Two or three weeks ago, Fujirumors reported that Fujifilm is working on a Film Era Dial that will be found on some upcoming camera. I made the false assumption that it must be the upcoming X-Pro, which is most likely the next X-series camera to be released (although it might not be), possibly early next year. I’m glad that I used words like “guess” and “suspect” and clarified that “I have absolutely zero inside information” because apparently my guess and suspicions were completely wrong. The camera that Fujifilm is going to put this new feature on, according to Fujirumors, is not an X-series model, but an Instax Evo camera.
Some of you just sighed with relief. You don’t want a Film Era Dial or even a Film Dial. Personally, I like the Film Dial. It’s not perfect, but Fujifilm has been working to improve it (and hopefully will continue to do so). I think the Film Era Dial could be a really cool concept if it’s done right. They could screw it all up and make it really cheesy, or they could do a great job with it and it becomes a beloved feature (or anything in-between). For now, it’s apparently not coming to the X-series, only to an Instax Evo model. Maybe it will be on the next X half, which is kind of a cross between Instax Evo and the X-series. It could someday find its way to the X-series, but apparently not yet. I’m probably in the minority of people who are a bit disappointed to hear this news.
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 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.
Purportedly, Fujifilm is about to shake up the medium-format world with their upcoming 100mp fixed-lens GFX camera: GFX100RF. This upcoming model, rumored to be priced around $5,000, will feature a high resolution 100mp sensor paired with a fixed 35mm f/4 lens (28mm full-frame-equivalent, or 18.5mm APS-C-equivalent). Apparently, it will be about the same size as an X-Pro model. While this might sound like a dream camera for some, others may wonder whether it’s actually a good value—will it even be worthwhile at that price point. Let’s talk about this.
I want to start with this disclaimer: 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, or if any camera is 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. We will all know everything when it is announced in March, and, until then, it’s only speculation.
Some might see the upcoming Fujifilm GFX100RF camera as a fantastic value. Not all that long ago, a digital medium-format camera would set you back at least $10,000, if not $30,000 or even $60,000. When Pentax released the 50mp 645Z in 2014 at “only” $8,500, it shocked the camera world because it seemed to be impossibly inexpensive for what it was. Beginning in 2017, Fujifilm basically took things a step further, and in the process became the leader in medium-format, by offering the GFX50S and GFX50R for $6,500 and $4,500 respectively. Since then, prices have continued to come down while the capabilities of these cameras have increased.
The Fujifilm GFX100S II has an MSRP of $5,000. It has the same sensor and processor as the upcoming GFX100RF. A couple advantages of the GFX100S II are that it is an interchangeable-lens model, and it has IBIS; some disadvantages are that it is much bigger/heavier, it requires the purchase of a lens, and it is PASM (not the traditional Fujifilm tactile controls). Essentially, you exchange IBIS for a lens, and get a retro-styled body about the size of an X-Pro3. The most similar lenses in the GF lineup are the 30mm f/3.5 (closest focal-length) and 50mm f/3.5 (closest size), which cost $1,700 and $1,000 respectively. An argument can be made that the GFX100RF is an excellent value at “only” $5,000, considering that the lens is included.
The big advantage of the upcoming camera is, of course, size and weight, and the retro design. My speculation is that it will be the thinest ever digital medium-format body/lens combination, and maybe even the “smallest” (depending on exactly how one defines that). Comparisons will be made to the Hasselblad 907X (plus CFV 100C back) with the 45mm f/4 or 28mm f/4 lens, which is much more expensive at over $9,000 (interestingly, the Hasselblad does not have IBIS, and we’re talking about f/4 lenses…).
I think a lot of the complaints circling the internet about the upcoming GFX100RF are from those who were unlikely to buy the camera in the first place. There was always going to be an excuse. It doesn’t have IBIS. The maximum aperture is too small. It has a fixed lens. The cost is too much. If only the engineers had pulled off miracle after miracle after miracle, then they would purchase. But since the designers were limited to things like reality, what a stupid camera that nobody will buy! Of course, I disagree with that completely.
Oak Creek – Sedona, AZ – Fujifilm GFX100S II & 80mm f/1.7 – Nostalgia Negative
The lack of IBIS will deter some, no doubt. There’s a myth that more megapixels make camera shake more noticeable, but that’s simply not true. A blurry picture is blurry no matter the resolution, and a sharp picture is sharp no matter the resolution. The same rules for achieving sharp photos apply exactly the same to 10mp as 100mp. But that doesn’t mean IBIS isn’t a useful feature that’s worthwhile to have. Some see it as essential, and the lack of it on the GFX100RF will prevent them from purchasing; however, I don’t see this as a big issue for most potential buyers.
Also, the f/4 lens is not especially exciting. This maximum aperture is not uncommon on GFX lenses, and produces a depth-of-field similar to f/2 on APS-C. People looking at it from an APS-C or full-frame perspective might find it shocking, but those in the medium-format world will see it as pretty normal, similar to how f/2 is common for the X-series.
The proper take, in my opinion, is that this camera isn’t for everyone, or even for most. The GFX system as a whole is not for everyone, or even for most. The vast majority of photographers don’t need a GFX camera. Some do, and it is available for them. Some don’t, yet enjoy the system anyway. For the majority, the X-system is a better option, in terms of value, enjoyment, size, and even capabilities. It’s not “trash” or “dumb” just because you personally don’t need it, or because it doesn’t have all of the specs that you wished it would, or because it is priced above what you can reasonably pay for a new camera. I think it’s ok to say, “That camera will be nice, but it’s not for me.”
So, then, who will the GFX100RF be for? First, it will be compelling for those who want a compact and lightweight medium-format camera. The size/weight aspect alone will make it desirable. This camera will be great for roadtrips and exploring, something that the other GFX models are not especially ideal for. I suspect that a significant group of GFX owners will buy it as a second camera for this purpose. Second, it will be for those who prefer retro styling and traditional tactile controls. The only other retro GFX camera is the 50R, which is long-discontinued and approaching seven-years-old. While that camera was considered a bit of a sales flop, it has since gained a cult-like following. Retro for Fujifilm isn’t just about trendy styling, it’s about functionality and fun. Third, it will be seen by some as the long-overdue and long-hoped-for successor to the Fujifilm X70, which has grown in popularity over the last several years. The upcoming camera is certainly not a direct followup to the X70, but I think there are enough similarities that some will see it as a spiritual successor nonetheless. Fourth, it will be seen as a larger-sensor X100-like camera, so some of the hype of the X100VI will carry over to the GFX100RF. Fifth, it will serve as a gateway into GFX. The X100-series has been a lot of people’s introduction to Fujifilm; likewise, the GFX100RF will be some people’s first GFX camera. This is because it’s an all-in-one model, and no further investment is needed to get started. It’s a way to dip your toes into the pool before deciding if you want to jump all the way in. Between those five groups, I suspect that sales will be strong, but only time will tell just how well it does.
I really hope for conversion lenses—both wide and telephoto—like the X100-series has. I highly doubt that the WCL-X100 and TCL-X100 will work on it (although it would blow my mind if they somehow did), but something similar should be made for the GFX100RF. A 0.9x wide-converter (25mm full-frame-equivalent, or 16.5mm APS-C-equivalent) or 0.8x wide-converter (22mm full-frame-equivalent, or 14.5mm APS-C-equivalent), and a 1.4x teleconverter (39mm full-frame-equivalent, 26mm APS-C-equivalent), would make the camera much more compelling. If these two conversion lenses were $500 or less each, and a compact three-lens “system” was possible for only $6,000, that would make it seem like a better bargain.
