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The original Fujifilm X100 was one of those rare cameras that changed the market. When it hit stores back in 2010, the concept of a luxury compact digital camera just didn’t exist. The X100 wowed photographers with its APS-C image sensor, analog controls, chic retro-style body, and innovative hybrid viewfinder. Fuji squeezed all of this into a pocket-sized camera, a revolutionary accomplishment at the time. The combination proved to be a hit, with Fuji releasing upgraded versions regularly and other manufacturers jumping onto the retro camera bandwagon.Now in its sixth generation, the X100VI represents a large step forward for the series. The sensor resolution jumps from 26MP to 40MP and, for the first time, gets a stabilization system for smoother video and longer exposures without a tripod. Impressively, the IBIS system adds just 2 millimeters and 1.5 ounces to the slim camera, which comes in at 2.9 by 5.0 by 2.2 inches (HWD) and 1.1 pounds. The changes are slight enough that the camera still fits in the same leather case as the previous version.I got to spend some time with the new camera and have some first thoughts on its handling, image quality, and more. I couldn’t test every aspect just yet, but my impressions below should give you a good idea of what to expect.
(Credit: Jim Fisher)
Choose Your View: Optical or Electronic ViewfinderThe X100VI gives you the choice of two eye-level viewfinders, which Fujifilm cleverly squeezes into the same space. In electronic mode, the viewfinder works just like that of any other mirrorless camera, presenting a through-the-lens view for precise focus and framing. In its optical mode, the experience is much closer to a rangefinder. The optical viewfinder (OVF) shows a bright, always-in-focus view, with an angle that’s a bit wider than what the X100VI’s lens captures. A set of inlaid frame lines mark off what the lens sees. It’s similar to the experience of using a Leica M rangefinder, just with the benefit of autofocus.
(Credit: Jim Fisher)
Manual focus is an option, too. The camera body has a convenient toggle on the left side to switch focus modes and a corresponding focus ring that collars the lens. It’s possible to manually focus using the OVF since a small electronic overlay pops into the bottom corner as an assist. You can set it to show a magnified view, and it also includes a pair of focus assists inspired by old cameras: One recalls a double-image rangefinder patch, and the other mimics the microprism collars from manual SLRs. With the electronic viewfinder (EVF), manual focus is just like any other digital camera.
(Credit: Jim Fisher)
The control scheme also follows in the ways of an M series Leica. The lens has an aperture ring, while the top includes a combined dial for shutter speed and ISO control, as well as one for EV compensation. You can always set everything to auto, but photographers who prefer a manual operation should appreciate these discrete controls. I mostly used the X100VI in aperture priority mode and let the camera pick the shutter speed, but still found it convenient to just turn a dial when I wanted to ensure frozen or blurred motion in an image. Apart from the dials, you get a rear joystick to pick a focus point and navigate menus, along with a host of touch options on the rear display. Fuji’s useful Q menu continues here. It’s an on-screen display for direct access to a customizable bank of settings. Overall, the controls are straightforward and pretty minimalist.
(Credit: Jim Fisher)
The X100VI swaps out the 26MP X-Trans BSI CMOS sensor from the X100V for the 40MP imager from the X-T5. It’s common for sensors from one camera to show up in others from the same manufacturer, and there are good reasons to put more pixels in a fixed-lens camera.
(Credit: Jim Fisher)
Whereas the X-T5 supports swappable lenses, the X100VI uses a fixed 23mm F2 Fujinon prime. The lens matches the angle of a 35mm lens on a full-frame system and its moderately wide view is one that many favor for documentary and slice-of-life images. It includes a leaf shutter that syncs with the in-body flash at any shutter speed (up to 1/4,000-second) and focuses as close as 3.9 inches for macro shots. The flash is an uncommon, but eminently useful, feature. It’s handy for adding some fill to a backlit, shadowed subject and can work as a commander for off-camera strobes, too.
