Fujifilm is about to announce the X-T30 III, the true successor to the X-T30 II. A lot of people assumed that the Fujifilm X-T50 was the X-T30 II’s successor, but it wasn’t—if you a Fuji X Weekly regular, you’ve known that for about a year-and-a-half now. Tomorrow at 10:00 PM Pacific Time, Fujifilm will unveil the new camera.
I don’t have any inside information, but I expect that the Fujifilm X-T30 III will be 95% the same as the X-T30 II, which was 98% the same as the X-T30. Fujifilm announced the original X-T30 in February of 2019. I remember it well because I preordered it, and later created many Film Simulation Recipes with that camera. The X-T30 II, which was basically a firmware update with a few minor changes, came in October of 2021. The ability to save WB Shift with each C1-C7 Custom Settings preset, as well as Classic Negative and other JPEG tools like Clarity, are the major improvements found on the Mark II version. Now, four years later, Fujifilm is about to release the latest iteration.
From all accounts, the X-T30 III will be the same as the X-T30 II, except with X-Processor 5 (which includes Nostalgic Neg. and Reala Ace), a Film Dial like what’s on the X-T50 and X-M5, and a Drive Button instead of a Drive Dial. Aside from that, it will be pretty much the same thing as the X-T30 II. I don’t expect any major changes. Overall, it will be a mild refresh.
Why, then, do I think this camera is genius? Because Fujifilm will quietly sell a whole lot of these. It’s not going to go viral like the X100VI. It’s not going to make major headlines. It’s not going to be a hot topic on Reddit or Facebook groups. But Fujifilm will sell a bunch of X-T30 III cameras, more than most other models offered by the brand.
Just four days ago, New York Magazine published in The Strategist section This Fujifilm Camera Gives Me Film Photos Without the Processing by Katherine Gillespie. It’s essentially a review of the Fujifilm X-T30 II. In that article, Katherine states, “Even just using the cheapest 15-45mm kit lens, the camera creates beautiful JPEG photos that require little to no editing to make the colors pop and can be wirelessly transferred to my phone via Fujifilm’s XApp. For me, this is a big sell. While some people seem to enjoy playing around with presets on Lightroom, as a procrastinator who also sort of hates computers, I can’t think of anything worse than shooting in RAW then having to go through and edit hundreds of photos after every social event or vacation. Especially as doing so would also require purchasing a pricey Adobe subscription.”
The article included a small and subtle shoutout to Fuji X Weekly, which was mind-blowing. This follows the New York Times mention in July. I never imagined getting noticed by such large and prestigious publications. But I digress; however, it is a good read, should you want to.
Statements like Katherine’s are why the X-T30 and X-T30 II sold so well, and why soon the X-T30 III will, too. It’s easy to get great-looking photos without the fuss. The cameras are small, lightweight, inexpensive, and straightforward-enough that they’re accessible to anyone and everyone. Even a child can use it and get great results. Robust enough that professionals can use it for serious work, but not so much that first-time hobbyists are in over their heads. That’s indeed a big sell.
No other Fujifilm camera has been given a Mark III iteration. The X-E2 had a second version called X-E2s. There’s the X-H2 and X-H2s, but that’s a slightly different story. There was an X-T3 WW, which was an X-T3 without an external battery charger included in the box. The X-T4 ES is an infrared version of the X-T4. Most models have their time, followed by a successor; the few with a second variation were not given a third. The X-T30 is unique, with a third iteration about to crest the horizon. That elevates the camera to legendary status in my books. There is no doubt in my mind that the X-T30 III will be a great success for Fujifilm, albeit without the fanfare that other models in the X-series often get.
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.
On Thursday in the early morning hours, Fujifilm announced the brand-new X-E5. I’ve been traveling in an RV up the east side of America, and just got home late last night. Preferably, I would have posted something about it on announcement day, but aside from being on the road, it was also my wife’s birthday. Because of that, I’m just now getting this typed out—I’m pretty much the last to the Fujifilm X-E5 party.
This upcoming Tuesday and Wednesday I will be at the B&H BILD Expo in New York City. A few weeks back Fujifilm invited me to be a part of their booth—specifically, to help with a “Film Simulation Station” (without any details of what that would be)—which, of course, I am honored to be a part of. Fast forward to a few days ago, just before the announcement of the X-E5, I had a conference call (while in the RV stopped in the middle of nowhere in Pennsylvania) that explained what my specific role was going to be: Fujifilm will have X-E5 cameras to touch-and-try, and I’m there to talk about Film Simulation Recipes with anyone who wants to. It’s going to be a great time, so I hope some of you can stop by. It was on that call that I first learned the camera not only has the ability to save three Recipes in the Film Simulation Dial, but that Fujifilm is using the term “Recipe” in the camera and manual.
Back in early 2017 (before I had even started Fuji X Weekly), I published two Film Simulation Recipes on a blog that I used to have prior to this one. When I showed my wife, she thought the term “Recipe” was a bit cringe, but I liked it, so I continued to use it, including when I launched Fuji X Weekly in August of 2017. Mostly by word of mouth, this website grew and grew (10 million page views two years in a row, and still growing), largely because people had an interest in my JPEG Recipes for Fujifilm cameras. Even though Fuji X Weekly began as a Fujifilm X100F journal, very quickly it became most known for Film Simulation Recipes.
In the summer of 2020, I received a message from a talented cinematographer, who had a funny conversation with Fujifilm North America that he wanted to share with me. They had loaned him an X100V for a few weeks; when he returned it, they asked for his feedback. He told them, “I really like shooting with Portra 400 and Tri-X.” They replied, “What do you mean? It’s a digital camera.” He was very surprised that Fujifilm had no idea about Fuji X Weekly, so he informed them.
Shortly after this, Fujifilm North America reached out to me. They were more curious about what I was doing than anything else. They wanted to know what a Recipe is. It was a very positive phone call, and I was thrilled to talk with someone at Fujifilm for the first time. A few emails went back-and-forth, and I was asked to write an article for them. Excitedly, I got it typed out and over to them quickly. They said it was great, and they would forward it up the chain. When it came back down, I was told that they liked my article, but they had to reject it because I had used competing brand names (like Kodak, Portra, Ilford, etc.). There wasn’t much communication after that, except that they wanted to use one of my pictures in an article. In December, Fujifilm sent me a coffee mug for Christmas.
A year later I was invited to be a guest on a Fujifilm tech webinar (did you know that Fujifilm does regular webinars?). The tech team is great. They’re all very knowledgable and helpful, and otherwise good people. They are big fans of Film Simulation Recipes, too. I enjoyed that experience. It was my last interaction with the brand until January of 2024, when Fujifilm North America called out of the blue, stating that they’d like to start working with me.
Dumbo Crowd – Brooklyn, New York City, NY – Fujifilm X-T50 – Reala Ace Recipe
Last year was epic. Fujifilm invited me to be a part of various things, including a release event for the X-T50 and GFX100S II, a creator retreat, and their annual Create With Us event. I traveled across the country from coast-to-coast, leading photowalks. Incredible! It was such an honor. I will always remember 2024 fondly.
During that time I noticed Fujifilm began to use the term “Recipe” occasionally on their website and social media accounts. A certain X-Photographer noted to me that after years of promoting Recipes with pretty much zero interest or help from Fujifilm, suddenly Recipes were “the thing” within the company. Now, in 2025, “Recipe” is an official Fujifilm feature, and the term is found within the camera menu.
Nikon beat Fujifilm to the punch when they began using the term Recipe a year ago for their JPEG settings. I’m not sure if it will catch on within that community or not (it will be interesting to see), but it is noteworthy that they are trying to capitalize on it. This whole Recipe concept—whether by name or not—is certainly growing and spreading across photography. I think we will see it more and more in the coming years.
I didn’t invent the word “recipe” and I certainly wasn’t the first to use it within the photo world. Apparently, user-created Capture One presets have been called recipes for some time now (I became aware of this last year, I had no idea). Specific darkroom chemicals and development times have been called recipes for many decades. I discovered that a couple people had used the word when describing their Fujifilm JPEG settings before I ever published my first Film Simulation Recipe. I’m not sure if I coined the term Recipe for JPEG camera setting combinations (I might have, but it doesn’t matter if I did or didn’t). What is certain is that if not for this website and the wonderful community that formed around using Recipes (which is the best community in all of photography, IMHO), the word would not be found in the Fujifilm X-E5 today (and it probably wouldn’t be used by Nikon, either). I’m still in disbelief at where we’re at today, I never imagined it would go this far. Some people will read that and think I’m bragging and taking too much credit, but believe me that I’m writing this in all humbleness.