While some are suggesting that the price will cause the upcoming Fujifilm GFX100RF to be a bust, I really don’t think that will be the case; however, GFX is a niche line, and sales figures will never approach that of the X-series. It won’t sell nearly as many copies as the X100VI, or X-M5, or X-T5, etc.. But will it prove to be profitable? I’m pretty confident that it will. And if it is, I’m hopeful that it will convince Fujifilm to begin work on the GFX100R, a long-overdue successor to the GFX50R. If this camera does well, it might bring with it a whole new era of retro-style medium-format cameras.
Yellow Brush, Pink Sand – White Sands NP, NM – Fujifilm GFX100S II + 80mm f1.7 – Kodak Gold Max 400 Expired
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.
Well, apparently Ricoh will not be announcing a GR IV anytime soon, according to Pentax Rumors. Additionally, the supposed GR IV Monochrome camera will likely never happen.
When Fujirumors reported it last week, I suggested that the news should be taken with a grain of salt. It just didn’t make sense to me. Not because these cameras wouldn’t be massively successful or that I wouldn’t be personally interested, but because Pentax Rumors didn’t report it first, and the GR III and GR IIIx are selling very well, so there should be no eagerness from the brand to replace them.
Pentax doesn’t update their lineup as often as other manufacturers. I think that’s good, and that camera companies—including Fujifilm—discontinue models much too quickly. A normal production lifespan should be four-to-five years, then, when the next generation is released, it’s a notable refresh. With quickly advancing digital technology and stiff competition, it can be tough to wait that long, so maybe don’t listen to me; however, I think replacing cameras every two or three years (sometimes less) is just difficult to sustain and seemingly unnecessary.
I don’t believe there is any need for Ricoh to replace the GR III anytime soon, as long as they continue to offer Kaizen firmware updates to keep it fresh. Same for the Fujifilm models in the current lineup that are getting older, such as the X-T30 II, X-H2s, X-H2, and X-T5. There’s been talk within the community recently about successors, but there’s no need for Fujifilm to release them anytime soon. I would suggest 2026, personally, or maybe even 2027. That’s probably an unpopular opinion, but I’d like to see Fujifilm manufacture models for more than just a couple years before discontinuing them. I don’t mind that an X-Pro4 hasn’t been announced yet, but it’s too bad that the X-Pro3 was discontinued. Ditto for the X-E5 and X-E4. The X-E4 should still be being manufactured right now, since it was discontinued with such a large demand and long backorder list.
I think we reached a point awhile ago where we can keep our cameras for many years and they’re still excellent and not obsolete. Obviously that’s a tough position for manufacturers, because perhaps consumers aren’t buying as many copies since they’re waiting longer to upgrade. My opinion is that if camera makers design and release desirable models—maybe unconventional yet intriguing or exciting cameras—it will drive sales. The Ricoh GR III and Fujifilm X100VI are both excellent examples of this. Neither are cameras that you really need, but they’re both ones that a lot of people want. They are desirable because they’re fun, and not just soulless tools packed with the latest technical advances. Fujifilm—perhaps more than any brand—is good at making those types of cameras. It’s really fueled their success, and will continue to do so well into the future.
According to Fujirumors, the “camera line that most of us thought axed” that Fujifilm will be reviving is the X-M series. Apparently it will be called X-M5 and will be released sometime before the end of the year—September and November are a couple of months that Fujifilm likes to use for announcements, so maybe then. Nothing else is known at this time.
For those who don’t remember, the X-M1 was a short-lived camera near the beginning of the X-series that wasn’t particularly successful. It was unusual in that it had an X-Trans I sensor paired with an X-Trans II processor. It was a predecessor to the X-A line (the X-A1 had an identical body), and positioned lower than the X-E series. While it had a rangefinder look, it was given a PASM dial and didn’t have a viewfinder.
The X-M1 was released in the summer of 2013, right after Fujifilm began rolling out X-Trans II cameras. They also announced the nearly identical X-A1 just a few months afterwards. Those who were more familiar with the X-series and cameras in-general opted for the X-E1 or (a few months later) X-E2 because the X-E1 line was better (build quality, EVF, etc.), while those who were unfamiliar opted for the X-A1 instead because it was cheaper and the advantage of the X-M1 wasn’t obvious or well communicated. The X-M series was axed about a year later, but supplies lasted for another year due to unsold inventory.
While the upcoming camera will be called X-M5, I’m not sure what might be similar or dissimilar compared to the X-M1. I have some guesses, but it’s pure speculation. I have some suggestions for Fujifilm, but it might be too late in the design process to be implemented; however, I’ll give them anyway. I think the X-M5 is actually a smart move because Fujifilm is desperately missing a budget-friendly option for those who wish to get into the X-series but don’t have a ton to spend.
If I were Fujifilm, I would design it with a rangefinder-like shape that’s not too dissimilar to the X100VI and X-E4. In other words, it should look like the X-M1 to a large degree. I think they would be smart to keep the size down as much as possible—in fact, make the X-M5 the smallest interchangeable-lens X-series camera ever produced. Personally, I would ditch the PASM dial and use a shutter knob—the X-H series wen’t from non-PASM to PASM, so no reason X-M can’t go the other route. I doubt that it will have IBIS, unless the idea is not to keep the price down—an X-M5 with IBIS will likely be at least $900-$1,000 for the body alone, an X-M5 without IBIS should be in the $700-$800 range.
I would use the 26mp X-Trans IV sensor paired with the X-Processor V (like the X-S20, which also parallels the X-M1) and the old NP-W126S battery. Because of the small body size and heat dispersion issues, the camera will likely need some performance limitations to prevent it from overheating, which will simultaneously differentiate it from more premium (a.k.a. expensive) models. It won’t likely have an EVF, but it should have a tilting screen similar (identical?) to the one on the X-T50; however, if they do choose to add IBIS, don’t be surprised if it has a flippy screen like the X-S20. I would hope that Fujifilm would give it C1-C7 custom presets, but the X-M1 didn’t, so it’s possible that the X-M5 won’t either; however, that would be a mistake if they did—perhaps just C1-C4 if they feel the need to limit it (please give it C1-C7, though).
It seems like a safe assumption that the X-M5 will sit below the (discontinued) X-E4, eventual future X-E5, and the X-T30 II as Fujifilm’s low-budget base-level camera. Since Fujifilm discontinued both the X-A and X-T000 lines a few years back, there hasn’t been a good option for those on a tight budget to get into the X-series, except to hope for a good deal in the used market. I cannot tell you how many times people have asked me for advice on purchasing an inexpensive Fujifilm camera, but there just aren’t any options for brand-new bodies (the X-T30 II being the closest, currently). With the X-M5, there might finally be an inexpensive camera to recommend.
Fujirumors is reporting that Fujifilm is in the process of “reviving a camera line that most of us thought axed.” According to Fujirumors, the camera could be released anytime within the next six months. It’s always exciting when new gear is on the horizon, and it’s fun to speculate what it might or might not be. But, until it is actually released, it’s hard to know anything for certain, and so all speculation should be taken with a huge grain of salt.
