***Edit/Update: Apparently, the Instax Mini Evo Cinema can indeed print Instax prints. It wasn’t stated or shown in the announcement, but you can see it clearly in this promotional video.***
Fujifilm just announced the Instax Evo Cinema camera, which will be released in Japan on January 30th. I assume that it will become available worldwide at some point, but that information isn’t included in the announcement. In fact, a lot was left out. Let’s talk about it.
I guess first thing’s first: I don’t write a lot about Instax on this blog, despite it being a bigger business than X and GFX combined. I do mention it here-and-there. Dan Allen‘s fascinating project shooting Instax film on a 100+ year old camera was one of my favorite Instax-related articles. The Instax camera that Fujifilm just announced is quite interesting, so I thought it worthwhile to write about.
The Instax Mini Evo Cinema is a digital camera, and not film (I’m pretty sure of this, but it wasn’t explicitly stated in the announcement). This isn’t the first all-digital Instax—there’s the weird Instax Pal; the Fujifilm X half, which is half X-series and half Instax, could also be considered one, but Fujifilm classifies it as X-series and not Instax. Although not mentioned in the announcement, the Mini Evo Cinema has a vertically-mounted sensor, which makes it the second camera to have one (the X half being the other).
According to Matthew Allard, the Mini Evo Cinema has a 5MP 1/5″ sensor and a 28mm full-frame-equivalent f/2 lens. Since the entirety of the sensor is not used, it apparently becomes 35mm full-frame equivalent. I believe it is the same sensor and lens from the Instax Mini Evo. The maximum resolution for video is 2.5K (1080 x 1440), but I don’t expect the IQ will look good on a large screen TV—it’s probably more intended for social media (Reels and TikTok) than anything else. Of the 5mp sensor, 4.9mp are used for still images, which is plenty of resolution for Instax Mini prints and Instagram, but not much else. You do need an Instax Mini printer to make Instax prints, as the camera itself cannot make them (from what I can tell).
So, this new camera is essentially an Instax Mini Evo, but with a vertically-mounted sensor, and in a shape inspired by the Fujica Single-8 8mm camera from the 1960’s. While it is for both stills and video, the Instax Mini Evo Cinema is a video-centric camera, and the first video-centric Instax. One interesting limitation is that clips cannot exceed 15 seconds; using the new app that’s specifically for this camera, individual clips can be combined into one larger clip that is limited to 30 seconds.
Back in November I speculated that a “Film Era Dial” would be coming to the X-series (probably the next X-Pro); however, it was later reported as coming to an Instax camera instead. Well, the Mini Evo Cinema is that camera. It has an Eras Dial, which allows you to select a decade that you want the picture or video aesthetic to resemble, anywhere from the 1930’s to the 2020’s. I’m not sure exactly what each era will look like, but overall I like the general concept. I think it’s cool. Interestingly enough, Fujifilm says, “Audio is also processed with the Eras Dial effects, adding distinctive sound characteristics, while certain effects even play nostalgic sounds—such as the whir of film reels—during shooting, creating an immersive experience that feels like stepping back in time.” Unfortunately, no video examples were included in the announcement.
The reason why this camera is coming to Japan only (at least initially) is, in my opinion, due to the massive success of the X half in that country. Outside of Japan, the X half has done alright for the most part, but in Japan it’s been a major hit, and was the 5th best-selling digital camera in the country in 2025, outselling even the X100VI. The Instax Mini Evo Cinema is likely to be another sales success in Japan, while worldwide it might be received less enthusiastically. Letting it become trendy in Japan first might help it when it’s later released elsewhere.
Fujifilm didn’t specify the MSRP. My guess is that it will be around $250-$300, maybe a little less. It seems like a camera that could be a lot of fun, just as long as expectations aren’t too high. I think younger people, like Gen Z and Gen A, will be especially interested in it. An Instax-less Instax video camera with a vertically-mounted sensor was not anything I expected to wake up to this morning, but it makes a lot of sense as a fun toy. It would make an excellent birthday or Christmas gift for the kids, so I’m pretty excited for this one, although it’s unlikely that I’ll ever use one myself.
Last night Fujifilm announced the brand-new X-T30 III camera and Fujinon XC 13-33mm f/3.5-6.3 lens. That’s a lot of threes! I’m not going to spend much time talking about either of these products, but I did want to briefly mention their existence.
The X-T30 III is almost identical to the X-T30 II, which was pretty much identical to the X-T30, launched in early 2019. The big changes for the third iteration are: X-Processor 5 and Film Dial. All of the other changes are directly related to those two.
X-Processor 5 brings with it more computing power and more efficient processing, which allows for autofocus and video improvements (including 6K Open Gate), as well as the Nostalgic Neg. and Reala Ace Film Simulations. Probably better battery life, too. The Film Dial replaces the Drive Dial, which has now been relocated to a button on the back, similar to the Fujifilm X-E5, X100VI, and X-Pro3. Some people are greatly offended by this, but the Drive button has worked quite sufficiently on those popular models and has been a complete nonissue, so there’s no reason to believe it won’t be the same for the X-T30 III. Some people like to complain for the sake of complaining. The benefit of the Film Dial is that it can store up to three Film Simulation Recipes, bringing the total possible Recipes that can be programmed into the camera at any one time up to 11 (certainly Nigel Tufnel would buy this camera just for this). As of right now, the X-T30 III and X-E5 are the only two cameras capable of 11 Recipes; however, I hope that Fujifilm brings the FS1/FS2/FS3 Recipe option to the X-T50 and X-M5, and any future models with the Film Dial.
The one negative with the Film Dial on the X-T30 III is that—like the X-E5—it’s limited to only six hard-set Film Simulations. Unfortunately, Classic Negative and Nostalgic Neg. were both excluded. For Classic Negative, that’s inexplicable, as it’s one of the most popular and iconic options. I think if Fujifilm had used the same Film Dial found on the X-T50 and X-M5, that would have been better. While the Film Dial isn’t perfect and certainly can be improved, it’s still a feature that I love, and I’m happy to see it on this camera.
The lens? I personally don’t use zooms very often. I’m more of a prime guy myself. It seems like a budget-friendly alternative to the 10-24mm f/4. I’m sure it’s sufficiently good, and a decent starter kit lens. I have no intentions of owning it, personally. Sold with the X-T30 III, I’m sure it’s worthwhile for $150; I definitely wouldn’t spend $400 on one.
There are two (very annoying) complaints that I’ve seen regarding this announcement: Fujifilm should not release any camera until they have Sony-like AF, and where’s the X-Pro4? Let’s discuss both.