I won’t get to see the Fujifilm X-E5 until Tuesday morning, about two hours before the BILD Expo doors open. Fujifilm tried to get me a loaner camera a little earlier, but due to travel, it just didn’t work out (it’s not their fault—they really did try). Right now I know as much about the X-E5 as the next person (maybe less), so I don’t have any real insights. I’m going to spend this weekend learning more so that I don’t sound completely ignorant at BILD. Once I’ve had a chance to touch it, and maybe even capture a couple of pictures (hopefully I’ll get an opportunity to do that), I’ll be able to speak more about it, so look for a more thorough article in a couple weeks.
What I can say is that the Fujifilm X-E5 is basically an interchangeable-lens X100VI. It’s not exactly that, but it’s as close as you’re going to get. There are advantages and disadvantages to both. The X100VI has an optical viewfinder, shutter/ISO combo dial, leaf shutter, flash, built-in ND-filter, and can be weather-sealed; the X-E5 has a Film Dial, selfie-capable LCD, and you can change lenses. Otherwise, the two cameras are a lot alike. For those that have asked for an interchangeable-lens X100VI, here it is! You are unlikely to get closer to that wish than this camera.
White Bridge across Pond – Charleston, SC – Fujifilm X-E4 – Pacific Blues Recipe
As a more premium iteration of the X-E line, it obviously has seen a price increase. Add to that inflation and tariffs, and you get a $1,700 price tag. That seems like a lot of money (because it is), but remember 1) every major camera maker has indicated that they will be raising their prices soon (Fujifilm is just the first, beginning with the X half and X-E5), and 2) cameras used to be a lot more expensive—for example, the Canon A-1 was $625 in 1978, which is over $3,000 when adjusted for inflation; the Pentax K-5 was $1,750 in 2010, which is nearly $2,600 in today’s money. The X-E1 was $1,000 in 2012, which is $1,400 today when accounting for inflation—add tariffs on top of that, and it’s the same cost as the X-E5. So maybe the price isn’t so unreasonable after all. People will say, “But I can get an X-T5 for the same money!” Or, “For just a few hundred dollars more, I can get [insert camera name here]!” That’s true, for now. Either the prices of those models will increase shortly, or something will happen with the tariffs, and Fujifilm will be able to reduce the price of the X-E5 to what it was intended to be. Those who wanted 40mp and IBIS and the camera to be more premium but didn’t want the cost to go up were not being realistic. Even the X-E4, when accounting for inflation would be over $1,000 today.
The final thing I’ll say about the Fujifilm X-E5 is that, with C1-C7, plus the “bonus 8th Recipe” that you can program into the IQ Menu, plus the three Recipe slots on the Film Dial, it’s possible to have up to 11 Film Simulation Recipes loaded into the camera at any given time. You can only name seven of them, so you’ll have to remember what the other four are. If you use one or both of my “universal” Recipes (here and here), that adds even more flexibility. Awesome! We’ll see if Fujifilm brings that functionality to the X-T50 and X-M5 via a firmware update—I hope they do.
If you are in New York City on Tuesday and Wednesday, be sure to stop by the Fujifilm booth and touch-and-try the X-E5. I’d love to chat Recipes with you, so be sure to look for me. If you are in Colorado Springs on June 28th, I’ll be leading a photowalk with Mike’s Camera (click here for the details and to register); while I won’t have an X-E5 with me, I’d still love to chat with you about it, or any other Fujifilm or photography related topics. I hope to see you soon!
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
Fujifilm X-E5 in black: B&H, Nuzira Fujifilm X-E5 in silver: B&H, Nuzira
It has been quiet on this website over the last handful of days. I’m traveling up the east coast of America in an RV right now with my wife and four kids. We rented a motorhome, and are driving it from Miami to Boston. The trip is a little over halfway complete. We’ve seen so much, and had wonderful experiences, even though it has rained every single day. It’s been a great opportunity to try out the Fujifilm X half, and I’ll have a full review soon, which you can expect probably next week. Even though I’ve been on the road, I’ve still be busy behind-the-scenes with all sorts of projects.
First up is a surprise that I’ll announce in six days, on June 14th. It’s something that has been in the works for quite some time, and I’m really excited to share. I’m not going to say what it is just yet, so this paragraph stands as the first teaser. I’ll have the full reveal this coming Saturday—stay tuned!
Right after that, on June 17th and 18th, I’ll be in New York City for the B&H BILD Expo. Fujifilm is flying me out to help man their booth, which is where you’ll find me. If you go, be sure to stop by and say hi, as I’d love to meet you in person. The event is free (you do have to register), so if you are anywhere near the New York City area, be sure to join in on the fun.
223 – Savannah, GA – Fujifilm X-HF1
On Saturday, June 28th, I will be leading a photowalk in Manitou Springs, Colorado, with Mike’s Camera and Fujifilm. We will meet at Mike’s Camera in Colorado Springs at 11:30 AM for a meet-and-greet, and to help with gear questions and setup Recipes. Around 12:00 noon we’ll caravan to Manitou Springs, and regroup at the Pikes Peak Library District. We’ll explore the scenic and quirky mountain town of Manitou Springs with our cameras for about two hours, before departing back to Mike’s Camera, where we’ll finish the event with some light refreshments. The cost is $25 per person; however, at the end of the event, each registrant will receive a $25 off coupon for use at Mike’s Camera, which basically makes the photowalk free. You must register (click here), and spaces are limited, so be sure to sign up today. If you live in Colorado or will be visiting that weekend, I hope you can come out for what will surely be an epic photowalk!
Mike’s Camera is doing so much for the photography community near their various stores. Not everyone lives in a place that has a store like this; those that do are quite lucky, so be sure to take full advantage of it: attend a class or join a photowalk. It’s an incredible honor to be a part of this community-building with Mike’s Camera, even though I don’t live anywhere near one of their locations.
There are a number of other exciting things in the works—these are just the ones coming up within the next three weeks. Hopefully soon I’ll be able to share even more news. There’s a ton to look forward to, including a camera announcement on the 12th. It will be great to see some of you in New York City and Colorado Springs this month!
One thing that might have been missed with the Fujifilm X half announcement is that the next X Summit will be in Shanghai on June 12th, which is less than three weeks away. I’m not sure what time, but most likely it will be in the early morning hours in the United States, or maybe late PM on the 11th for those on the west coast.
What gear will be announced? I don’t have any inside information—I find out the same way that you all do. I’m guessing a camera and lens, but that’s only a guess. Fujifilm will unveil it soon enough, though, so we won’t have to speculate for much longer.
It’s a bit unusual for Fujifilm to release two cameras so close together. It’s exciting times, even if one or both models are not all that interesting to you, personally. I’ve been saving up for a GFX100RF (still have a ways to go), but I might just divert those funds to what Fujifilm just released and is about to release.
Not very long after this X Summit is the B&H BILD Expo at the Javits Center in Manhattan on June 17th and 18th. Fujifilm invited me to come out to be a part of it, although I’m not sure yet what my role will be. This is a big event that you won’t want to miss! Peter McKinnon is one of the headline speakers, but there are many others, too. David Geffin, Kyler Steele, and Jasmine Quiñones are three that I personally recommend. It’s a free event (but you have to register), so if you are in the NYC area, be sure to attend—come say “hi” and chat a little.
I’m sure that Fujifilm will have on display a GFX100RF, X half, and whatever gear is upcoming. You can probably hold them, and it’s an opportunity to ask any questions you might have about these items from people who have personally used them and know them inside and out. Even if you don’t have any interest in that, be sure to stop by anyway—this is going to be a great time, and well worth the effort to get to.
Fujifilm announced a new camera last night called X half. It also goes by the name X-HF1, apparently. This is a 32mm (full-frame-equivalent) f/2.8 fixed-lens compact camera with a vertically mounted 1″ sensor, and is probably the most unique digital camera ever made—or, at the least, it offers the most unique photographic experience in all of digital photography. This isn’t a review, but I did want to give my thoughts on the release.
I haven’t used the camera, or even seen it in-person. I was up late last night watching the announcement and various review videos that were published, trying to figure out what this camera is. Now I’m awake typing this article after less than five hours of sleep, so if there are any typos, please excuse me. I’ve barely started my first cup of coffee. Anyway, Fujifilm released two videos, which I’ve included below.