The idea of a camera line revival made me consider which discontinued camera series could possibly be resurrected (apparently it isn’t the GFX50R). Over the years various series have become defunct, typically (but not always) due of disappointing sales figures. There are a number of options, so let’s briefly consider each.
My biggest hope is for an X70 successor, likely called X80. The X70 was Fujifilm’s closest competitor to the Ricoh GR series. It’s more-or-less a smaller and more wide-angle and less premium (a.k.a. more affordable) X100-series camera. Supposedly the X70 was discontinued (in 2016) because Sony suddenly stopped manufacturing the 16mp sensor found inside it, and the higher megapixel X-Trans sensors were too hot for such a small body, which prevented a successor from happening; perhaps they’ve finally figured out the heat issue (X-Trans IV sensor combined with X Processor 5?). I’ve been asking for an X70 successor for several years now, and with the popularity of Ricoh GR and other compact cameras, it seems like a no-brainer. I hope this is what’s coming, but it definitely might not be.
There are a few cameras that it could theoretically possibly be, but I’d be extremely shocked if it was. An X-S2, for example, which would be a DSLR-shaped fixed-lens super-zoom small-sensor Bayer+PASM followup to the X-S1, is not likely. I’m pretty certain that an S4 Pro is not coming, as the S3 Pro was built inside a Nikon DSLR. I don’t think an X-A30, a stripped down Bayer successor to the X-A20, is on the horizon, either.
Kodak (or, really, JK Imaging using the Kodak brand name) is selling cheap point-and-shoots like hotcakes right now; while a followup to the XF1 might seem strange, maybe it would actually be genius. If this is the upcoming camera, it would be a highly unexpected move, but one that might actually pay off and even possibly return this style to the mainstream. With the popularity of digicams right now, an XF2 isn’t completely out of the realm of possibilities; however, the odds seem pretty slim that this is it.
Perhaps an X40 is the upcoming camera: a pocket-sized retro-styled zoom with an EVF. There’s definitely an interest in an X30 successor—I’ve heard from at least a handful of people who would really like to see one—but I’m not sure if there is enough global demand for it to be worthwhile for Fujifilm; however, I would buy one if they made it. There is certainly a chance, albeit a small one, that an X40 is coming soon.
Kind of in-between an XF2 and X40 could be an XQ3, a followup to the XQ2. I’m very doubtful that Fujifilm will make any more small-sensor X-Trans cameras; however, if they produced an XQ3 (or X40) with a 20mp 1″ sensor, that would be intriguing (outside of the XF2, I don’t think Fujifilm should go any smaller than a 1″ sensor).
I’d actually be quite surprised if they released any new X series cameras with a sensor smaller than APS-C. In all probability, whatever camera Fujifilm is working on is an APS-C model, and not one with a tiny sensor. There are several options that I believe are much more likely than the XF2, X40 or XQ3.
The XF10 was the low-budget Bayer+PASM version of the X70, and it was a bit of a flop. However, with the popularity of Ricoh GR cameras right now, it wouldn’t be surprising if Fujifilm is working on a (hopefully significantly improved) successor, likely called the XF20. While I would much prefer an X80, I wouldn’t be against an XF20, if that’s what it ends up being.
That’s it for the fixed-lens options! Let’s take a look at some possible interchangeable-lens cameras that the upcoming model could possibly be. Fujifilm is supposedly working on a future X-E5 that is not this unknown camera, so I won’t discuss the X-E series in this article.
The X-A line used to be a top seller for Fujifilm, especially in Asian markets. These cameras were low-budget Bayer+PASM models that were not actually manufactured by Fujifilm, but contracted out to a 3rd party for assembly. The last one was the X-A7, which didn’t sell particularly well, and the line was discontinued. It’s possible that Fujifilm will revive this series with an X-A8, and maybe even manufacture it in-house.
Similarly, the X-T000 line was a low-budget Bayer+PASM series not manufactured by Fujifilm. It was basically an X-A camera but in an SLR shape (instead of rangefinder) and with an EVF. It’s unlikely that Fujifilm would revive both the X-A and X-T000 series, but they could bring back one of the two, and if it’s the X-T000 line, the camera would likely be called X-T300.
Last—but far from least—is the X-M2. I think the upcoming camera is more likely to be an X-M1 successor than an X-A8 or X-T300. The X-M1 was basically an X-A1 with an X-Trans sensor; the X-M2 would be a low-budget X-E like camera (but cheaper, with a PASM dial, and without an EVF), utilizing the 26mp X-Trans IV sensor. Fujifilm is desperately missing an affordable base-level camera that allows those on a tight budget to get into the system, and an X-M2 could serve that role. A brown faux-leather version would be quite nice.
If Fujifilm is indeed reviving a once-defunct camera series, it could be any of these (or maybe one that I overlooked—who knows?). There’s not a lot that can be gleaned from this exercise, other than it’s likely to be a more affordable camera, which is great—there aren’t currently a lot of options right now if you don’t have much to spend. My personal preference would be for an X80 (I’d be first in line to buy it!), but the XF20 would be ok if that’s what it ends up being. I think an X-A8, X-T300, or (especially) an X-M2 are also strong possibilities. Basically, we know very little, and it could be just about anything.
Which of these cameras would you be most interested in? Let me know in the comments!
Let me apologize right up front for the slowdown in articles lately. I’ve been really busy the last few weeks, and especially the last two weeks, and particularly the last handful of days. I’m hopeful that the chaos will calm down soon—perhaps in another week—and I can get back to publishing the amount and quality of content that you are used to seeing on Fuji X Weekly.
Anyway, Fujifilm just released a teaser video ahead of their May 15/16 X Summit in Sydney (10 PM Pacific, 1 AM Eastern). From the video, it appears like they’re going to announce a camera and lens. It definitely looks intriguing. I might have to catch the X Summit the morning after because it is so late here in America. It’s only seven days away, which means we’ll know all of the details by this time next week.
I browsed Fujirumors today, to catch up on the latest buzz. I found two articles that I want to briefly comment on. First, Fujifilm apparently is working on an X100-like GFX model (no PASM, please!), which might possibly be released sometime next year. Second, Fujifilm apparently has began the initial work on a potential digital X-Pan camera to be released in 2028. I don’t know if there’s any truth to either of those, and even if there is, there’s plenty of time for Fujifilm to switch directions. However, if there is any kernel of truth, my response is: heck, yeah! I’d buy both. Take my money, Fujifilm!
I think both of those potential future cameras qualify as “wow” products, which Fujifilm talked about a couple years ago. If they are indeed in the process of creating those two models, I would just offer my encouragement to keep at it, Fujifilm, and make it happen. It seems as though there are exciting times ahead for Fujifilm photographers!
This time next week, the upcoming Fujifilm X100VI will be official. We already know some things about it, but there’s also plenty that we don’t; however, soon we’ll know everything. Fujirumors is the place to find all the latest leaked specs. I don’t have any inside information, and Fuji X Weekly isn’t a rumor site, but I do like to talk about upcoming gear, especially if it’s a model that I am particularly interested in (such as the Fujifilm X100V successor). Fujifilm is going to announce the new camera at their upcoming X Summit on February 19th/20th, and all will be clear then.
The date of the X Summit—whether the 19th or 20th—depends on your time zone. It will be in Toyko at 2:30 PM on the 20th, which means that it will be 10:30 PM on the 19th in Phoenix. That’s 9:30 PM for those in the Pacific time zone, and 12:30 AM (just after midnight) for those in Eastern time. Preorders should be open immediately following the event, so if you want to be first in line, you might be up really late on the 19th, or up really early on the 20th if you’re in Europe or Africa.
