Fujifilm X100VI Review: The Little Retro Camera Taking Over 2025

Key Facts & Highlights

• 40.2 MP X-Trans 5 Sensor & IBIS: Packs a 40.2-megapixel APS-C X-Trans CMOS 5 HR sensor (backside illuminated) with the new X-Processor 5, plus 5-axis in-body stabilization (up to 6 stops) – a first for the X100 series dustinabbott.net. This big sensor jump from the 26 MP X100V means more detail and cropping flexibility, while IBIS dramatically improves low-light and video shooting stability.
• Fixed 23mm f/2 Lens (35mm equiv.): Retains the beloved Fujinon 23mm f/2 lens (35mm full-frame equivalent) from the X100V, with two aspherical elements for edge-to-edge sharpness. It delivers classic imagery with pleasing bokeh at f/2 and is sharp even wide open, no longer exhibiting the close-focus softness of earlier models thecotswoldphotographer.com. A built-in 4-stop ND filter allows shooting at wide apertures in bright light or long exposures for creativity.
• Hybrid Viewfinder & Tilt Screen: Features Fujifilm’s signature Advanced Hybrid Viewfinder – an optical viewfinder (OVF) with frame lines that can instantly switch to a 3.69M-dot electronic viewfinder (EVF), including an electronic rangefinder overlay for manual focus assist. The rear 3.0-inch LCD is a 1.62M-dot two-way tiltingtouchscreen, which folds flat against the body and tilts up ~90° and down ~45° for waist-level or overhead shooting. This is great for street candids and creative angles while keeping a low profile.
• Improved Video & Performance: Capable of 6.2K/30p 10-bit video and oversampled 4K (up to 60p), plus 1080p up to 240 fps for slow-motion. The new processor enables faster autofocus with AI-based subject detection(recognizes people, animals, cars, etc.) and better tracking in stills and video fujifilm-x.com. The X100VI shoots bursts up to 11 fps mechanical or 20 fps with electronic shutter (with 1.29× crop). Shutter speeds reach 1/4000s mechanical and an insane 1/180,000s electronic for sunlit scenes. A silent leaf shutter design also allows flash sync at high speeds (great for daylight fill-flash).
• Classic Build, Modern Extras: Retro rangefinder-style controls (dedicated shutter speed and ISO dials, aperture ring) provide a tactile, analog experience that “oozes hipster coolness,” essentially a poor man’s Leica dustinabbott.net. The body is solid and now made in China instead of Japan, but reviewers note no loss in quality feel. It’s weather-resistant when you attach the optional adapter and 49mm filter (just like the X100V). Other conveniences include a built-in pop-up flash, single SD card slot (UHS-I), USB-C charging, Wi-Fi/Bluetooth with new Frame.io Cloud integration for instant uploads, and compatibility with the improved Fujifilm XApp for remote control and wireless transfer.
• Size, Battery & Price: The camera remains compact: about 5.0 x 2.9 x 2.2 inches and ~520 g with battery – only ~1.5 oz heavier than the X100V. Battery life is roughly 350 shots (310 EVF / 450 OVF) on the NP-W126S, same as before. The launch MSRP was approx. $1,599 USD, with current street prices around $1,799 (when in stock). A special 90th Anniversary Limited Edition (1,934 units) with a retro 1934 Fujifilm logo was offered at ~$2,000. Standard X100VI comes in silver or black; the limited edition features unique engraving and a higher price for collectors.

Full Specifications and New Features

The Fujifilm X100VI is the 6th-generation X100 series camera, and it brings major upgrades over the popular X100V. At its heart is a 40.2 MP X-Trans CMOS 5 HR sensor – the same high-resolution APS-C sensor found in Fuji’s latest flagship bodies (like the X-T5), replacing the 26 MP chip of the X100V. The detail gain is significant: photographers can now crop or print large with less quality loss, which is especially useful given the fixed lens. Notably, base ISO drops to 125 (from ISO 160 on the X100V), improving dynamic range in bright conditions. The ISO range spans 125–12,800 native (expandable to 64–51,200), and noise performance remains excellent thanks to Fuji’s processing advancements.