I used fill flash to brighten the foreground and keep the background properly exposed in this image; f/2, 1/125-second, ISO 125, Classic Negative (Credit: Jim Fisher)
The lens, which underwent a redesign for the X100V, is sharp, provides snappy focus, and produces pleasingly soft backgrounds at its wider f-stops. I caught a sunny day during my time with the camera and noticed a tendency to flare, however. Fuji doesn’t include a hood with the camera but sells the LH-X100 add-on for $79.99 if stray light is a concern. Third-party options are available from brands like Squarehood and NiSi as well.
Flare from the sun, which is out of frame but hitting the lens from the top left area of the frame, makes using a hood a good idea; f/5.6, 1/35-second, ISO 160, Classic Negative (Credit: Jim Fisher)
The X100VI introduces cropped-in capture modes at 1.4x (50mm equivalent at 20MP) and 2.0x (70mm equivalent at 10MP), effectively adding zoom power to the fixed prime. These modes are easy to use too, since the manual focus ring works like a step zoom ring when the camera is in autofocus mode and smartly swaps back to focus in manual mode. Although you lose access to the zoom in manual focus mode, this setup works well in practice since the toggle on the left side of the camera is readily accessible for quick mode switches. When you zoom in, the EVF shows a 50 or 70 icon, while the OVF displays the frame lines appropriately smaller.
I switched to the 50mm digital zoom to get a decent view of this tiny orchid; f/2, 1/150-second, ISO 125, Reala Ace (Credit: Jim Fisher)
Support for the existing WCL-X100 II wide (28mm equivalent) and TCL-X100 II tele (50mm equivalent) conversion lenses remains if you prefer an optical solution. Both cost $349 and attach to the front of the built-in lens.
(Credit: Jim Fisher)
A Stabilized Sensor With an Integral ND FilterIt takes extra effort to get the best results from a pixel-rich sensor, especially when you handhold your camera. If you want pictures to be as sharp as possible, you generally want to go beyond the 1/focal length shutter speed rule of thumb with a high-res camera. The X100VI’s IBIS system eliminates that concern, as it enables you to take photos at 1/30-second without any motion blur.
I had no problem taking a 1/2-second exposure handheld thanks to the X100VI’s IBIS; f/8, 1/2-second, ISO 125, Reala Ace (Credit: Jim Fisher)
The lens has an integral 4-stop ND filter as well, meaning you can freely make extra-long exposures without relying on tiny f-stops. In practice, it’s useful for getting photos in which moving subjects appear blurry and still objects are sharp, regardless of how bright the scene is. If you’re using the camera for landscapes, you can also snap photos with soft, flowing waterfalls and streams. Finally, an ND filter also comes in handy if you want to keep your aperture wide-open in bright light for video recording.By the numbers, the X100VI’s IBIS should provide 6.0 stops of compensation when you use the EVF or rear display, or 5.5 stops if you choose the optical finder. The disparity raises an eyebrow, but Fujifilm explains that it’s related to the sensor’s scan speed. The X100VI polls its image sensor at a high rate to support a smooth picture in the EVF, which lets its IBIS system respond adroitly to compensate for shake. In the optical viewfinder mode, the sensor slows down to conserve power, resulting in slightly less effective stabilization.
f/2, 1/160-second, ISO 125, Reala Ace (Credit: Jim Fisher)
The same NP-FW126S rechargeable battery from earlier models continues in the X100VI. The 40MP sensor and its X-Processor 5 are more power efficient than the equivalent components in the X100V, so battery life is a bit better at 450 shots per CIPA testing standards (up from 420). You can get more photos if you take advantage of the camera’s burst capture rate of 11fps with its in-lens leaf shutter and 20fps with a fully electronic one. I tried a preproduction camera with early firmware, so take these numbers with a grain of salt, but I got 18 Raw+JPG sets in an 11fps burst and had to wait 14 seconds for the pictures to write to the card. The UHS-I card slot is somewhat of a limiting factor, though how much of a benefit a UHS-II slot would bring depends on your style of photography. I would never use a wide-angle lens for sports or wildlife, the disciplines for which I turn on bursts, but I can see street photogs taking advantage of a fast capture rate.