I’m going to tune in to this particular X Summit. I don’t always watch them—in fact, I don’t catch the majority of them. This is one that I’m particularly interested in, so I’ll definitely tune in.
Then, on the 20th at 10 AM Phoenix time, which is 9 AM Pacific and noon Eastern, Nathalie Boucry and I will discuss the X Summit and the newly announced camera, plus whatever else was said—there’s some talk about possibly a new lens or major X App update or possible firmware updates. I have no idea what else besides the X100VI will be announced (if anything), but whatever it is, we’ll talk with you about it live on YouTube. This will be Episode 2 of the current SOOC Live season. I hope that you can join us!
Fujirumors is reporting which battery the upcoming Fujifilm X100VI will use: the old NP-W126S.
A lot of Fuji X Weekly readers frequently visit Fujirumors. There’s some crossover between the audience of both websites; however, I’m not a rumor site, and I don’t personally have inside information on upcoming gear. I can only comment about what other people report, and Fujirumors has a reputation of being correct a whole lot more than incorrect. If you want the inside scoop, that’s where you need to go. But I do get asked to comment on the things that Fujirumors reports. Just within the last couple of hours, three different people reached out to me for my opinion on the latest rumor.
I think a lot of photographers—myself included—speculated that, since the X100VI will have IBIS, it will also have the new WP-235 battery. Between the 40mp sensor and the in-body-image-stabilization, there’s a lot of potential battery drainage, so the old battery would be insufficient, and the new battery would be a requirement. In order to use the bigger battery, the camera would need to be larger, at least a little. Plus, the new battery is a tad heavier. The assumption was that the new camera would be a hair bigger and a little heavier to accommodate IBIS and the WP-235 battery.
The X100VI will indeed be a hair bigger—but literally just a hair—as apparently the lens needs to extend just 1mm further out to make room for the IBIS, but otherwise it will be basically identical to its predecessor. I’m sure the camera will be just a smidge heavier, too, but not much at all. By using the old battery—the same battery that the X100V takes—Fujifilm prioritized size and weight on the new model. It seems as though more will be the same than different between the X100V and X100VI, and that’s not bad whatsoever. If it ain’t broke, don’t fix it.
But it definitely raises some questions regarding battery consumption. The expected battery life on the X100F was 390 pictures, and it increased to 420 on the X100V. Those numbers are decent enough, but not necessarily impressive; plenty of battery life most of the time, yet occasionally insufficient. Of course, battery life depends on a whole host of factors, so your mileage might vary. I used to own a Sigma DP Merrill camera that got between 35 and 40 exposures on a battery—about as many frames as a roll of 36 exp film. So it’s nowhere near that; however, it’s also not particularly close to the 580 shots that the X-T5 is rated at. The X-S20, with the old sensor and new battery, can apparently get 750 exposures, which illustrates that the new sensor drains the battery significantly more than the old sensor. So what kind of battery life are we looking at? I’m sure that the Fujifilm programmers worked some magic to maximize efficiency, but it would be pretty shocking if the X100VI can get more than 350 shots… it might even be less than 300. I have no idea, this is mere speculation, and I could certainly be wrong. I’ve been wrong plenty of times before, so definitely take all of this with a grain of salt.
There are, of course, some things that one can do to mitigate battery drainage. For example, on my X-T5, if I know I’ll be shooting all day and need the batteries to last, I’ll turn Image Stabilization Off, and only use it when I need it (most of the time I don’t need it). On my X100V, I like to keep the rear LCD off and use the Optical Viewfinder, which not only gives a film-like shooting experience, but also saves battery. It’s possible to make the battery last quite awhile if you need it to. And, as always, you can keep a spare or two nearby. If you are in a studio, you could always use a tethered faux battery that plugs into the wall.
I think it’s clear that the X100VI—much like the X100V—is a photographer’s camera more than a cinematography tool. With the heat issues and battery drainage—sure, it’s possible to use it for video with much success, but it is far from ideal for that purpose. I don’t use my X100V for video, and don’t anticipate using the X100VI for video, either, even with IBIS. Can you? Absolutely. Is it the best option? Absolutely not.
I’m actually a little glad that the X100VI will take the old NP-W126S, and that Fujifilm prioritized size and weight over battery life. The way I use the camera, I get significantly more than 420 exposures on a fully-charged battery. I can turn IBIS off, and only activate it when I need to, which I’m sure won’t be very often. It’s good to have IBIS as an option, but the reality is that it’s not all that important on a camera like the X100. Size and weight matter more to me. I don’t think Fujifilm’s battery choice will be a big deal for most people (it won’t be for me), but for some it might make the X100V an intriguing choice over the X100VI, just depending on how long the battery will last on the upcoming camera.
Fujirumors shared a couple of new Fujifilm X100VI rumors, and a lot of people have reached out to me asking for my reaction or commentary regarding them. I think it can be a lot of fun to speculate on what might be, but it’s important to remember that all will become clear in just a few weeks, when Fujifilm has their X Summit on the 19th/20th (date dependent on your time zone). I also want to give the disclaimer that I don’t have any inside information, and everything should be taken with a grain of salt, and not too seriously.
The first of the new rumors shared by Fujirumors is that the X100VI will have the new Reala Ace film simulation. Hallelujah! I thought that maybe it might, but it’s good to know that it will. Honestly, Fujifilm should have introduced Reala Ace on this camera, as it’ll have a much bigger marketing impact on X-series than GFX. Also, it’s important to remember that it won’t be 100% identical on X-Trans as it is on GFX, because the sensors are different… the most noticeable divergence will likely be shadow rendering. It will be pretty darn close, though, and I definitely look forward to trying it myself. Also, I’d be (pleasantly) surprised if Fujifilm gives Reala Ace to the X-T5 and X-H2. They should, but they probably won’t.
Dodge Van Steering Wheel – Buena Park, CA – Fujifilm X-T5 – Reala Ace Recipe
The second of the new rumors shared by Fujirumors is that the X100VI will only be 1mm thicker than the X100V. I don’t really know what this means, because (as far as I understand) the thickness is measured from the end of the lens to the back of the viewfinder cover. Within that space there is a lot of room for redesign. I highly doubt that Fujifilm did anything drastic (I’m pretty sure it will look nearly identical to the X100V), but the camera will have IBIS, which also likely means that it has the larger NP-W235 battery. Obviously all of that takes up space, and something’s got to give. Heat dispersion is an issue that must be dealt with. Will the new camera have a different rear screen (maybe similar to the X-T5)? If so, that might require slightly more space. It might be simply that the IBIS unit requires the sensor to be 1mm forward, so the lens needs to be moved 1mm outward to accommodate (this would be my bet). It could also be that the grip is a tad bigger; if it is, some will appreciate that and others might not. I don’t have a lot to say about this other than I’m sure the Fujifilm engineers pulled off a small miracle in the design, but also there is probably a bit more to the story than merely 1mm. There are still a lot of questions, but—like I said—all will be clear in just under three weeks when Fujifilm unveils it.