In-body image stabilization (IBIS) is arguably the headline feature – it’s the first X100 model to ever include IBIS, offering up to 6.0 stops of shake reduction. This miniaturized 5-axis stabilizer greatly aids hand-held shooting. Reviewers note it “makes the X100VI stand apart from other compact systems that might look appealing on paper but fall short in real use”, allowing sharp shots at slower shutter speeds and much steadier video footage. Street and travel photographers benefit from IBIS in low light or when shooting on the move, as it “compensates for minor camera shakes” that the older X100V simply couldn’t handle. Combined with the wide f/2 aperture and improved high ISO performance, the X100VI becomes a formidable low-light camera without needing a tripod or flash.

The fixed 23mm f/2 lens carries over the refined optical design introduced on the X100V – including two aspherical elements for high corner sharpness and low distortion. Fujifilm stuck with this lens because it strikes a balance of size, speed, and character. Users coming from older X100 models will notice that issues like soft edges or close-focus softness at f/2 have been solved since the V’s redesign thecotswoldphotographer.com. The lens renders images with a classic Fujifilm look – sharp but with pleasant background blur and a “natural look” that suits documentary-style shooting. Its 35mm-equivalent field of view is a versatile “do-it-all” focal length for everything from street candids and environmental portraits to landscapes. While you can’t zoom, the camera offers in-camera digital teleconverter modes (50mm and 70mm crop simulations) if you need a tighter frame. Many photographers find that embracing a single focal length “can actually be freeing”, encouraging focus on timing and composition rather than gear. And unlike an interchangeable lens system, you’ll never get dust on the sensor – a perk for travel.

Video capabilities get a serious boost in the X100VI. It can record 6.2K video (6240×3510) up to 30p in 10-bit 4:2:2 internally. This yields highly detailed footage (oversampled from the full sensor) or can be used to produce oversampled 4K video that’s exceptionally crisp. There’s also a dedicated 4K/60p mode and up to 240 fps at 1080p for super slow-motion. Fujifilm included features for serious videographers: F-Log and H.265 support, a mic input, and even Frame.io Camera-to-Cloud integration to upload proxy clips or images straight to the cloud over Wi-Fi. With the built-in ND filter, switching between stills and video is seamless – you can shoot wide-open at f/2 for dreamy video bokeh even in daylight without screwing on external ND filters. As one reviewer pointed out, “the core combo of high-res files, internal log video, IBIS, and a built-in ND doesn’t exist in any other camera at this level”, eliminating a lot of hassle for hybrid shooters. Essentially, the X100VI delivers an uncompromising mini filmmaking package in a compact body.

Beyond sensor and video upgrades, the X100VI inherits Fuji’s latest X-Processor 5, which brings snappier overall performance and new autofocus smarts. The camera’s hybrid AF system (phase detection points across the frame) now benefits from AI subject detection introduced on the X-H2/H2S. It can automatically recognize and track a variety of subjects – humans (face/eye detect), animals, birds, cars, bikes, even drones – and it does so more reliably than the X100V’s simpler AF fujifilm-x.com. Continuous AF tracking is improved, though some reviewers note it’s still not as “sticky” as the very best from Sony or Canon for fast action. For typical uses (street, people, travel) the autofocus is fast and accurate, locking on to faces and eyes well. In tricky low-contrast scenes, the new AF algorithm and the added light gathered by the f/2 + IBIS combo make focusing more dependable than before. The X100VI also gains focus features like zone AF improvements and pre-shot ES (captures frames before full shutter press) to help nail fleeting moments dustinabbott.net.

