The Complete History of Fujifilm X and GFX Cameras
My Original Fujifilm FinePix X100
Last updated: May 2025
This is a living piece — I’ll do my best to keep it updated as new Fujifilm cameras are released and the story continues to evolve.
I don’t think anyone — not even Fujifilm themselves — could have predicted just how deeply the X Series would burrow into the hearts of photographers like me.
It started with one camera. One fixed lens. One brave decision to put dials back where digital had buried them.
And here we are, more than a decade later. Over 50 models deep, with everything from compact travel cameras to medium format monsters.
Some designs lasted. Others quietly disappeared. A few became cult classics.
There were missteps. And milestones. And a lot of cameras in between that were... good and some, that were… great.
This post is a look back — a walk through the timeline of every Fujifilm X and GFX camera released so far.
I’ve listed release dates, sensor types, and added some context where it’s interesting or relevant. You’ll also find a full table of all models further down the page if you're the spreadsheet type.
If you're new to the system, it might help you find your bearings. If you've been around a while, maybe you'll spot that model you forgot you once owned. Either way, it's all here.
Table of Contents:
The Birth of the X Series (2011)
Early Success: X100, X-Pro1 and the Retro Revolution
The Growth Years: Tiers, Tribes & Too Many Models?
APS-C Line Breakdown
Fixed Lens Models
X-Pro Series
X-T Series
X-E Series
X-S Series
X-A Series
Other Notables (X70, XF10, X-M1, etc.)
The GFX Leap – Medium Format Enters the Scene
Special Mentions: Forgotten Cameras & Weird One-Offs
Every Camera Listed (with release date & sensor type)
Personal Reflections & What Might Come Next
The Birth of the X Series (2011)
It started quietly. The original Fujifilm X100, launched in early 2011, wasn’t backed by a flashy ad campaign or celebrity endorsement. It was just this... odd-looking camera. Retro in all the right ways, with a fixed lens and dials that felt like they'd been lifted straight from a 1970s rangefinder. It looked like it belonged in a museum. Or in the hands of someone who knew what they were doing.
At the time, most manufacturers were chasing megapixels or touting video specs. Fujifilm, for whatever reason, went the other way. They prioritised feel. Handling. The joy of using a camera again.
It wasn’t perfect — early autofocus was slow, menus were fiddly, and RAW files were tricky to process in anything other than the bundled software. But people forgave all of that. Because what it did do — especially in terms of JPEG output — felt special.
And it wasn't just about nostalgia. The X100 introduced something that, in hindsight, set the tone for everything that followed: intentional photography. You couldn't zoom. You couldn’t switch lenses. It forced you to slow down, recompose, move your feet. Some people hated that. Others — myself included — found it very refreshing.
Behind the X100’s appeal was a 12MP APS-C EXR CMOS sensor. Not the X-Trans type that would later define the system — that came in the next few iterations — but still capable of rendering colour and tone in a way that stood out at the time.
It had this signature Fuji look. Hard to describe, but recognisable. Skintones felt real. Highlights held a bit more. It wasn’t clinical, and that was the point.
And so the seed was planted. A camera that made people want to photograph again, rather than just capture things.
Early Success: X100, X-Pro1 and the Retro Revolution
After the buzz around the original X100 — and it really did buzz, despite its flaws — Fujifilm didn’t wait long to double down. In early 2012, they launched the X-Pro1, the first interchangeable lens camera in the X Series.
This wasn’t just a follow-up; it was the beginning of a system.
Three prime lenses launched alongside it: an 18mm f/2, a 35mm f/1.4, and a 60mm f/2.4 macro.
That’s it.
A modest trio by today’s standards, but enough to suggest Fujifilm had a plan — and a bit of nerve. Mirrorless was still young back then. Sony had the NEX series. Panasonic and Olympus were building out Micro Four Thirds. But Fujifilm jumped in with their own mount, their own look, and their own approach.
The X-Pro1 brought with it the first X-Trans sensor — 16MP, APS-C, with a unique colour filter array designed to reduce moiré without the need for an optical low-pass filter. Whether it worked better than a Bayer sensor… well, that was debated. Still is, in some circles. But it looked different. And that mattered.
Then there was the hybrid viewfinder — optical and electronic in one. An idea that sounded like a gimmick on paper but felt surprisingly intuitive in practice.
