Fuji Expands the Line-up: Pro and Enthusiast

Fuji today announced 2 new camera body additions to round out an upper echelon Pro Line, GFX 100S II and an enthusiast camera body, X-T-50. They are on a tear with new gear! Plus a new kit lens fro the X- Series, 16-50, and a sports lens at 500MM for the GFX series.

Since I will not be putting these in my hands till a Fuji Summit on 5/16, all I can share is what I’ve been told
Sure, it wasn’t that long ago that the X-100VI was announced, sold out, and is now on backorder. Maybe the X-T50 is your proper call as an upgrade from your smartphone.

But I digress. There is a lot here to digest, so let’s start with the big deal.

This new offering take in improvements in the Pro GFX line, with a new 100S II. Here are some photos and spec sheet below.

Basically- better AF better IBIS, Cam To Cloud Built-in ( a new feature on all of their new cams. There will be a separate post on all of that)

To be perfectly honest, as every fine art exhibit I have been to in recent weeks, shows photos that are made with larger format cameras, this camera should appeal to both the commercial photo, and the fine art shooter.

Honestly, I’d like to put this small, lighter weight, 102MP cam on the street and see how it feels. Of course fast AF is essential, and the smaller footprint could make this a worker on the street.


The Official Word:

 Lightweight, High Speed: Fujifilm Introduces FUJIFILM GFX100S II Mirrorless Digital Camera 

All the Power of the GFX System in a Small, Light Body Designed for Image Makers 

FUJIFILM North America Corporation, Electronic Imaging Division, today announces the latest addition to its GFX System mirrorless digital camera lineup, FUJIFILM GFX100S II (GFX100S II). This new camera harnesses the image quality and key functionality from the larger GFX100 II mirrorless digital camera, in a smaller, lighter GFX System body designed for image makers who want to expand their system and/or are seeking an entry point into large format photography. 

“Our GFX System continues to revolutionize ultra-high-resolution, large format image making by taking it out of specialist studio environments and putting into the hands of passionate creatives across all genres, styles and applications,” said Victor Ha, vice president, Electronic Imaging Division and Optical Devices Division, FUJIFILM North America Corporation. “GFX100S II is the natural next step in the evolution of the product line that specifically caters to the needs of photographers who have wanted additional autofocus performance and responsiveness from their GFX100S cameras. We feel we’ve really delivered in that regard and done so in a way that allows it to keep its compact form factor, which means it can make an appearance in almost any creative setting.” 

GFX100S II is equipped with a new, high-performance GFX 102MP CMOS II large format sensor1 

 The new sensor has a diagonal length of 55mm (43.8mm in width x 32.9mm in height) which has approximately 1.7 times the area of a 35mm format sensor. approximately 1.7 times larger than a 35mm full-frame sensor, and paired with Fujifilm’s latest high-speed image processing engine, X-Processor 5, all housed within a compact body and weighing approximately 883 grams (31 ounces)

2Including the battery and the user’s memory card. , making it the lightest digital camera in the GFX System. 7-3, Akasaka 9-Chome Minato-ku, Tokyo 107-0052, Japan 

GFX100S II offers rich tonal expression and three-dimensional rendering capabilities, made possible by the unique characteristics of the large format sensor, with AI-based subject detection. It features fast and highly precise autofocus (AF) and continuous shooting speed of up to 7.0 frames per second

When using the mechanical shutter . The in-body image stabilization (IBIS) function achieves a maximum of eight-stop4 

 At CIPA standard compliant in pitch/yaw directions, with the FUJINON GF63mmF2.8 R WR lens mounted. five-axis performance, the best in the GFX System. In terms of video performance, users can create vibrant and smooth 4K/30P videos, allowing for high-quality video production as well. 

Main features 

Large format sensor with 102MP 

Improvement to the pixel structure in GFX100S II’s newly developed 102MP large format sensor has boosted the new sensor’s saturated electrons, enabling the use of ISO 80 as a standard sensitivity. At this setting and when shooting in 16-bit RAW, the camera can create images at greater dynamic range and with lower noise than with the previous GFX model. 

The new sensor’s micro lenses provide light use efficiency at the sensor’s edges. GFX100S II is equipped with a total of 20 Film Simulation modes, including REALA ACE mode, which combines faithful color reproduction and well-defined tonal expression. 

GFX100S II also includes the “Pixel Shift Multi-Shot” feature, which controls the in-body image stabilization function to shift the image sensor while creating photos. By creating a 16-shot RAW file, shifting the image sensor by 0.5 pixels for each shot, and using the dedicated software, “Pixel Shift Combiner”, to combine the 16 RAW files, it is possible to generate an image with approximately 400 million pixels. Additionally, the “Real Color” mode, which captures 4 RAW files with a one-pixel shift for each image, can generate images with a resolution of 102 million pixels while suppressing false colors, in only one-fourth of the imaging time and data volume compared to the previous GFX model. 