A few more subtle improvements came via firmware: for example, the “REALA ACE” film simulation was added (making 20 film sims total in-camera). Classic modes like Velvia, Provia, ACROS, Classic Chrome and the newer Nostalgic Neg. are all on board for JPEG shooters to get beautiful Fuji colors straight out-of-camera. The X100VI even supports the HEIF image format for 10-bit stills and offers in-camera RAW to TIFF conversion for maximum quality JPEG alternatives. Shutter enthusiasts will appreciate the electronic shutter up to 1/180,000s – essentially no scene is too bright to shoot wide open, and you can freeze anything. The mechanical leaf shutter remains ultra-quiet and can sync flash at high speeds (reportedly up to 1/1000s at f/2, and even faster at smaller apertures) – great for daylight fill flash or capturing fast movement with flash. The built-in flash is handy for close fill or snapshots, and you still have the hot shoe for more powerful off-camera flashes.

Design and Handling

One reason the X100 line has a near-cult following is its timeless design and enjoyable handling. The X100VI continues in the tradition: it looks nearly identical to its predecessors at a glance – a sleek, rangefinder-inspired body with milled aluminum dials and a satisfying heft. Fujifilm knows not to mess with a good thing: the camera’s dimensions are basically unchanged from the X100V, and it weighs just slightly more (about 20–40g more) due to the IBIS hardware. It’s still very much jacket-pocketable. The build is solid metal on top and bottom, with texturized grip surfaces. Notably, manufacturing moved to China for this model, but hands-on reports say the build quality is still excellent – “sturdy in hand, with a classic aesthetic that doesn’t draw attention”. In fact, many users treat the X100VI like a vintage film camera that just happens to be digital. Fujifilm even released a 90th Anniversary limited edition X100VI with throwback design cues (like the 1930s Fuji logo and a special serial plate) to celebrate the company’s heritage.

The tactile dials are a big part of the charm. You get a top-deck shutter speed dial (with a lock and full stop increments), an ISO dial nested within it (lift-and-turn style, improved feel from X100V), an exposure compensation dial, and of course the aperture ring on the lens (in 1/3 stops). This analog control layout lets you see and adjust key exposure settings even when the camera is off, just like on a classic film camera. It’s an enthusiast’s delight – and not merely nostalgia: these direct dials make shooting more intentional and fun. The feedback from photographers is that the X100VI is “a camera that exists for the experience”, encouraging a slower, more mindful approach that many find rekindles their love of photography. As one Fstoppers reviewer noted, the retro controls and compact form “make it clear why many people are reconsidering whether they even need a second system for personal shooting”. The X100VI manages to feel “indulgent, tactile, and inspiring” in use – adjectives you’d rarely apply to modern consumer electronics.

In terms of interfaces: on the back, Fuji kept the layout minimal (there’s no D-pad, just a joystick and a few buttons, as on the X100V). This can be a small learning curve if you’re used to more buttons, but it results in a clean, uncluttered design. Many settings are changed via the Q menu or touch interface. The 3-inch LCD touchscreen is handy for quick focus point placement or image review, and its two-way tilting mechanism is seamlessly integrated – it stays flush against the back when not in use, preserving the X100’s sleek profile. Being able to tilt the screen upward for waist-level shooting or downward for overhead shots is a huge plus for street photographers who want to remain inconspicuous (shooting from the waist) or for creative compositions. And if you prefer an eye-level finder, the hybrid OVF/EVF is arguably thedefining feature of the series. Slide the front lever and you’re looking through a bright optical viewfinder with frame lines – zero lag, complete with an “Electronic Rangefinder” mini-OVF that can display a small electronic patch for fine focus checking. Or switch fully to the EVF for precise framing, playback, and exposure preview. The EVF is a 3.69-million-dot OLED with 0.66× magnification. It’s not the highest-res EVF on the market, but it’s plenty detailed and now has an OVF image preview function (after you take a shot, it can show you the captured image in the EVF or even overlay it in a corner of the OVF). This hybrid system truly gives the best of both worlds – something rangefinder lovers adore.