You could shoot like you would with a film rangefinder, or switch to the EVF when you needed precision. Again, not perfect. The EVF was laggy. The AF hunted. But it was new. And different. And that counted for a lot.
Early adopters, like me, were patient. There was a certain pride in figuring out how to get the best out of these cameras. You had to learn them. The menu system was clunky, yes, but once you knew where things lived, it got easier.
Firmware updates trickled out and, to Fujifilm’s credit, they actually made things better — something we didn’t see much of in that era.
And then came the look. That classic Fuji colour science started to shine through — particularly in JPEGs.
Velvia, Astia, Provia… film simulations weren’t a new idea, but Fuji made them usable, and for many, even preferable to post-processing. There’s still something about those early SOOC files — a bit raw, a bit imperfect — that feels nostalgic now. Not in a retro-filter way, but genuinely rooted in the aesthetic of documentary and street photography.
During one of my trips to Tokyo, I got to meet the engineers who were responsible for the Fujifilm Film Simulations and Colour Science.
The X-Pro1 and X100, together, didn’t just form the skeleton of a new camera system — they sparked something more emotional.
A camera brand that people felt something about. Not just used.
It was the beginning of the Fuji tribe, whether Fujifilm meant to start one or not.
The Growth Years: Tiers, Tribes & Too Many Models?
After the success of the X-Pro1 and the steady evolution of the X100 line, Fujifilm didn’t pause. They accelerated. New models started appearing quickly — and not just upgrades. Entire new lines. Some made total sense. Others... felt like they were answering questions no one had really asked.
In 2013, we got the X-E1 and later the X-E2 — smaller, cheaper alternatives to the Pro series but with a similar vibe. The EVFs were improving. The autofocus too. These cameras quietly became favourites among those who wanted the Fuji look without the price tag or the rangefinder heft. I know quite a few photographers who still miss their X-E2.
Then came the X-T1 in early 2014. That was a turning point. It moved the X Series away from the faux-rangefinder identity and into something more DSLR-shaped. Still small, still mirrorless, but with a central viewfinder hump and weather sealing. It looked serious — and it was.
The X-T1 became the first Fuji camera I saw regularly at weddings, on travel blogs, and in proper commercial work.
It also split the fan base a little. Some loved the rangefinder style. Others preferred this more practical, centred design. And this was the start of a pattern: every new model began to define its own tribe.
X-Pro shooters, X-T shooters, X-E fans. Each with their own quirks and loyalties.
By 2015, the lineup had grown even more. We had the X-T10, a sort of junior T1. Then the X-A series — aimed squarely at beginners, vloggers, or anyone who just wanted Fuji colours without dials. No viewfinders. Simplified controls. Bayer sensors instead of X-Trans.
The results were mixed. Good images, yes, but they lacked the soul of the more enthusiast-focused models. The X-A3, A5, A7… useful cameras, but hard to get excited about.
There was also the X70, a fixed-lens pocketable APS-C camera that probably deserved more love than it got. A wide-angle sibling to the X100, with a tilting touchscreen and no viewfinder. Compact, capable, and now pretty sought after on the used market. Possibly one of my favourite cameras ever.
And let’s not forget the occasional curveball. The X-M1, for example, which came and went with barely a whisper. Or the X-T100 and X-T200, which straddled that awkward line between enthusiast and entry-level. Not bad cameras, just... hard to place.
It’s fair to say Fujifilm went through a bit of an identity crisis in these years. Or maybe not a crisis — just a phase of throwing things at the wall to see what stuck.
Some stuck. Some didn’t.
But even at their most confusing, the cameras still felt like Fujis. Dials, film simulations, and that slightly unpredictable charm.
You might not have wanted every model, but you understood why it existed. Sort of.
And through all of it, Fujifilm kept listening. Firmware updates continued. Handling improved. Autofocus, while never perfect, got faster. Slowly, a system was forming — not just technically, but culturally.
There was a Fuji for everyone. And if there wasn’t yet, there probably would be soon.
APS-C Line Breakdown
By the mid-2010s, Fujifilm had built something rare in the mirrorless world: a complete system with character. But as the number of models grew, it became harder to keep track.
So here’s a breakdown of the main APS-C camera families — what they aimed to be, who they were (probably) for, and how they’ve evolved over time.
Fixed Lens Models (X100, X70, XF10)
This is the line that started it all — and, for many, still represents the soul of Fujifilm. The X100 series evolved slowly but steadily, always with a fixed 23mm f/2 lens (35mm equivalent), always with manual dials, and always with a film-like shooting experience.