Powerful IBIS mechanism in a compact body 

The IBIS unit combined with gyro and acceleration sensors are designed to accurately depict even the slightest movement, along with the use of image information to detect shake and improve correction precision when creating an image. The camera’s IBIS mechanism also up to 8-stops of 5-axis stabilization performance, allowing creators who are working handheld to reliably, confidently, and comfortably create images even in low-light scenes without a tripod. 

The camera has a height of approximately 104mm (4 inches) and a depth of approximately 87mm (3.4 inches), similar to previous GFX System models. 

The body of GFX100S II incorporates Fujifilm’s BISHAMON-TEX textured exterior, designed to provide comfort and grip when holding the camera. 

Evolved high-speed, high precision autofocus (AF) and continuous shooting performance 

In addition to the evolved face and eye AF achieved through algorithm advancements, GFX100S II is equipped with AI based subject detection AF, developed with deep learning technology. It can detect animals, birds, cars, motorcycles, bicycles, airplanes, trains, insects, and drones

The ”Bird” Subject Detection setting is used to detect insects and the “Airplane” setting is used to detect drones. , and it features an improved AF predictive algorithm compared to previous GFX System models, enabling it to handle high-speed motion tracking situations effectively. 

With the new development of the 102 MP high-speed sensor and an exceptionally high readout speed along with a newly developed shutter drive, it achieves a continuous shooting performance of 7.0 frames per second. 

GFX100S II is equipped with a high-magnification, high-resolution electronic viewfinder (EVF) with a magnification of 0.84x and 5.76 million dots that is designed to suppress image distortion and flow caused by shifts in the position of the eye. 

4K/30P video recording capability 

With the new sensor in GFX100S II, the standard ISO100 is available in video mode to deliver even higher image quality in video footage than on previous GFX System models. 

GFX100S II is equipped with a tracking AF function during video recording. When using AF-C + Wide/Tracking AF, the user can easily track the intended subject, even in situations where multiple subjects are present. 

The camera offers 4K video recording at 30 frames per second and is capable of recording in 4K/30P 4:2:2 10-bit on a compatible SD Memory Card (sold separately). GFX100S II is offers compatible recording using Apple ProRes™ by connecting an external SSD via a USB Type C 

Certain recording modes of the GFX100S II may not be fully compatible with certain types of SSDs. Consult https://fujifilm-x.com/en-us/support/compatibility/cameras/list-of-supported-memory-cards/ for a list of confirmed compatible SSDs. 

GFX100S II is equipped with “F-Log2,” which offers a wide dynamic range of 13+ stops for recording, allowing for increased optimal flexibility in post-production, and it has the capability to record and output different video formats using different recording media and HDMI output. For example, users can record using “F-log2” onto any compatible recording media, while also simultaneously monitoring video via HDMI with any Film Simulation mode applied. This makes it easy to apply creative looks on set, but still retain flexibility for almost any post-production color workflow. 

GFX100S II offers an accessory-free, native Camera to Cloud integration for Adobe’s Frame.io, which allows users to wirelessly connect any GFX100S III to an active internet connection, authenticate it to Frame.io, and automatically upload photos and videos just moments after they are created. This can drastically reduce the amount of time needed to reach the end of any post-production workflow. GFX100S II is the latest GFX System camera to integrate Frame.io’s Camera to Cloud technology, joining GFX100 II in offering the capability. 

Optional accessories 

Hand grip (MHG-GFX S) 

This metal hand grip is designed to enhance grip and stability when image making with larger telephoto lenses and offers optimal convenience when using a tripod. 

Pricing and Availability 

FUJIFILM GFX100S II is expected to be available in June 2024 at a Manufacturer’s Suggested Retail Price of $4,995.95 USD ($6,749.99 CAD). The MHG-GFX S hand grip is available at a Manufacturer’s Suggested Retail Price of $149.99 USD ($195 CAD). 

Additional News: 

Membership in C2PA7 and CAI8 and efforts to develop a system to provide context and history for digital media 

In recent years, it has become an important global objective to work to rebuild trust online by proving the authenticity of photographs, videos and other online content. To further this effort and enable creative and business activities to continue to flourish, Fujifilm has joined two organizations, the Coalition for Content Provenance and Authenticity (C2PA) and the Content Authenticity Initiative (CAI). Fujifilm is collaborating with these organizations in their efforts to ensure that the originator of digital content can be verified online through Content Credentials. Through its association with C2PA and CAI, Fujifilm will assist efforts to develop a system to provide context and history of digital content by providing valuable information, such as the origin and record of content, to the digital file. Fujifilm is committed to ultimately applying this verification solution to its GFX and X series line-up.

Then we have the X-T-50. N0t a replacement camera fro any other model, but a new niche camera. It does share some features of the 100VI, as in the back body menus, and the battery is the same. Plus has a built in pop up flash!