In the weeks leading up to the release, I published two article about the X-HF1, speculating what it might be. The first was Why the Upcoming Fujifilm Half-Frame Camera is Genius, and I guessed that this was going to be an amazing camera, specifically designed for both a film-like photographic experience and recording vertical videos for TikToks and Reels. The second was What if the upcoming Fujifilm Xhalf is something different?, where I second-guessed my prior article, and wondered if the camera was going to be stripped down, less video-centric, and more Instax than X-series. Well, the X half seems to fall right in-between (maybe closer to the second take), and both articles had some things right and some wrong.
The new camera is intended to produce a film-like experience, and is capable of doing so in a unique way. In Film Camera Mode, you choose your “film” (Film Simulation) and how many frames (36, 54, or 72), and then you shoot through the Optical Viewfinder until the roll is fully exposed, using the frame advance lever in-between shots. You cannot see your pictures until after the roll is finished and “developed” in their new app that is just for this camera. I think this is super cool, and I hope this mode comes to some future camera, maybe the upcoming X-E5. There is a missed opportunity: Fujifilm offers photo printing services, so you should be able to order 4″x6″ prints of your roll of “film” from the new app. It would be so much fun to order prints, then wait until they arrive in the mail before reviewing the pictures. It would encourage people to print their photos, which isn’t done nearly enough nowadays. And it would be a way for Fujifilm to make some extra money on a service they already offer. Maybe they’ll update the app to include this in the future, as it seems like an obvious oversight.
The X half has a 20mp 1″ Bayer sensor, but only uses 18mp because it crops out 2mp to accommodate the 3:4 aspect ratio (the sensor is 2:3). If you want to crop your pictures to 2:3, you’ll lose a little more resolution, but it is still plenty for social media and web use, as well as prints smaller than 16″x24″. It would have been nice if one could choose to use the full sensor and the 2:3 aspect ratio, but with the X-HF1, Fujifilm significantly stripped down the menu and customizations. They made the camera about simplicity, but in doing so you lose out on some of what makes Fujifilm cameras special; namely, you cannot use Film Simulation Recipes with this camera, since you cannot control the various parameters like you can on any other X-series model.
Instead of 20 Film Simulations, this camera only has 13: Provia, Velvia, Astia, Classic Chrome, Reala Ace, Classic Negative, Nostalgic Negative, Eterna, Acros, Acros+Y/+R/+G, an Sepia. It’s too bad Sepia made the cut over PRO Neg. Hi, PRO Neg. Std, and Eterna Bleach Bypass. While you cannot use Recipes, the Film Simulations seem to produce a slightly divergent look than the standard Film Sims, almost as if Fujifilm programmed each with its own Recipe, for what that’s worth. There are also so-called Advanced Filters, including a few new ones borrowed from the Instax Evo cameras.
While the X half does shoot vertical video, the quality seems suspect. I’m sure there are some who will appreciate this and will create some interesting content with it, but it’s a big miss in my opinion. They should have allowed 1080p in the 9:16 aspect ratio so it would have been more useful for social media video creation. The X-HF1 could have been a trendy camera for TikToks, Reels, and Shorts, but I just don’t see that happening with the video implementation. The capability of video-video and still-video diptychs are a bit intriguing, but I don’t think that will catch on as anything more than a passing curiosity. Or don’t included video capabilities at all—I think that would have made a bigger statement (and would have been viewed more positively) than how it was implemented.
So what do I make of the X half? It looks nice. It’s very compact, which is perfect for everyday carry or travel. It’s minimalistic, which can be good. It offers a very unique shooting experience that looks like a lot of fun. It seems like a bridge between Instax and the X-series, and I think it’s fair to consider it more like a very-high-end Instax Evo camera without a printer than a bottom-end X-series model (it’s basically both). It will certainly be a very controversial camera (maybe the most), with perhaps the biggest controversy being the price: an MSRP of $850, which seems high for what it is. Some people are going to love it, and some are going to hate it. I think it will be especially popular with Gen Z and Gen Alpha, who are currently fascinated with classic digicams and film cameras, including half-frame models like the Pentax 17. Me? I applaud Fujifilm for daring to be different, and going way outside the box. I did preorder one last night, but I’m a bit unsure if I’m actually going to like it or not. Now excuse me while I pour that second cup of coffee….
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
Fujifilm released a new teaser video (which you’ll find below) for the upcoming Xhalf camera, and it is quite interesting, because it showcases camera’s designer. The concept becomes much more clear, even if spoken in vague terms.
First, it starts with clarification: the upcoming camera is indeed X-series. I had wondered if it was going to be X-series, or maybe in the Instax line. Now we know for sure. Perhaps that is an indication that my initial speculation is more likely to be true.
“I personally use both digital and film cameras in various formats,” the product designer states, “ranging from point and shoot to medium format. But specs and tech aren’t always everything. I designed this camera so that you can express yourself in a different way. I hope you will enjoy telling your story with this camera.”
I don’t know if the photos and footage in this video were created using the upcoming camera. Fujirumors thinks that it was, but I couldn’t find anything that says one way or the other. It seems to be, though. The previous teaser video wasn’t, but they also stated that in the description. I think it’s fairly safe to assume that this latest video was indeed created using the new camera, but it’s still a possibility that some or all of it was not.
The photo on the left in the above screenshot caught my attention. It looks a lot like the Fujicolor 100 Gold Film Simulation Recipe. There are some others that can produce a similar look, such as Pacific Blues or Superia Negative (there are a couple others, too), or maybe it’s not one of my Recipes or even a Recipe at all. It doesn’t really mean anything, but I found it interesting nonetheless.
The Xhalf will be announced on May 22 at 1 AM Eastern Time, which is 10 PM Pacific Time on the 21st (just two days from now). I’m pretty excited to learn the specifics about this model, which will certainly be one of the most unique digital cameras ever made. If you are in Los Angeles on the 22nd, be sure to go to the X Summit Experience that Fujifilm is hosting.
Fujifilm is hosting a free X Summit Experience in Los Angeles on May 22, from 5:00 to 8:00 PM. If you live in southern California, you should try to make it. I’m sure it will be a great time! Click here for more information and to register.
The night before is when the upcoming mystery camera, which is a vertically orientated 1″ sensor model called the Xhalf, will be announced, at 1 AM Eastern Time, 10 PM Pacific. I’m looking forward to learning more about it, so I’ll probably stay awake for the announcement.
Fujifilm recently teased this silhouette of the upcoming half-frame camera.
Fujifilm is about to change the way we think about cameras—with a twist that’s so obvious, you’ll wonder why no one did it sooner. A vertical half-frame digital camera, inspired by film classics but built for the social-media age. Here’s why this little camera might just be the most brilliant idea Fujifilm has had in years.
When I first heard rumors that Fujifilm was developing a digital half-frame camera with a 1″ sensor that is mounted vertically, plus a vertically-oriented LCD screen, I thought it could be interesting, but I didn’t really grasp the significance of it. The more I sat with the idea, the more I realized that this camera will be a game-changer. It’s a brilliant move that taps deep into both photographic tradition and modern needs. It’s a camera that looks back and forward at the same time, while firmly fitting in with current trends.
First, let’s talk about the sensor orientation. Instead of the typical horizontal orientation, the sensor itself is vertical. In today’s world, vertical is king for short-form video (Instagram Reels, TikToks, YouTube Shorts). Even websites and blogs are increasingly favoring vertical imagery—whether stills or video—because most people view them on their phones. Our cellphones have been teaching us to see vertically for over a decade. Fujifilm recognized an obvious truth: if a large segment of the population is shooting vertical most of the time, why not design a camera that’s naturally optimized for it? I think it’s just a matter of time before we see longer-form videos in the vertical format, and maybe even televisions and computer monitors orientated tall (or perhaps in a plus shape) in a few years. Vertical is the future, and the future is now; however, the tech industry has been a little slow to embrace this—perhaps because it upends 137 years of motion picture and nearly a hundred years of television norms.
But it goes deeper than just trendy vertical videos. This camera harkens back to the classic half-frame film cameras of the 1960s, ’70s, and ’80’s, such as the Canon Demi, Olympus Pen F, Konica Recorder, and many others. Just within the last couple of years, the Kodak H35N and Pentax 17 have been analog hits. These cameras shoot two vertical frames on a standard 35mm negative (hence the term “half-frame”), allowing photographers to get twice the number of exposures per roll. Diptychs—two frames that work together as a pair—encourage creativity, storytelling, and experimentation. Fujifilm is embracing this with their upcoming X-series camera. Digital diptychs will be an invitation to think differently, to see differently. It’s not just about creating one great shot; it’s about how two moments side-by-side can create greater meaning.
