 Expired Recipe, and reprocessed in-camera with the Astia Summer Recipe. I chose those two Recipes because of their Grain: Weak/Small and Strong/Large.
Fujifilm X-T5 – Astia Summer – Grain Weak/Small
Fujifilm GFX100S II – Astia Summer – Grain Weak/Small
Fujifilm GFX100S II – Kodak Gold Max 400 Expired – Grain Strong/Large
You cannot tell much at all from the above photos. From examining the pictures more closely, I can state that the size of the faux grain is a little larger in the X-T5 JPEGs than the GFX100S II, but you can’t really tell without cropping in. So let’s crop in!
In the first set (identified simply by “Crop”), I’ve made the pictures roughly the same size. If you look carefully, the Weak/Small Grain is slightly more visible in the X-T5 pictures, but it’s not overtly obvious. In the second set (identified by “Bigger Crop”), I’ve tried to match the Grain, and I had to crop much more deeply on the GFX100S II pictures to do so. These are significant crops, and you’d have to print large to view them this big. I think if a Grain size Medium existed on GFX, that would more closely match Grain size Small on the X-series.
Below is a repeat, except for with Strong/Large Grain. I think if a Grain size Medium existed on the X-T5, it would more closely match Grain size Large on the GFX100S II.
Bigger Crop – Fujifilm GFX100S II – Kodak Gold Max 400 Expired – Grain Strong/Large
I don’t know that it makes any practical real-world difference, but the size of the Grain—whether Small or Large—is not identical on GFX as it is on X-series cameras. It’s not scaled the same. It’s smaller on GFX and larger on X-series, specifically when comparing the 100mp images from the GFX100S II to the 40mp images from the X-T5. There are also likely variances between the 26mp APS-C sensor and the 50mp GFX sensor.
The way to look at this, I suppose, is that film grain appears more fine on medium-format film than 35mm. The difference in silver grain between—say—120 film and Advanced Photo System Type-C film is much, much more significant than the difference in Grain between GFX and X. I think you’d expect the Grain to be more “fine” on GFX—and that’s what you find—but it isn’t nearly as much of a difference as with actual film.
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In a recent interview, Theo Georghiades, general manager of Fujifilm Imaging Solutions UK, told Amateur Photographerthat there is a possibility of a Fujifilm film camera coming in the future. Some have called this a “bombshell revelation”, but is it really?
Theo was asked, “Would Fujifilm ever consider launching a film camera again, especially if it had the retro look of an X100VI?”
He responded, “I’ve been with Fujifilm for 25 years, so have learned to never say never—but I don’t know. There is without doubt a massive resurgence in film as we see from film sales. Go down to the markets around Westminster in London and you can see the popularity of film cameras again. And it’s the same in Japan, as I found on a recent trip. As I say, I’ve learned to never, ever say never! However, any business needs to analyze the prospects for a long-term opportunity over a short-term fad.”
I’m not sure how some have interpreted this to mean Fujifilm is in development of a film camera (outside of Instax), but some have insinuated that. Others are taking a more pragmatic interpretation, that Fujifilm simply hasn’t shut the door on a film camera, which is probably the more accurate analysis.
My guess is that Theo was speaking off-the-cuff, and didn’t mean to make any official statements on this topic. In other words, a large grain of salt should be taken. Perhaps there has been water-cooler talk of the possibility, perhaps not even that. I think he is simply saying that Fujifilm does unexpected things sometimes, so you just never know what they might do in the future, but there are no current plans at this time.
If I were Fujifilm, this is what I would do: rerelease the Fujica Compact Deluxe. They already have the designs. Maybe modernize the light meter, but mostly it should stay the same. I’m sure it would sell well enough to justify manufacturing it. But time is of the essence, so if they want to do this, they should be quick about it. If they hesitate, the market for 35mm film cameras might decrease by the time it hits the shelves. You’ve got to ride the waves while they’re high and before they crash.
Fujifilm currently makes “digital film” cameras, which isn’t the same thing, but in some ways it’s better. In my opinion, the X-series bridges the gap between the positive aspects of both film and digital photography. It’s still apples-to-oranges, and I’m not suggesting otherwise, but there is enough crossover that it’s worth pointing out, and even celebrating. I have no idea whether or not Fujifilm will release a 35mm film camera, but I’m extremely happy with my X-series gear. Still, it would be really cool if they did make a brand-new film camera, so I hope they do.