From the quirky-but-lovable X100 to the refined X100V and now the 40MP X100VI, this series has been Fuji’s most iconic.
It’s the camera people want, even if they don’t need it.
Then there’s the X70 — a wide-angle cousin with an 18.5mm lens and no viewfinder. It came and went quietly, but those who had one rarely forget it. The XF10, which replaced it, had a similar footprint but a simpler interface and a Bayer sensor.
Less romantic. Still capable.
X-Pro Series: The Purist’s Tool
The X-Pro line is unapologetically niche. Rangefinder styling. Optical/electronic hybrid viewfinder. Slightly bulkier bodies. This series has always felt like it was made for photographers who care deeply about how they shoot.
The X-Pro1 felt raw. The X-Pro2 was a leap — faster, stronger, more refined. And the X-Pro3... well, it split opinion with its hidden screen and nostalgic intent.
Some loved it. Others found it too clever for its own good. Either way, it made a statement — this wasn’t a camera for everyone.
X-T Series: The Backbone of the System
If the X-Pro is about soul, the X-T series is about balance. The X-T1 introduced a central EVF, weather sealing, and that wonderful manual control layout — dials for ISO, shutter speed, exposure compensation, and aperture on the lens.
The X-T2 and X-T3 improved on that formula, and the X-T4 added IBIS and better video.
Then the X-T5 dialled things back: no flip screen, but a return to stills-first thinking with a 40MP sensor. It's the camera many Fuji shooters had been quietly hoping for.
For many, the X-T line is Fujifilm. It’s the one they use professionally. The one that gets the job done.
X-E Series: Compact, Clever, and Understated
Often overlooked, the X-E line has quietly built a loyal following. Smaller and lighter than the X-Pro series, with similar styling but no optical finder. Great for travel. Great for everyday use. And still capable of excellent results.
The X-E3 hit a sweet spot. The X-E4 slimmed down further, polarising some fans by removing the handgrip and D-pad — but retaining Fuji’s core appeal in a truly pocketable body.
X-S Series: Small Bodies, Big Brains
The X-S10 was a shift. A deep grip, fully articulating screen, IBIS — all wrapped in a body that looked less “Fuji” but felt incredibly practical.
The X-S20 followed, keeping the same sensor but adding better battery life and streaming features. The X-S20 is the camera I film all my YouTube content on these days.
These cameras don’t lean as hard on nostalgia. They’re more mainstream. But they’re powerful, capable tools — and arguably the most user-friendly way to get into the system.
X-A Series: Entry-Level, Unpretentious
The X-A line quietly introduced many photographers to the Fuji look. No EVF, no X-Trans sensor, and often sold in bundles with kit lenses. And yet... those colours, those JPEGs, that compact form — it was all there.
They never lit the world on fire, but they served their purpose. Simple cameras that got out of the way.
Others Worth Noting
X-M1: Brief, somewhat confused, but part of Fuji’s early expansion.
X-T100 / X-T200: A strange bridge between the X-A and X-T series. Not bad. Just unclear who they were for.
X-T30 / X-T30 II / X-T50: Mini X-T bodies with near-flagship guts. Hugely popular, and rightly so. The X-T50 (2024) brings IBIS to the line for the first time.
The GFX Leap — Medium Format Enters the Scene
By 2017, Fujifilm had already carved out a serious place in the APS-C mirrorless world. But then they did something unexpected — maybe even audacious. They went bigger. Not full-frame. Not more megapixels squeezed into the same sensor size. No. They built a whole new system around medium format.
The GFX 50S, launched in early 2017, didn’t look like a traditional medium format camera. It looked like a chunky DSLR — which, to be fair, it sort of was.
But inside was a 51.4MP 44×33mm sensor, around 1.7× the size of full-frame. It wasn’t a speed machine. It wasn’t small. But the files… the files were gorgeous. Tonal range, subtle gradation, resolution without harshness — it offered a different kind of image.
Fujifilm called it “affordable medium format”, though that’s relative. Still, compared to Hasselblad and Phase One, it was more accessible. And critically, it was built like a Fuji. Good menus, physical dials, film simulations — all the stuff X shooters loved, just scaled up.
Then came the GFX 50R in 2018. A slimmer, rangefinder-styled version that stripped out the detachable EVF and made medium format just a little more casual.
