In March 2025, Fujifilm released the smallest medium-format camera ever made. The camera features a high resolution and a retro rangefinder-style design. Like most Fujifilm cameras, it has dials for speed, f-stop, and aperture adjustments on the lens. The camera is also made in Japan, and the silver version is stunning. The camera comes with two additional controls: a dial and a switch. One controls the field of view, and the other controls the aspect ratio. These kinds of external controls are new to Fujifilm and most cameras.

Holding the camera, it feels like a work of art; it is indeed stunning in appearance and amazing for its compact size as a medium format camera. In my mind, this is a perfect street camera. The black version in particular seemed even more luxurious, perhaps nicer to hold than a Leica Q. It also comes with a gorgeous square hood.

One of the major complaints about this camera is the lack of in-camera image stabilization (IBIS). This kind of stabilization allows you to handhold the camera in low-light situations, eliminating the need for a tripod. However, this only works if nothing is moving in the frame, and with street photography, this is rarely the case. The higher f-stop on the lens provides for a very compact camera, as we know from the Q3 a faster lens is considerably larger, even more so on a medium format camera. So I can see the slower lens is a perfect compromise to make the camera truly discreet.

Is It That Compact

This new camera joins a few compact cameras, some of which have fixed lenses. In the image below, the fixed-lens cameras are the Fujifilm GFX 100rf (MF), Leica Q3 (FF), Fujifilm X100 VI (APSC), and Sony RX1 R II (FF). The last camera is Sony’s interchangeable full-frame model, used for size comparison. What can be said is that the 100rf with a medium format sensor is stunningly compact.

Aspect Ratio Dial

The aspect ratio dial allows you to crop into the RAW files to produce a JPG with various aspect ratios while preserving the original RAW file. The resulting JPGS will, in most cases, not be 102mp resolution, and a chart calculating the resulting resolutions might help you understand the JPG results of this dial. This might be a new compositional aid; you can play with several cropping possibilities as you rotate the dial. This will likely mean a deeper exploration of how to frame the image and perhaps where to stand. This is likely something more experienced photographers might be able to do in their heads. Still, it might be a great asset to an inexperienced photographer and likely accelerate their learning process.

The images below show the various aspect ratios available and how applying different crops to them impacts the image’s resolution.

The Field of View Adjustor

The camera lets you choose a field of view to produce JPG images while retaining the information in your RAW file. As the field of view narrows, the JPG resolution also reduces. The following chart shows the resolution of the JPG as the camera mimics different fields of view. Interestingly, the 45mm view results in the exact resolution as the Sony RXIr ll at 35mm or the Leica Q3 at 28mm. This gives the camera a distinct advantage over the other two fixed-lens cameras.

A Closer Comparison: Leica vs. Fujifilm

The Leica Q3 is likely to be the closest competition to the 100rf, so the illustration from Leica Rumours below shows how, even though the GFX is slightly taller, it appears much smaller because its lens is much smaller. It is also cheaper than the Q3 and has a much higher resolution.

The other thing to remember is that the Leica lens is f-1.7 and the Fujifilm lens is equivalent to about f-3.1, so the Leica gives you roughly a little over one-stop advantage. Given this minimal difference compared to the increased resolution, colour gathering strength, and increased dynamic range. The Leica becomes less attractive for street use.

Comparisons to the Q3 and Q3 43

Leica makes two fixed-lens cameras with a 60mp resolution and optical image stabilization, one featuring a 28mm lens and the other a 43mm lens. Hugh Brownstone, of Three Blind Men and an Elephant, has suggested that despite the GFX100RF having no IBIS and a slower lens, for some, it might be a “twofir.” In other words, at 28mm it is producing a 100mp image and at 45mm it is producing a 55mp image, so in some ways it means instead of carrying his two Leicas, he has both in one body for less money than one of his cameras and size-wise considerably smaller. Not only that better resolution, dynamic range and colour.

What I recommend for the Next Version

Fujifilm should make a companion camera with a 50mm f/2 lens, like the current pancake lens GF lens. Give it an IBIS and an optical viewfinder, and I suspect that camera will not get much bigger than the X100RF.