I’ve talked about autofocus at great lengths (just type “autofocus” in the search bar), so I won’t spend much energy on it. My basic argument, though, is that Fujifilm’s AF is pretty good, better than what’s existed for the vast majority of photography, and if you can’t make it work for you, it’s largely user error. Yes, your fault. People are offended by that, but sometimes the truth hurts. Once you accept that truth, it reveals a path forward so that you can move beyond your AF obstacles. It might take learning some new skills and/or learning some new things about your camera that you didn’t realize. Fujifilm’s AF is more than sufficient for 99%+ photographers and situations if you know what you’re doing. Those who constantly complain about it have 1) unrealistic expectations (Canikony brands have been making AF for much, much longer, have larger R&D budgets, and larger teams, so it stands to reason that theirs is and always will be better), 2) an unwillingness to accept that they are a part of the problem (more so than the gear), and 3) no motivation for self-improvement.
Can and will Fujifilm improve their AF? Absolutely. I have zero doubts that they’re working hard on that right now and have been for years. Will those improvements have a practical benefit for most of their customers? Probably not, because we’re nearing the peak of an inverted U curve, which means that each improvement will have a smaller and smaller and smaller impact (this is true for every brand, especially Sony and Canon, who might actually be nearing the back side of the curve). Also, realize that any obstacle—including AF woes—can be overcome if you are willing to self-reflect and put in the work. Those who constantly complain about this topic are unwilling on both accounts.
As for the X-Pro4, which I’m predicting will be called X-Pro5, I’m somewhat confident that it will arrive within the next six months, probably announced in January or February. It will likely kick off X-Trans VI, and the X-T30 III will mark the end of the fifth-generation. In other words, the next X-Pro is coming, just have a little more patience.
Anyway, the Fujifilm X-T30 III will hold the important role of budget-friendly non-PASM model with an EVF. The X-T30 II and the X-T30 before it served this purpose very well, and, despite less fanfare, sold a heck-of-a-lot of copies. The X-T30 III will quietly be a major success, too. At only $999, it’s probably the best value camera in the lineup. Yes, some models are cheaper. Yes, some are better. But none quite offer the bang-for-the-buck that the X-T30 III does.
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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….
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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 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.
I’ve had a couple of people ask me this morning for my opinions regarding the brand new Olympus—sorry, I mean OM System as they are now called—OM-3 camera, which was announced today. I don’t have a lot of strong thoughts about it, and I’ve never handled the camera nor seen it in person, so these opinions should be taken with a large grain of salt.
Micro-Four-Thirds (M43) sales have been on the decline for years. It’s a shrinking market and has been for awhile, but it’s not dead (yet, anyway). Olympus—err, OM System—has surprisingly strong sales in Japan, but not worldwide, where it’s largely a minor (and almost forgotten) footnote in today’s digital camera market. The OM-3 will surely help to bring more international attention to the brand and the format.
I don’t have any major issues with the camera itself. I think M43 hit a ceiling several years back, and there’s not a lot of room for growth. You see that in this camera, as it’s not especially innovative compared to their releases going back to 2019. This is not a suggestion that the camera isn’t good, only that the system needs some major technological innovation in order to break the ceiling it is currently pinned against. Right now, they seem to be leaning into AI for that, but I’m not sure if that’s going to do it.
The OM-3 is a bit large and expensive for what it is. This is a Fujifilm-centric blog, so I will make some quick apples-to-oranges comparisons to X-series models. It’s similarly sized to the Fujifilm X-T50, and just a smidge heavier—I think that’s the Fujifilm model the OM-3 is most similar to, although they are divergent enough not to directly compare. The OM-3 is better-looking, but (unfortunately, IMHO) with a dial format more similar to the X-S20, plus a swivel screen. The OM-3 is weather-sealed, and in that sense it could be compared to the X-T5. The stacked sensor will draw some comparisons to the X-H2s, while the price is the same as the X-H2. I think if OM System had been able to price it three or four hundred dollars less, it would be a bit more compelling. Perhaps the camera that the OM-3 will get compared to the most is not a Fujifilm model, but the Nikon Zf. It’s possible that Olympus views this more as a competitor to that camera, and less to any specific Fujifilm model.
For those with M43 cameras, the OM-3 must be a sight for sore eyes. Between both OM System and Panasonic, M43 has averaged only two camera releases per year for several years now, so new bodies are few-and-far between. The OM-3 is the best-looking M43 camera released in awhile. It’s basically a flagship model, so it has a lot of solid features. For those on the outside—who aren’t already in the M43 system—I’m not sure this camera is enough to draw you in, especially when there are options with larger sensors, more resolution, higher dynamic range, better high-ISO, smaller depth-of-field, etc., for the same or less money, and not much larger, if larger at all.
The advantages that M43 has over other sensor formats are size, weight, and price. The OM-3 doesn’t leverage any of those advantages, but if Olympus were to make a new PEN-F, that very well could be a big success because it would play to the advantages of the system. If I were them, I would do that before 2025 is over. I would also return to the Olympus brand name, as OM System just doesn’t have as good of a ring to it, nor does it hold any nostalgia (plus, I keep accidentally typing Olympus instead of OM System…), but I highly doubt that will happen.
Let me wrap this up. I wish OM System much success. I have nothing against them or the OM-3. I’m sure it is an excellent camera, and that those who buy it will be quite happy with their purchase. I don’t have any interest in the OM-3 personally because I love my Fujifilm cameras, and there’s nothing profound enough with this model to convince me to invest into a new system, especially one that is barely holding on. I think this camera will appeal the most to those who already own some M43 lenses.
Panasonic just announced a new camera: Lumix S9. I’ve never touched or seen the Panasonic Lumix S9 in person. I’ve only seen reviews of it, such as the Chris Niccolls writeup on PetaPixel. I have a few quick thoughts that I want to share with you, before returning to the regularly scheduled programming.
Many years ago I used to own a Panasonic camera, but only briefly, because I didn’t care for it. It was one of their low-budget models, so maybe if I had something higher-end I would have liked it better. I’m sure I would think much differently about the S9; however, I don’t have much of a personal interest in the brand. If they ceased making cameras, I probably wouldn’t even notice. The S9 only crossed my radar because I might be the reason that it exists.
I captured this on a Panasonic in 2016
The Lumix S9 is specifically intended to appeal to those waiting for a Fujifilm X100VI, but are on a really long waitlist. There’s a vague retro rangefinder styling that might from a distance look similar to the Fujifilm X-E4. It has a 24mp full-frame sensor. More interestingly, it has LUTs, a LUT button, and a LUT app. Panasonic intended this camera for those who want straight-out-of-camera film-like results. We’ll get to that in just a moment.