The elephant in the room is the sensor size. A 1″ sensor is not the same size as a half-frame of 35mm film; actually, APS-C is pretty much half of full-frame. A 1″ sensor is basically half the size of APS-C, so it could be thought of as half-frame compared to APS-C. I think the camera will be more the spirit of half-frame than the technical definition, which will drive some people nuts. While there are some current cameras with a 1″ sensor—such as the Sony RX100 VII—it’s not all that common nowadays, and might be thought of as less-than-capable. For diptychs and vertical videos, it will be more than enough, and I don’t think it will be a point of contention for most people. Plus, the smaller sensor size allows for a more compact design. In other words, it might be a camera you’ll actually take everywhere, and not collect dust because it’s inconvenient to carry.
With the sensor orientated vertical, it just makes sense that LCD screen will be vertical, too. No awkward wrist contortions needed when composing tall shots. No fighting against a UI that’s stuck thinking horizontal. Once again, Fujifilm is demonstrating that they understand how people actually shoot—obviously not everyone, but a large segment of the population, for sure. This will be an obvious camera for social media content creators considering an upgrade from their cellphones.
With the rumored ability to lock in a Film Simulation Recipe for a specified number of shots (probably 12, 24, 36, 48, and 72, but I don’t know for sure), this camera will provide an analog-like experience unlike any other. It reminds me of the “wrench” that Peter McKinnon mentioned a couple of years ago. It’s this blending of retro with modern that perhaps seems unnecessary, but might actually be refreshing. And cool.
Some might say this camera will be too niche, but I think it’s visionary. In a world flooded with generic lookalike cameras chasing megapixels and meaningless specs, Fujifilm is daring to make a model that’s fun, soulful, and vintage-yet-forward-thinking, that’s perfectly suited for how we share our lives today. When this camera is officially unveiled, it will become an instant classic, I’m confident in that prediction. It’s a genius move that is perfect for this new era of vertical-first content creation. Aside from that, it’s retro and pocketable, which are quite trendy right now.
Fujifilm teased a new upcoming camera on their social media accounts. Not much is known about it. The biggest clue is the title: Half the Size, Twice the Story. The camera appears to be quite small, perhaps similar to the Fujifilm X30, but maybe smaller than that—it could be even smaller than the X70. It’s hard to say from the teaser.
Interestingly, there appears to be a small film simulation screen (kind of like the X-Pro3, but shaped differently, and maybe with less information) on the rear. Looks pretty cool, from the little that can be seen.
There’s been talk for awhile now of a “half frame” model that’s essentially a digital version of the Pentax 17 half-frame 35mm film camera. I don’t know if this is that, or even what that means exactly, but it could be. And if it is, it will be a lot of fun. I don’t think anyone will use it as a professional camera (of course it could be, and someone will do so just to prove the point, I’m sure), but as an enjoyable carry-everywhere model, or as a first camera for your kids, it could be quite tempting. This is just speculation, obviously—not much is known, not even when it might be released.
And there’s also the question of availability in the United States. Word on the street is that Fujifilm is pausing shipments into America until the tariff stuff settles—I don’t know if that’s true or not, just something I’ve heard more than once, so it could be true. If it is true, I’m not certain if it will be for all gear or only some, or for how long, or if prices will be raised once resumed. This isn’t a political comment, so please, no political talk in the comments section (they will be removed). Availability of some Fujifilm products has been scarce over the last couple of years (ever since the X100V went viral roughly 30 months ago), and this will likely compound the issue in the USA, but maybe have the opposite effect elsewhere in the world. Whatever the new camera is, I’m highly interested, and I’m keeping my fingers crossed that it will be available in America whenever it is announced.
Fujifilm just announced this morning the brand-new GFX100RF, the first ever fixed-lens compact digital medium-format camera. This new camera uses the same 100mp sensor found in the GFX100 II and GFX100S II, and has a built-in 35mm (28mm full-frame-equivalent, or 18mm APS-C-equivalent) f/4 lens. All for only $4,899! There are several things that make this new camera special—plus a couple that don’t—so let’s dive right in.
The Fujifilm GFX100RF is the most portable digital medium-format camera ever made. It’s the most lightweight digital medium-format camera/lens combination, and it’s the smallest GFX. It’s probably the smallest medium-format, but it depends on how exactly you define smallest. The Hasselblad 907X (plus CFV 100C back) with the 28mm f/4 lens was previously considered the smallest and lightest, and while it might arguably be the “smallest” (it is less wide, but deeper), it is no longer the lightest. For portability, the GFX100RF is the best option in medium-format, making it a compelling camera for travel or even everyday carry.
A few months ago I purchased my first GFX camera, the GFX100S II, with the specific purpose of creating XPan panoramic images that I want to print large. One problem with GFX in general is the size and heft of the gear, which do not lend themselves well for lugging all over the place. Of course, Ansel Adams and the great photographers of the past would laugh at that. While I much prefer smaller gear for travel, I “need” to bring my GFX100S II for the XPan pictures. The 40mp sensor in my X-series cameras produces plenty of resolution for the XPan crop, but it is not quite enough for how large I hope to print. The GFX100RF would be perfect for this, except that I just dropped a ton of money on a GFX camera and a couple lenses back in December.
Which brings me to point number two: the GFX100RF is the cheapest way to get into digital medium-format photography, aside from buying used. If you’ve wanted to get into digital medium-format but have been priced out, this new camera might be for you. It wasn’t even a decade ago that it would cost you at least $10,000 for just the camera body, and thousands more for a lens. Now the entry fee is only $5,000, and that includes the lens! Most people, though, don’t need so much resolution, and medium-format is far more of a luxury than a need.
Another unfortunate aspect of the GFX system is the lack of retro-styled cameras with the traditional tactile controls that Fujifilm is known for. This not only makes the cameras stylish, but also fun, and (IMHO) more functional. The long-discontinued GFX50R is the only other option, so this type of design is long-overdue. Thankfully, Fujifilm is bringing it back to GFX! I bet if this camera does well, there will be more retro-styled models in the future—perhaps a GFX100R.
The GFX100RF has a couple of unique features. One is an aspect ratio knob, which also includes a couple of new aspect ratios not typical found on Fujifilm cameras. Now you can choose between 4:3, 5:4, 1:1, 3:2, 7:6, 65:24, 17:6, and 16:9, and you can switch between those without digging through the menu. Another is a digital teleconverter, with a wheel that shuffles through the options: 45mm, 63mm, and 80mm (I’m not sure if those crops are GFX focal-length measurements or full-frame). Also, interestingly, the GFX100RF uses the same 49mm filter thread size as the X100-series. I can’t say this with 100% confidence, but I’m pretty sure the WCL-X100 and TCL-X100 will work on the new camera (this is mere speculation), which is absolutely amazing if they do; however, I doubt that they are officially supported, and they may not cover the entire frame. Oh, and the GFX100RF is the first GFX model with a leaf shutter, which is especially useful for high speed flash sync.
Now onto a couple of negatives. I’ve covered these before (here and here), so I’ll try to make this quick. I think the camera will be well-received and well-loved, and these two issues will prove to be relatively minor in the long run.
First is the lack of IBIS. An expensive camera lacking IBIS in 2025 is a shocker for some. There are photographers who consider it an essential feature, and won’t buy a camera without it. I’m not in that camp personally. This isn’t a video-centric model, and it has a wide-angle lens, so it doesn’t really need IBIS. Sure, it would be nice to have, but it would have made the camera larger, heavier, and more expensive (at least a little). Two of the biggest selling points (portability and price) would have taken a bit of a hit. I’m sure Fujifilm debated extensively internally if it should have it or not, and ultimately they chose to exclude IBIS for the reasons I just stated. I would have been happy with or without stabilization, as it’s just not a big deal on a camera like this; however, those who do believe it is an essentially feature will likely pass.
Second is the maximum aperture of only f/4, which is not particularly impressive. While f/4 is common on medium-format, it’s not especially bright, which will make the camera less practical after the sun goes down or in dimly lit indoor situations. Generally speaking, shallow depth-of-field isn’t a major focus of wide-angle lens photography, but for those wondering, f/4 on GFX has a similar depth-of-field as f/2 on the X-series. The GFX100RF is more of an “f/8 and be there” camera, so I don’t think the small maximum aperture will be a problem for most people and situations.