It’s a great choice for the step up and using quality interchangeable lenses. Last overhead image is shown with the option of the new kit lens, 16-50.



The Official word

FUJIFILM North America Corporation, Electronic Imaging Division, today announces the launch of its FUJIFILM X-T50 mirrorless digital camera (X-T50), designed with the similar manual controls and classic camera styling of FUJIFILM X100VI and other X100 Series fixed-lens cameras, but with the flexibility of interchangeable lenses for those who seek added versatility in their everyday carry camera. Also introduced today is FUJINON XF16-50mmF2.8-4.8 R LM WR lens (XF16-50mm) featuring a versatile focal length range, making it suitable for a broad range of applications, from wide-angle landscape and architectural photography to portrait photography. With their lightweight designs and compact form factors, these new X Series innovations are designed for active image makers. 

“Passionate creatives are ready to grab their gear and create content at any given moment,” said Victor Ha, vice president, Electronic Imaging Division and Optical Devices Division, FUJIFILM North America Corporation. “X-T50 and XF16-50mm are made to be everyday-carry items; lightweight, comfortable tools that can be thrown in a bag for folks that are on the move. X-T50 is a great example of how we are keeping creativity top of mind for our users. From the dedicated Film Simulation dial to AI-based subject detection autofocus, X-T50 is more than ready the moment inspiration of any kind strikes.” 

X-T50 Mirrorless Digital Camera 

Dedicated Film Simulation Mode Dial 

For the first time on any X Series camera, X-T50 features a dedicated Film Simulation dial for fast, easy access to a wide variety of Fujifilm Film Simulations. There are a total of 20 Film Simulation 

-T50 including the recently introduced REALA ACE mode, which combines true-to-life color reproduction and crisp tonal gradations. The new Film Simulation dial is incorporated on the top plate, allowing users to intuitively switch between the included Film Simulation modes with ease. 

40.2 Megapixel X-Trans CMOS 5 HR Sensor 

X-T50’s compact and lightweight body weighs approximately 438 grams (15.45 ounces)1

1 Including battery and memory card. , and features the X Series’ popular back-illuminated 40.2 megapixel X-Trans™ CMOS 5 HR sensor and the high-speed image processing engine X-Processor 5. The latest image processing algorithm in the fifth generation X Series cameras delivers high resolution while maintaining a high signal-to-noise ratio. X-T50 is compatible with all X Series lenses, and the sensor’s high pixel count of approximately 40.2 megapixels is maximized by the digital teleconverter function2

2 Depending on the shooting mode, the digital teleconverter may not be deactivated or selected. , allowing images to be magnified by either 1.4x or 2x. X-T50’s pixel structure allows light to be captured efficiently; with ISO 125, the electronic shutter can be set to a shutter speed of up to 1/180000 second, achieving highly precise control of exposure time. 

In-body Image Stabilization (IBIS) and Auto mode 

X-T50 is equipped with a 5-axis IBIS function with a maximum of 7.0 stops

Based upon CIPA standard in pitch / yaw directions, and when coupled with FUJINON XF35mmF1.4 R lens. . While maintaining the mobility that has been a key feature of previous X Series models, X-T50 enables comfortable, hand-held image making, even in low light. Equipped with an AI-based subject detection autofocus (AF) developed using deep learning technology, X-T50 can detect animals, birds, cars, motorcycles, bicycles, airplanes, trains, insects, and drones4

Set the subject detection setting to “Bird” to detect insects or “Aircraft” to detect drones. . When in Auto mode, X-T50 detects the subject and tracks it while keeping it in focus, making it easy to create high-quality still images and movies. 

6.2K/30P and 4K/60P video capabilities 

For video creators, 6.2K/30P recording is available. Tracking AF functionality is also available for high-quality video recording. 

X-T50’s extensive 13+ stop dynamic range on F-Log2 is perfect for color grading. 

Sophisticated product design 

X-T50 features a 1.84 million-dot, tiltable rear LCD monitor inside a new, rounded body and grip, designed to fit comfortably in the hand while maintaining a compact size. 

A pop-up flash integrated into the viewfinder is mounted on the top plate, automatically controlling the amount of light needed for dark scenes and backlit portraits. 

Native Frame.io Camera to Cloud Connectivity 

X-T50 offers an accessory-free, native Camera to Cloud integration for Adobe’s Frame.io, which allows users to wirelessly connect any X-T50 to an active internet connection, authenticate it to Frame.io, and automatically upload photos and videos just moments after they are created. This can drastically reduce the amount of time needed to reach the end of any post-production workflow. X-T50 is the latest X Series camera to integrate Frame.io’s Camera to Cloud technology, joining FUJIFILM X-H2, FUJIFILM X-H2S, FUJIFILM X-T5, FUJIFILM X-S20, and FUJIFILM X100VI mirrorless digital cameras in offering the capability. 