There are some serious design issues that make the camera a compromise. I think they wanted it to be in a certain size and price point to appeal to potential Fujifilm customers, but they had to strip it down in order to do so. There’s no viewfinder—optical or electronic—which means you’ll have to compose everything on the LCD. That’s ok sometimes—Ricoh GR cameras are that way—but it’s definitely not ideal. There’s no grip—not even a small one—which is ok if the lens is small and lightweight, but not for most of the lenses available for the camera. You won’t find a joystick. Most severely, the S9 doesn’t have a mechanical shutter, so it isn’t a good option for artificial light or quickly moving objects. I don’t like the PASM mode dial, and wish it had retro controls.
The Fujifilm X-A3 was the X-A5’s predecessor, but quite similar overall
Like I said, I have not seen or touched the S9 in person, but it seems like a full-frame version of the Fujifilm X-A5; however, it has IBIS, while the X-A5 doesn’t. Still, there are enough similarities that, in my opinion, the X-A5 is the model people should be focusing their comparisons towards, and not the X100VI. Between the X-A5 and the S9, the S9 wins, but you can buy the old Fujifilm for less than $500, while the S9 will cost you $1,500.
Now back to the LUTs, perhaps the defining feature of the Lumix S9. Those who edit videos are probably quite familiar with LUTs; however, it’s not nearly as well-known or well-understood in the still photography world (and it’s not the same as a film simulation, either). LUTs are presets that overlay (preferably flat) videos or images. Let’s say you captured a photograph using the Eterna film simulation with Highlight, Shadow, and Color all set to -4, then later added a filter to that JPEG to add in contrast and color—that’s what a LUT does. The S9 has the ability to store and apply LUTs to both videos and still photographs in-camera.
This isn’t a new feature for Panasonic, but what is new is that the LUTs can now be added to the camera wirelessly via an app (Fujifilm should do this with Recipes). There’s a library of LUTs available on the app, plus you can create your own. A button on the camera activates the on-camera LUT library. This is a bold move by Panasonic, one that takes direct aim at Fujifilm, and is intended to lure potential (or maybe even current) Fujifilm customers. They want a Recipe-like movement for their own brand.
There are a few reasons why, in my opinion, it won’t catch on. First, the S9 is too stripped down to be taken seriously. Sure, people will buy it, but it won’t be a trendy camera. Second, “LUT” is far less imaginative and romantic than “film simulation”—aside from that, Panasonic doesn’t have the vast experience manufacturing analog emulsions like Fujifilm does. Third, creating your own Film Simulation Recipe is far less complicated (but can still be complicated) than creating your own LUT. Fourth, there are more Recipes available for Fujifilm cameras than there are LUTs available for Panasonic.
With all of that said, I think it’s great that Panasonic is trying this out. More and more, photographers are relying on camera-made JPEGs, and are editing less and less. I think that’s wonderful! The stigma of “you must shoot RAW; only amateurs use JPEGs” is rightfully melting away. I think it’s only a matter of time before camera companies team up with RNI, Alien Skin, VSCO, etc., and offer film-like presets in-camera. Fujifilm has a film heritage that allowed them to build it from the ground up and achieve convincing results. They’re pioneers and leaders in all this, and now it’s catching on.
However—and I had a conversation with someone about this today—would film simulations be the big deal that they are today if not for Fuji X Weekly and Film Simulation Recipes? Would the Panasonic Lumix S9 exist without this community? Probably not. That’s an incredible honor! It goes to show that there’s something to all this—a rising tide that is affecting all of photography, and not just those with X-series models. It will definitely be interesting to see what happens in the next few years: with Fujifilm, Panansonic, and all the other brands who are sure to try their own take on film simulations and Recipes.
The brand-new Fujifilm X-T50 was just announced! It’s both surprising and intriguing. This might be Fujifilm’s most contentious model since the X-Pro3, but it shouldn’t be controversial at all. What exactly is the X-T50? Is it the right camera for you? I’ll try to answer those questions in this article.
The double-digit X-T line has traditionally been Fujifilm’s mid-level, enthusiast-grade, interchangeable-lens, SLR-styled models (that’s a mouthful!). It’s the little brother of the single-digit X-T cameras, like the X-T2 and X-T3. With the discontinuation of the low-end triple-digit X-T series, the double-digit X-T cameras have become Fujifilm’s de facto entry-level option. The Fujifilm X-T30 II, which was released in November of 2021, is the current base model, although it’s neither cheap in quality or price—it’s still a mid-tier APS-C camera.
The X-T50 is not the successor to the X-T30 II, but a whole new (yet highly similar) line. Fujifilm plans to sell the X-T30 II alongside the X-T50, similarly to what they did with the X-T3 and X-T4 a few years back. This also means that there is a potential future successor to the X-T30 II, perhaps called the X-T30 III or X-T40; I don’t know that for sure, but I think it is a fair assumption. The main thing for you to know is that the X-T50 is not a replacement for any previous model, but a whole new camera.
There are some key things that set the X-T50 apart from the X-T30 II. First is the 40mp X-Trans V sensor, the same sensor found in the X-H2, X-T5, and X100VI; the X-T30 II has the 26mp X-Trans IV sensor. Second, like the other 40mp cameras, the X-T50 has IBIS; the X-T30 II doesn’t. Perhaps the biggest difference—and the one that is most contentious—is the Film Dial. The X-T30 II has a Drive Dial on top, but in its place on the X-T50 is a brand new knob for switching between the film simulations (Drive is a button on the X-T50, like on the X100VI and X-E4). Aside from that, the X-T50 is a tad bigger than the X-T30 II, has a more rounded design, and costs quite a bit more ($1,400 for the body-only). The X-T50 is more premium than the X-T30 II, but, unsurprisingly, it’s not at the same level as the X-T5. I’d call it an upper-mid-tier model, higher than the X-T30 II but lower than the X-T5.
The Film Dial is a brilliant move by Fujifilm. I know that some may not “get it” and that’s ok; not every camera is for every person. Film simulations are such an intrinsic part of the Fujifilm experience for many users. Placing it on top of the camera in a position of importance makes film simulations a more immersive experience, one that invites exploration. The Film Dial alone will sell the X-T50; 40mp, IBIS, 6K video, etc., are merely bonuses. By simply taking an already existing and loved feature, and moving it from an Fn button or Menu position to the top plate, Fujifilm reinvented the functionality of their camera.