That’s my analysis of the new camera. I think many will order it for its portability, price, and style. It’s not a camera that most people need, but I bet it will be highly desired. I want one! I kind of wish I had waited to jump into GFX, because if I hadn’t purchased a GFX100S II a few months ago I would have ordered the GFX100RF today. Instead, I will have to save up and wait. Oh, well. Whenever the opportunity comes to buy the camera, I’m certain that I will be thrilled with it. I’m sure those who have already preordered the camera will love it when it arrives next month.
You can preorder the Fujifilm GFX100RF today. I’ve heard there has already been a lot of preorders, so don’t be surprised if there is a bit of a wait before your order ships. The camera will officially be released and ship on April 24th.
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
Fujifilm GFX100RF in black: Amazon, B&H Fujifilm GFX100RF in silver: Amazon, B&H
While at the CP+ Show in Japan, PetaPixel interviewed Yuji Igarashi, who is the General Manager of the Professional Imaging Group, Imaging Solutions Division, of the Fujifilm Corporation. He said some interesting things regarding the Fujifilm X100VI production situation. Now, it’s important to take it with a grain of salt. Sometimes people will harshly judge an interpretation of what someone said in a different language, lacking grace for interpretation errors and dialect and cultural differences. Keeping that in mind, let’s get into it.
“We’ve more than doubled our production compared to the previous model,” Yuji Igarashi stated. “But on top of that, we are also still increasing production. Now we can produce higher than [15,000 units per month] and we have been, but it’s not like we can produce double that [amount again].”
Not much new there. Fujifilm told us from the outset that they had doubled production from the previous model, from 7,500 units per month to 15,000. We also already knew that for a year now they have been trying to increase production further. Fujifilm told PetaPixel that they have been unable to accomplish 30,000 units per month, but they are definitely beyond 15,000.
“We’ve been doing what we can to increase our production for the X100VI,” Yuji explained, “but the processes are quite complicated—especially for pieces like the top plate. To make these sharp edges, it goes through many processes. So, this type of camera is not so suited for ramping up production.” In other words, they’re doing all that they can, but there are significant challenges that prevent them from churning out even more cameras.
“In one year since we launched this product,” Yuji continued, “compared to the previous models which took us to sell three or four years, we’ve already shipped an equivalent amount.” This was shocking to me. Fujifilm is stating that—even with the manufacturing limitations—they have already built and delivered as many X100VI’s, which was released just one year ago, as the previous iteration over nearly a four year period. Just as many people have an X100VI in their hands as have an X100V, yet it only took Fujifilm one year to do that for the new camera vs four years for the X100V. And it’s a similar situation for the X100F and the previous versions.
This completely shreds the (quite stupid) theory that Fujifilm is purposefully creating shortages in order to manipulate the market. The unprecedented demand of the X100VI was and is real. No camera has been as in-demand as the X100VI ever. In all of history, no model from any brand received more preorders than the X100VI, it’s not even close. Despite building a ton of copies, Fujifilm has not yet met the initial demand, but they’re getting close. “So I know people are quite frustrated when they say it’s still not available,” Yuji said. “I think one issue is that the first-day orders were so big when it was announced, that’s why people say they’ve been waiting for eight, or 10 months, which we totally understand is so frustrating. So until we clear that, some people will still continue to say, ‘We’ve been waiting for 10 months.'”
Now you might say that the math isn’t mathing. If Fujifilm hasn’t been able to quadruple production, how could they possibly build as many units in one year as they did over nearly four? First, Fujifilm produced a bunch of copies in the months prior to the camera’s announcement, in anticipation of strong initial demand. Also, the X100V was effected by the pandemic parts shortage, which for a time limited the number of copies they could manufacture. If Fujifilm managed to make (say) 300,000 units, that would likely be close to the total number of X100V’s manufactured in total. And that 300K guesstimate might be in the ballpark. We know that 180,000 were manufactured at a minimum post launch, and 60,000 might have been manufactured prior to launch. If Fujifilm has been able to increase production by 6,000 units on average over the last 10 months, then you’d have 300K. While that’s a lot of cameras, apparently there were around 500,000 day-one preorders in China alone, so the initial demand has still not been met a whole year later.
Thankfully, slowly but surely Fujifilm is catching up. Here and there the X100VI has been seen in-stock at camera stores, particularly the black version. If you want to buy one, the wait isn’t nearly as long now. You might still have to be patient for a month or maybe a few, but the 10-month-long waits are in the past. It’s a good time to get your order in if you’ve been waiting. Or, if you’ve been hoping to find it at a local camera store, they might just have one right now—maybe.
The challenge for Fujifilm is to tread carefully on production numbers. If they suddenly find that the demand has been met, and they’re building over 20,000 units per month, they could end up overproducing a lot of copies. Since it takes months from the time parts are ordered until finished cameras are delivered, if the market suddenly shifts, it’s possible that Fujifilm could manufacture a hundred thousand copies more than are needed and can be sold. That amount of overproduction would be a tough blow to the bottom line, and possible could cripple the camera division. As wait times dwindle, Fujifilm should strongly considered reducing the number of units that they manufacture monthly. At some point, 15,000 copies each month will be much too much. Hopefully that is a long ways off, but it will arrive eventually, and it will need to be handled quite carefully when it approaches.
In just 10 days—on March 20th—Fujifilm will announce a new product, purportedly a fixed-lens GFX camera, in Prague. This X Summit takes place at 11:00 AM local in the Czech Republic, which is 2:00 AM Pacific Time and 5:00 AM Eastern Time in the United States. I won’t be awake for that. By the time I brew my first cup of coffee, the camera will have been long announced, and preorders already open. If you want to get this camera right away, my recommendation is to set your alarm clock.
Since most Americans will be fast asleep when the announcement happens, Fujifilm North America is having their own party, which they’re calling an X Summit Experience, in Las Vegas at the WPPI Expo. This will be at 10:30 AM Pacific Time on the 20th. If you are in the Las Vegas area, I’m sure it will be worthwhile to stop by—just be sure to register.
Fujifilm did something similar to this with the launch of the X-T50 and GFX100S II. The X Summit for that was in Australia, which was the middle of the night for most of America. So they had an X Summit Experience on a Manhattan rooftop later in the day to celebrate the announcements. I was invited to be a part of that, and it was a ton of fun. So definitely, if you are in Vegas on the 20th, be sure to go. Unfortunately, I won’t be there for this one.
It’s possible that more than one thing will be announced at this X Summit. Four products—two cameras and two lenses—were unveiled at the Sydney X Summit in 2024; however, since nothing has leaked, I would be surprised if anything else was officially announced. But, I do suspect there could be some extras, such as a future product tease, and/or more info on the upcoming GFX Eterna cinema camera. I won’t catch it live, but will probably watch it on YouTube later in the day.
There’s been a lot of discussions about the rumored upcoming Fujifilm GFX100RF, which might get announced next month. Supposedly, it will be a compact 100mp medium-format fixed-lens camera similar to the X100-series and about the size of an X-Pro3. It won’t have IBIS, and the lens will be 35mm f/4, which are major points of contention for some. I figured that this might be a good opportunity to explore if those two design choices will be crippling for the camera, or if it is much ado about nothing.
I don’t have any inside information on the upcoming camera. Fujifilm hasn’t shared anything about it with me, not even if there is a camera forthcoming. I only know as much as the next person, and what I do know I read on Fujirumors. Patrick has a pretty solid track record, so there’s a good chance that everything he has shared about the camera is correct, but until it is announced by Fujifilm, nothing can be known with 100% certainty. In other words, anytime that we’re discussing rumors, it should be taken with a grain of salt.
Personally, I’m really excited for the GFX100RF. I believe that an X100-like GFX camera is going to be a major success for Fujifilm. While I don’t anticipate it being as viral as the X100VI, I do think it will have strong demand. It’s also about time that Fujifilm offers a GFX camera with manual tactile controls (is not PASM). The only other one is the long-discontinued GFX50R. If the GFX100RF is a big success, I bet that Fujifilm will begin work on a long-hoped-for GFX50R successor. If sales of the GFX100RF turn out to be disappointing, I don’t anticipate a retro-styled GFX camera for a long time, if ever. In my opinion, this is a crucial release, a lot hinges on it.