References

• Beau Photo Newsletter Review of GFX100RF, Mike Manders
• DPReview specification chart
• Leica Q3 vs. Fujifilm GFX 100RF size comparisons, Leica Rumours
• Fujifilm GFX100RF Review – 102MP In Your Pocket?!, Kevin Mullins
• Fujifilm Releases a Compact MF Power-house with a Fixed-lens Twist, Alex Baker
• Fujifilm aims retro medium format camera at point-and-shoot fans, By Abhimanyu Ghoshal, March 23, 2025
• Why Fujifilm made the GFX100RF so Small and Lightweight, Richie Roesch
• GFX100 RF: A Leica Q3/Q3 43 Two-Fer at Half the Size, Weight and LESS Than Half the Price?!!!, Three Blind Men and An Elephant
• Some People Don’t Like the Fujifilm GFX100RF, This is What Fujifilm Should Do, Ritchie Roesch
• ICELAND PHOTO TRIP with the Fujifilm GFX100RF, Gordon Laing

If you were an early subscriber to the 50R and a prime lens enthusiast, you had a limited selection of lenses. Consequently, your kit might look like the following.

How Might this Kit Have Been Created

The following train, though, might have resulted in this kit. Given your experience with the full-frame equivalent lenses, you may have avoided the 18mm. You likely would have acquired the 63mm as it was the only choice in this range; needing a good portrait lens, you would have compared the 110mm and the 120mm. Given that the 120 f4 is a macro and the 110mm f2 is a faster, more compact, and not a specialty lens, likely you would have selected the 110mm lens. Finally, at the time, there was a very cheap offer for the 50mm it was a very affordable way to acquire a pancake lens for street photography.

Now that the Lens Road Map has Changed

If you recently acquired a GFX 100 to replace your 50R, you might now be interested in the more extensive GF lens offering. Compared to what was available when the GFX series launched, now there are more ways to construct a prime lens kit.

Looking at the lens road map, the two lenses that might give you pause are the 55mm f1.7 and the 80mm f1.7. The question that comes to mind is whether reconfiguring the kit would be helpful. One way to answer that question might be to consider how you would create a kit if you had just bought your first GFX camera.

GF lens Compared to 35mm

GF lenses can be converted to 35 mm equivalencies by using the multiplier .79. In the case of the GF 63mm in the image below, by using the multiplier, you can see that it has the same field of view as a 50mm lens on a full-frame camera. Its light-gathering capacity, f2.8, gathers the same amount of light as an f2.2 lens on a full-frame camera. T

How Would a New Purchaser Construct a Kit

Here is how I would approach it: First, I would consider acquiring a lens in the 50mm equivalent range. There would be three choices: 63mm, 55mm, and 80mm. The 55 and 80 mm lenses let in twice the light compared to the 63mm. That would have narrowed the choice to either the 55 or 80. Given the increased interest in the 40mm equivalent lens, with claims that it is more versatile, I would have considered the 55mm lens first. I would then focus on the 80mm as the slight compress might also be helpful. This would then raise the question of a wide angle. If I were to consider the 45mm, it would concern me that it is too close to the field of view I would get from the 55mm lens. I would have settled on the 60mm as my first choice and the 45mm as my second choice.

Given some experience with the 23mm handle distortion, perhaps better than some full-frame lenses, I would have considered this lens instead of the 30mm 24mm equivalent. Then, I added the 110mm as the portrait lens, giving me the kit shown in the following chart.

At this point, I would look at the spread between the fields of view to see if it would create a problem. There is a 22mm shift between the two wide angles, but 35mm between 45mm and 80mm and 30mm between 80mm and 110mm. Here, the spread does look quite good. Given some compression with the 80mm lens, the next question I might ask is if I need the 110mm lens. So, if this were my initial lens purchase, I would not have purchased the 110 immediately and left that decision for later. In this case, my initial kit would look like the following:

A final thought would be the cash outlay, and if that was a consideration, I might start with two lenses. My preference would be just the 45mm and 80mm lenses.