FUJINON XF16-50mmF2.8-4.8 R LM WR Lens 

XF16-50mm is a standard zoom lens that covers a focal length range from wide-angle 16mm (equivalent to 24mm in 35mm format) to medium telephoto 50mm (equivalent to 76mm in 35mm format). It offers high-speed and high precision autofocus, with magnification of 0.3x at the telephoto end (equivalent to magnification of 0.45x in 35mm format), allowing the user to get as close as approximately 4cm (1.4 inches) in minimum focusing distance throughout the zoom range and as close as 15cm (approximately 6 inches) from the front of the lens to the subject. 

XF16-50mm features a weather resistant structure (weather sealing applied to 13 areas of the lens barrel) and is temperature resistant down to -10 degrees Celsius (14 degrees Fahrenheit), allowing for versatile use in a wide range of scenes. 

Adopting a lens configuration of 9 groups and 11 elements, including 3 aspherical lenses and 3 extra-low dispersion (ED) lenses, XF16-50mm suppresses chromatic aberration and maintains high-resolution performance throughout the zoom range. In addition to its high-resolution performance, XF16-50mm also has a close-up capability equivalent to roughly half that of macrophotography in 35mm format, making it effective for photographing food, crafts, plants, and various everyday scenes. 

Product Features 

Lightweight Design 

By optimizing the placement of the lens, XF16-50mm has a weight of approximately 240 grams (8.5 ounces), making it the lightest zoom lens in the XF lens lineup to date. 

The constant-length design, in which the lens does not extend during zooming, provides a truly comfortable zoom operation for users. 

Fast and accurate Autofocus 

XF16-50mm uses the inner focus method, which drives a compact and lightweight group of focus lenses with a linear motor. In addition, the high-speed and high precision autofocus system, achieved through the miniaturization of the focus lens group, creates accurate AF within approximately 0.015 seconds

5 Autofocus speed on the wide-angle end, using an internal measurement method compliant with the CIPA Guidelines, when mounted on the FUJIFILM X-T4 mirrorless digital camera and with Phase Detection AF and High Performance mode activated.. . 

Pricing and Availability for FUJIFILM X-T50 and FUJINON XF16-50mm 

FUJIFILM X-T50 digital camera will be available in Black, Charcoal Silver, and Silver with expected availability in June 2024 at a Manufacturer’s Suggested Retail Price of $1,399.95 USD ($1889.99 CAD). Additionally, Fujifilm plans to introduce a kit featuring X-T50 and FUJINON XC15-45mmF3.5-5.6 OIS PZ lens, at a Manufacturer’s Suggested Retail Price of $1,499.95 USD ($1,999.99 CAD). 

FUJINON XF16-50mmF2.8-4.8 R LM WR lens is also expected to be available in June 2024, at a Manufacturer’s Suggested Retail Price of $699.95 USD ($949.99 CAD). 

Alongside the release of the FUJINON XF16-50mmF2.8-4.8 R LM WR lens, Fujifilm plans to introduce kits featuring this lens with its FUJIFILM X-T50, FUJIFILM X-T5, and FUJIFILM X-S20 mirrorless digital cameras, each of which feature in-body image stabilization designed to maximize the lens’s performance. Manufacturers Suggested Retail Price of the X-T50 kit variations will be as follows:

FUJIFILM X-T50 with XF16-50mmF2.8-4.8 R LM WR Lens Kit: MSRP $1,799.95 USD ($2,429.99 CAD) 

Grams(28) Upgrades Your Camera Bag With A Perfect Companion To Your Fuji X-100VI

If you are like me, and have a “few” camera bags, they are all situation dependent. Stealth, Utilitarian, & Travel.

One thing I didn’t have is a bag that I could bring into black tie event without sticking out.
Grams (28) has come to market with a beautifully made leather bag, designed with the photographer in mind.

Well Crafted, this bag sits ergonomically right on my shoulder, and has all the pockets and space needed.

Each detail has been well thought out, and was smooth working. Zippers, interior pockets, closures, and as you can see above, even the shoulder strap looks, and works, great. Continue Reading »

On Camera/Off Camera Flash – But why?

Think about the light you need, either as a creative solution, or because it’s too darn dark!

Chances are you have either a built-in flash on your camera, or hopefully, a separate unit.
Now, we’re not going to get into studio lighting as that is a massive subject, and just want to look at the more portable illumination here.

As a start, for events you really should use a separate flash, and you can either go to the camera manufacturers proprietary units, OR go high end with Profoto, OR more affordable Godox.
Let’s first look at the on-camera flash, units that are mounted onto the camera, as above.
One thing that I’ve always preferred, especially in daytime events, is a flash directly on camera with exposure compensating for the background and allowing it to still be seen and not throw your subject in a black hole.
Like the photo above, and below:

You can either mount the flash right into the hot shoe, as you can see above,

or use a custom bracket placing it on the same level as the camera,

or use a transmitter/ receiver situation, or  direct cable from the flash to the camera body, and using the flash off to the side, above, bounced or however you have to adjust for the environment and your personal style.