The X100VI continues to offer leaf shutter benefits: near-silent operation (just a soft click), minimal shutter shock, and high flash sync speeds. In practice, you can shoot candids without drawing attention, and you can use the built-in flash or an on-camera strobe even in daylight to fill shadows, since the leaf shutter can sync flash at faster speeds than focal-plane shutters. For example, syncing at 1/1000s is possible at wider apertures (the top sync speed varies with aperture). This is a huge plus for portrait shooters who want to shoot at f/2 in sun with fill flash – something DSLR users typically need ND filters or HSS for. The built-in 4-stop ND filter further extends creative options: you can effectively cut light to use f/2 in bright noon light or do long 1/2 second exposures of waterfalls, etc., without carrying external filters.

Despite its classic look, the X100VI has thoroughly modern connectivity. It uses Fujifilm’s new XApp (Bluetooth and Wi-Fi 5) for easy image transfer and remote control via your phone. This new app is more stable and full-featured than Fuji’s older Camera Remote. Interestingly, Fujifilm even baked in Frame.io C2C support – you can send photos or proxy videos straight from camera to cloud for immediate editing or sharing. This is a boon for workflow on the go, though likely a niche feature. More universally appreciated: USB-C charging is supported, so you can top up the battery with a power bank or phone charger. The NP-W126S battery yields ~310 shots with EVF (~450 with OVF) per CIPA rating. In real life, many users get a day of casual shooting out of one charge; carrying a spare is wise for heavy use, given mirrorless power draw. The battery life didn’t improve despite IBIS – Fuji managed to maintain similar endurance by efficiency tweaks. And yes, the camera can charge over USB or be powered while shooting. The single memory card slot (UHS-I SD) is a bit of a bottleneck given the 40MP files and high-bitrate video (200 Mbps), but in practice it’s sufficient unless you shoot long bursts or tons of video. One surprise: Fuji gave the X100VI 55 GB of internal storage – if you’re thinking of the Ricoh GR IV! (Just kidding – that’s actually a Ricoh feature). The X100VI itself doesn’t have internal memory for shooting; you’ll want a fast SD card for best results (the UHS-I limit means ~90 MB/s max write). The camera does support the newer HEIF format for smaller 10-bit files, which is handy to save space dustinabbott.net.

In summary, the X100VI’s design marries form and function. It’s a camera you’ll love to carry and use. As one photographer put it, “the longer he used the camera, the more he liked it… this is more than a bit of nostalgia; it’s a highly capable imaging machine.” dustinabbott.net The analog-inspired controls, combined with cutting-edge internals, make for a uniquely satisfying shooting experience that few other cameras can replicate at this size and price. Fuji’s own marketing calls it “photography in its purest form” and an “indulgent, tactile image-making experience” – and for once, the hyperbole rings true.

Real-World Performance

How does the X100VI actually perform outside the spec sheet? In short, it excels as an everyday carry camera for a broad range of scenarios – street photography, travel, family moments, and even casual video – but with a few trade-offs inherent to its fixed-lens, compact design.

Street Photography & Everyday Shooting

The X100 series has always been beloved by street photographers, and the X100VI might be the ultimate street camera to date. Its compact size, nearly silent operation, and fast reactions make it ideal for candid moments. You can shoot with the optical finder for a natural view of the scene (seeing outside the frame helps anticipate subjects entering), or use the EVF/LCD to frame precisely. The leaf shutter is so quiet that people won’t realize you’ve taken a photo – you can capture genuine expressions without drawing attention. And if you do need flash for a bit of fill light on a backlit face or night street scene, the high flash-sync lets you use it subtly even in daytime. With IBIS and the f/2 aperture, the X100VI can handle dimly lit streets and night scenes better than any predecessor. Photographers report that hand-holding around 1/15s (or even ~1/8s) is feasible now thanks to stabilization, whereas before you’d need to crank ISO or risk blur.