Fujifilm GFX100S II & Fujinon GF 30mm f/3.5 at f/4 – PRO Negative 160C
The upcoming GFX100RF will essentially be the digital version of the Fujifilm GA645W, a fixed-lens 120 film camera from the 1990’s. The GA645W has a 45mm f/5.6 lens, which is 25mm full-frame-equivalent, and with a depth-of-field similar to f/3.2. The GFX100RF will have a 35mm f/4 lens, which is 28mm full-frame-equivalent, and with a depth-of-field similar to f/3.2. It’s not quite as wide as the GA645W, but pretty close. The Fujifilm X70, with its 18.5mm (28mm full-frame-equivalent) lens, might also be considered comparable.
Some people have said that f/4 is much too small for a maximum aperture on the upcoming GFX camera, since f/4 is not especially impressive. Unfortunately, a larger maximum aperture lens would require the camera to be bigger and heavier. Would an f/2.8 lens be nice? For sure, yes. But, at what cost? I’m sure Fujifilm was faced with a lot of difficult choices as they developed the prototype, and as they weighed the pros and cons, they made what they felt were the best decisions. So we have f/4, which is not uncommon for GFX. I count six GF lenses in the current lineup with a maximum aperture of f/4, plus two at f/3.5, and four with a maximum aperture smaller than f/4. Only five GF lenses have a maximum aperture larger than f/3.5. The decision to go with f/4 should not be all that surprising, and I doubt many—if any—in the GFX world were shocked by it.
Fujifilm GFX100S II at ISO 6400 & Fujinon GF 30mm f/3.5 at f/4 – Kodak Tri-X 400
GFX cameras are good for high-ISO photography. It’s kind of a paradox of digital medium-format: it’s good that it’s better at high-ISOs, because you’re going to need it, since the maximum apertures are typically not as large as smaller sensor formats. There are pros and cons to everything. Unsurprisingly, you’re going to find tradeoffs. It is what it is.
Not all Fujifilm cameras have in-body-image-stabilization (IBIS), but most of the GFX models do (only the original two don’t). There are a couple of situations where IBIS is especially helpful, plus a few where it can be nice to have. One is video. IBIS is not a requirement for video, but it is particularly convenient when handholding without a gimbal. Another is telephoto lenses. The longer the lens, the more useful IBIS is. Low-light situations without a tripod is an example of when it can be nice to have. For many circumstances, IBIS is not particularly necessary, especially for wide-angle lenses. Some who say that they need IBIS might discover that their photography wouldn’t suffer if it was turned off—they’re not giving themselves enough credit for how well they can hold still.
Fujifilm GFX100S II at 1/20 & Fujinon GF 30mm f/3.5 at f/16 – Kodak Tri-X 400
The rule of thumb is that, without IBIS, whatever the focal length of the lens is (or in the case of Fujifilm cameras, the full-frame-equivalent focal length), the minimum shutter speed should be a similar number. For example, if the X-series lens is 16mm, which is 24mm full-frame-equivalent, the slowest hand-held shutter speed is around 1/25. If the lens is 90mm, which has a full-frame-equivalent focal length of 135mm, the slowest hand-held shutter speed is around 1/125. With good techniques, you can often get a sharp picture with even slower shutter speeds. For the GFX100RF, with its 35mm lens (28mm full-frame-equivalent), the slowest hand-held shutter speed will be about 1/30.
There’s a myth floating around that IBIS is more necessary with 100mp sensors than with lower-resolution sensors. That’s simply not true. More resolution does not equal a bigger need for IBIS in order to get sharp photographs. A 100mp sensor has no more or less of a need for IBIS than a 12mp sensor. A sharp photo is a sharp photo no matter the resolution, and a blurry image is blurry no matter the resolution. The myth is false, and not based on reality.
Fujifilm GFX100S II at 1/25 & Fujinon GF 30mm f/3.5 at f/9 – Superia Negative
Massive crop from the above photo
I put all of this to the test yesterday. Obviously, I don’t have access to a GFX100RF. I’m sure some people have it in their hands right now, but I don’t. I do own a GFX100S II and a Fujinon GF 30mm f/3.5 lens (which doesn’t have OIS). So I turned IBIS off. I kept the aperture at f/4 or smaller. I did my best to simulate the upcoming camera, although the GFX100S II is much larger and heavier, and with PASM. The 30mm lens is 24mm full-frame-equivalent (16mm on X-series), so a little wider than what the GFX100RF will have.
The f/4 maximum aperture wasn’t a major issue. Wide-angle photography is not known for shallow depths-of-field. While it is possible to achieve a shallow depth-of-field, I don’t anticipate this being a major selling point of the camera. I imagine that “f/8 and be there” will be a much more typical shooting philosophy. In low-light situations, I did have to increase the ISO higher than I would have had to if I had used my X-series gear, but thankfully the camera does well with high-ISO.
I tested handholding the camera at slow shutter speeds. Unsurprisingly, I consistently achieved sharp photographs at 1/25, with probably a 90% success rate. At 1/20, the success rate was closer to 60%. At 1/15, the success rate was probably 30%. I was able to get one sharp photo at 1/13. Because the lens on the GFX100RF will be a little less wide-angle, the shutter speed should be increased slightly. I suspect that it will be roughly a 90% rate at 1/30, 60% at 1/25, 30% at 1/20, and maybe 10% at 1/15. Obviously, results will vary from person-to-person, depending on your technique and ability to hold still.
Fujifilm GFX100S II at 1/13 & Fujinon GF 30mm f/3.5 at f/4 – Superia Negative
Massive crop from the above photo
While IBIS would have been a nice feature, I don’t think its exclusion is a major issue. I’m sure it was a compromise in order to keep the size, weight, and price down. This camera—like every other camera that’s ever been made—is not for everyone. It has advantages and disadvantages. It will be especially great for some situations and use-cases, and not so much for others. Personally, I plan to buy it; however, probably not on the announcement day. Like the GFX100S II, I’ll have to save up and probably sell some gear in order to afford it. I think it’s going to be a lot of fun, so I’m excited to try it someday when the opportunity comes.
I’ve had several people ask me what my opinions are of the upcoming Fujifilm GFX100RF fixed-lens X100-like GFX camera, which will supposedly be announced in the first quarter of 2025. Apparently, according to Fujirumors, the camera will be about the size of an X-Pro, have the 100mp GFX sensor, a 35mm (28mm full-frame-equivalent) f/4 lens, and will not have IBIS. That’s all that they’ve reported so far.
I don’t currently own any GFX cameras. They’re outside of my budget, are large and heavy compared to the X-series, and I think my use-case for one would be fairly limited. But, something like the GFX100RF would be interesting to me because the size and weight are likely to be less than typical GFX gear, and probably less expensive than a GFX100S II plus a lens. It would be a good way to dip my toes into GFX without having to buy a whole new system, or lug around something large and heavy.
One criticism that the camera is likely to receive is the lack of IBIS, but I think not having IBIS is just fine for a camera like this. First, outside of video and low-light situations, IBIS is really unnecessary for wide-angle lenses. Second, it adds size, weight, and cost, so its exclusion might actually be beneficial. Third, I think the whole “you need IBIS on 100mp because you can see even the smallest blur” argument is overstated. On this camera, IBIS would be occasionally nice to have, but far from essential, so it doesn’t bother me that the GFX100RF will apparently not have it.
The lens choice will probably be debated for a long time. Since fixed-lens cameras are stuck at whatever focal-length they are, you have to really like what it is. The 35mm lens on a GFX is like 18mm on APS-C (think Fujifilm X70 and Ricoh GR), or 28mm on full frame (think Leica Q3). That’s obviously a very popular focal-length, but it’s not for everyone. I personally prefer less wide-angle lenses most of the time (the X100VI, for example, is sometimes too wide for me). I completely understand the focal length choice for the GFX100RF; however, I kind of wish it was more like 50mm (40mm full-frame-equivalent), but that’s just my preference, and probably not what would be most desired by the majority of potential buyers.
And let’s not forget the maximum aperture of “only” f/4. That’s not an impressive maximum aperture, but also not unusual for medium-format. A larger maximum aperture would require a larger and heavier (and more expensive) lens, which would defeat the purpose of the GFX100RF. Back in 2021 I talked about this a bit: while GFX has a potentially smaller depth-of-field and better low-light capabilities, the fact that the maximum apertures are often smaller means that you oftentimes can’t fully realize those advantages. It’s a catch-22. Although f/2.8 would have been nice, f/4 as a maximum aperture is completely unsurprising to me, and probably required some engineering magic to even make that work.