Would you Change Your Older Kit?

If you constructed your prime kit early on, similar to the first image, would you consider any new lenses? Given that the 80 mm lens’s field of view is so close to that of the 63mm lens, it would be hard to justify that purchase. The spread between the field of view of the 30 and 45 would present a similar problem. So, a decision might be made on different grounds, perhaps a faster aperture or a preference for a specific field of view. In my case, I think the 80mm might be my first consideration, as it is a faster lens with some compression and easier to carry than the 110mm. I love the field of view the 45mm lens provides, and it is very close in size to the compact 63mm lens, so the decision would be difficult to make, but having the 50mm pancake lens in some ways is a better street lens size wise than the 45mm lens. Given that I already have the 30mm lens, I would not consider the slower, larger 23mm lens.

Lens Quality

At this point, a deeper dive needs to be done into the quality of all the lenses, how they resolve the GFX100 sensor, how well they are constructed, the focusing engines, etc. So, I will leave this for another post.

Several of these devices are on the market, but the Leica device does not clip to the phone. Instead, it uses a MagSafe connection. Using Bluetooth, it connects to the phone’s camera. It features a two-stage shutter like most cameras, and there is also a button to switch between shooting modes and two additional customizable buttons to allow you to adjust settings. The customizable buttons can be set to control zoom, aperture, shutter speed, and exposure compensation.

References

• Leica Just Released a Surprising Accessory for Diehear Mobile photographers, Abby Ferguson, DPreview
• Leica LUX Grip, Leica

There are a lot of filter systems, and among the more experienced photographers, you will hear them talk about brands like Urth, NiSi, and K&F. Kase, which has become quite popular because of their magnetic system. Rather than having an awkward attachment or having to be constantly screwing filters on or together, their system has on simple magnetic screw mount, onto which you can magnetically attach one or many filters. This simplicity has attracted several professional photographers to their system.

References

• In the Field Review – Kase Revolution Magnetic Filters, Darren J Sooney Photography
• Why I changed from Lee Filters to Kase Magnetic Filters, Roger Hance

A sensor has a certain number of light gathering pixels, and typically the higher the number of pixels, the higher the image’s resolution. This absolute resolution is directly related to much white light or luminance is reaching it. 

Colour in an image is created through a demosaicing process that interprets the light reaching the sensor through a colour array placed between the light source and the sensor. 

The colour array has a pattern of coloured pixel-sized pieces of glass that allow only one colour to reach each individual pixel on the sensor sensor, usually they are either red, blue or green. A demosaicing algorithm, know as colour reconstruction estimates what the original colours were and then blends this information together to create a colour image.

Bayer Filter Array

Bayer filter arrays are found in most cameras, Fujifilm X cameras being one of the few exceptions. A bayer filter has a two by two array with one red, one blue and two green filters. One of the problems with a bayer filter is the demosaicing algorithm working with this very repetitive pattern can result in the risk of moire. You can see moire in the image below. To prevent this, camera manufacturers would reduce the actual resolution of the image using an anti-aliasing filter. As sensor resolution increased camera manufactures began removing the anti-alias filters in favour of better resolution, however this remove the problem. When moire does occur post processing is one method of removing it, in otherwords the defocusing or slight blurring is done in post processing.

X-Tran Filter Array

An X-tran filter array placed over the sensor has a six by six pattern instead of the two by two pattern of the Bayer filter. So it will have a more complex demosaicing algorithm than the Bayer array. The resolution from cameras will be the same as a similar sensor that does not use an anti-alias filter, however the colour resolution will be less. Colour simplification is not necessarily a negative thing as it is often used used in post processing to enhance an image. As the resolution is not impacted it becomes a matter of personal taste. All cameras use a different processing engine which will result in a different look to its JPGs or RAW files, and in some instances this influences photographers camera choices.

RGBW Filter Array

A RGBW filter array uses a six by six array like the X-Tran array but rather additional green filters it uses white. In otherwords there is no filter the open pixel allows more light to pass through the array onto the sensor. The colours for the white filter are estimated by looking at the surrounding coloured filters. The net result is superior performance in low-light situations. This can be done in a number of ways as illustrated in the image below.