Autofocus in street use is generally snappy. In single AF mode, the camera locks focus quickly on subjects; face detection is handy for grabbing focus on people on the fly. Continuous AF for moving subjects (e.g. a cyclist coming toward you) is improved, though not infallible. It’s not an action camera per se, but the added subject tracking means it does a decent job following a walking person or pet. Some users note that Fuji’s AF tracking still isn’t as “sticky” as a Sony – so if you’re trying to rattle off a sequence of a fast-moving subject, you might get a couple out-of-focus frames in a burst. That said, for typical street moments – a person walking into a ray of light, an interesting expression, a fleeting gesture – the X100VI is more than capable of nailing focus and exposure quickly. Its burst mode up to 11 fps mechanical (or 20 fps e-shutter with slight crop) is plenty to catch a decisive moment. And with the electronic shutter, you can shoot completely silently at up to 1/180,000s – meaning you can even use f/2 in bright sun without overexposing, all while staying stealthy.

A huge part of the street/travel appeal is portability and ease of use. The X100VI is small enough to be with you everywhere. It’s not much larger than a typical high-end point-and-shoot, yet it packs an APS-C sensor and pro-grade lens. Reviewers have consistently found themselves carrying the X100VI more often than their larger ILC kits, simply because it slips into a coat pocket or small bag and doesn’t become a burden during a long day out. As one travel photographer put it, “X100VI’s small size and light weight make it ideal for travel… I simply want to pick it up and use it more than other cameras I own”. At ~520g loaded, it’s roughly the weight of a mid-size mirrorless body without a lens – except here you do have a lens included, equivalent to a 35mm f/2. This all-in-one package means no lens swapping, no extra lenses to carry – which many find liberating when exploring. You can walk city streets or hike a trail with the camera in hand all day. It also doesn’t scream “expensive camera” to most people; the retro styling is handsome but understated, often mistaken for an old film camera. That discretion can make both the photographer and subjects more comfortable on the street.

Travel & Documentary Work

For travel photography, the X100VI has proven to be a superb companion. In fact, David Fleet (the Cotswold Photographer) calls it “one of the best options available: small, light, discreet, and capable of producing professional-level images with minimal fuss” thecotswoldphotographer.com. Whether you’re backpacking through cities, going on vacation, or documenting everyday life abroad, the X100VI hits a sweet spot. It powers on fast and is ready in about half a second – great for spontaneous moments. The 35mm-equiv lens is versatile enough that you can capture a wide vista or a street scene, yet still get a nice half-body portrait or detail shot by moving a bit closer. Some travelers worried 35mm might be limiting have found it surprisingly adaptable: “I shot landscapes, street scenes, portraits, and travel images, and the 35mm focal length proved more versatile than expected”. And if you absolutely need wider or tighter, Fujifilm offers optional conversion lenses (the WCL-X100 II for ~28mm equiv and TCL-X100 II for ~50mm equiv) that attach to the front – though those add bulk, and many folks skip them in favor of the camera’s simplicity.

JPEG shooters especially love the X100VI for travel because of Fuji’s colors and film simulations. It’s easy to get a gorgeous, ready-to-share image straight out of camera, which means less time editing on the road. For instance, Fuji added the Nostalgic Neg. and Reala ACE film sims to this model, which can produce rich, balanced travel images with a vintage vibe. The in-camera JPEG engine is so good that one landscape photographer noted he even started shooting JPEG-only with the X100VI “with no editing – not even horizon lines… it was honestly such a joy to use and revitalized my enjoyment of photography”. The RAW files, of course, offer maximum latitude (and now 14-bit or even 10-bit HEIF), but many find the JPEGs sufficient unless working in tricky light.

Travel often involves less-than-ideal conditions, and here the X100VI holds up well. It’s not fully weather-sealed out of the box (few compacts are), but adding the Fuji filter adapter and a 49mm protective filter will seal the lens, making the camera weather-resistant against dust and splashes. Many users do this and report the camera withstands rain and beach sand without issues. One user did note an incident: moving the camera from an air-conditioned room to hot humid outdoors caused temporary condensation that fogged the LCD, rendering it inactive for a minute (the EVF still worked). After the camera acclimatized, it was fine. This is more a cautionary tale about sudden temperature/humidity changes than a flaw – and it underscores the importance of that optional filter to reduce moisture ingress. In general, with basic care, the X100VI can handle rugged travel use. The chassis is solid, the dials are well-sealed, and many have taken it on dusty trails, to tropical climates, etc., with no trouble (again, ideally with the adapter ring + filter attached).