It’s not that the X-T50 does something that the X-T5 (or any other Fujifilm camera) doesn’t, it’s only how it is presented to the photographer. You can use the exact same Film Simulation Recipes on the X-T50 that you can on the X-T5, X100VI, and X-H2, and the analog-like output is identical between each of those models. What is unique about the X-T50 is that a turn of the Film Dial will instantly change the film-like aesthetic. That experience differentiates this cameras from all the others—not just other Fujifilm models, but from every brand. The Film Dial makes the X-T50 a “digital film” camera.
I don’t want to get too deeply into what the Film Dial is and how to get the most out of it, because I have a whole article that explains it in detail (click here). What’s important to know is that the knob only changes the film simulation and nothing else. On the dial, there are eight (out of the 20) hard-set film sims (Provia, Velvia, Astia, Classic Chrome, Reala Ace, Classic Negative, Nostalgic Neg., and Acros), plus three customizable positions for your favorites that were left out. The “C” position simply disables the Film Dial.
If Fujifilm had asked for my input, I would have suggested a couple of changes. First, a C1-C7 Dial (or, better yet, a C1-C11 Dial, since there are 12 positions) would have been most ideal for those who use Film Simulation Recipes. That would’ve been less contentious, and I think a lot of current Fujifilm users would be excited for that; however, I understand why Fujifilm didn’t choose that route: a Film Dial is more inviting and less intimidating to the uninitiated. My advice to Fujifilm is to release an X-T55, which would be the exact same camera, but with a C1-C7 (or C1-C11) Dial in lieu of the Film Dial. Second, since they didn’t do that, I think it would have been really cool if each film simulation on the Film Dial could be customized into a Recipe. If Highlight, Shadow, Color, Dynamic Range, Grain, etc., etc., etc., could be custom set to each film sim on the Film Dial, that would be awesome. While Fujifilm could make that change with a Kaizen firmware update (and I very much hope they do), it would be surprising if they did. But, no worries, because I’ve figured out a good strategy for how to use the Film Dial as-is, and it’s highly enjoyable.
There are probably a number of people who are concerned that the X-T50 uses the “old” NP-W126 battery, and not the new NP-W235. I took this camera with me on multiple trips, and shot with it literally all day several times, and only once did I actually have to use a spare battery. So as long as you have two NP-W126 batteries, you should be good-to-go. Perhaps a second spare is a good idea if you record a lot of video footage.
So who is the Fujifilm X-T50 for? Is it worth buying? Should a different camera be considered instead? There are a few groups that the X-T50 makes a lot of sense for, and a couple of groups that I think it could potentially be a good option for.
First, the Fujifilm X-T50 is great for those who shoot film, but want to get into digital photography. With film prices so high right now, there are a number of analog photographers who are seriously considering their first digital camera. Or perhaps they haven’t picked up a digital camera in a long time because they didn’t appreciate the experience of it, and are searching for something that is more reminiscent of film photography. I can relate to this, personally. I have no doubts that it will be highly appealing to this group of people—after all, the X-T50 is Fujifilm’s “digital film” camera.
Next up are those who succumbed to the Fujifilm X100VI hype but cannot secure a camera due to the unprecedented demand. Specifically, I’m talking about those who are not current Fujifilm users—those who have a different brand of camera or perhaps no “real” camera at all currently. They will see the X-T50 as an alternative that they have a better chance at actually getting their hands on. Since most of the specs are exactly the same, it won’t take much to convince someone in this group to buy it instead of the X100VI. Obviously, there are some significant differences between the two models, but there are enough similarities that the X100VI’s demand (and Fujifilm’s inability to fulfill it) will notably fuel X-T50 sales. The X100VI’s hype is real, and, in my opinion, well deserved; the X-T50 is not an X100VI, but certainly close enough for many people.
Third, the X-T50 will be appealing to video content creators who desire streamlined color grading. The Film Dial works in video mode, and film simulations can reduce or even eliminate some editing steps. This is an underrated and underutilized aspect of Fujifilm cameras that I think will be employed more on the X-T50 simply because of the Film Dial.
Then there are Fujifilm X-T5 owners who want a smaller and lighter option—but with an identical output—to be a companion camera. Some might appreciate the divergent shooting experience, while others might not. I think, for this group, the X-T50 is contentions, and either you’re intrigued by it or put off, and your opinion has likely already been made.
The last group are those who have an older double-digit X-T camera, or perhaps even a triple-digit model, and are eager to upgrade to something brand-new. The X-T5 is a little too big, heavy, and/or expensive for you, while the X-T30 II doesn’t have the latest two film simulations or features like 6K video and IBIS. If you appreciate the Film Dial, the X-T50 could be perfect; otherwise, this might not be the double-digital X-T camera that you were wishing for.
I really like the Fujifilm X-T50, personally. It’s fun, and offers a divergent experience from the other retro-inspired models. But, no camera is perfect, and none are for everyone. Each person has their own preferences. I think the X-T50 will, generally speaking, appeal more to non-Fujifilm photographers than current Fujifilm owners. On one hand, that’s really good. The X-T50 will be a lot of people’s gateway into Fujifilm. On the other hand, there are plenty of people who will complain that Fujifilm should have designed it another way. I do wish that the new knob had been implemented just a little differently, but I completely understand why they did it. Just because this camera might be more well-received by those buying their first Fujifilm model, doesn’t mean that current Fujifilm enthusiasts can’t or won’t like it, too, because I think many will (I enjoyed it); however, there are some who definitely won’t.
The Fujifilm X-T50 is brilliant, as it blurs the line a little between digital and analog, and gives users a unique photography experience. I have no doubts that the Fujifilm X-T50 will be a huge success, and the new Film Dial will be a big reason for it.
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My Fujifilm X100VI preorder was completed six minutes after the camera went live at the the top of the hour during the X Summit. It didn’t ship today. The store that I ordered from is not saying when it might ship, only that it could be weeks or months. I’m not worried or upset, though.
I’m guessing that many of you might be in the same boat as me. I’m sure some reading this didn’t preorder the new camera, but, with record-demand (not just for a Fujifilm model… the X100VI apparently had more preorders than any other camera by any brand ever), it’s a safe bet that many of you did order it. If you weren’t super quick (I thought I was, but obviously wasn’t quick enough), your order likely didn’t ship today. I’m sure that some of you did, in fact, receive a notice today that yours has shipped, and even a few of you might already have it in your possession. That’s awesome! Enjoy your new camera. For the rest of us, it’s easy to feel empty or even envious. If you preordered the X100VI but your copy wasn’t in the first batch, let me give you some reasons not to be dismayed.