References

• X-Trans: The Promise and the Problem, Jonathan Moore Liles.
• Joint learning of RGBW color filter arrays and demosaicking, Chenyan Bai Faqi Liu and Jia Li
• Color reproduction pipeline for an RGBW color filter array sensor, Wonseok Choi, Hyun Sang Park, and Chong-Min Kyung

This article concludes that if you are interested in this device, you should purchase the Osomo Pocket Creator Combo and consider the DJI Mic Mini kit.

Using My iPhone and Adding a Miniature Microphone?

The iPhone has an excellent video system, which I used exclusively until I purchased a Pocket 3. I have avoided using my cameras because of their size, complexity, and flexibility. However, the sound quality on an iPhone is an issue; solving this would mean purchasing a microphone system. After researching the Hollyland, Rode, and DJI miniature mics and the sound quality and simplicity of the kits, it would appear that the DJI system is likely the best solution.

The DJI system is wholly contained within the charging case. The DJI sound quality seems better balanced than the Rode system, emphasizing the lower tones, and the Hollywood mics seem to have too much treble. (DJI Mic Mini vs Rode Wireless Micro vs Hollyland Lark M2: COMPLETE Mini Mic Showdown)

There is an added benefit to the DJI system as it is entirely compatible with the Pocket 3 system should you decide to abandon using an iPhone. If you do purchase the Pocket 3 the Creators Kit only comes with one larger microphone. So you will still find the DJI Mic Mini Kit very useful.

The smaller DJI microphone system does not independently store your recording on the microphone, like the one that comes with the Creator Combo, nor does it have an external microphone port. However, it does have an extended range, is much smaller and has a more miniature transmitter. It is also more straightforward to synchronize with a camera or phone.

The Case for the Pocket 3

The iPhone has a smaller sensor than the one-inch sensor in the Pocket 3 so the image quality of the Pocket 3 should be considerably better. It is also an easy upgrade to the Pocket 3 video camera if you have already bought the mini mics. The Pocket 3 is a very lightweight portable system. It’s main advantage is the one-inch sensor and the gimbal system; the image quality is more than enough for internet videos. However, most late-model cameras will perform better in low light and deal with dynamic range more effectively, with 4/3, APSC or full frame sensors. Reviewers suggest that at 800 ISO, the Pocket 3 will have very unpleasant noises, which is not the case with late-model cameras. The gimbal is a game changer as it provides smoother video than an iPhone or a camera. The second big difference is that the Pocket 3 camera can be set to track the subject automatically.

Which Pocket 3 Kit is Best

The Pocket 3 comes with five different purchase options. The two most popular options are in the two images below. The first is the cheapest option, but does not include wireless microphones. If you purchase this option, you will eventually have to buy the wireless mini microphones (this would be the same as another option they have called the Vlog Combo). I recommend starting with the Osomo Pocket Creator Combo, as this will provide you with the most accessories and a remote microphone. This is the best value for your money and is just over a $100 CDN difference from the cheapest option. You can see what is in this kit in the second image. This kit includes a remote mic, a tripod mounting clip-on, an extended battery with tripod mount, a mini tripod, a mic muff, a field case that doubles as a mic handle, and a wide-angle lens. This all comes in what appears to be a waterproof case that holds all this equipment.

DJO Mimo App

DJI produces an app for the iPhone that allows you to view the Pocket 3 as it is recording. The app can also download the videos, edit them on the phone, and share them. It can also upload a live broadcast to YouTube or Facebook. It also allows you to control the gimbal movements and view the recording on a larger screen, providing a histogram and other information. The editor in the application has a suite of tools with templates, filters, music, and watermarks.

Warranty

Keep in mind that, like Apple, DJI offers an extended warranty that covers screen damage, water damage, cracking or deformation, and natural wear. They have either a one-year or two-year warranty. So, before you purchase, you may review or research the benefits to see if they are something you want.