Street shooters, environmental portraitists, even travel photographers started paying attention. It wasn’t pocketable, but it wasn’t ridiculous either.
Then, in 2019, Fuji broke the ceiling again with the GFX 100 — 102 megapixels, IBIS, phase-detect AF, dual batteries, and a massive body. It was more tool than camera. More statement than compromise.
Overkill for some, sure. But for commercial and fine art photographers, it was a monster. Big files, big print potential, big bragging rights.
But perhaps the most important GFX camera to date is the GFX 100S (2021). All the same resolution and image quality as the original 100 — but in a body closer to a chunky X-H1.
No vertical grip, no fuss. Suddenly, 100MP medium format wasn’t just for studio work. You could shoot weddings with it (if you really wanted to). You could shoot street. People did. I did. A bit.
And Fuji wasn’t done.
They refined the 50MP line with the GFX 50S II, and in 2023, released the GFX 100 II — faster, sharper, more video capable. And now, in 2024, we’ve got the GFX 100S II, continuing their trend of compressing extreme image quality into usable, realistic form factors.
Oh — and then there’s the GFX100RF (2025). A fixed-lens, medium format rangefinder-style camera. Yes, you read that right. A 102MP leaf-shutter compact with a 35mm f/4 lens (28mm full-frame equivalent).
Built-in ND, digital teleconverter, aspect ratio dial. It feels more like an art project than a product — and that’s kind of the point. It's a camera that probably shouldn’t exist. But does. And people love that.
So what’s the takeaway here?
Fujifilm didn’t just scale up their sensors — they scaled up their identity. They brought Fuji thinking to medium format. And while it might not be for everyone, the GFX line proved that Fuji wasn’t going to follow the same path as Canon, Nikon, Sony.
They’d do their own thing. At their own pace. On their own terms.
And that — arguably — is what’s made them worth following all along.
Special Mentions: Forgotten Cameras & Weird One-Offs
Not every camera in the Fujifilm X and GFX universe became iconic. Some came and went with barely a whisper. Others were clearly experiments — interesting, sometimes brilliant, sometimes not — but never destined for longevity.
Still, they’re part of the story.
Fujifilm X-M1 (2013)
A small, screen-focused body with a tilting LCD and no viewfinder. It used the same 16MP X-Trans sensor as the X-Pro1 and X-E1 but ditched most of the dials. Aimed at entry-level users who wanted Fuji image quality without the learning curve.
It never really caught on. Perhaps it was too soon, or perhaps it was just a little too stripped back. But in hindsight, it was one of Fuji’s first serious attempts to make their tech more accessible.
X-A Series (2013–2019)
These were odd in the context of Fuji’s usual branding — no X-Trans sensor, no EVF, no dials. Just small, affordable, Bayer-sensor cameras for beginners and vloggers. X-A1 through X-A7. They sold reasonably well in Asia and among casual users who just wanted great-looking JPEGs with minimal fuss.
They were never loved by Fuji purists. But that’s OK. They weren’t made for them.
X-T100 and X-T200 (2018–2020)
Borrowing the X-T styling but with a Bayer sensor and touchscreen-first controls, these models were... fine. Reasonably capable, reasonably priced, and reasonably unremarkable. They sat awkwardly between the X-A line and the X-T20, never fully committing to either audience.
Still, they served their purpose: an accessible stepping stone into the system.
XF10 (2018)
A spiritual successor to the X70, but without a tilting screen or quite the same build quality. It was ultra-compact, had a 24MP Bayer sensor, and delivered surprisingly good images — but it lacked the enthusiast features that made the X70 a cult favourite.
Some people loved it. Others felt it was a missed opportunity.
GFX100RF (2025)
And then there’s this — the wildcard. A fixed-lens, 102MP medium format camera styled like a rangefinder. No IBIS. No interchangeable lenses. A 35mm f/4 equivalent lens with built-in ND and a digital teleconverter.
It’s either Fuji at their most inspired… or most eccentric. Maybe both. Either way, it’s a camera that says: why not? And somehow, that feels very on brand.
These cameras may not headline the product timeline, but they’re a reminder that Fujifilm doesn’t just build cameras to chase market share. Sometimes they build them because they can — because someone, somewhere, might love it.
And honestly, that’s why they’re still worth paying attention to.