Image quality in real-world travel shots is outstanding. You get resolution on par with high-end DSLRs, dynamic range that can recover highlights and shadows from RAW nicely, and Fuji’s renowned color science in JPEG. The lens produces sharp results even into the corners; stopped down to f/4-f/5.6 it’s extremely sharp for landscapes. Wide open at f/2, it can isolate subjects with a gentle background blur – perfect for food, portraits, or detail shots that benefit from shallow depth of field. Its minimum focus distance of ~10 cm (~3.9 inches) lets you get fairly close for detail shots (though at very close range the lens uses an “macro” AF mode and performance can slow slightly). If you need true macro, this isn’t the camera (look to something like the Ricoh GR’s macro mode or an interchangeable lens). But for most travel subjects, from a plate of food to a flower to an architectural detail, it does quite well.

One limitation for travel could be the lack of zoom – you’ll “zoom with your feet.” For many enthusiasts, that’s part of the fun; for others used to a zoom lens, it requires adjustment. You might miss some shots a longer lens would get (distant wildlife, for example). Some users carry the X100VI as part of a two-camera travel kit – maybe pairing it with a small telephoto camera like an Instax mini printer (joking) or more practically, a phone for quick tele shots. But overwhelmingly, those who commit to the X100VI as their main travel camera report it’s “a reliable, compact travel companion” that actually simplifies their shooting and storytelling. The constraint of one focal length can make your travel album more cohesive and push you to be creative.

Finally, battery life on long travel days: This camera isn’t a marathon runner on a single charge. ~300 shots per charge (real-world) means if you’re sunup to sundown shooting, you’ll want 1-2 spare batteries or a power bank. The good news is USB-C charging means in a car or at a café you can easily top it up. And batteries (NP-W126S) are small and relatively inexpensive, so carrying spares isn’t a burden. Also note that using the OVF instead of EVF can squeeze more shots per charge (OVF uses less power). In a pinch, turning on the camera’s Economy mode can stretch life to the stated ~420-450 shots.

Low-Light and Indoor Photography

Low-light performance has been notably improved in the X100VI thanks to three factors: the new sensor’s back-illumination and processing, the addition of IBIS, and the fast f/2 lens (with ISO 125 now natively available for bright scenes, but also clean high ISO up to ~3200-6400). Users coming from the X100V immediately notice they can keep ISO a stop or two lower for the same shot because IBIS lets them handhold slower shutter speeds. For example, where one might have needed 1/60s on the X100V to avoid blur, you might get away with 1/15s on the X100VI, effectively gaining 2 stops of light (depending on your steadiness and subject motion). This is hugely beneficial for indoor shooting – e.g. capturing a dimly-lit café, or candid family moments in the evening – without resorting to flash. And when you do raise the ISO, the 40MP sensor holds up very well: images at ISO 3200-6400 are detailed and reasonably low-noise, especially when downsized or viewed on a normal screen. Fujifilm’s noise reduction in JPEGs is also quite tasteful at default settings, retaining detail without heavy smearing.

The f/2 aperture provides a good amount of light intake; while some full-frame cameras have f/1.4 or f/1.8 primes, remember the X100VI’s APS-C sensor + f/2 is roughly equivalent to full-frame f/3 in terms of depth of field and light gathering. So you’re about 1 to 1.5 stops behind a full-frame with an f/1.4 lens – but IBIS more than compensates for that in static scenes. Reviewers have praised that “at f/2, it’s bright enough to capture low-light scenes, yet offers pleasing bokeh… without compromising sharpness”. Indeed, wide-open the lens is still sharp in the center with just a touch of softness in the extreme corners (which actually can flatter portraits). The bokeh quality is nice and smooth for a 23mm lens; you won’t get super shallow depth except for close subjects, but you can definitely isolate a person or object against a dim background of city lights, for example.