Here is how Vivian Maier did it:

And a photog from the recent Oscars:

Let’s go all Goldilocks on your possible options.

The Small:
I wanted to bring you a compact solution using a Fuji X100 series camera, and what I think, is one of the best tiny flash units out there: The EF-X20. Here it is mounted on the top. As you can see by the dials, you have a TTL option, and the lever on the side widens the flash reach. Don’t hate me, but it may only be available via EBAY. Worth it!

Have a look at this compact set-up below, and as you can see, you can either mount the small flash in the hot show, or for an off-camera flash lighting, adding in a set of Light Q transmitter receiver. So tiny. One thing to note is that they only work with the flash in Manual and not TTL. (the Light Q here is V1 and improvements may have been made in subsequent versions)

If you know how you shoot, and can assume your exposure consistency, you are good to go.
Yes, of course, determine your preferred distance from subjects, and desired DOF.
Flash runs on 2 AAA batts, so bring plenty. Recycle time is not stellar, but not the point with this set-up. Lower the output, and move closer.
The Medium:

Throw on a Fuji EF-60, or a Godox. Solid output, and you can just go with a transmitter on the camera if off-cam shooting, or just pop it on the body.
Wireless transmitters that does allows for TTL are the FUJIFILM EF-W1 Wireless Commander, that lives on the body, and can fire off the flash from the camera without a second receiver on the flash.

Batteries again, and of course use the rechargeble eneloops or similar. Bring a bunch!

The Large:
In this scenario, the camera is full size, and a Profoto A10.

Profoto makes transmitters specifically for your camera, so make sure you get the right one.
With a fast recycle time, rechargeable batteries, beautiful menu, and a round head, this is a main choice for an event where you will be able to probably shoot a 3-4 hour event with 4 rechargeable batteries. You can see above that I put a label on a rechargeable battery as there are 2 capacity options, A1 and A1X.

Also, with a flash of this size, you can add bounce cards/reflectors to the unit to soften or simply customize the light you want to work with.
As with all camera gear, what you use, depends on what you’re shooting. PLUS they make a wireless transmitter to sit on top of your camera. Connects immediately! Once again, match the transmitter to the flash and you camera brand.

In my EDC, is a Fuji x100, the EF-X20, and the Light Q transmitter/receiver set. The  option.

For a family/ friend’s event, you may want to go medium, so the gear is not overwhelming for your subjects. C’mon, you know them and want to keep it light (sorry).
For a full-on event- indoor or outdoor, wedding, business event, music (probably rock only, and be judicious with your flash!) even a portrait in a pinch.
This becomes, without question, the large option. For me the quality of the light, recycling time, and dependability,
Yes, it’s all about the look you are hoping for.

Now , it also comes down to how you are mounting the flash, if on camera.

There are 2 brackets I swear by- The Custom Brackets CB Mimi-RC.

Small, single pice brackets that holds the flash just in front of the camera body.

The other secret weapon I carry is the Newton Bracket. Not made anymore, but so well machined, and allows you to shift your flash from top to side, depending on your camera orientation. I usually don’t like sharing gear that is not currently made, but they have some on EBAY. Another item worth the hunt in my opinion.

There you have a basic breakdown of gear I use, and different combos.

There are other light modifiers I carry, but this collection are the basics, and used situation dependent.

Always remember to test your set-up before shooting, and bring plenty of batteries!

The Hottest Camera On The Internet Gets An Update

If you have been on any social media in the past couple of year, you know that the FujiFilm 100V has been one of the most sought after cameras.

Admittedly, i have using one of the X100 series for years, and it’s been the camera I grab when going out on the streets of NY. Lightweight, top notch optics, leaf shutter, and as i went through various models in the line, love all of the improvements along the way. Yes, I did pick-up the tl lens ad-on , and have used it in venues where it made the most sense. Easy to carry as well as fitting on all of the line-up as I upgrade to new models

Articulating LCD, and the more megapixels were the big ones for me on the X100V, and now they went above and beyond with the X100VI!

So, new processor with 40.2 megapixels, PLUS 5-axis image stabilization good up to 6 stops, and add in 20 film simulations for your creative choices. I usually just go with an Acros versions, and sometimes Provia. I shoot RAW so only used for jpeg export from camera.

And to further increase the versatility, this new model has 6.2K/30P movie recording capabilities.

There is a slight bit of additional LCD articulation, and I’ll take it!

The good news is also that the batteries from previous bodies can be used here, so no need to re-buy!

Size wise- it’s pretty much the same size as the X100V.

Of course the question is: Should you buy?

If you are not a current of the X100V, no question. And we have been told that availability should not be an issue. Fuji learned.