References

• DJI Pocket 3 – One Year Review, Sidney Diongzon
• DJI Mic 2 Best Settings Guide – How to Use It, Gemini Connect
• Fujifilm Audio for Video, Pal2Tech, connecting the transmitter to your camera
• Can’t Believe this Works: DJI Mic2 and iPhone via Bluetooth, Steve’s Tech Emporium
• How to Use DJI Mic 2 with any Smartphone, ErsRev
• DJI Pocket 3 vs iPhone 16 Pro: The Best Mobile Camera? Think Media
• DJI Pocket 3 The Most Honest Review on the Internet, Thomas Heaton
• DJI Pocket 3 | 50 Hidden Features, Settings, and Tips, Think Media
• Fujifilm Audio for Video, Pal2tech
• DJI Mic Mini vs Rode Wireless Micro vs Hollyland Lark M2: COMPLETE Mini Mic Showdown, David Manning
• Black Magic App,
• DJI Mic Mini Beginners Guide – Start Here, Jeven Dovey
• DJI Osmo Pocekt 3 Tutorial? Beginner’s Guide and How to Use, walks you through the features
• DJI Osmo Pocket 3 Beginner’s Guide and Tutorial, what comes with each package

The last 27-inch iMac was engineered on an intel chip in 2020, almost immediately after the M1 chip was introduced. The M1 chip meant even a base model iMac was faster than a tricked-out Intel Mac. There was also a new operating system that advanced each year, and with each iteration, my intel machine seemed to slow down. This is possibly due to the advancing operating system in Adobe, Capture One, and DXO software or the increase in the megapixels of cameras. The machine often ceases up with the spinning “wheel of death.” So what are the possibilities given October’s release of new M4 Macs? I)

Minimum Computer Specifications for a Photographer

So, looking for an upgrade presents a problem as Apple has discontinued the 27-inch Mac in favour of an external monitor. This, in most cases, means looking toward either a laptop or the Mac mini. The Bytom article referenced below seems to imply that most M1 machines, provided they have more than 512GB in the hard drive and at least 24GB of unified memory, will run the most up-to-date photography software. He suggests that if you are going to leave many things open and running, the best thing to invest in is unified memory, followed by SSD memory, core upgrading then being a last consideration. He suggests that the number of cores is a future-proofing consideration. The article is quite detailed, so I will leave the reader to browse it for more details.

This led me to believe that my ideal specifications would be a 1TB drive with 32GB of unified memory. This would mean less worry and some future-proofing. However, having only 1TB of storage on internal storage would, for me, require an external SSD drive to contain my Lightroom or Capture one Library. If this SSD was a 2 TB drive, it would allow me to include the library and one year’s worth of photographs; photographs older than that could be stored in other ways.

External SSD Storage

There are two primary issues with SSD drives: speed and durability. The latter issue is more critical if you are actively reading and writing files rather than using them as archives. Adam’s video suggests that there are three types on the market: USB 3.2, which has speeds up to 1000mbs; USB “two by two” drives, which have higher speeds but perform more like USB 3.2 drives in terms of speed with Macs; Thunderbolt 4 SSD, which has a speed of 2500 -3000Mbps; and Thunderbolt 5 SSD that runs at 6000Mpbs. So, he immediately dismissed the second option for obvious reasons. So, the two real options are USB 3.2 or Thunderbolt. However, the durability of the USB 3.2 drives is much lower, and they are designed for storage, not constant use. This would leave me looking at Thunderbolt 4 or 5 drives.

If you look at what Apple recommends for this sort of device, they sell a SanDisk Professional Pro-G40 SSD 2TB drive for $450. This is the same drive Adam recommended. Since adding 2TB to a Mac is $750, this option is much cheaper and perhaps more flexible. SanDisk also makes a blade system called Pro-Blade Transport, a modular enclosure where the SSD blade can be removed and replaced, allowing you to upgrade or replace it more cheaply. This runs at a speed of 2000Mbps. It is USB C, but I am unclear if it is running Thunderbolt 4 or 5. Another option might be the SanDisk Extreme Pro SSD, which I am settling on.