I’m really looking forward to the Fujifilm X100VI. I have an X100V that I’m not selling, but I’m very tempted by the successor, so I’ve only got a few weeks to figure out how to afford it, if I decide to preorder. The X100VI might just be the most ideal travel camera ever made… that is, of course, my opinion and mere speculation based on personal experience with the X100V and what the X100VI might be. Time will tell, though, and not too long from now, either.
We talked about the upcoming Fujifilm X100VI a bit yesterday, and today we got another interesting tidbit that’s worth discussing. According to Fujirumors, Fujifilm is planning to release at least one Limited Edition version of the X100VI, and it sounds like it might possibly be available to purchase on launch day.
Of course, Fujifilm has made some Limited Edition models in the past. Who can forget the USA Flag version of the X-A3? Nothing says ‘Merica quite like this.
Fujifilm X-A3 Limited Edition USA Flag
So I thought it would be fun to speculate what Limited Edition versions of the X100VI they could potentially release. Not long ago Fujifilm made the Disney version of the X100V. While I didn’t care for it personally, at least it wasn’t the red, white, and blue X-A3. There are a number of possible options that could actually be really cool. The Brown Edition of the X100F was snazzy, and I was tempted by it at the time.
I’ve thought of several options that Fujifilm could go with. The one that, by far, excites me the most is the Acros Edition, a B&W-only model. I doubt that Fujifilm will do this, but it would be extraordinarily epic if they did, and they absolutely should. Some other ideas are Graphite Silver (like the X-T1/X-T2), Dura Black / Dura Silver (like the X-Pro3), or Brown (like the X100F). Leica made a Limited Edition model with faux patina, maybe Fujifilm will do something similar? How about one with a different lens? They could make a more wide-angle or more telephoto version.
Fujifilm X100V Limited Edition Disney
The Disney Edition doesn’t excite me, but one with the classic Fujifilm logo on it could be decent, if done right. How about one with Mount Fuji? Maybe they should have a Fuji X Weekly model? It could have my Teton X logo printed on the front. Just kidding, of course.
I have no idea what the Limited Edition X100VI will look like. It could be something really cool or extremely outlandish. If it’s especially cool, it will make the camera even more tempting. I suppose that we’ll find out soon enough.
The sensor isn’t surprising to me, because the extra resolution will help improve the Digital-Teleconverter, which is a nice feature to have on a fixed-focal-length camera. It will make this useful feature even more useful. My only hope is that it will scale the faux Grain, something that the X100V doesn’t do, sadly. When you combine the Grain setting with the Digital-Teleconverter, you get some massive-looking grain, which sometimes is preferable, but most often is not. Perhaps there should be a setting somewhere in the menu to enable or disable Grain scaling when using the Digital-Teleconverter. Anyway, I’m not surprised whatsoever about the sensor choice by Fujifilm. Personally, I like the 26mp X-Trans IV sensor just a bit better, mostly because 40mp is overkill and causes storage issues and is slower when transferring files and stuff like that (as Eric Kim used to say, more megapixels equals more problems), but I’d be happy either way, so no complaints from me.
Digital-Teleconverter combined with Strong/Large Grain
The IBIS choice is a bit more intriguing. This one surprises me. And it raises a lot of questions. Will the camera be bigger? Will it weigh more? I think it is possible for Fujifilm to squeeze IBIS into the current-sized model, but I don’t think they’ll be able to keep the weight the same. Of course, I think the new sensor and IBIS will certainly require that Fujifilm use the NP-W235 battery, because the old NP-W126 battery would drain much too quickly. The NP-W235 battery is significantly larger, so that most likely means that the camera will be larger, at least a little, to accommodate. It would be some miracle if they are able to keep the size and especially the weight the same. My guess is that the X100VI will be a hair larger than the X100V (edit/note: Fujirumors is now reporting that the camera will be “basically the same size” and only “marginally” bigger, which you might not even notice), and noticeably heavier; however, that is just speculation. Another question that this raises is regarding heat dispersion. The X100V has some heat issues with video and long exposures. I have to think that the X100VI will be just as prone to that, and probably more so. The old saying seems to apply quite well here: be careful what you wish for, because you just might get it. There will be both positives and negatives to adding IBIS.
I know that some will say, “But the Ricoh GR has IBIS, and it’s so small and lightweight and not prone to those issues.” Fair enough, but it is also important to understand that the IBIS inside of the GR III is very basic and not particularly effective. Look, I shoot with a Ricoh GR III, and I have nothing against it whatsoever, but the IBIS in the GR cameras is often very overstated, and not particularly necessary. Most of the time, you could get the same exact shot without it. Someone will say, “But I handheld at 1/15 and it was sharp.” Well, I’ve handheld my X100V with a 1/9 Shutter Speed and managed a sharp picture. I’m sure it makes a small difference occasionally, but the IBIS inside the GR III isn’t anything special, so it’s not a good example for comparison. The IBIS unit in the X100VI will be significantly more robust.
Captured with a Fujifilm X100V handheld at 1/9 Shutter Speed.
For still photography, most of the time IBIS isn’t the difference between getting the shot or not, unless you are using long telephoto lenses, which obviously you won’t be doing on the X100VI. In very dim light situations, such as night photography, it could sometimes help you. If you are photographing waterfalls in the daylight and using the built-in ND filter to streak the water, it could mean that you won’t need a tripod (depending on how good or not you are at holding still). 99% of the time, IBIS won’t have any practical benefit to those using the X100VI for photography. Where IBIS will make an obvious difference is with videography. Those using it as a movie camera will be very happy about IBIS; however, the X100V is quite prone to overheating, so it isn’t a particularly good video tool, and the X100VI might be even more prone to it, and even less useful for video. We’ll have to wait and see. I think the inclusion of IBIS will be more of a marketing ploy (that will definitely work), but it won’t have a huge impact for most people, and some tradeoffs are inevitable for it to be included. It is nice to have sometimes, though.
The other question that the inclusion of IBIS raises is the price. Will the camera cost more? I think most certainly it will. I’m not sure how much, but the X100VI definitely will not be $1,400. My guess is $1,700 or $1,800. It could even potentially be as high as $2,000, although I think they’ll need to do more than just 40mp and IBIS to justify that much. A $300 to $400 higher price tag seems about right for the X100VI.
I have no idea about other potential features. Will it have Eterna Bleach Bypass and Nostalgic Neg.? Yeah, absolutely. Will it have Reala Ace? That could go either way, but my bet is that it does (and the X-T5 and X-H2 won’t ever get it). Will it have the XPan aspect ratio? Probably not. I’m sure there will be a few surprises, but mostly the X100VI will be quite similar to the X100V. It will be an excellent camera for street and travel photography, just like the previous X100-series models have been. I’m excited for it, and if it does indeed have Reala Ace, I might just have to buy it (like I did with the X-T5, because it has Nostalgic Neg.). I don’t know if Fujifilm quite realizes the marketing impact and potential of film simulations.
The upcoming Fujifilm X100VI is definitely not a camera that I need. I’d have to give up something else in order to place the order, but it won’t be my X100V—that’s a camera I plan to keep for a very long time. Does it make any sense to have both an X100V and X100VI? Probably not. I might just have to get it anyway.
I had speculated that it would be called X100Z, but I was wrong. A lot of people thought it would be X100R, but that was also incorrect. Instead, Fujifilm took the boring route, and chose X100VI as the name. How very Sony of them, right?