Should you upgrade? If you already have a X100V, you may not want to spend the dough, unless you can sell it.

The hot market may cool off, once the x100V1 once is available. I’m sure you will get a good price as it is still a sweet camera.

However, with all of the additional features, like IBIS and a 40.2 megapixel brand new sensor, your street work can get a huge upgrade.

And the price? About $1600 USD , and available in black or silver

And do want to mention the special edition X100VI:

Limited Edition X100VI Units:

To celebrate Fujifilm’s 90th anniversary year in 2024, a special Limited Edition of 1,934 X100VI cameras will be made available by Fujifilm, worldwide. The Limited Edition camera body is engraved with the corporate brand logo from Fujifilm’s founding in 1934, and each unit bears a unique serial number. These numbered X100VI units are packaged in a special, soft-release box that includes a special strap and Fujifilm history cards. The Limited Edition X100VI units will be available in extremely limited quantities and vary depending geographical location. Please contact your local Fujifilm sales and marketing company to explore the opportunity to purchase the item in your area.

This will be available for about $2000.


Fujifilm Debuts X100VI
Mirrorless Digital Camera X100VI’s iconic dial-based design and advanced technology includes new features for content creators of all types; special limited edition also announced in celebration of Fujifilm’s 90th anniversary
FUJIFILM North America Corporation is pleased to officially announce the highly anticipated launch of FUJIFILM X100VI digital camera (“X100VI”, pronounced X100 Six), the newest model in the popular X100 Series. X100VI offers outstanding image quality in a compact, lightweight body, and features Fujifilm’s legendary color reproduction technology, which is best experienced through its revered Film Simulation modes, a feature, users have come to expect from all Fujifilm digital cameras, along with In-Body Image Stabilization (IBIS) and enhanced video capabilities.

Product Features:

  • X-Trans™ CMOS 5 HR and X-Processor 5 deliver high image quality and high performance X100VI is equipped with the back-illuminated X-Trans™ CMOS 5 HR sensor1 with approximately 40.2 megapixels. The sensor has an impressive pixel structure that allows light to be efficiently captured compared to prior X100 Series cameras. Additionally, ISO 125, which on the previous X100V model was only an extended sensitivity option, is now available natively on the X100VI. With its fixed, 23mmF2.0 lens, X100VI delivers sharp, high-resolution images.

  • X100VI comes with 20 of Fujifilm’s popular Film Simulation modes, including the new REALA ACE mode, which applies a diverse range of distinctive tones to the user’s images. REALA ACE mode offers faithful color reproduction and high-contrast tonality, making it suitable for a wide variety of subjects and situations.

  • The camera incorporates an impressive autofocus (AF) prediction algorithm for reliable focusing, even when recording continuously-moving subjects. X100VI uses the subject detection AF X-Processor 5 to accurately track a range of subjects. Built using deep-learning AI technology, it can detect animals, birds, cars, motorcycles, bicycles, airplanes, trains, insects, and drones2.

    • Enhanced high performance to maximize X100VI’s range X100VI is the first camera in the X100 Series to incorporate a 5-axis, in-body image stabilization function with up to 6.0 stops, while generally maintaining the X100 Series’ characteristic compact size and lightweight, only having increased in weight by 1.52 ounces over the previous model.The “Advanced Hybrid Viewfinder” allows the user to switch freely between the optical viewfinder (OVF) and the electronic viewfinder (EVF), pursuing the rangefinder style of photography that has been a hallmark of the X100 Series.

  • The EVF is equipped with a high-resolution OLED panel with approximately 3.69 million dots, optimizing the immersive shooting experience. The “Electronic Range Finder” (ERF) function allows a small EVF to be simultaneously displayed on the OVF. Using this feature, the photographer can view either the entire frame or the area of critical focus, increasing the capabilities of a standard optical viewfinder. The ERF function is highly convenient, especially for street photography. 2 Subject detection setting should be on “Bird” to detect insects, and on “Aircraft” to detect drones.

    CIPA compliant, Pitch/yaw direction, when EVF/LCD is used

  • X100VI is capable of 6.2K/30P movie recording, a first for the X100 Series. The camera is also equipped with a tracking AF function during movie recording to ensure high-quality content creation.

    X100VI offers an accessory-free, native Camera to Cloud integration for Adobe’s Frame.io, which allows users to wirelessly connect any X100VI to an active internet connection, authenticate it to Frame.io, and automatically upload photos and videos just moments after they are created. This can drastically reduce the amount of time needed to reach the end of any post-production workflow. X100VI is the latest in FUJIFILM‘s digital camera portfolio to integrate Frame.io’s Camera to Cloud technology, joining X-H2, X-H2S, and GFX100 II in offering the capability.