We will have to wait a few more months to really know what the GFX100RF camera will be like, but what I can tell you is that this is the most excited I have been for a GFX model in a very long time. I need to prepare now—make room in both my budget and in my camera bag—for when it is announced. I’m sure, like the X100VI, if you’re not quick to order, there will be a wait to get your hands on one, as I’m pretty sure that this will be a popular camera.
I get asked somewhat regularly when I think the X-Pro4 camera will be announced, or if it will ever come. It’s long overdue. Some folks are even losing hope, believing that Fujifilm has abandoned the line altogether. I often see questions like: When will the next X-Pro come?What will be different about it?Was the X-Pro3 the last iteration?
The X-Pro1 is a historically significant camera. It was the first interchangeable-lens X-series model, and the first X-Trans camera. Fujifilm’s success in the digital camera world hinged on this one model. If it flopped, there would not likely be any X or GFX cameras being manufactured today. The X-series would be a forgotten footnote, like Samsung’s NX line. However, the camera was a success, and the rest is history, as they say.
The lifecycle of the X-Pro series has been pretty consistent. The X-Pro1 was announced in early 2012. Exactly four years later, the X-Pro2 was announced. The X-Pro3 came just a smidge early, in fall 2019 (instead of early 2020). If this pattern continued, the next X-Pro—presumably called X-Pro4, or maybe X-Pro5 since the number four is considered unlucky in Japan (sometimes, but not always, Fujifilm skips it)— should have come out either in fall of 2023 or first quarter of 2024. Obviously it didn’t. And there’s not been any indication that it is coming soon, either. The X-Pro4 is now long overdue, and seemingly abandoned. An X-Pro4 in 2024 would have made a lot of sense, as would an X-Pro5 in 2025 (assuming they skip the number four).
In my opinion, camera makers refresh camera lines much too quickly. A four-year cycle should be pretty normal, and some models should take longer than that. I don’t have a problem with the next X-Pro coming out five or even six years since the last. I do wish that the X-Pro3 hadn’t been discontinued. I can’t say for sure, but its discontinuation was likely due to the ribbon wiring harness to the rear screen not being reliable enough, which caused problems for some X-Pro3 owners. The backwards rear screen was a bold experiment that I applaud Fujifilm for having the guts to try, but ultimately I think it was a bust. Between the screen issues and so-so sales after the initial demand faded, I think Fujifilm felt the X-Pro3 had run its course after three years.
Just to be clear, I have no inside information. Sometimes people assume that I do, but I don’t. I get my information the same way that you do. All I have are guesses. Please take this article with a grain of salt.
I believe that Fujifilm is currently developing the next X-Pro camera right now. I don’t know if they’re at the beginning stages or near the end or somewhere in-between (probably somewhere in-between). It’s possible that a few people already have their hands on a prototype, I don’t know. But I do have a lot of confidence that the work has begun on the camera and it is somewhere on the path to becoming a reality. There will be an X-Pro4 (or maybe called X-Pro5) in the future, I’m 99.9% sure of it.
When exactly the camera comes out and what will be different about it is something I don’t know. Back in 2023 I speculated that it was likely to be released in 2024. Earlier this year I speculated that it was likely fall of 2024, or maybe spring 2025 at the latest. Obviously I was wrong about those dates. Some speculation that I’m mildly confident will prove to be true: the next X-Pro iteration won’t be X-Trans V, but X-Trans VI.
Fujifilm introduced the world to X-Trans technology with the X-Pro1. The X-Trans I sensor was fairly short lived (only the X-Pro1, X-E1, and X-M1 cameras had it… the X-M1 paired the sensor with the X-Trans II processor). The X-Pro series completely skipped over the X-Trans II sensor. Fujifilm introduced the X-Trans III sensor with the X-Pro2. The X-Pro3 was the third X-Trans IV camera; however, they introduced Classic Negative, Grain size, Color Chrome FX Blue, and Clarity with it. My guess is that—like X-Trans II—Fujifilm will skip X-Trans V and go straight for X-Trans VI, introducing that sensor with the next X-Pro camera.
From Dust To Dust – Great Sand Dunes NP, CO – Fujifilm X-Pro2 – Kodachrome II Recipe
I don’t know what will differentiate X-Trans VI from X-Trans V, but my guess is speed and efficiency. Probably not megapixels. I suspect that Fujifilm will look to improve autofocus, frame rates, sensor readout, heat dispersion, and things like that, with the next X-Trans sensor. Most of these improvements are unlikely to significantly impact an X-Pro model due to how people typically use these cameras, but I’m sure they will be welcomed nonetheless—especially if the Clarity pause can (finally) be shortened. Fujifilm might (should, in my opinion) introduce a new Film Simulation—Fortia? XPro (cross-process)? Natura? PRO Neg H (looks like 400H and turns pastel with overexposure)?—and maybe a new JPEG tool or two (faded shadows? split toning? Medium Grain strength and size? mid-tone boost? half-step WB Shift?) with the X-Pro4. Increasing the number of Custom Settings presets from 7 to 10 (or more) would be celebrated. The XPan aspect ratio is a must, I think. There’s plenty that Fujifilm could do.
But there’s also plenty that Fujifilm shouldn’t do. I will be mildly surprised if the X-Pro4 has a backwards screen like the X-Pro3 (my guess is that it will be more like the X100VI and X-T5); otherwise, the less they change the better. Look at the feedback from the X-Pro2 and X-Pro3, and change as little as possible. In my opinion, the best X-Pro iteration was the Fujifilm X-Pro2, so if the upcoming X-Pro is more like it I certainly won’t complain.
My guess is that the X-Pro4 (maybe called X-Pro5) will be announced either in September/October of 2025 or (more likely) the first quarter of 2026. Prior to its announcement, I would expect that Fujifilm will release an X-E5 (the X-E series is almost always released at the end of a sensor generation) and maybe an X-T30 III. Both of those will likely have an X-Trans IV sensor paired with the X-Trans V processor (although it is certainly possible that the X-E5 will get the 40mp X-Trans V sensor). I wouldn’t be surprised to see another model, such as the 1″ sensor camera that’s been rumored, also announced in 2025. My best guess—and remember, it’s just a guess—is that the next X-Pro, along with the X-Trans VI sensor, will arrive in early 2026, approximately 15 to 16 months from now. I know a lot of people are looking forward to it, and it will surely eventually happen, but I think it’s still a little ways out.
Fujifilm just announced that they are creating a GFX Eterna cinema camera to be released sometime in 2025.
When I was at Fujifilm’s Create With Us event in Austin back in September, they had a Fujinon Duvo HZK 25-1000mm f/2.8-5.0 Box Lens on display. For those who don’t know, this is a quarter-million-dollar broadcast lens, used for sporting events. The camera attached to the lens was a Sony.
Fujinon lenses are renown in the cinema and broadcast world, but Fujifilm doesn’t have a filmmaking camera. Actually, Harlem Fragments was filmed on an X-H2s. A number of short films and mini documentaries have been filmed on an X-H2s, too. But, setting that aside, a true pro cinema camera—something ESPN would use, or Universal Pictures—was missing. I recognized this in Austin, and mentioned to the sales rep that Fujifilm should develop a camera to go with the lens, instead of using a competitor’s model. I guess they were already pretty far along in development, but I had no idea.
I don’t anticipate many, if any, reading this will ever buy the GFX Eterna. Maybe a couple of you. I’m sure it will be very expensive. But if you are a broadcaster or filmmaker, perhaps this is something you’re excited for. I can imagine some IMAX pictures being filmed on this.
One last thing: kudos to whoever at Fujifilm named the camera. It’s brilliant. A monochrome-only X100 Acros or X-Pro Acros would be really cool, too. Just throwing that out there.
For those who live in Ann Arbor, Michigan—as well as the surrounding areas—be sure to join us. Detroit is right there. Toledo and Lansing aren’t too far. Grand Rapids, Cleveland, and Fort Wayne are a pretty far drive, but some people have traveled longer distances than that for the other photowalks—if it’s not too far for you, I’d love to meet you in person. If you think that you can join us, you will need to sign up (click here to register), but it’s quick and easy to do, and best of all FREE!
We will meet somewhere in downtown Ann Arbor on Saturday, November 9th, at 10 AM. The exact meetup spot is TBD, but we will email it out to everyone who signs up once it has been finalized. Afterwards, we will head over to PROCAM for some refreshments. It’s going to be a great time!
One week later—on November 16th—I will co-lead a photowalk in Philadelphia with Allan Ali, who is a local legend. We teamed up for a photowalk back in August, and it was truly great! This photowalk through the historic and beautiful Old City is in conjunction with Unique Photo as a part of their two day Camera Show. Even if you don’t join the photowalk, at least come to the Camera Show, because it will be completely worthwhile (and while you’re there, you might as well come along on the photowalk 😀).