MacBook Pro versus Mac mini with Apples Studio Display

The next issue, of course, is what screen to use with either a MacBook Pro or Mac mini. The chart below explores various options that utilize the Apple display paired with multiple versions of Macs driving the display. This was to give a brief idea of the cost of multiple options. It was clear that the most economical approach would be the Mac mini; unless one needed a field machine, the MacBook Pro would be more economical. One could stop here, but it made me wonder what other monitors might be out there that might have similar or better specifications.

Monitor 27 inch Monitor Options

The Mac monitor has a superior build and the best audio of the available photography monitors when I looked at them initially. The screen is solid and very well build and reviewers seem impressed with the internal sound system. There are some short comings pointed out by those same reviewers, the camera is average, there are only four USBc ports, unlike either the MacBook Pro or Mac mini and for some strange reason the power core does not come away from the back of the machine, although some reviews have manage to remove it. The biggest issue for me is the size of the monitor, it would be nice to get some more screen realestate, and to do that in Apple’s world that would mean the 6k Apple Pro Display, which is well over $6000 as you see in the chart. So my first look look at monitors was to look at 27 inch alternatives. The chart below does not contain all the options for a colour-accurate high-resolution screen, but the ones I have listed appear compatible with Apple’s ecosystem. The LG listed below is the same one that Apple relied on for three years before bringin out the Apple Studio Display. Oddly enough it is was more expensive that the base Apple Studio Display. LG, sold by Apple for three years, is now more expensive than the Apple Studio Display. Currently, of the 27 inch monitors, the Samsung monitor appears to be the budget option. Given the marginal difference in price I am not convinced the savings is worth stepping out of the Apple eco system.

Options Greater than 27 inch Monitors

During the exploration of 27 inch monitors I did run across a 32 inch Dell Ultra Sharp monitor for have the price of the the Apple Pro Display, and since then have been looking at Dell offerings. In their section of 30 inch or greater monitors, they appear to have a number of monitors that not only meet Apple’s specifications but in some ways provide more features that the Apple monitors. They list a number monitors which are designed to be Mac compatiable.

The first one of interest was the 5k Dell UltraSharp 40 inch Curved Thunderbolt Hub Monitor U4025QW. Its regular price is $2629CA and goes on sale for $2309.99CA. This 5k monitor has better adjustablity as it not only tilts, has a height adjustment but also a swivel function. It also has what Dell calls a built in Hub with more options for connectivity than one might ever need. It also has the dedication USBc port so you can connect just one wire from your Mac to the the hub and all the other wires would be managed by the monitor. It is a P3 colour accurate monitor with IPS black technology. It does lack a camera and it has a built in speaking but it does not appear to be much of a sound system.

The next monitor of interest is the ‘Dell UltraSharp 32 inch 6k monitor U3224KB. This monitor sells for $2500CA which is equivalent in price to the top version of Apple Studio Display. In otherwords you would get a monitor equivalent to the very expensive Apple Pro Display for the price of the Apple Studio Display. So this one real got me interest as it comes with a better 4k adjustable camera and a sound bar speaker system attached to the top of the screen. It also has the hub system, and a drop down port at the front with two USBc ports and a USBa port. It usually sells for $3320CA but seems to be discounted rather than being on sale. At this price for a 6k monitor fullly loaded with features it seems to be the best buy on the market if you are looking for a large screen with excellent resolutions.

The last two options are attractive as they would undoubtedly mean more screen real estate, but the Apple Pro Display is an expensive option, at three times the cost. The Dell machine provides a cheaper alternative, but there may be integration issues with the Apple ecosystem.

Colour Space in Monitors, Why P3 standard

Colour gamut or colour space is essential for viewing and printing digital images. If you look at the two charts below, you will notice that the screen’s colour gamut, which on the monitors above is P3, differs from the print gamut. The two printers in the second illustration are high-quality art printers. If you own an Epson printer, it covers a similar colour space as sRGB, but not all the colours you will see if your monitor is set to P3 or Adobe RGB, the settings the monitors above use.