Will people pronounce it X100-Vee-Eye, X100-Six, X100-The-Sixth, or X100-Mark-Six? I will call the camera X100-Vee-Eye personally; however, it’s not a very exciting name. I’m sure Fujifilm had a list of potential names on a dry-erase board at their Japan office, and they looked at that short list daily for months. After much consideration and deliberation, they chose the option they felt was the safest. Playing it safe is often riskier than being bold, and the potential reward is almost always smaller. Fujifilm should have gone with a striking name, something that rolls off the tongue and stirs the imagination. Something that grabs your attention and demands that you take a closer look. X100V did that, but X100VI does not. X100Z, X100R, X100X, X100G—names like that—stand out much more than X100 VI, X100 VII, X100 VIII, X100 IX, etc.; one set it exciting and imaginative and surprising, while the other is boring and clinical and routine.
The name is probably the least important aspect of the camera; however, a boring name does not give confidence to the rest of the model. If Fujifilm is unwilling to take a small risk with the name, what else about it are they playing safe? The original X100, which launched the entire X-series (note: the X-Pro1, which came out about a year-and-a-half later, was the first X-mount and first X-Trans), was a very daring product that took the camera industry by surprise. Since the release of the X100, Fujifilm has done a lot of risk-taking, and most often it has worked out really well for them. Nowadays it seems as though Fujifilm wants to evolve to become more like the Canikony brands, which too-often values caution and complacency over bold risks.
In any event, I’m sure that the X100VI will be an excellent camera, every bit as good as the X100V, and just a bit better. What will be different about it? Nothing is known at this point. My guess is that it will have the 40mp X-Trans V sensor and processor, as well as the latest JPEG options (maybe not Reala Ace; however, don’t worry, because I have a Film Simulation Recipe that mimics it), but otherwise will be 99% the same as the X100V. That’s only speculation, and as was demonstrated at the top of this article, my guesses are not always right. Fujifilm could very well give the X100-series a pretty significant refresh with the VI iteration, but if the name is any indication, it seems like they plan to play it as safe as they can this time around.
I like prime lenses. I don’t use zooms very much. In the 25-ish years that I’ve been photographing, I could count the number of zoom lenses that I’ve ever owned on my two hands, with a few fingers to spare. Probably 98% of the photographs that I have ever captured were on primes. This is all to say that I wasn’t going to comment on the upcoming Fujinon zoom, but a number of you have asked me to give my opinion.
There are several reasons why I prefer primes over zooms. Prime lenses, since their focal length is fixed, are often engineered more precisely, have superior image quality, and better build quality. They often have larger maximum apertures, too. Primes can be smaller. And I appreciate the restraint of one focal length—I think limitations often improve art. The advantage of zooms is that you can cover a lot of focal lengths with just one lens. There’s no right or wrong approach. Use what works best for you and your photography, and don’t worry about what other people think of it.
The only zoom lens that I’ve ever used that I actually like is the Fujinon 18-55mm f/2.8-4. I say that while owning the Fujinon 100-400mm, which is the most expensive lens that I’ve ever purchased. The kit 18-55mm f/2.8-4 is actually pretty darn decent for a zoom, and it’s fairly lightweight and compact, too. I had this lens on my first Fujifilm camera—an X-E1—but because I don’t like zooms I sold it, something I later regretted. A year ago I purchased an X-T5 bundled with the 18-55mm lens. Even though I like this zoom, I still only use it occasionally.
Short Train – Buckeye, AZ – Fujifilm X-T5 & Fujinon 18-55mm f/2.8-4 – 1970’s Summer
Fujifilm will soon be discontinuing the 18-55mm f/2.8-4, and introducing a new zoom in its place: 16-50mm f/2.8-4.8 R LM WR. This is according to Fujirumors, which is where I get my information on yet-to-be-released upcoming Fujifilm gear. The new lens will be more wide and less telephoto, and will have a smaller maximum aperture at the long end. It also won’t have IOS. Apparently it will be able to fully resolve the 40mp resolution of the X-T5 and X-H2. It will have internal zooming, meaning that the lens won’t extend as you zoom. The advantages of internal zooming are better weather-sealing and potentially build-quality, no zoom-creep when pointed up or down, and potentially smoother zooming.
It would appear as though there’s a lot of give-and-take with this new kit zoom. Losing stabilization might be a big deal, but maybe not if you are pairing it with a camera with IBIS. Some will really appreciate 16mm over 18mm. Some will really dislike 50mm over 55mm, and f/4.8 over f/4 (I’m one of those people). Internal zooming will be a big deal for a few and irrelevant to most. As far as resolving the full 40mp resolution, if you print very large—say, 40″x60″—you’d have to stand a couple of inches further back for the print to look as crisp with a lens that doesn’t fully resolve the resolution vs one that does. For most people and purposes, the difference is negligible and unnoticeable. It doesn’t bother me in the slightest that the 18-55mm lens can’t fully resolve all of the resolution from my X-T5, because the pictures still look excellent and detail-rich—I can’t tell the difference.
I feel like this new lens is solving a problem that doesn’t really exist, but maybe I feel this way because I don’t use zooms very often. A whole lot of copies of the 18-55mm have been made, so if you would prefer that over the new one, you should have no problems finding one for many years to come. I assume that the new lens will be excellent, but it’s not for me personally. I have no desire to buy it; however, I’m sure many will love it.
I’m very curious what the development of this lens means. Generally speaking, Fujifilm likes to introduce lenses that are intended to pair well with certain camera models. Since this lens doesn’t have IOS, it likely means it will be bundled with cameras that have IBIS. Since the lens will (apparently) resolve 40mp, Fujifilm believes some with 40mp cameras will buy it. But it’s a kit zoom, and the 50mm f/4.8 spec is unimpressive, so which camera does Fujifilm have in mind? Certainly it won’t come bundled with the X-Pro4. I could see Fujifilm offering it as an X-T5, X-H2, and X-S20 bundle—I wouldn’t be surprised if they do. But is there some upcoming model that makes a lot of sense for this new lens to be paired with? Something that’s not high-tier, that has IBIS, and a 40mp sensor? I really don’t think so. I don’t believe that we can read that much into it. My guess is that the presumed someday upcoming X-T30 II successor will come bundled with this lens, but that camera won’t be weather-sealed, have IBIS, or the 40mp sensor.
In my opinion, the upcoming Fujinon 16-50mm f/2.8-4.8 is just Fujifilm making a change to the mid-tier kit zoom lens option to reflect changing desires within the camera industry—today, generally speaking, 16mm is more preferable over 18mm than 55mm f/4 is over over 50mm f/4.8. In some aspects the new lens will be better than the “old” zoom, and in some aspects it will be worse. Some will like it, and some won’t. I would suggest to Fujifilm that they should continue to manufacture the 18-55mm simultaneously with the new 16-50mm, and not discontinue it; however, perhaps that would be too many similar options to offer.
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The “new lens” part of the upcoming X100-series model is curious, because the X100V, which was the fifth iteration of the series, was the first with a new lens. So why will the X100Z (or whatever Fujifilm names it) have a new lens? The leading theories are:
The current lens cannot fully resolve 40mp, and the new camera will have the 40mp X-Trans V sensor, so a new lens is necessary to take full advantage of the high-resolution sensor. In my opinion, this makes the most sense, although (if it is the reason) I would be slightly surprised that the current lens cannot resolve 40mp.
Fujifilm will increase the maximum aperture to f/1.8 or f/1.7 to better compete against the Leica Q3.