    • Sophisticated, functional product design As with the prior model, aluminum is used for the top and bottom surfaces of the X100VI body. Aluminum, which features a high degree of malleability, is pressed and machined for crisp, clean edges, and the surface is finely blasted for a smooth texture. In addition, anodized aluminum is used on the camera surface to produce a high-quality finish.

  • X100VI’s ultra-thin tilt LCD monitor can be stored in a fully flat position, a design leveraged from the X100V. The stylish, integrated body design allows for a variety of shooting styles, from high to low angles. The shape of the grip has been fine-tuned to ensure a secure yet comfortable feel. The positions of the buttons on the back of X100VI have been designed to maximize ease of operation with the right hand, enabling extremely comfortable shooting while utilizing the viewfinder.

  • Wide variety of compatible accessories enhance X100VI’s capabilities Weather resistance is available for X100VI when the optional AR-X100 adapter ring (MSRP $49.99 USD/$50.00 CAD, available in silver and black) and the PRF-49 protection filter (MSRP $55.99 USD/$70.00 CAD) are used in conjunction with X100VI’s lens. This allows the user to continue making images in challenging weather conditions.

  • Fujifilm’s optional LH-X100 lens hood (MSRP $139.99 USD/$100.00 CAD, available in black and silver) is also compatible with X100VI. In addition to being lightweight and precisely crafted from machined metal, the hood is cleverly designed not to obstruct the field of view when looking through the viewfinder, thus achieving light-shielding performance.

  • Two separately offered FUJIFILM conversion lenses allow the user to change the focal length without changing the optical performance of X100VI, thereby enhancing the photographic field. WCL-X100 II (MSRP $349.95 USD/$450.00 CAD, available in silver and black) is a dedicated wide conversion lens that multiplies the fixed focal length by approximately 0.8x, converting it to 28mm (35mm format equivalent), while the TCL-X100 II (MSRP $349.95 USD/$450.00 CAD, available in silver and black) is a dedicated teleconversion lens for narrowing the field of view by multiplying the fixed focal length by approximately 1.4x, converting it to 50mm (35mm format equivalent).

  • Adding the separately offered, LC-X100V genuine leather case (MSRP $79.99 USD/$100.00 CAD) ensures the X100VI can be carried in style. The battery and the user’s memory card can be inserted and removed from the camera without the need to remove the camera from this case.

Pricing and Availability:
X100VI is expected to be available from Fujifilm dealers early March 2024 at a Manufacturer’s Suggested Retail Price of $1,599.95 USD and $2,159.99 CAD.
X100VI Limited Edition is expected to be available directly from Fujifilm commencing in late March 2024 at a Manufacturer’s Suggested Retail Price of $1,999.95 USD and $2,699.99 CAD.
For more information about X100VI, please visit this link .

Start 2024 With Perfect Color Using Datacolor

I have a great deal of respect for companies that are dedicated to their product line, and of course to their customers.

Yes, there are all of the camera manufacturers, who know once you are in a system, you will probably stay, unless you have unlimited funds. We could talk forever on each one, and why they are awesome.

I’m talking about the companies that support all of your image making, because if you don’t have the best output, it doesn’t matter what gear you had in your hand.

Think of brands like Adobe who are all about the digital image, and they maintain the product line and support for all that. Not hardware, but software.
Then you have a company like Datacolor who is dedicated to ensuring that all of the work you do looks great : When you are making the image, and then exporting the result. Yes, I’ve had more than a couple of posts where they were featured, but employing their full line is obviously something I take seriously.

Let’s go through some of the product line, and why I depend on them for my workflow.
Once you employ their tools, It’s all about getting the baseline, as in a correctly exposed and accurate file as they were shot. Once you have a baseline, let your creatives juices flow.

Starting from the right place is the idea, a little bit like starting with RAW, relatively untouched files.

For me, the first step is starting with a calibrated monitor.
What that means is that the monitor you are editing with should be calibrated to a standard color band. Not that you wouldn’t get creative,  and make sure the look of the photo or video has your look on it when you finish working on it.
This will ensure that you started with a  correct baseline. If you are not working with a calibrated monitor, the work you put into image, may not look the same once you get it into other environments. Like a book, or prints.
Enter the Spyder X2 Ultra calibration device.

It is so easy to calibrate your monitor, and the Datacolor software walks you through it.
Maybe it’s a 2 min process.
Essentially, you first set the device near your monitor on your desk so it can read the light in the room. (more on that in a sec)  Then the software walks you through the steps to hang the device onto your screen, as it cycles through the calibration process.

At the end you can save the profile for, perhaps, how your camera exposes in certain situations, like a wedding or event photographer who uses a certain lighting setup, even flash-on camera, and here is a bonus feature :
Monitors don’t keep their corrections forever. Just a fact of life. The Datacolor software sends you a reminder every month, so you know when to refresh the settings. I kinda like it when this pops up on my screen. A gentle reminder.