Autofocus in low light is improved by the new sensor’s better light efficiency and the updated AF algorithm. The X100V could struggle a bit in very dim scenes or on low-contrast subjects, hunting occasionally. The X100VI still can hunt in extreme low light (as most contrast-detect systems will) but it locks focus more confidently on dim subjects like a person’s face lit by streetlights. Having the option of the EVF or OVF is useful here: the EVF will gain-up to show you the scene even when it’s too dark to see clearly with your eyes, while the OVF can give you a brighter natural view in moderate low light. The focus assist lamp is there, but often you won’t need it unless it’s really dark.

For night street photography, pairing the silent shutter with high ISO and IBIS means you can capture scenes almost stealthily. However, keep in mind the electronic shutter in very low light can be tricky if there are artificial lights – it might produce banding under certain LED or fluorescent lights (same as any camera’s electronic shutter under flickering light sources). In those cases, you’d switch to mechanical shutter (leaf shutter doesn’t have the banding issues but tops out 1/4000s). Fortunately, 1/4000s is plenty at night.

If you do want to use flash in low light (say for some creative portraits or freezing action in a club), the X100VI’s small built-in flash is okay for 2-3 meter range, but an on-camera Fuji EF-X20 or EF-20 (small hotshoe flashes) or any manual flash can be used thanks to the hot shoe. The leaf shutter’s sync abilities mean you can sync at any speed (no need for HSS in most cases), so you can mix ambient and flash creatively. Also, Fuji has an integrated flash commander mode in its flash system if you have other Fuji flashes to trigger.

Overall, for low-light and indoor shooting, the X100VI is far more capable than its predecessors. One photographer summarized that with IBIS and f/2, “astonishing image quality is in the palm of your hand” even as light levels drop. The only caveat: autofocus tracking of moving subjects in very low light still isn’t magic – a fast-moving toddler in a dim room will challenge it. But for more static or slow-moving subjects (people mingling at a party, a street musician swaying), it performs admirably. And the high ISO noise has a fine, film-like grain structure that many Fuji shooters don’t mind at all – some even add grain via the camera’s settings for a stylized look.

Video Performance

While the X100VI is primarily marketed to stills shooters, Fujifilm gave it surprisingly robust video chops, making it a compelling compact video camera for casual use or B-roll. It won’t replace a dedicated video-centric camera for pros, but it’s quite capable for its class.

First, the ability to shoot 6.2K 10-bit footage internally is exceptional for a camera this small. In practical terms, most users will shoot in 4K mode – and the X100VI offers two types of 4K: a supersampled 4K (where it reads 6.2K and downscales for extra detail, like a “4K HQ” mode) and a regular 4K/60 mode. Both are limited to a maximum of ~45 minutes recording (thermal limits will likely kick in before that if you shoot continuously at 4K60, though in short clips overheating hasn’t been widely reported as a major issue). The image quality of the video is very good: detailed, with Fuji’s lovely colors. You can use film simulations for video (for instance, Eterna for a cinematic low-contrast look, or Classic Chrome for a cool documentary feel). And for those who color grade, F-Log is available to record a flat profile maximizing dynamic range.

Autofocus in video is improved by the new AI tracking as well. You can tap on the screen to track a subject, and the camera will do its best to keep that subject in focus as it moves – a feature Fuji specifically touts for video. Face/Eye tracking in video works decently for talking-head style shots, though again, not to the level of Sony’s latest. Still, it’s a nice step up from earlier models that had very basic video AF. IBIS is hugely beneficial for video – it steadies handheld shots considerably, so you can walk or pan without micro-jitters (it’s not as smooth as a gimbal, but it makes handheld clips usable). Paired with the camera’s small size, this is awesome for travel vlogging or street videography where you want to be nimble. Some have even called the X100VI a great “take anywhere video camera” because you can get stabilized 4K footage without lugging a rig.