The new camera will have IBIS, and a lens redesign is necessary to accommodate.
Fujifilm has improved the leaf shutter, which requires a redesign of the lens.
Fujifilm will eliminate the IR hotspot on the lens, and in turn will sell a full-spectrum version.
There could be some other reasons, but those are the ones I have heard. I highly doubt it will be the last one, although it would be cool if it was. Most likely it is to resolve more resolution, but nobody knows at this point, so it could be anything.
The second upcoming camera will be the GFX100S II. Wait, what? Seriously?!
So, yeah, the GFX lineup will have the 100 II and 100S II. I’m not sure what will be different about the two models, other than the 100S II will be less expensive than the 100 II, so perhaps a little less feature-rich and slightly smaller. Honestly, I couldn’t be less excited about this, but it’s probably because I’m not in the GFX system.
I’m not entirely shocked that the upcoming camera will be the GFX100S II, but it is still a head-scratcher. First, once released, it will mean that 8 out of the last 12 Fujifilm cameras will have been PASM models (2/3rds of them). The only four non-PASM cameras will have been the X-E4 (which has been discontinued and is selling for ridiculous prices), the X-T30 II (which was basically just a firmware update and has been discontinued, although you can still find it if you search hard enough for it), the X-T5, and the X100Z (or whatever Fujifilm calls it). It will also mean that 4 out of the last 11 Fujifilm releases will have been GFX models; however, the GFX50S II has already been discontinued, and presumably the GFX100S will be discontinued very soon. I do think that the GFX system needs a divergent option, as it would seem like the GFX100 II and GFX100S II will be pretty similar to each other. A GFX100R, which would be the successor to the long-discontinued GFX50R, seems like the most obvious choice, but I don’t think Fujifilm plans to release another GFX camera with traditional tactile controls.
My best guess is that the third camera will be the X-Pro4, and that it will be announced sometime in May. I have no inside information (I never do, I get it from Fujirumors like everyone else…), but based on past releases, this makes the most sense to me. I hope that I’m right, because there’s a lot of pent-up demand and eagerness for this camera. If it’s not an X-Pro4, a lot of people will be disappointed.
So where does that leave the X-T40 (or X-T30 III or X-T50 or whatever Fujifilm will name it)? It could and should still happen, but I think Fujifilm is trying to move out of that market segment. They’re focusing more on premium products, and less on lower-tier, as they believe the bottom of the market is continuously drying up. Either Fujifilm makes that series more premium (and in turn more expensive)—kind of like what they did with the X-S20—or they do a very modest update, and it might be the last model in the series. Or it could be that the X-T30 II was the last one. My hunch is that there will be at least one more, perhaps released sometime in the second half of 2024. It certainly could be the third camera and not the X-Pro4—I think a lot of people would be shocked (in a negative way) if that were the case.
Where does this leave the X-E5? I think this line is done. The X-E4 was the last. I truly hope I’m wrong about this, though, because I love the X-E cameras. If one does come, most likely it will be in 2025 and not 2024. Since there’s so much demand for the X-E4 and not much supply, it would make a lot of sense to expedite a successor, but I don’t think that Fujifilm is currently doing so.
What about the X80? The Fujifilm X70 was discontinued in December of 2016, and there has been demand for a successor ever since. I’ve noticed that the demand for an X80 has been building recently, growing larger and more vocal. Certainly the recent sales success of the Ricoh GR III should cause Fujifilm to consider it. I don’t, however, believe that Fujifilm has any current plans to release an X80. If they did, I’d be first in line to buy one!
While this is certainly exciting news, I think it’s important to keep our expectations in check. There’s no X Summit to go along with this announcement, which means that it’s not a camera that Fujifilm deems as a significant model. Fujifilm typically makes a big fuss when they reveal a new camera, but they don’t always; however, those cameras tend to be low-end budget models. There wasn’t an X Summit back when the XF10 was announced, for example.
What, then, will this camera be? Nobody yet knows, but my guess is a low-end model, most likely a Bayer camera. I thought Fujifilm was done making these, but maybe they believe there’s a market after all?
The upcoming model might be an X-A8. The X-A series was a popular line—especially in Asian countries—for many years, but the X-A7 had disappointing sales numbers, and was abruptly discontinued not long after release. The X-A7 and X-T200 were basically competing against each other, and it might have been a case of Fujifilm offering two models that were too similar. Both lines had been axed, but maybe Fujifilm feels there’s enough demand that they can resurrect one; since the X-A line was smaller than the X-T000 series, I could see it qualifying as a “very small” model.
Another possibility is something that probably nobody is thinking of: pocket digicam zoom. Something like the XF1 and XQ2 would be intriguing, but it could also be more along the lines of the FinePix T400, since there has been renewed interest in those types of cameras. Perhaps it’s a successor to the XP140 waterproof camera? That’s actually the most likely option, as unexciting as it might be.
Of course it could be an XF20, a followup to the XF10. The XF10 had mediocre sales, but with the Ricoh GR III being almost as in-demand as the X100V, Fujifilm might possibly see an opportunity. Strike while the iron’s hot, as they say—and the iron for that type of camera is certainly hot right now. Even better would be an X80, the long-hoped-for successor to the X70. I think an X80 would get an X Summit, so I’m less hopeful for that, but you never know. A lot of people wish for that camera, so I will keep my fingers crossed.
Could “very small” be in reference to an X-E5? Probably not, unless they shrunk it a bunch. Also, they’d announce it at an X Summit, I’m certain. It could be an Instax Mini EVO 2, which would technically be a digital camera, and is quite tiny in the world of Instax. Don’t be surprised if it’s this. I’ll certainly be disappointed, as it wouldn’t fit my personal definition of “very small” or “digital camera.”
Most likely, the new camera will be a FinePix XP150 (or whatever they’ll call it). If so, it’s not something I have any interest in buying. I think an XF20 or X-A8 are small possibilities, but I would be shocked, since Fujifilm has seemingly moved beyond releasing those types of cameras. Even less likely are are an X40 or XQ3, since Fujifilm hasn’t made 2/3″ sensor models in a long time. An X80 would be most ideal, and a camera that a lot of people would celebrate—I would be at the front of the line to buy it—but I don’t think Fujifilm would announce it without fanfare, so I highly doubt that is it.
Since there’s not going to be much fanfare, it’s not going to be a camera that you’ll probably get excited for. Because we don’t know what it will be—only that it’s coming, whatever it is—our imaginations can run wild, and the possibilities, no matter how unlikely, give us some excitement. Just keep your expectations low, or else you’ll probably be disappointed.
Once the upcoming GFX100 II is announced tomorrow, seven of the last 10 Fujifilm models will have been PASM cameras. First was the X-S10 in fall 2020, then the GFX100S in early 2021, followed by the GFX 50S II in mid-2021, then the X-H2s in mid-2022, followed closely by the X-H2, then the X-S20 back in May, and now the GFX100 II. The three non-PASM cameras released during that time are the X-E4 (which has since been discontinued despite more demand than supply), the X-T30 II (which was mostly just a firmware update to the X-T30, and has also been discontinued), and the X-T5, which has been out for a little over nine months now.