Why Fujifilm Has Meant So Much to Me
It’s easy, from the outside, to assume that anyone who talks positively about a camera brand must be doing it for some kind of reward — clicks, sales, affiliate links, status. I get it. We live in an age of sponsorships and “influencer” culture. Everyone’s trying to sell something - as I do.
But Fujifilm has never been that for me. Not really.
Yes — I was an official Fujifilm X-Photographer (an ambassador) for over ten years. I was the first wedding photographer to join the programme, actually.
I’ve been to Tokyo, sat in design meetings, shared feedback with the engineers, tested firmware in the middle of the night. I’ve spoken about Fujifilm on stages as far apart as New York and Buenos Aires. And I’m incredibly grateful for all of it.
“I never used Fujifilm gear because I was an ambassador. I was an ambassador because I used Fujifilm gear. That’s a huge difference. ”
If something better had come along for the way I shoot, for the way I work with clients, I would’ve switched. Happily. Because the client always comes first.
Nothing has come along.
When Fujifilm changed their ambassador programme, and I lost my X-Photographer title, which I’m still sad about, nothing changed for me in terms of gear.
I still shoot with Fuji. I still recommend their cameras. I still believe they’re the right tools for the kind of work I do — and for a lot of other people too.
That’s not fanboyism. It’s not brand loyalty for the sake of it. It’s just experience.
Me & the managers & production staff who create these cameras in Japan, 2022.
I’ve had a few comments on YouTube recently — people calling me a fanboy, or an influencer. And I get where they’re coming from, but I think they’re missing the distinction. I’m not an influencer. I’m not paid to make these posts or reviews or tutorials. I do it because the cameras are worth talking about. Because they’ve helped me tell stories that mattered - and I enjoy spreading the word.
I heard a great quote recently by Pat Flynn on his podcast Smart Passive Income:
“An influencer talks about themselves. A person who influences talks about the product.”
That’s probably where I land. I’m not trying to sell you an idea of me. I’m just trying to share what’s worked — and sometimes what hasn’t — in the hope it helps someone else.
I’m not an influencer, but I may just be a person who influences.
Fujifilm gave me opportunities I’ll never forget. But more than that, they gave me tools I still trust with the most important moments in people’s lives.
That counts for something and that’s worth writing about.
If you’re curious to see what I looked like over a decade ago — and want a glimpse of my very first visit to Fujifilm HQ in Tokyo — here’s a video.
It captures a presentation I gave to Fujifilm’s product planners, engineers, and members of the photographic press in Japan. A moment I won’t easily forget.
And to bring things more up to date, here’s a talk I gave at The Photography Show in London earlier this year, titled “14 Years with Fujifilm Gear.”
It’s a personal and transparent look back at the cameras I’ve used, the work I’ve done with them, and the journey we’ve been on together.
Every Fujifilm X and GFX Camera — Listed
If you're the kind of person who enjoys a good list (and honestly, who isn’t when it comes to gear?), here it is: every Fujifilm X and GFX camera released so far.
I’ve included the release date, the sensor type, and a basic description of where each model fits in. Maybe there are a few models in there that you remember, or you have forgotten.
This list will be updated as new models arrive. Probably with a bit of swearing when they break the naming logic again. Looking at you, X-T100.