First, in time, you’ll get your new camera. Just be patient. The hype will subside, new copies will be made, and it will get to you before you know it. Waiting a few weeks or months is not a big deal. Yes, we’re used to everything being instant. But a little delay won’t hurt you. Just take a deep breath in and out, and let the FOMO go. Know that it’s going to work out alright, and before you know it you’ll be shooting with the new model.
Second, the X100VI won’t be a night-and-day difference from your other Fujifilm gear. It likely is an upgrade, but it’s not going to be a massive upgrade, unless you’re coming from an early X-series model. Keeping expectations in check will not only help limit disappointments, but also help with patience.
Third, whatever camera you do have already, it’s plenty good enough. It’s a positive exercise to go back to the old reviews of your gear and read the glowing praise, which serves as a reminder that the cameras we own are actually pretty darn good. New gear won’t make you a better photographer. A camera like the X100VI can be a lot of fun, and sometimes that enjoyment can motivate us to use our gear more; however, there are plenty of ways to find renewed enjoyment from our old gear, such as trying different Film Simulation Recipes, using vintage lenses, or simply taking it on adventures.
So if you’re feeling disappointed that you’ll have to wait a bit longer for your new camera, I hope that this helps you feel a little better. A little patience will help ease your anxiousness, and a little fresh air is good for the spirit. So grab your current camera, whatever it is, and go out right now and shoot with it.
If you didn’t order the new Fujifilm X100VI but would like to, you’ll likely have a significant wait, but eventually it will be in stock.
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
One benefit of having your own website is that you get to say whatever you want. It’s your platform, and nobody can tell you what you can or cannot state. They’re your opinions; if someone doesn’t like them, they’re free to leave and never come back. As the saying goes, everyone has opinions….
I don’t typically like to comment on the opinions of others, because they’re free to express their own, just as I’m free to express my own. I don’t have to like what they say, just as nobody who visits this website has to agree with everything that I say. We can disagree on things and still be friends (at least it should be that way, and it used to be). Arguments on the internet tend to be pointless endeavors that don’t do much good.
There’s an article I read on a photography website that I’m just really baffled by. I wasn’t going to say anything, though. Is it even my place? After all, they’re allowed to write whatever they want on their own page. If I don’t like it, I’m free to not return. Their article, though, has been bothering me for a few days now, so I thought maybe I should address it. Perhaps you read it, too, and are equally puzzled.
Initially I wasn’t even going to link the article in this post, because maybe I shouldn’t drive traffic to their website. Sometimes when people post outrageous things it is for attention, so maybe I’m doing just what they hoped people would do, and I’m falling for it hook, line and sinker. It’s a fairly popular and well-known page, so you could easily find it if you wanted to. But, for the sake of transparency, the website is The Phoblographer, and the article is their Fujifilm X100VI review by Chris Gampat, the founder and chief-editor of the site.
Here’s an interesting fact about The Phoblographer that I didn’t know until I was researching for this: they don’t have much more traffic than Fuji X Weekly. According to data available on the internet (which might not be 100% accurate), they get roughly about 10% more visitors than I do. They’re way more established, having been founded in 2009 (Fuji X Weekly dates back to 2017). At the current rate of growth, it’s probable that this website will exceed their’s by the end of the year, or possible sooner. I must be doing something very wrong, though, because they’re somehow able to support five employees off of that traffic.
Anyway, Fujifilm gave The Phoblographer a preproduction copy of the X100VI to try out, and Chris Gampat wrote about it. And he gave it a scathing review. Interestingly, Chris gave the X100V a five-star review, saying that it was “the closest they’ve come to a perfect camera.” Somehow, in a little less than four years, with some updates and improvements, it’s gone from nearly perfect to one-star, the lowest Chris could give. If you are Fujifilm and reading this, in the future perhaps you should consider sending your preproduction copies to someone else instead.
Now Chris is entitled to his opinions. He doesn’t have to be all-positive, and I don’t think anyone expects him or anyone else to be overtly optimistic about any gear. Being genuine is valuable. Authenticity is what people want. Overly positive reviews can seem dishonest, but so can overly negative reviews. Especially when the nearly-identical predecessor camera was “close to perfect”; somehow the barely different but definitely improved successor is “the embodiment of the word ‘meh.'” It just doesn’t make any sense. It doesn’t pass the smell test.
On one hand, Chris’ review reads like a toddler-tantrum after not getting his way. I guess he thought the “nearly perfect” camera was somehow due for a major overhaul (ignoring “if it ain’t broke don’t fix it” I suppose); since he didn’t get his way, it’s now garbage (or, as he puts it: a TikTok fashion accessory that’s actually a toy camera; Fujifilm betrayed him with this model). Many of the things that he liked about the X100V he now dislikes about the X100VI, despite them being the same. Stomping and kicking and screaming will surely get Fujifilm’s attention, no? Maybe he’s simply upset that this model is so popular, and soon there will be too many Star-Bellied Sneetches with it for his liking (time to get that star removed, eh?). Perhaps their partnerships with other brands is driving the over-the-top negativity? As they say, follow the money and you’ll find the truth. I don’t know what the answer is, but whatever the case, it’s baffling. And dishonest, even though he self-proclaims that he’s being “very honest” in the opening paragraph, and not to believe others. If you have to state that up front, that’s a big red-flag.
ISO 25600 — Expired Eterna Recipe — Fujifilm X-T5
What I found humorous is that he doesn’t like anything above ISO 800 for color photography, apparently. I guess he wouldn’t appreciate my GAF 500 Film Simulation Recipe, which uses ISO 12800 on purpose for the aesthetic of it. Or my Expired Eterna Recipe, which can be used as high as ISO 51200!
I’ve not touched or seen in real life a Fujifilm X100VI, but I have a Fujifilm X100V and a Fujifilm X-T5 (which collectively provide for me the experience of the outside and inside of the X100VI), and I disagree completely with many of his complaints. It’s perfectly ok to have some complaints, and I’m not saying Chris doesn’t have some valid criticisms; however, the one-star rating and excessive scathing complaints seem way unfair. Instead, say: I wish they had done this or that, and since they didn’t, it’s four-stars (or three-stars; something that seems remotely fair, unlike one-star). That would be honest and authentic.