(Credit: Jim Fisher)
I won’t be able to evaluate lens resolution or ISO performance until I have a production camera for review, but I can report that the images I captured in the field show good detail. I expect noise and dynamic range to match up with that of the X-T5 since the two models use the same image sensor and processor. The X100VI has one notable upgrade in that it supports the Reala Ace Film Simulation profile that Fuji introduced with the GFX100 II. Reala Ace is a digital recreation of a long-discontinued film stock, one that Fuji touts as emulating its Classic Chrome look, just with more color saturation.
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f/4, 1/140-second, ISO 125, Classic Negative (Credit: Jim Fisher)
I didn’t roll too much video in my one-day test drive, though I can’t help but think of the X100VI as a photo-first camera. There’s no record button or toggle switch to change to video, for example, and you must instead select movie mode at the bottom of the list of drive modes. That said, the video specs are respectable. The camera rolls 10-bit 4:2:2 movies at 6.2K30 with a slight crop, as well as offers an oversampled 4K30 record mode from the 6.2K frame. Full-width 4K30 and cropped 4K60 are options too, but those don’t benefit from oversampling. All of the film simulations work in video, and you can opt for a flat F-Log2 if you intend to apply a custom look with editing software.
f/4, 1/1,250-second, ISO 125, Classic Negative (Credit: Jim Fisher)
Production Moves to ChinaYou can blame the pandemic, parts shortages, or the simple rules of supply and demand, but the Fujifilm X100V has been on near-constant back order since its debut in early 2020. The X100V and earlier models are all products of Japan, something many photographers see as a mark of extra quality, especially given the company’s roots. For the X100VI, production moves to China. Fuji says this change should help it keep up with demand, but only time will tell.
f/2, 1/180-second, ISO 125, Reala Ace (Credit: Jim Fisher)
I didn’t notice any changes in construction quality from the production line shift, though I don’t routinely use an X100 series camera. The VI has the same metal exterior and partial weather sealing as the earlier models; it takes just a glass filter and holder to complete the dust-and-drip sealing. Aesthetics play some role in the X100’s popularity, and it seems like they receive the same attention to detail here as with the Japan-made models.
f/2, 1/600-second, ISO 125, Reala Ace (Credit: Jim Fisher)
X100VI Pricing and AvailabilityOverall, my first impressions are overwhelmingly positive and I expect the X100VI to test just as well as every other X100 model I’ve reviewed to date. Its rangefinder-like viewfinder and controls, quality prime lens, and small design make it a pleasure to use, while Fuji’s superb Film Simulation profiles open up many creative possibilities.The X100VI retails at $1,599.99 in your choice of a black or silver finish, a $200 uptick versus the X100V. The price increase isn’t too surprising. Some people paid more for a secondhand X100V (I’ve seen prices top $1,800) due to its hard-to-find nature. Fujifilm hopes that moving production to China will solve supply issues, though it doesn’t yet have preorder or shipping dates set for the camera.
(Credit: Jim Fisher)
In addition to the standard edition, Fujifilm is releasing a limited-run, special-edition X100VI to coincide with the company’s 90th birthday. The run is serialized and restricted to 1,934 units (to match the company’s founding year). The anniversary edition uses the original Mt. Fuji-themed company logo on its top plate and metal lens cap, and comes with a braided lens strap, a special-edition box, and a pair of postcards that highlight the history of Fujifilm and the X100 series respectively. I don’t yet have pricing details for this version, but Fujifilm says it will be available to order around the end of March.I plan to publish an in-depth review of a full-production X100VI once it comes out, so stayed tuned for additional coverage. Until then, check out our favorite point-and-shoot models you can get right now.
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