Fujifilm X100V—Learning to See—My Review
Fujifilm X100V.
It’s the same camera. Just as it has been for the past 10 years, it’s unquestionably a Fujifilm X100. Aesthetically, it’s almost identical to previous models. But under the hood, things have changed. Significantly and radically.
At a quick glance, not much has changed in the body. Especially at the front. But at the rear, it’s clear that the design philosophy has been taken to a whole new level. There are fewer buttons. Everything is even more streamlined and simple. No distractions—just what you need.
And in an age when cameras are increasingly losing their physical form and becoming miniature computers, frankly, it’s heartening.
The stunning new X100V. One of the few details that sets it apart from the front is the “II” designation on the lens, which has been completely redesigned.
Fujifilm X100V, top cover.
Fujifilm X100V
Fujifilm X100V, rear panel. The design is clearly streamlined. Few buttons—just what you need. No unnecessary distractions.
The camera that teaches you how to see.
To paraphrase Dorothea Lange …the camera is the tool that teaches you to see, even when you don’t have it with you. That’s exactly what the X100V is: the perfect tool for learning to see. There are many reasons for this. First and foremost, because it’s a camera you can always have with you, given its light weight (400 grams) and compact size.
Secondly, because it’s a camera with a viewfinder that’s unique in the world. It’s a hybrid viewfinder. The base is that of a Galilean optical viewfinder—which has been enlarged in this latest version. But thanks to the lever located at the front, marked by a red finish, you can switch to a fully electronic viewfinder or even set a small overlay in the optical viewfinder showing a digital crop of the area you’re focusing on. This makes manual focusing very easy to manage.
Why is a viewfinder like this such an invaluable asset?
The question is simple, but the answer is very, very complex. If I were to think of someone who is just starting to seriously explore the wonderful art of photography, I wouldn’t feel comfortable recommending a camera with an electronic viewfinder. Even though this comes with a considerable number of advantages (smaller size, greater discretion when shooting, lighter weight, etc.). The problem with electronic viewfinders is that they let you preview the final result BEFORE you’ve taken the shot. And for those who are developing their mental ability to visualize the image they’d like to capture, this shortcut, in my opinion, becomes extremely dangerous. It makes you mentally lazy and inhibits this work, which is, however, a fundamental process for any photographer. It’s not a problem for those who have been shooting for many years and have hundreds of thousands of shots under their belt. Because this process is already well-established… but for those who are still refining it, it can be dangerous. The X100V brings you the best features of an optical viewfinder, which in this case is not only extremely large, direct, and bright, but also boasts frames that let you see what’s about to enter your frame. This gives you an advantage in anticipating the action that’s about to happen. And on top of that, if needed, you’ll also have a high-quality electronic viewfinder. Use it less than the optical viewfinder, though. Because once you understand what the optical viewfinder allows you to do—and what that entails in terms of preparation—you’ll be grateful you put in that extra bit of effort. But you’ll achieve far better results.
Torre Flavia, 2021. Fujifilm X100V
The everyday camera.
A day trip to the beach, two hours stolen from the daily grind, fresh air. Two hours of walking along a nearly deserted beach. It’s tricky to bring bulky cameras and lenses along. But what about a camera that fits into the large pocket of a pair of jeans or the large pocket of a jacket? It fits perfectly, just as it fits into an impromptu day trip, about an hour’s drive from home. Where, too, heavy and bulky gear feels out of place.
Canale Monterano, 2021. Fujifilm X100V
Canale Monterano, 2021. Fujifilm X100V
On the way back from Canale Monterano, heading toward Torre Flavia. Fujifilm X100V
A different approach—Film simulations and contrast curves.
I’ve been a professional photographer for many years. And I believe that processing RAW files—the digital negative—is always the best approach in terms of quality, but above all in terms of the ability to structure your creative vision according to the aesthetic that best suits what you want to convey. Gastel used to say that the beauty of digital photography was the ability to choose the film after taking the shot. Not before, as the analog world required. And I absolutely agree. But there is also a different experience: the ability to start with a set of presets—which Fujifilm calls “films”—and a range of customization options, such as optimizing dynamic range and the ability to draw the contrast curve directly in-camera (albeit with limitations, using only two points…). All these tools, seamlessly integrated into the Fuji, are exceptional at producing what are likely among the best JPEGs—that is, finished files—directly from the camera, without needing to retouch. Having a much clearer idea of what your final result will look like is a great thing and an excellent way to practice shooting while optimizing the settings that matter most to you, in relation to the style and aesthetic you feel best suits what you want to convey. Many of the photos you see in this review have undergone very little post-processing—just a matter of subtle adjustments to shadows and highlights that RAW files allow—but the mood was already established at the time of shooting.
Ostia, 2021. Fujifilm X100V.
Ostia, 2021. Fuji X100V. ISO 2500
Ostia, 2021. Fujifilm X100V
Versatility and adaptability
As we mentioned, the image quality—which is inherently very painterly and delicate, with subtle tonal transitions—is partly due to the new lens, which has been completely redesigned compared to previous models, and can be customized to your liking using the various tools available. There are also other options, such as the ability to produce deeper blues, adjust the texture, and so on. You can tailor it to your specific preferences.