In any event, The Phoblographer (faux-blographer?) has lost a lot of credibility with me, personally. I give them a one-star review. It’s clear—when it comes to X-series cameras, anyway—that they’re not a trustworthy source whatsoever. It’s a real shame, too, because I’m sure that they could bring some unique point-of-views to the table that could be valuable to somebody, if only they could get out of their own way (but they couldn’t and so didn’t). They’re missing the boat on what is sure to be the most-desired camera of 2024, and maybe of all time; however, that’s their choice. This was a curios decision that I don’t understand, but it’s important to not take any of it personal. I’m sure that Chris and everyone else at The Phoblographer are very nice people in real life.
Maybe their article will provide them with a much-needed traffic boost. Maybe it will prove to be the beginning of the end for them—the moment that they jumped the shark, so to speak. I have no idea if there will be any positive or negative consequences to their review. I’m just really baffled by it all, and I wonder if Fujifilm—or even the other camera brands—have taken notice. How will they respond? I don’t think the one-star review is having any impact on sales.
I did order the Fujifilm X100VI, approximately six minutes after it was available for preorders. I don’t expect to be in the first batch that’ll be shipped on February 28th, but if mine arrives before the end of March I’ll count myself as lucky. It’s easy to have FOMO (fear of missing out) when this camera is all that everyone seems to be talking about, but just know that whatever camera you have is pretty good. It’s a positive exercise to go back to the old reviews of your gear and read the glowing praise, which serves as a reminder that the cameras we own are plenty good enough. New gear won’t make you a better photographer. A camera like the X100VI can be a lot of fun, and sometimes that enjoyment can motivate us to use our gear more. There are plenty of ways to find renewed enjoyment from our old gear, such as trying different Film Simulation Recipes, using vintage lenses, or simply taking it on adventures. Experiences are often better investments than new gear.
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
I have to admit that the announcement of the Nikon Zf has given me G.A.S. (Gear Acquisition Syndrome). The camera looks stunning! And it seems to be nicely equipped, spec-wise.
There are some who will say that the 24mp sensor is unimpressive—and, yes, it’s not—but it’s all that most will ever need. Some cars have a powerful turbocharged V8, but do you really need it? It might be a whole lot of fun on occasion, but not likely a necessity, unless you’re towing something heavy or maybe on a raceway. That fuel-efficient V4 is a lot more practical, and probably plenty for your purposes. Similarly, the 24mp sensor in the Zf is more than enough resolution, unless you plan to crop deeply or print posters. On Fujifilm, I actually prefer the 26mp X-Trans IV sensor to the 40mp high-resolution X-Trans V sensor, just because more resolution is more cumbersome and can create storage issues, and I simply don’t need that much resolution. I think, for most people and purposes, the 20mp to 30mp range is ideal, and 24mp to 26mp seems like a sweet spot. More than that is overkill for the majority of photographers.
The problem, though, with the Zf is fundamental: there’s no aperture ring on Nikkor Z lenses. Because the lenses don’t have an aperture ring, Nikon was forced to include PASM. Just like the Zfc, the Zf has a shooting mode (a.k.a. PASM) switch, which enables and disables the knobs on top of the camera. For example, if the switch is set to A, the shutter knob doesn’t do anything, and is there only for looks. Of course it makes sense that it does this, but if designed correctly, the step of moving the switch to the correct position in order to activate the knob so that the shutter speed can be adjusted is unnecessary. Also, it’s unintuitive. No aperture control on the lens means that it can’t be set when the camera is powered off. Oftentimes, when I am photographing a scene, as soon as I see what it is that I’m going to capture, I have an idea what I want the aperture to be, and I’ll set it even before I power on the camera. Can’t do that on the Zf or Zfc. Just like the Zfc, the Zf makes the most sense when used in Manual mode, and especially when paired with a third-party lens with an aperture ring.
If you want the full Fujifilm experience, you’d better get a Fujifilm, as the Zf won’t deliver that. The Zfc couldn’t match it, and the Zf won’t be able to, either. That doesn’t mean the Zf isn’t an excellent camera, because I’m certain that it is very good, maybe one of Nikon’s best ever (I’m saying this having never used it personally). I would certainly love one myself, just because I’m a sucker for beautifully designed digital cameras that look and handle retro-like. I think the Fujifilm X-T5 and Nikon Zf will be compared very closely by reviewers and YouTubers, and, in my opinion, the X-T5 wins for several reasons, including size, weight, price, JPEG output/Film Simulation Recipes, and user experience (no PASM); however, the Zf will have strengths that beat Fujifilm, so it depends on what’s most important to the user as to which one wins, as I think they’re very comparable. If you’re in the Fujifilm system, you’re not likely to jump ship for the Zf, but if you’re in the Nikon system, the Zf will be quite tempting, and maybe it will convince you to stay with Nikon instead of switching over to Fujifilm, if you were considering that.
I want the Nikon Zf, but $2,000 could fund a nice weekend getaway somewhere. I think experiences matter much more than gear, and oftentimes it’s better to invest in using what you have in an epic way than to buy something new and miss out on the adventure. G.A.S. is an unfortunate problem, especially when combined with F.O.M.O. (fear of missing out); however, the best way to overcome it is to accept that what you have is plenty good enough—simply use it to the best of your ability whenever the opportunities come, and see what happens.
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
What’s interesting about this is that the lens was redesigned not long ago for the Fujifilm X100V, but the four prior versions—X100, X100S, X100T, and X100F—all shared the original lens. While Fujifilm improved the lens, it wasn’t a huge change. The main thing that Fujifilm addressed was corner sharpness when using a large aperture. At f/2, the old lens was a bit soft (something some people liked and others didn’t), but the new one on the X100V doesn’t have that issue. Beyond that, the update was rather insignificant.
The question is, why will the next X100-series model have a different lens than the X100V? There are a few main ideas that I think could explain it. One is that the X100Z (or whatever Fujifilm will call it) is likely to have the 40mp sensor found in the X-T5 and X-H2, and perhaps the current lens isn’t sharp enough to take full advantage of the resolution. Another idea is that, since the lens isn’t fully weather-sealed without a filter across the front, maybe Fujifilm has figured out how to fully seal it. A third possibility is that Fujifilm will include IBIS, and the lens needs to be adjusted slightly to accommodate. A final idea is that the lens redesign is to simply accommodate an improved leaf shutter. It could be a combination of those reasons or perhaps others not considered.