One thing to remember is that when you are working on a screen, the ambient light in your room will affect the perceived color.
In my day job, I produce commercials , and when we have been in the remote world, my biggest issue has been trying to see, on my home office screen, as close as I can get to the colorist screen.
How do they know what my ambient light is?
The Spyder X2 Ultra solves this issue, by having a sensor that takes that light by your monitor into account, as shown blow

And there is an additional feature in the software where you can turn on automatic ambient light adjustment. They took into consideration that the light in your post production area may shift during the day. You just have to leave the unit plugged in, and it will adjust your monitor(s)

OK, you have set your monitors, and you have a confirmed color, or a black and white baseline.

Next part of the equation, are the compact, portable color charts.                                                                                                      They are always in my camera bag, as the size allows for that.

One is dedicated to still photography. The Spyder Checkr Photo is a set of 4 color and B&W charts, set in a click stop case. Small, locking , and you can even replace the charts if you get a smudge or hand grease on it.
The way it works is that you preset the standard chart in your computer, and this can be done with include software and images.
When you are about to shoot, take and shot of the color chart near your subject, so that the lighting is similar. All about the light falling on the color chart.

Easy Peasy. I even have used it on the street, where I may photograph the chart, and then at least to have a standard to deviate from.

When you return to your post production set-up, take the shot of the color chart from your shoot and match it up to the sample. Then you Edit in Spyder and set the color.

Here is how you do that in LightRoom: go to Photo>Edit In>pick edit in SpyderCheckr (yes you do need to have the software installed on your computer for it to show up in the Edit In options)

Then there is a video equivalent color chart. Spyder Checkr Video.
Here is a basic video to give you a look at how it operates.
This works kind of in the same way as the photo checkr. However, the color correction is a bit more complex in video, as you are making adjustment on vector scopes that you use in your editing software, like Premiere  or DaVinci.

You still shoot some frames of the color chart and B&W reference. Go into the vector scope and match up the value from the chart
Do white balance, hue, and saturation for each scene that you captured
More for an advanced user, but starting with great color and exposure, before you add your creative looks.

And the PDF instructions for use. 

How else can you ensure a quality image?
As we are dealing with light, the way light falls on a subject can tell you about proper exposure.
Datacolor makes a very cool product called SpyderCube cube that has a ¼-20 thread so you can introduce it into a scene, and see how the light falls using black, grey and white surfaces to let you know when to add or subtract light in post, and get proper exposure in your working file.

There is also a reflective ball on top. Basically calibrating for the specular highlights. Use the highlight slider to adjust for that. Grey, and white sides to generally balance, and an interested black hole on the bottom, which represents the total absence of light.

All of these factors will lead you to a well balanced, and properly exposed image. Of course the color charts will give you much more information, and if you are shooting for a client with a packaged product especially, exact color reproduction is critical. We call these “color correct props” that are generally created by companies that specialize in this, and work from files that have been approved by a brand. Not what you may buy off the shelf.  As a photographer/director, you are responsible for making sure the product is accurate.

I recently published a book of photographs, and the need for correct color was never more critical.                                                            Before you go to press, you have to make sure that the files you supply are what you want the final image to look like. Datacolor Spyder X2 Ultra was the only way to go.

I was able to review PDF layouts from the publisher, and because I was looking at them on a calibrated monitor, if any adjustments were needed, I could easily see what they were.

Plus, the X2 Ultra accommodates multiple monitors, and as I was using 2, it allowed a perfect color matching on both
You know what they say, GIGO: garbage in, garbage out.

The Datacolor Spyder X2 Ultra is my go-to monitor tool, and I depend on it.
The color charts are always in my bag, as the size doesn’t take up much room.
The Cube can be used  even if you don’t want to bring out the full color chart: small, easily held by a subject in a portrait situation.    Even a location portrait!

There is another product of theirs that is more geared to my older kit of Nikon DSLRs.
It’s the DSLR’s that allow you to set your lenses focal point.
It’s called a Spyder LensCal.

What this product does is let you calibrate (that word again!) your lens to make sure that it’s focusing correctly. On my older Nikons I could adjust a critical focus point, and used this tool. When I first tried this, I was shocked how slightly misaligned some of my lenses were.

With current cameras, I would only use it to set a main focus point and then know what the depth of field was. Super niche and not sure you need it.

Have a look at their full product line. And if you are someone who prints, Spyder Print maybe the product you need:

“The Spyder Print software creates a fully editable, custom profile to ICC standards. You’ll get the most color-accurate reproduction of your image files and reduce ink and paper waste from repeated print outputs while optimizing the performance of your printer.”

Paper and ink waste has always been a problem for me, when I printed. Creating a custom profile could help your print sales.

It’s a poor craftsman who blames their tools, but you must keep them in proper order.
I have seen sales on these items from time to time, you can get set-up, and

Make sure your images from 2024 are all that they can be.
As I said in the beginning, Datacolor, as a company, is dedicated to this.