And if I may offer a piece of advice, try using a curve that opens up the shadows as your starting point for adjusting the contrast—one that makes the shadows more open and distinct, rather than harsh. Start there and then experiment; it’ll be a lot of fun.
It’s worth noting the excellent performance even at high ISO settings, both in terms of noise control and color reproduction. And the significant improvement in the speed and accuracy of the autofocus system is definitely worth mentioning. Face detection and Eye AF—the systems for detecting and tracking faces and eyes—are also more than adequate. They’re extremely useful for portraiture, but also for street photography. This isn’t a camera designed for sports photography, but in this fifth generation, it has become a truly responsive, precise, and reliable camera, particularly in terms of AF. It doesn’t quite reach the level of the category leaders, but it’s still at an excellent level.
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35mm portrait photography.
Luca. Rome, EUR. Fujifilm X100V
Luca. Rome, EUR. Fujifilm X100V
Luca. Rome, EUR. Fujifilm X100V
In all of the examples above, we see the most intuitive use of the 35mm lens in portrait photography: environmental portraits. This is likely the focal length best suited for this type of photography, and it offers tremendous versatility. Furthermore, the camera has another unique feature. The central shutter allows you to sync flashes up to 1/4000 of a second without any loss of power, unlike HSS (High Speed Sync) systems, which is the only way to bypass the limitations of a traditional mechanical shutter—which otherwise would not allow shutter speeds faster than 1/250 of a second, on average.
This allowed me to blend the flash light with the ambient light in a completely natural and unobtrusive way. My philosophy is that the flash shouldn't be visible, except in rare—and intentional—cases.
It should also be noted that the central shutter, in addition to the points mentioned above regarding the flash, has the significant advantage of being completely silent, extremely durable, and vibration-free.
Technical Note—
In this case, I used a Profoto A10 paired with the Fujifilm X100V.
All photos were taken on Across black-and-white film and only lightly edited in Capture One.
Luca. Rome, EUR. Fujifilm X100V
But 35mm can also be used in portrait photography in a very different way. Especially when you have a very precise and fast autofocus (particularly in continuous mode) and a short minimum focusing distance. And last but not least, image quality that’s optimized even at short focusing distances.
Silvia. Torre Flavia. Fujifilm X100V
Additional Options - Optical Accessories.
Since this isn’t an interchangeable-lens camera but rather a fixed-lens model without a zoom, many people may wonder about the camera’s versatility. Personally, I believe the photos in this review speak for themselves. Regarding the camera’s versatility: To be honest, I’ve also tested the two optional lenses available for the X100V—the 28mm wide-angle and the 50mm standard lenses (35mm equivalent). I’ll write a separate article on that topic. The quality of both is truly excellent. There’s no noticeable loss in image quality when used in the field, and they add a lot of versatility. If you’re just starting out, or if you’re looking for a truly compact camera, however, I recommend starting with the camera without any attachments. The only accessories I recommend are the lens hood and the adapter for mounting filters and the lens hood. That’s it. Less is more. And in this case, it’s truer than ever,
Other films.
The machine already offers a wide range of features. But there are many more available
For example, see here (in English)
Over a hundred types of film to load into your Fuji camera.
The interview with the Fujifilm engineers is also very interesting. The app—called Fuji X Weekly—is available for both iPhone and Android users.
Trastevere, Rome, 2021. Fujifilm X100V
Rome, 2021. Fujifilm X100V
Trastevere, Rome, 2021. Fujifilm X100V
Ponte Sisto, Rome. Fujifilm X100V. And lots of pollen—much to my delight. Yes, I have allergies…
The road, but not only that.
The street is definitely the X100V’s domain. Small, discreet, unobtrusive. Completely silent, lightweight, and fast. It performs exceptionally well in both single and continuous autofocus, as well as in manual focus. Whether using the optical viewfinder with magnification of the focus area, electronic overlay, or the electronic viewfinder. There are no more “false positives” as in past generations; we are truly very close to the top of the category in terms of efficiency, precision, and reliability.
The image quality is exceptionally high, both in terms of dynamic range and noise handling. The signal-to-noise ratio is remarkable, approaching—if not surpassing—that of full-frame cameras from the previous generation. This is thanks to the BSI sensor—that is, one equipped with back-illuminated technology. Light reaches the photodetectors, or individual pixels, more directly and efficiently.
Its operating speed and image quality make it ideally suited for other demanding applications as well. It handles landscape and portrait photography with ease. The balance between technical specifications and quality is truly unique in today’s market. We’ll see this shortly in a comparison with other cameras currently on the market.
One quick note on speed: compared to much more expensive cameras, there is still a slight delay when pressing the shutter button, but it’s hardly noticeable, and you can always shoot dynamically without any limitations.
Ostia. Fujifilm X100V
Torre Flavia. Fujifilm X100V.
Ostia, 2021. Fujifilm X100V
Rome, 2021. Fujifilm X100V. ISO 2500
Rome, 2021, Via Del Corso. Fujifilm X100V. ISO 2500.