Gold Coast Blooms – Laguna Beach, CA – Fujifilm X100V – upcoming Recipe
There are also some wild ideas that are much less likely to be the case, but you never know. One is that Fujifilm will increase the maximum aperture to f/1.7 like the Leica Q3. Another is that Fujifilm will change the focal length to be more wide—perhaps 18mm (27mm-equivalent) or 20mm (30mm-equivalent)—or more telephoto—maybe 25mm (37.5mm-equivalent), 27mm (40.5mm-equivalent), 30mm (45mm-equivalent), or 33mm (50mm-equivalent). A third idea is that Fujifilm is working to make the next iteration more pocketable, and the lens will be slightly slimmer. The wildest idea might be that the X100Z will have a zoom lens instead of a prime (while some might like that, overall I think it would start a riot…). With how things have been going in Fuji-land, it could even be that the shutter dial and aperture ring will be removed in favor of a PASM dial. A final idea is that the redesign will remove the IR hotspot, and Fujifilm will offer a full-spectrum version. I don’t think any of these will be the case, but I’ve certainly been wrong before.
An interesting thought is that the X100V won’t actually be replaced, per se, especially since it is currently so popular, but that Fujifilm will simply introduce an alternative version with a different focal-length lens. In other words, Fujifilm could manufacture the X100V for another few years (and maybe introduce a firmware update to make it more fresh), and offer an 18mm or 20mm version that is otherwise identical. Sigma had [three or] four versions of their DP cameras, which were identical except for the focal-length of the lens: 14mm (21mm-equivalent), 19mm (28mm-equivalent), 30mm (45mm-equivalent), and 50mm (75mm-equivalent) options. Ricoh has two versions of the GR III: 18.3mm (27.5mm-equivalent) and 26mm (39mm-equivalent). Maybe Fujifilm could do something similar? Perhaps have two or three X100V options, each with a different focal-length lens? I highly doubt that Fujifilm will do this, but it would be intriguing if they did.
Time will tell what exactly the lens redesign is, but I don’t anticipate it being anything particularly revolutionary. I think it will be a mild refresh to what is already an excellent lens. Most likely it will be made a hair crisper so that it can fully resolve the 40mp sensor. At this point, though, anything is possible, so it’s fun to consider what it could be, no matter how unlikely.
Fujifilm will be announcing some new gear on September 12; Fujirumors is reporting that it will be GFX cameras and lenses, including a GFX100 successor (which, apparently, wasn’t the GFX100S), GF 55mm f1.7, GF 30mm f/5.6 tilt-shift, and GF 110mm f/5.6 tilt-shift. A rumor has floated for awhile now that two X-series cameras would be released in 2023. The first was the X-S20. What will the second be? And will it be announced in September?
We know that the X100V replacement won’t come until next year, so which one will be next? There’s been a lot of speculation that it could be the X-Pro4 because it’s long overdue; however, if it is, something would have likely already leaked about it, so I’m marking it as unlikely. How about an X80? Fujifilm absolutely should release this camera, but I think that ship has sailed in their minds, and it’s not even on the list of potential future models. X-A8 or X-T300? Those lines have been discontinued, so no. It’s much too soon for an X-H3 or X-T6 or X-S30. What does that leave? The X-E5 or X-T40 (which they might call X-T50). Let me give a few quick reasons why I think it will and won’t be each of those models.
It will be the X-E5 because the X-E4 was a hot commodity just before being surprisingly discontinued (presumably so that manufacturing efforts could be diverted to the X100V). It was backordered everywhere and even sometimes selling for more than MSRP. There’s still quite a demand for it, but so very little supply. It was strange that Fujifilm axed an in-demand model, but if they were preparing to release a successor, it makes a lot more sense.
It won’t be the X-E5 because Fujifilm will probably only offer one base-level camera going forward (due to shifting markets), and between the X-T00 and X-E lines, it’s more likely the X-E that’s not renewed. Besides that, historically, the X-E line comes at the very end of a sensor generation, not towards the beginning or middle.
Wearing Grandpa’s Hat – South Weber, UT – Fujifilm X-T30 – Kodacolor
It will be the X-T40 (or X-T50) because this line is long overdue for an update. The X-T30 was released over four years ago. The X-T30 II was an extremely minor upgrade, mostly just a firmware update that should have been given to the X-T30. Both the X-T30 and X-T30 II have been discontinued, so it makes sense that a new version is about to come out. Besides, the X-T00 line has been a good seller for Fujifilm, and the current lineup is in desperate need for a camera of its class.
It won’t be the X-T40 because the X-T30 II was released only two years ago. While it sold well, it wasn’t as in-demand or trendy as the X-E4. Aside from that, Fujifilm is clearly focusing more on higher-end models, and not entry-level.
What’s my opinion? I think, if an X-series camera is announced on September 12, it will be the X-T40. I don’t think the X-T40 will likely be a major upgrade, so including it on the same day as the GFX150 (or whatever the new GFX camera will be called) makes sense. Just as likely, no X-series models will be announced on September 12; perhaps the next camera will be the X-Pro4 in November (that’s just speculation, I have zero inside information).
The X-T40 will probably be the exact same thing as the X-T30 II, except with the X-Processor 5, which brings improved autofocus and video specs, along with the Nostalgic Neg. film simulation. I suspect that it will have the same X-Trans IV sensor and the same NP-W126S battery, and be 95% the same camera. I don’t think it will be revolutionary; however, it will be Fujifilm’s sub-$1,000 option, which I think is still important to offer. Don’t be surprised, if Fujifilm does decide to eventually release an X-E5, that the X-T00 and X-E lines aren’t available at the same time. In other words, they might manufacture the X-T40 for a year or two (depending on how it sells), and then discontinue it as they prepare to release the X-E5. Once that’s been on the market for a year or so, it’ll get discontinued in time for the next X-T00. I think Fujifilm sees these two models as competing against themselves to some degree. I wouldn’t be surprised at all if one of these two lines was simply (and quietly) discontinued.
In my opinion, I think Fujifilm has been secretly working on the X-Pro4, and I wouldn’t be shocked if it was released in November (like the X-T5 was last year). I think it would make a ton of sense. They’ll probably readdressed the rear screen somehow. I do believe it will have the 40mp sensor, and don’t be surprised if it is the first X-series camera with the XPan aspect ratio as an option. This would be a smart move, I think, and it would fall within Fujifilm’s shift towards focusing more on higher-end cameras and less on lower-end.
What do you think? Will an X-series camera be announced on September 12? Which model will it be? What do you hope for? Let me know in the comments!
Wow! It’s been crazy the last several days. Fujifilm released the X-T5 on the 17th. Not everyone got their orders.