The difference between the two printers’ colour spaces is that the Canon can handle warm tones more effectively, and the Epson printer can handle the blues and greens. Perhaps this is not the difference between Fujifilm film and Kodak Film.

References

• Recommended Mac Hardware 2024, bytom.com
• Best Monitors for Photographers, Bjorn Petersen, B&H
• Apple Silicon Unified Memory: How Much Mac RAM Do You Need, Hartley Charlton, Mac Rumors
• Use Your Old iMac as a Second Screen Using LUNA Display, Helpful Phil
• Acasiss 8-in-1 40Gbps M.2 NVMe Thunderbolt Enclosure and Dock
• Supercharge Your MacBook with One Upgrade, That Mark Gilroy
• Pro-Blade Transport -2 TB
• SanDisk Professional Pro-C40
• Ultimate External SSC Buying Guide for Mac Users, Adam Talks Tech
• Sandisk Extreme Pro SSD review – V2 too FAST for you? Gordon Laing
• Best Monitors for Your M4 Mac, White Board Explainer
• Dell UltraSharp 32″ 6K VS Apple Pro Display XDR! Finally, A Better Option?! Apple Insider
• One Month with the Best Monitor in the world: The New Dell 40″ 5K120 HDR U4025QW, Dave’s Garage (the first ten minutes of the YouTube contains a computer monitor history)

The release of the new X2D 100C Earth Explorer Limited Edition and the Leica Q3 has been big news in the high-end camera market. How do these two cameras line up with the other flagship compact camera? In this category, I believe Sony produces the smallest full-frame sensor camera, and Fujifilm produces the most compact APSC cameras. In the medium format, both Fujifilm and Hasselblad seem to have the most compact cameras.

The chart below, courtesy of Rob Will, shows the range from APSC to Medium Format. The two most compact cameras are the X100VI, an APSC camera, and the Sony RXrII full-frame camera, both fixed-lens cameras. The former has Fujifilm’s most advanced 42mp APSC sensor and processor, and the latter is a full-frame Sony camera released in 2015. Both are excellent street cameras that produce high-quality images in a discreet and pocketable size. I would worry about investing in the Sony camera, given its age and the possibility of a new version. Also, given the size of the A7Cr and Sony’s latest compact lens series, this might be a better option and almost as discreet.

So, when choosing between the two compact cameras, I chose the Fujifilm X100VI. Its advantage over this RX1r II is the external dials, dual EVF/Optical viewfinder, and the ability to adapt the lens to the 24—or 50mm range. This camera has been reviewed by DPReview and received the Gold Award.

The most appealing camera in this lineup is the Leica Q3 43, a fixed-lens camera with a 43mm f2 lens and macro. This focal length has been growing in popularity among many photographs. The lens is an apochromatic design, giving the camera’s Image Quality a bit of a boost over cameras using achromatic lens designs. Its compact design and the simplicity of its menu system are getting good reviews.

The full frame compact camera market is really donminate by Sony, which also as a sensor manufacture have the most advanced sensors on the market. Here the choose would be the A7RV, a 61mp interchangable lens camera. This camera coupled with the three new compact 24, 40 and 50mm prime lens creates the smallest possible full frame kit. This would be my choice for the most compact, highest quality full frame interchangable lens camera.

In the medium format range it would be difficult to decided between the Hasselblad X2D 100C and the new GFX 100s II, in general the Hasselblad is more compact and has a cleaner design. This camera coupled with the new line of compact XCD V lenses, would make this camera an excellent choice over the Fujifilm camera. However, the Fujifilm camera has more options for adapting third party lense, and is perhaps a more rugged build should you be a landscape photographer.

Fujifilm’s most celebrated camera was upgraded on February 19th, 2024, called the X100 VI. It has a new 40mp sensor with built-in 6-stop IBIS (In Body Image Stabilization). This unique range finder camera with a hybrid optical/digital EVF, a large APS-C sensor and a leaf shutter is small and perfect for an avid street photographer with its F2 lens. Just after the release of this camera, sales appeared to be well above expectations. Some camera stores suggest it may have broken all sales records.