If you are in Philadelphia or even as far as New York City, I hope you can join us. This one is from 10:15 AM to 12:15 PM, and will include a short classroom presentation. The cost is $10 per person (but you get it back with a $10 token for in-store purchases), and you must preregister (click here). Space is limited, so if you want to come, don’t procrastinate—for August, it filled up rather quickly, and I’m sure this one will, too.
I’m looking forward to seeing some of you in Ann Arbor and Philadelphia very soon!
I’m a little late to the party, but in case you haven’t heard, Fujifilm announced a new camera: the tiny and inexpensive X-M5.
My alarm sounded at 3:30 AM Eastern Time this morning, so that I could catch my flight from JFK International to Phoenix Sky Harbor. After running through the airport Home Alone 2 style, I barely made it, just as the gate attendant was announcing the last barding call. I made it nonetheless, and am now home after a whirlwind tour of New York City and Connecticut. It was such a great time, and I look forward to sharing more about it with you in the coming days.
In the meantime, here’s my take on the Fujifilm X-M5. I will do my best to say something different than the many reviews that have already been published across the web. To be clear: this isn’t a review. I haven’t used, touched, or even seen the camera in-person. I know as much about it as you, and maybe not even that much. It does seem to pack a lot into a tiny and inexpensive body, from what I’ve read.
I have been saying for a couple of years now that Fujifilm needs an affordable entry-level model. They used to have two, but when the X-A7 and X-T200 had sputtering sales in 2020, Fujifilm discontinued both. I’ve stated several times that, in my opinion, there is a sufficient market to justify one entry-level model—but probably not two—so if Fujifilm were to make an X-A8 or X-T300 (but not both), it would likely do just fine. Instead (and after a few years), they did something really unexpected and better, and revived the long-dormant X-M line.
Fujifilm released the X-M1 in 2013. It was unusual in that it had an X-Trans I sensor paired with the X-Trans II processor. It was announced just a few months before the X-A1, which was basically the same camera, except with a Bayer sensor instead of X-Trans. Because the X-A1 and X-M1 were nearly identical, yet the X-A1 was cheaper, the X-M1 struggled to sell, and it never had a successor… until now.
The X-M5 has been imagined and designed with the idea of what an X-M series camera would look like had it not been discontinued. How would it have evolved over the last decade? Fujifilm used their imaginations, and created the new camera. And, in the spirit of the original, it comes with the “old” X-Trans IV sensor paired with the “new” X-Trans V processor.
It is currently the most affordable X-series model, at only $799 for the body-only, and $899 when paired with the 15-45mm f/3.5-5.6 lens. For those wanting to get into the Fujifilm system but have found it to be a little outside of the budget, the X-M5 might be your best option. This is an easy camera to recommend for beginners, as it fills an obvious void in the X-series lineup.
The X-M5 is also the smallest interchangeable-lens X-series camera. It is tiny and lightweight, which makes it compelling for travel or walk-around photography. I would pair it with the Fujinon 27mm f/2.8 or Fujinon 18mm f/2… but, here is the problem: the 27mm lens is very difficult to find, and the 18mm is overdue for a refresh. This is an ideal camera (along with the X-E line) to showcase one big advantage of APS-C: size and weight; however, the lack of pancake lenses makes it less compelling than it should be. My suggestion to Fujifilm is to increase production of the 27mm f/2.8, design a new-and-improved 18mm f/2, and introduce one or more new pancake options (maybe to be released in conjunction with the next X-E camera?).
While the X-M5 is a bit video-centric, it does not have IBIS. I don’t think the lack of IBIS is a big deal whatsoever for stills photography, but I do see it as a potential problem for videography. However, for the price and size, I think its exclusion is acceptable. You can use OIS lenses, a gimbal, and/or the digital stabilizer, if necessary.
Perhaps the two biggest drawbacks are the lack of an EVF and the PASM dial. It’s understandable why the camera doesn’t have an EVF—the X-M1 didn’t have one, and if the X-M5 did, it would require the body to be both larger and more expensive—but the lack of one will be a dealbreaker for some. The PASM dial was also expected, but for me, personally, I much prefer the traditional dials instead; some people like this setup (different strokes for different folks), but it’s nearly a dealbreaker for me—nearly.
The Film Dial… I like it, but it’s controversial. You may or may not like it yourself; however, I suspect that many will find it both fun and useful on the X-M5 specifically. I’m quite happy to see its inclusion on this camera.
From what I can tell, the Fujifilm X-M5 is not for me, but it might be good as my teenage son’s first camera. Christmas is around the corner, so we’ll see. Maybe it will be wrapped under the tree (if it’s still even available…). I think it will sell very well, and serve as a gateway into the Fujifilm ecosystem for many. For those already in the X-series family, this might be a good compact camera for travel, or an inexpensive companion to a larger body.
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
Fujifilm posted a video announcing an upcoming X Summit in Tokyo on October 14th. Most likely, they will introduce one camera and two lenses. There could be other surprises, who knows. It will be at 6:00 AM Pacific Time, 9:00 AM Eastern. If you are possibly interested in the products that are expected to be announced, you might want to tune in and preorder as soon as that goes online, which is usually immediately afterwards.
Fujifilm also announced that they are planning to release a firmware update for the X-H2s, X-H2, and GFX100 II in November. This upcoming firmware update seems to be video-centric, but will also likely include some improvements and fixes for still photography. I wouldn’t be surprised to see firmware updates for some other cameras at or around that same time, but since it won’t include all of the video stuff, my guess is that they’re not making a big deal about it.
It’s been widely reported that earlier this year Fujifilm released a buggy firmware update that negatively affected autofocus on some models. While they largely fixed the issues from that buggy update (it’s always a good idea to wait a couple weeks before updating the firmware, in case there is a problem, no matter your brand of camera), there are still some persistent problems that people are reporting. Fujifilm has been working on it, and I believe that they’re about to get it all sorted out.
Captured with a Fujifilm X-M1 camera & Fujinon 90mm f/2 lens
There has been a lot of unnecessary hysteria around this topic. In my opinion, it has been largely overblown with a lot of unfair exaggerations and even some downright lying. That is not to say issues haven’t or don’t exist, because obviously they do, or that they shouldn’t be addressed—they should be, and they are. I think some of the feedback has indeed been quite helpful to Fujifilm, providing a better understanding of exactly what is going on and how to fix it; however, some other feedback has just been an embarrassment to the community at large, with chronic complainers, haters, and trolls fanning the flames with anger and hate. The comments sections of many Fujifilm related websites and videos have become unbearable. Some trolls have been posting multiple times under various aliases, so as to make it seem like the outcry is bigger and louder than it actually is (shameful behavior, for those doing it). Petapixel has even deleted some comments, something they don’t do all that often (but should do much more, in my opinion), that’s how bad it has become—a few bad apples will spoil a whole bunch, as the saying goes. I cannot tell you how many people have emailed or DMed me, expressing how tired they are of it, but they don’t want to speak up publicly for fear of being bullied by the trolls. That behavior needs to stop—no excuses—it’s unacceptable.
I, personally, have not experienced any AF issues on my Fujifilm cameras (and I have many, and I use them all of the time). Within the last two months I have spoken with many of you in person. Just last week I spoke to some who use the affected cameras for their livelihood (very successful and talented creators), and asked them directly about this. In all of the circles that I’ve been in lately, this has not been seen as a big problem by anyone who I spoke to. That’s not to say issues weren’t noticed by some, only that they were able to work around it and get the job done without any problems whatsoever. All of this is to say, I think that those who are actually actively out there creating content with their Fujifilm cameras are doing just fine right now, and the issues have been largely overblown on the internet. Still, it’s good to see that very soon Fujifilm will have it all sorted out, so no worries for those who have been losing sleep over this.
Now, of course, I will get some angry comments about what I just said. That’s fine. Because the Fuji X Weekly community is so amazing, this website has largely been immune from the trolls that are all too common elsewhere. I have not been inundated by those over-the-top comments you see on other websites, and it’s thanks to all the good folks who regularly visit this page (that’s you!). But I’m sure I will still get some. The point of this article is simply to mention that a few new products are about to be announced, and that some firmware updates won’t be far behind. I really wish the rest didn’t need to be said, but unfortunately (and sadly) that’s the state of things right now.