Rome, 2021, Piazza Navona. Fujifilm X100V. ISO 12,800.
Conclusions— Strengths and Weaknesses
Advantages
— High-quality construction.
—A redesigned lens of the highest quality.
—Adapted for the tropics.
—The autofocus system has been greatly improved. Continuous AF is very efficient, as are Face Detection and Eye AF.
—A spectacular optical viewfinder, further improved.
—The world’s only hybrid viewfinder.
—Adjustable display
—Central shutter with unique features
—Image quality.
—You can create and save your own presets on the device or download them from the app.
—High operating speed.
—User-friendliness
—Striking aesthetics
—High dynamic range. Remarkable highlight recovery (with Capture One Pro)
—Excellent signal-to-noise ratio.
—Well-placed controls and knobs. Nothing superfluous.
—High-quality 28-mm and 50-mm optical accessories.
—Customizable contrast curve in-camera (though it would be nice to have at least one or two more settings).
Defects
—A slight lag on the shutter button (compared to cameras that are, after all, much more expensive, but it’s nothing you can’t live with).
—Non-interchangeable lens.
—The menu and some items need to be simplified.
—The electronic viewfinder is a bit too high-contrast.
You can't tell that I adore her, can you?
Comparisons
This is a very complicated topic, because there are currently no cameras that are directly comparable to the Fujifilm X100V. I’ll try to compare certain cameras that share similarities in design, operation, or technical specifications. I should point out that I’ve had the chance to handle ALL the cameras I’m discussing for at least a reasonable amount of time to form an opinion—albeit a rough one.
Leica Q2
The price difference—as of this writing—is significant: €5,050 versus €1,400 for the Fujifilm X100V.
The Leica Q2 is a full-frame camera, while the Fuji is APS-C. The sensor area is therefore roughly half the size.
Another advantage of the Leica is its superior build quality, complete with tropicalization certification (IP52)
It has a better electronic viewfinder, but it completely lacks the huge advantage offered by Fujifilm’s optical and hybrid viewfinders. Its single-shot AF is about as fast as Fujifilm’s, but slightly less accurate, and it lacks a continuous AF system worthy of the name, as it doesn’t have a phase-detection system. However, with a 28mm lens, you can still work around this limitation.
Optically speaking, Fujifilm’s 23mm f/2 Mark 2 leaves nothing to be desired compared to the Q2’s digitally corrected Summilux. Both are superb. But at that price, personally, I have a hard time accepting digital distortion correction. Both lenses are beautiful in terms of image quality and rendering.
Image quality is slightly better on the Q2 at low and medium ISO settings; beyond that, the advantage of the Fuji’s back-illuminated BSI sensor lies in its superior color retention at higher sensitivities, despite its smaller sensor size. The Leica Q2 offers more effective image stabilization.
In terms of user experience, the Q2 is definitely a lot of fun and very satisfying. But the Fuji is by no means inferior—quite the opposite. But the Leica lacks the film customization options found on the Fuji. The Q2 delivers phenomenal results. But that’s all it offers. With the Fuji, you can tailor the output to your own tastes—tones, contrast, shadows, highlights, and so on. The more you use the Fuji, the more you’ll appreciate how stimulating it is to build it to your specific preferences. Point for Fuji.
In terms of size and weight, Fuji clearly comes out on top.
Fixed display, not adjustable (the Fuji model, top or bottom)
Both cameras offer an extended dynamic range. Leica does a better job of preserving shadows, while Fujifilm excels at handling highlights.
All in all, as far as I'm concerned, it's a clear win for Fujifilm.
Olympus Pen-F
A camera with an M4/3 sensor—about half the size of the Fuji’s APS-C sensor. It lacks a back-illuminated sensor design, so it doesn’t offer the same level of performance as Fujifilm, and its smaller size also comes at a cost.
Slightly more responsive when AFS is activated, it too completely lacks a phase-detection AF system, making it less effective in AF-C mode.
Extremely pleasant to use, with very comfortable controls and a vintage aesthetic similar to Fujifilm’s, it boasts a system of small, lightweight interchangeable lenses. This is a real advantage over Fujifilm, which remains a fixed-lens camera. The electronic viewfinder doesn’t measure up to Fuji’s, and the optical viewfinder… well, there isn’t one.
Adjustable display in all directions—very convenient (the Fujifilm model only tilts up or down)
The fact that its price is so close to that of the Fujifilm X100V makes it a tough sell, unless you absolutely must have interchangeable lenses.
There are other compact cameras with an APS-C sensor. Take the Canon G1X Mark III, for example. But the quality of the lens is simply incomparable. And its low light performance greatly diminishes the advantages of such a large sensor. The philosophy behind the camera was similar—a camera with a large sensor (albeit one with a zoom lens, whereas the Fujifilm has a fixed lens)—but very compact. However, the differences in image quality are so vast that, in my opinion, any comparison is pointless.
Federico Zaza
Editing Software: Capture One 21 Pro
Photo by Silvia Manfredo. Torre Flavia. Fujifilm X100V