The X100 series is also unique in other ways, with its range finder retro design. In the street, it looks like an old-fashioned film camera with its ISO, Speed dials and aperture on the lens. It is not the kind of camera people get worried about, and its size is easy to carry and conceal.

The new camera has the same form and size as the previous X100v model, but the dimensions have shifted slightly to accommodate the IBIS system. As you may know, IBIS requires a greater battery demand, but the camera’s new processor ensures the battery life is the same as the previous model. The camera also has the fifth generation “X-Tran Processor-5” and an upgraded AI focusing system. The hybrid viewfinder allows you to switch between Electronic View Finder, Optical Viewfinder or Electronic Range Finder.

Three models are available

Three models are available: a black and silver version or a commemorative limited edition version in silver.

Summary of Key Specifications.

• 40.2MP APS-C X-Trans CMOS 5 HR Sensor
• X-Processor 5 Image Processor
• 11 frames per second
• LCD is a touchscreen
• One UHS-II SD card slot
• HDMI, USB C and Audio ports
• AI focus assistance, including face detection
• Fujinon 23mm f/2 Lens (35mm Full-Frame Equivalent)
• GPS information can be placed into EXIF data using their iPhone app.
• 6-Stop In-Body Image Stabilization
• 425-Point Intelligent Hybrid AF System
• Hybrid 0.66x OVF with 3.69m-Dot OLED EVF
• 3.0″ 1.62m-Dot Tilting Touchscreen
• Bluetooth and Wi-Fi Connectivity
• 20 Film Simulation Modes with their new REALA ACE film simulation

About its Sensor

Film Simulations

Fujifilm cameras all come with film simulations; with each new camera, more and more film simulations are added. This means when setting your camera to “Fine plus RAW,” the jpg accompanying the RAW file will simulate any of the film looks you selected. The X100VI will come with another new film setting, “Reala Ace,” along with the following: Provia, Velvia/Vivid, Astia/Soft, Classic Chrome, Pro Neg. Standard and Hi, Classic Negative, Nostalgic Negative, Eterna, Eterna Bleach Bypass, Acros, Monochrome, and Sepia.

In addition, the X100IV, like all X series cameras, allows you to save customized film simulations. One can save up to seven that can be recalled quickly from the “Q” menu. An excellent resource for creating film simulations can be found on the Fuji X Weekly website. He has formulas for a wide variety of film stock recreations.

Fujifilm Accessories

There are two conversation lens that can be used with this fixed lens camera a 50mm and 28mm equivalent.

In addition, Fujifilm has a filter, lens hood and an adapter for this camera.

They also provide various flash options and a leather case:

Third-Party Accessories

References

• Returning to Form: The Fujifilm X100VI Review, Jona Rask Photography
• Why the Fuji X100VI is the Internet’s New Favourite Camera, The Studio
• DPReview Overview of the X100VI
• The Best Accessories for the Fujifilm X100F, V and VI
• Simplify Your X100V (6 changes to make)
• Fujilove: hands-on with the Fujifilm X100VI
• Fujifilm X100VI camera officially announced, Photo Rumours
• Fujifilm Canada’s X100VI site
• Fujifilm’s details on the commemorative limited edition
• Return to Form: The Fujifilm X100VI Review, Jonasrask photography
• Film Simulation Recipes, Fuji X Weekly
• Fujifilm Film Simulation Recipes: How to Find and Save Them
• My Fujifilm JPEG Recipe – all You’ll Ever Need, Goughie
• What Came Before the Fujifilm X100VI: a history of the series, DPReview

Fujifilm lenses, both for the X and G series, are stunning and often the best possible option for their cameras. However, with the imperfections they bring, third-party lenses can create some interesting effects. So, for those of you who like to experiment with Lensbaby lenses, heritage lenses, etc., some of the following lenses may provide some options for creativity. This is just a sampling of lenses. The X-series options focused on higher f-stop versions; of particular interest was the TTArtisan 35mm f.095. The selection of G mounts sampled the telephoto range, which had a smaller form than those manufactured by Fujifilm.

X-Mount Lenses

G-Mount Lenses