PASM cameras have a shooting-mode dial on top for Program, Aperture-Priority, Shutter-Priority, and Manual modes—most cameras by other brands have this dial. Traditionally, most Fujifilm cameras don’t have a PASM dial because the retro tactile controls found on most Fujifilm models make it unnecessary. It used to be that only the low-end entry-level models had PASM, and the rest did not. Beginning with the X-S20, Fujifilm began placing PASM dials (in lieu of the traditional knobs) on cameras that weren’t entry-level. Now, the highest-end models all have PASM.
When Fujifilm began to do this, a lot of the long-time loyal customers sensed a philosophy shift within the brand. Others insisted that, by offering more options, Fujifilm could attract new users, which would only be good, and those who prefer non-PASM had nothing to be concerned about. Well, actions speak louder than words, and it is clear that the shift has happened, even if it hasn’t been publicly spoken by Fujifilm (although I do believe that they have hinted at it several times).
What does all this mean? What exactly is this shift? What’s Fujifilm’s new focus?
Canikony brands—Canon, Nikon, and Sony—are focusing less on APS-C and more on full-frame. They haven’t abandoned APS-C, but are clearly spending much more R&D time and money on their higher-end products. I believe that Fujifilm sees an opportunity to position themselves as the clear leader and king of APS-C. While Canikony brands are aiming their attention towards full-frame, Fujifilm is putting their attention towards higher-end APS-C, along with the GFX line.
A camera like the X-H2 can compete not just against the competition’s top APS-C models, but pretty well against their low-end full-frame and arguably even against mid-range full-frame models. A camera like the GFX100 II can compete well not only against other medium-format models, but also against high-end full-frame models. Fujifilm is clearly trying to gain market share by competing against the full-frame options from Canikony brands, both from below and above. In order to do this, Fujifilm clearly believes that they need to become more like those brands, instead of embracing what has made them successful in the past. In my opinion, Fujifilm should double-down on what is unique about their brand, and focus on better communicating why those unique characteristics are desirable. Instead, Fujifilm seems to be moving towards becoming a part of Canikony… Canikonyfilm?
I personally don’t care that GFX has gone fully PASM, as I’m not in that system. I have no skin in the game. I don’t think as many X-series photographers jumped into the GFX line as Fujifilm first thought would; the majority of those who have bought into the new system are first-time Fujifilm photographers—in other words, photographers largely coming from Canon, Nikon, and Sony. They’re used to PASM—many of them prefer it, actually—so it made sense for Fujifilm to make that change. Those hoping for a GFX 50R successor might be waiting a really long time.
I do care about X-series cameras, since I’m deeply invested into that system (more than most, I assume). Traditional tactile dial models have taken a backseat to PASM cameras. Yes, there’s the X-T5, but Fujifilm “cheapened” it just a little by not offering the battery grip like all the previous iterations of that series. The X100V replacement is supposed to be announced early next year, once the X100V is four-years-old. The X-Pro4 isn’t even visible on the horizon, despite that line being due for a successor. The X-T00 and X-E series are both in limbo, with their current versions being discontinued while the new ones are possibly far off, if they come at all (the X-T40 has been long anticipated—some people thought for sure it would come out sometime in 2022). If you want one of the two flagship models that offer the best-of-the-best, you’d better be happy with PASM. If you want IBIS but not PASM, the X-T5 is your only options (…for brand new, the X-T4 and X-H1 can be purchased used), while currently there are four PASM options with IBIS: X-S10, X-S20, X-H2, and X-H2s. Yes, the X-S10 hasn’t been discontinued, even though the two models released afterwards—one of which had a long backorder list—are no longer available.
A rumor has floated around for months that Fujifilm will announce a new X-series model sometime before the end of the year, probably in November. There’s been a lot of speculation that it will be an X-Pro4, since the X-Pro line is overdue for a new iteration, but there have been zero X-Pro leaks, so either Fujifilm is being historically tight-lipped about it, or it’s not coming until summer 2024 or sometime beyond. What, then, could this upcoming camera be? Whatever it is, it’s either inconsequential enough that it’s not worth leaking, or Fujifilm is keeping the lid on super tightly. My guess is the former. I think it will be an X-T30 III, which will be the same exact thing as the X-T30 II (which is basically the same thing as the X-T30), except with the X-Trans V processor (but still the X-Trans IV sensor), allowing for some autofocus and video spec improvements (plus Nostalgic Neg., and maybe Reala, but probably not), yet still keeping it under $1,000. Like the X-T30 II, it will probably just say “X-T30” on the body, skipping the roman numerals, because it’s basically the same camera.
Golden Light in Abandoned House – North Salt Lake, UT – Fujifilm X100V – Fujicolor Reala 100
2024 might be the year of the traditional dials. I suspect we’ll see an X100V and X-Pro4. It could be that the X-T0, X100, and X-Pro series are the last remaining without PASM. If, in fact, Fujifilm releases an X-T30 III in November, that will probably be the very last iteration of that series. If an X-E5 is ever made, it won’t likely be until 2025 sometime. I’ve heard that the X-T5 has been a smashing sales success, which I’m relieved about. I think if sales had sputtered, Fujifilm would have considered putting that series on the chopping block, too. So we’ll definitely get an X-T6 at some point. I don’t think Fujifilm will keep both the X-T00 and X-E lines, or, if they do, they won’t be available simultaneously. By the time we get to “20 years of X mount” there’s a strong possibility that only three lines remain with retro dials and styling.
Markets change. Goals change. Leadership changes. Vision changes. There are some (mostly those who own a PASM model) who will argue that Fujifilm had to pivot to survive. Maybe so. There are some (mostly those who have been in the system for less than three years) who say that no such pivot has happened, that all this is much ado about nothing. Perhaps. There are some (mostly those with PASM and who have been in the system only a short time) who will say I’m just too old and I complain too much, and that Fujifilm camera’s are now for a whole new generation of photographers with different wants and needs. That could be true, too. I’m just saying that I’ve noticed a shift, and I’m personally less excited and optimistic about Fujifilm’s direction. It’s the elephant in the room that I’ll be criticized for mentioning, but literally everyone who has been shooting with Fujifilm cameras for a long time notices.
The good news is that I already own the cameras that I need. As long as they’re operational, I don’t have a need for anything brand new. If Fujifilm releases something exciting, I’ll eagerly buy it, I’m sure. But if they never do, it’s not the end of the world. I can happily play with the toys I already have.
Interestingly, Nikon is supposedly announcing a retro-designed camera in about a week and a half. Maybe Nikon will position themselves as the next Fujifilm? I doubt it, but if they play their cards right and Fujifilm plays them wrong, it could happen. Either way, the more cameras with tactile controls the better. Unfortunately, the Nikon Zf will likely still have PASM, as Nikon won’t play their cards right. This is all, of course, my personal opinions. You might disagree with all of them, and that’s ok. I’m sure that most of us—and all of the regular readers of this website—can agree that Fujifilm cameras produce wonderful straight-out-of-camera JPEGs. Fujifilm has that right, no doubt about it! I just highly doubt that seven out of 10 Fujifilm photographers prefer PASM cameras, but maybe the user demographics have shifted by that much? I think it’s more of a reflection of who Fujifilm wants their customers to be rather than who their customers actually are, but in doing this they’ve created a self-fulfilling prophecy—if you build it, they will come. They have come and will continue to come, which is great. But I will remember when Fujifilm—back before they were a part of Canikonyfilm—made some exciting cameras that were much different and more beautiful than those from other brands—in fact, I’ll be reminded each time I open my camera case.