| undefined | Type | Release Date | Sensor |
|---|---|---|---|
| FinePix X100 | Fixed Lens Camera | 2011/03 | 12MP APS-C EXR CMOS |
| X10 | Premium Compact | 2011/09 | 12MP 2/3" EXR CMOS |
| X-S1 | Bridge Camera | 2011/12 | 12MP 2/3" EXR CMOS |
| X-Pro1 | Interchangeable Lens Camera | 2012/03 | 16MP APS-C X-Trans CMOS |
| X-E1 | Interchangeable Lens Camera | 2012/09 | 16MP APS-C X-Trans CMOS |
| X20 | Premium Compact | 2013/01 | 12MP 2/3" X-Trans CMOS II |
| X100S | Fixed Lens Camera | 2013/01 | 16MP APS-C X-Trans CMOS II |
| X-M1 | Interchangeable Lens Camera | 2013/06 | 16MP APS-C X-Trans CMOS |
| X-A1 | Interchangeable Lens Camera | 2013/09 | 16MP APS-C Bayer CMOS |
| XQ1 | Premium Compact | 2013/10 | 12MP 2/3" X-Trans CMOS II |
| X-E2 | Interchangeable Lens Camera | 2013/10 | 16MP APS-C X-Trans CMOS II |
| X-T1 | Interchangeable Lens Camera | 2014/01 | 16MP APS-C X-Trans CMOS II |
| X30 | Premium Compact | 2014/08 | 12MP 2/3" X-Trans CMOS II |
| X100T | Fixed Lens Camera | 2014/09 | 16MP APS-C X-Trans CMOS II |
| X-A2 | Interchangeable Lens Camera | 2015/01 | 16MP APS-C Bayer CMOS |
| XQ2 | Premium Compact | 2015/01 | 12MP 2/3" X-Trans CMOS II |
| X-T10 | Interchangeable Lens Camera | 2015/05 | 16MP APS-C X-Trans CMOS II |
| X70 | Fixed Lens Camera | 2016/01 | 16MP APS-C X-Trans CMOS II |
| X-E2S | Interchangeable Lens Camera | 2016/01 | 16MP APS-C X-Trans CMOS II |
| X-Pro2 | Interchangeable Lens Camera | 2016/01 | 24MP APS-C X-Trans CMOS III |
| X-T2 | Interchangeable Lens Camera | 2016/07 | 24MP APS-C X-Trans CMOS III |
| X-A3 | Interchangeable Lens Camera | 2016/08 | 24MP APS-C Bayer CMOS |
| GFX 50S | Medium Format Camera | 2017/01 | 51.4MP Medium Format Bayer CMOS |
| X100F | Fixed Lens Camera | 2017/01 | 24MP APS-C X-Trans CMOS III |
| X-T20 | Interchangeable Lens Camera | 2017/01 | 24MP APS-C X-Trans CMOS III |
| X-E3 | Interchangeable Lens Camera | 2017/09 | 24MP APS-C X-Trans CMOS III |
| X-A5 | Interchangeable Lens Camera | 2018/01 | 24MP APS-C Bayer CMOS |
| X-H1 | Interchangeable Lens Camera | 2018/02 | 24MP APS-C X-Trans CMOS III |
| X-T100 | Interchangeable Lens Camera | 2018/05 | 24MP APS-C Bayer CMOS |
| XF10 | Fixed Lens Camera | 2018/07 | 24MP APS-C Bayer CMOS |
| X-T3 | Interchangeable Lens Camera | 2018/09 | 26MP APS-C X-Trans CMOS IV |
| GFX 50R | Medium Format Camera | 2018/11 | 51.4MP Medium Format Bayer CMOS |
| X-T30 | Interchangeable Lens Camera | 2019/02 | 26MP APS-C X-Trans CMOS IV |
| GFX 100 | Medium Format Camera | 2019/05 | 102MP Medium Format Bayer CMOS |
| X-A7 | Interchangeable Lens Camera | 2019/09 | 24MP APS-C Bayer CMOS |
| X-Pro3 | Interchangeable Lens Camera | 2019/10 | 26MP APS-C X-Trans CMOS IV |
| X-T200 | Interchangeable Lens Camera | 2020/01 | 24MP APS-C Bayer CMOS |
| X100V | Fixed Lens Camera | 2020/02 | 26MP APS-C X-Trans CMOS IV |
| X-T4 | Interchangeable Lens Camera | 2020/02 | 26MP APS-C X-Trans CMOS IV |
| X-S10 | Interchangeable Lens Camera | 2020/10 | 26MP APS-C X-Trans CMOS IV |
| GFX 100S | Medium Format Camera | 2021/01 | 102MP Medium Format Bayer CMOS |
| X-E4 | Interchangeable Lens Camera | 2021/01 | 26MP APS-C X-Trans CMOS IV |
| GFX 50S II | Medium Format Camera | 2021/09 | 51.4MP Medium Format Bayer CMOS |
| X-T30 II | Interchangeable Lens Camera | 2021/09 | 26MP APS-C X-Trans CMOS IV |
| X-H2S | Interchangeable Lens Camera | 2022/05 | 26MP APS-C X-Trans CMOS V HS |
| X-H2 | Interchangeable Lens Camera | 2022/09 | 40MP APS-C X-Trans CMOS V HR |
| X-T5 | Interchangeable Lens Camera | 2022/11 | 40MP APS-C X-Trans CMOS V HR |
| X-S20 | Interchangeable Lens Camera | 2023/05 | 26MP APS-C X-Trans CMOS IV |
| GFX 100 II | Medium Format Camera | 2023/09 | 102MP Medium Format Bayer CMOS |
| X100VI | Fixed Lens Camera | 2024/02 | 40MP APS-C X-Trans CMOS V HR |
| X-T50 | Interchangeable Lens Camera | 2024/05 | 40MP APS-C X-Trans CMOS V HR |
| X-M5 | Interchangeable Lens Camera | 2024/11 | 26MP APS-C X-Trans CMOS IV |
| GFX 100S II | Medium Format Camera | 2024/05 | 102MP Medium Format Bayer CMOS |
| GFX100RF | Fixed Lens Medium Format Camera | 2025/04 | 102MP Medium Format CMOS II |
Have I missed anything? Let me know.