Fujifilm released a new set of firmware updates, which they had promised would come before the end of the year: one for the X-T5, one for the X-T50, one for the X100VI, one for the X-S20, and one for the GFX100S II. This is simply an autofocus fix for the bug introduced earlier in the year that was partially fixed already, and should be fully fixed now. Unlike the firmware updates last month for the X-H2s, X-H2, and GFX100 II, this one doesn’t include F-Log2 C or some of the other improvements that were given to those cameras, only the AF fix. It’s possible those things might still come in a future firmware update, but I’m not sure.
I haven’t yet updated any of my cameras, because I always like to wait awhile—you never know if there will be some unexpected issue. For example, Sony famously released a firmware update earlier this year that cost their customers $700 to fix. A good rule of thumb is to wait a week or two to see if any issues arise. Most of the time there is not an issue, and I don’t suspect any problems with this one specifically, but since it does happen every once in awhile, it’s prudent to wait at least a few days, and if something major comes up, it should be well known by then.
I’m sure that you’ve read about the AF woes somewhere, or seen a YouTube video or two about it; however, in my opinion it has been largely overblown and misunderstood. Let me explain why.
First, most people weren’t affected. Some were, for sure, but not the majority; however, the large vocal outcry caused a bit of hysteria, which made it seem like a much bigger issue than it actually was—essentially, trolls took over the Fujifilm corner of the internet for awhile. A few different people told me something to the effect of, “I didn’t know my camera was broken until I saw it demonstrated on a YouTube video, and now I’m mad because I paid a lot of money for it.” It didn’t affect them personally and they would have never known without someone telling them, but since they did know, they were pissed. A lot of people got angry over something that had no negative implications for them personally, only the idea that it possibly could.
Second, Fujifilm’s AF can perform very different depending on the specific lenses used and the specific settings programmed, and if you are using lenses and/or settings that are not ideal for the specific situation, you might get less than ideal results. An example of this comes courtesy of Camera Conspiracies, as Kasey discovered that his prior criticisms of Fujifilm’s AF—including the bug—were at least partially user-error by him. I suspect that is true of a lot of the criticisms, but people tend to get offended when you suggest that the gear isn’t the primary problem. Perhaps something can be said of the intuitiveness of the AF system—there’s certainly room for improvement—however, a lot of the blame that was directed at the camera wasn’t fully the camera’s fault, but largely the lens and/or setting choices made by the one using it.
Third (and this is related to second), some people seem to want AF to automatically focus precisely as they wish it would without any input from the user. It’s like if you put your exposure triangle into full-auto, and then complained that it didn’t choose the specific aperture, shutter speed, or ISO that you wished it had. Autofocus doesn’t necessarily mean that you should set-and-forget it; like with the exposure triangle, a little control can go a long ways. After all, we’re photographers, not merely button pushers. I see people all of the time create wonderful images and videos with the gear that supposedly has sucky AF, and it isn’t a limiting factor for them (proving that it isn’t sucky after all). As Ansel Adams famously stated, “The single most important component of a camera is the twelve inches behind it.”
Fourth, I think some people have unrealistic expectations of how Fujifilm’s AF should perform, ignoring that the Canikony brands have been developing autofocus systems since the 1960’s and ’70’s, have significantly larger R&D budgets for it, and have even prioritized AF over image quality in recent years. Of course theirs is better, but that does not mean Fujifilm’s AF is bad, because it is not—far from it. If you could take any current Fujifilm model back in time 15 years, you’d shock the camera world with seemingly impossible technology. Photography has been around for nearly 200 years, and videography for over 135 years, and not just since the invention of our incredibly capable modern gear. People created amazing photos and videos in the past with their subpar gear (as compared to what is available today), so literally nothing should stop you from doing so with your superior gear. If something is stopping you, it is only you, and you have the power to change that.
Thankfully, Fujifilm’s AF has been fully fixed. Can it be improved? Sure, just like everything else, there is always room for improvement (there is no such thing as a perfect camera). Those who continue to moan about it are either haters, constant complainers, or trolls, or they are experiencing user-error and are blaming the gear instead of themselves. It’s beyond time for all that negativity to end—I’m sick of it, and I know a lot of other people are, too. Let’s get back to enjoying our gear, and creating awesome content with it.