Let’s back this up. Amazon apparently listed the X-T5 too early on announcement day. By contract, everyone is supposed to go live no earlier than a certain time, but Amazon jumped the gun. I preordered an X-T5 on Amazon because I had reward points that I wanted to use. When the 17th came around, some people received their preorders that day. For others it shipped that day, and arrived in the next day or two. For me? Nothing. Those who ordered on Amazon were left in the dark. What I didn’t know is that Fujifilm decided to punish Amazon for their sins and not give them any cameras to sell; sadly, only Fujifilm photographers who ordered through Amazon were actually punished. Is it Amazon’s fault? Yes. Is it Fujifilm’s fault? Sure—they could have done something else to teach Amazon a lesson, while still allowing people to receive the cameras they ordered. Is it my fault? No. Is it your fault? No. But you and I didn’t get our gear when others did. I know this is a first-world problem, and in the grand scheme of things it doesn’t matter, but it is something that many people have experienced.
Amazon is a huge company, and Fujifilm sales are a tiny drop in a massive bucket. If Fujifilm stopped selling to Amazon altogether, it wouldn’t hurt Amazon in any way, shape, or form. I get that Fujifilm has to hold them accountable. I get that it wasn’t fair to their other retail customers. But let’s be real: crap rolls down hill. Who ended up with the crap? Me. You, if you, too, ordered through Amazon. Fujifilm’s customers are who got punished, not Amazon. I’m sure Amazon gave two seconds to this situation, and hasn’t cared one iota since. When they get their cameras, they’ll sell every single copy, and it will have such a small impact on the bottom line that you need a powerful magnifying glass just to see it. Those trying to be patient with their Amazon preorders might have to be extremely patient—I’ve heard that it might be sometime in January before orders are shipped. I don’t know that for a fact, but it’s what I have heard, and it may or may not be true—I hope it isn’t true.
So how did I get my X-T5? I called around to local camera stores, and I found one in stock. Luckily, Foto Forum in Phoenix had a body-only copy, plus one bundled with the 18-55mm f/2.8-f/4 kit zoom. I purchased the one with the lens. If you are still waiting for yours to ship, maybe call around to local camera stores to see if they still have an X-T5 in stock, and if so purchase from them instead.
That’s my story. What about you? Did you buy a Fujifilm X-T5? Did it arrive or are you still waiting?
People have already begun asking me for my impressions on this camera. I think a number of you are waiting to learn a little more about it before spending so much money. It’s way too soon to provide you with anything valuable. I’ll tell you my way-too-soon initial impressions, but please take them with a large grain of salt. I’ve only barely begun to use the camera and really haven’t had a chance to properly test it. I’ll give a full review later.
First, let’s talk about megapixels. Do you need 40? If you crop deeply, print posters, or just love to pixel-peep, then maybe. But if you don’t crop deeply, don’t print posters, or don’t pixel-peep, then you definitely don’t need 40mp—it’s way overkill. Fortunately, it doesn’t seem to negatively affect the speed of the camera or even the file transfer speed when using the Fujifilm Cam Remote app. Unfortunately, it does take up more space on the SD Card, phone/computer, and storage, and uploads to my cloud storage are noticeably slower. There’s pluses and minuses to 40mp; I don’t anticipate the pluses coming in handy for me very often. For some of you, though, it is an important upgrade.
I haven’t put the autofocus improvements to the test whatsoever, but through three days of shooting, I haven’t noticed it being any more snappy than my X-E4. The only thing I noticed is that face detection locked onto a face that was far away, which I wouldn’t expect to happen on my X-E4. Since I wasn’t trying to photograph the person, it actually wasn’t a positive thing, but I can see this being an improvement. I haven’t even attempted continuous tracking or anything like that yet, so I can’t speak of it.
I was really excited for HEIF, but discovered that it disables Clarity. That’s disappointing. No HEIF for me, since I use Clarity a lot. Speaking of Clarity, I was also very disappointed that it isn’t any faster on the X-T5, and the Storing pause is identical to X-Trans IV. Fujifilm should have spent some time speeding this up, in my opinion. Oh, and somehow I keep bumping the drive switch, and accidentally switching to CL or HDR, both of which disable Clarity—I’ll have to figure out how to not bump that switch.
While the X-T5 is smaller than the X-T4, and just a little bigger than the X-T1 and X-T30, it is definitely heavy. Seems like a similar weight to the X-T4—not sure if it is or isn’t, but it’s hefty. I personally prefer the weight of the X-T1 or X-T30, but if you use large lenses a lot, you might appreciate the solid base of the X-T5.
The reason that I purchased the Fujifilm X-T5 is because this camera has the new Nostalgic Neg. film simulation. What do I think of it so far? If Eterna and Classic Chrome had a baby, it would be Nostalgic Negative. It has some similarities to both of those film simulations, with soft gradations in the shadows similar to Eterna and with some Eterna-like colors (particularly the warm colors), and with contrast, saturation, and an overall palette more similar to Classic Chrome. I’m not a huge fan of default straight-out-of-the-box Nostalgic Neg.—I was actually initially disappointed—but with some adjustments it can become magical. I love it! Nostalgic Neg. is another analog-esque film sim from Fujifilm that’s sure to become a classic. Expect some recipes soon!
I don’t have any other observations yet. I hope to do some more serious experimentations soon, and when I do I’ll share those impressions with you. In the meantime, here are some straight-out-of-camera Nostalgic Neg. pictures that I captured with my Fujifilm X-T5:
Two Ducks – Lynx Lake, AZ – Fujifilm X-T5
311 – Lynx Lake, AZ – Fujifilm X-T5
Caution: Nature – Lynx Lake, AZ – Fujifilm X-T5
Believer – Lynx Lake, AZ – Fujifilm X-T5
Cat Clock – Prescott, AZ – Fujifilm X-T5
Dusk Blazer – Buckeye, AZ – Fujifilm X-T5
Spiderweb Rocks – Buckeye, AZ – Fujifilm X-T5
Don’t Shoot – Buckeye, AZ – Fujifilm X-T5
Warning – Buckeye, AZ – Fujifilm X-T5
Golden Light Chair – Buckeye, AZ – Fujifilm X-T5
Red & Gold – Prescott, AZ – Fujifilm X-T5
Going Out of Business – Prescott, AZ – Fujifilm X-T5
Hyundai – Prescott, AZ – Fujifilm X-T5
Short Train – Buckeye, AZ – Fujifilm X-T5
Around the Bend – Arlington, AZ – Fujifilm X-T5
Lakeview – Lynx Lake, AZ – Fujifilm X-T5
Log on the Lake – Lynx Lake, AZ – Fujifilm X-T5
Private Dock – Lynx Lake, AZ – Fujifilm X-T5
Can’t See the Forest – Lynx Lake, AZ – Fujifilm X-T5
Irrigation Mist – Buckeye, AZ – Fujifilm X-T5
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