Personal Reflections & What Might Come Next
Looking back at all these Fujifilm cameras, what stands out isn’t just how many there have been — though yes, the list is long — it’s how clearly they’ve meant something to the people who use them.
These cameras didn’t just fill a spec sheet. They shaped workflows. They changed shooting styles. Sometimes they even changed careers - they did for me.
And — they made photography feel like magic again.
Not every model hit the mark. Some came too soon. Others stayed too long. But what ties it all together is this stubborn, slightly endearing commitment to doing things differently.
To putting dials on top when the world was going touchscreen.
To sticking with APS-C when the pressure was to go full-frame.
To building a medium format compact that, to some, makes no practical sense but plenty of emotional sense.
What’s next? Honestly, who knows. The X-Pro4 feels inevitable, but nobody knows when.
The X100 line will almost certainly continue — the VI already feels like a classic in the making. And GFX? That’s harder to predict. But Fuji has a way of surprising us when we least expect it.
In the meantime, we’re left with an unusually rich system. A timeline full of character, contradiction, and charm. Cameras that frustrate and delight in equal measure. Cameras that, for whatever reason, make people care.
And that, more than any resolution bump or firmware tweak, is what’s kept the Fujifilm system interesting for this long.
If you’ve read this far — thanks. And if you’ve ever owned one of these cameras, you’re part of the story too.
What’s Next? The Rumoured Fujifilm X-Half
One of the more intriguing rumours floating around right now is the so-called Fujifilm X-Half — a compact camera with a 1-inch sensor, an f/2.4 lens, and a body reportedly smaller than the already tiny X-M5. Despite the name, it may not technically a half-frame sensor (at least not in the traditional 35mm film sense), but the concept seems to lean into the idea of vertical shooting and diptychs, according to Fujirumors.
The camera is rumoured to have a vertical LCD, an optical viewfinder, and classic Fuji controls like an exposure compensation dial. If true, this could be a creative tool aimed at photographers who want something different — not just smaller, but fundamentally more experimental.
It’s still speculative, of course. But if Fujifilm has proven anything, it’s that they’re not afraid to build cameras that don’t quite follow the expected path. This sounds like one of those.
Want More Fujifilm Stuff?
If you enjoyed this post, you might like what I’ve put together over on the Fujifilm Learning Hub — a collection of real-world tips, setup guides, JPEG recipes, and more.
I also run the occasional free Zoom Q&A session, where you can ask me anything about Fujifilm, street photography, weddings… whatever you’re into.
If you’re a wedding photographer, or even thinking about heading in that direction, you might also want to check out my self-paced online course:
The Art of Documentary Wedding Photography – built around real experience, real moments, and how to capture them honestly.
Or if you just want to support the site, you can check out the Lightroom presets I use for my own work, or take a look at my Workshops & Mentoring.
Either way — thanks for reading.
A Note on the Editing of the Images:
All of the images in this post were edited using my own Lightroom presets — the same ones I’ve developed over years of working as a professional photographer. They’re designed to keep things clean, honest, and true to the filmic look I’ve always loved.
Want to learn my Style?
If you're a wedding photographer — or thinking about heading in that direction — you might be interested in my online course, The Art of Documentary Wedding Photography.
It’s self-paced, built from real-world experience, and focuses on telling honest, unscripted stories through your images — without posing, staging, or getting in the way.
This comprehensive online course offers 7+ hours of practical insights to help you tell authentic wedding stories. Explore how to use light, composition, and human behaviour to create compelling images with confidence. Drawing on real-world lessons from my experience shooting over 800 weddings, this masterclass includes practical advice, personal insights, and an exclusive live Q&A session.