One creative advantage: the built-in ND filter really shines for video. Video shooters often need ND to maintain a proper shutter angle (e.g. 1/60s at 30p for natural motion blur) in bright light. The X100VI’s 4-stop ND means you can shoot at f/2 in daylight and still stick to 1/60s shutter – without screwing on external NDs. It’s a big convenience that lets you fluidly go from indoors to bright outdoors, or from photo to video, at the press of a button. Dylan Spitz, in a video review, highlighted that this “eliminates the frustrating shuffle of attaching/removing ND filters” and lets you seamlessly grab video clips while on a hike or out shooting stills. It’s a unique advantage over many cameras (for example, neither the Ricoh GR nor the Sony RX1R series have built-in ND filters).

Audio-wise, the X100VI has a built-in stereo mic which is adequate for reference or casual capture, and a 2.5mm mic jack (unfortunately 2.5mm, so you need an adapter from standard 3.5mm). You can monitor audio via the USB-C port with an adapter (since there’s no dedicated headphone jack). These are the typical compromises of a compact camera, but it’s still better than nothing if you intend to do some semi-serious video. Some users have rigged small external mics via brackets or just use an external recorder for better sound.

One must temper expectations: the X100VI is not a dedicated cinema camera. If you push it hard (long continuous recording, hot environments), it may overheat – physics are physics in a small body. Also, rolling shutter (the jello effect on quick pans) is present in 6.2K and 4K, though not terrible for casual use. The lens, being a fixed 23mm, means you can’t zoom or change perspective easily in video, so you have to “zoom with your feet” or crop in post (the 40MP sensor does allow for some cropping in a 4K frame). The camera also lacks some pro video features like zebras or waveforms for exposure (though you do get focus peaking, and the histogram works for video too).

Despite these, many photographers who never cared about video on previous X100s find themselves using the X100VI for clips. It’s just so convenient and the output looks great, especially for travelogs or creative projects. With film sims, you can make in-camera graded footage that’s essentially ready to share. In fact, the X100VI’s straight-out-of-camera videocan have a wonderful filmic quality – pop it into Classic Chrome or Eterna film simulation, and you get a muted, movie-like tone that requires minimal tweaking. If you do want to edit seriously, the 10-bit F-Log footage gives decent latitude (around 12 stops dynamic range, roughly).

All said, the X100VI’s real-world video performance is “powerful enough to handle both stills and video without making you feel like you’re compromising”. It won’t replace your main video rig for professional work, but it means you don’t have to carry a separate camera to get high-quality clips of your journey or behind-the-scenes footage of a shoot. And that versatility – being able to do it all in one small camera – is a big part of what makes the X100VI special.

Professional Reviews & Opinions

The Fujifilm X100VI has garnered rave reviews from photographers and tech reviewers, many of whom highlight how the camera merges technical excellence with a joyful shooting experience. Here’s a roundup of expert opinions:

• Dustin Abbott (photographer & reviewer) dubbed the X100VI “the one that broke the internet” due to the unprecedented hype and demand at launch. He noted that excitement led to scalpers, lotteries for preorders, and general mayhem – a testament to its popularity. In his thorough review, Abbott praised the “several huge feature upgrades” like the jump to 40MP and addition of IBIS, calling them game-changers for the series dustinabbott.net. He was also struck by the camera’s Leica-like allure, calling the X100VI essentially “a poor man’s Leica” that delivers a similar emotional appeal and gorgeous output at a fraction of a Leica’s cost dustinabbott.net. He found the retro design and shooting process “inspiring,” though he did mention a learning curve for those new to the X100’s control quirks (like the lift-up ISO dial). His conclusion reinforced that much of the X100VI’s charm isn’t about specs, but the “aesthetics and packaging” – it’s the kind of camera that feels special and makes you want to go out and shoot.
• Alex Cooke (Fstoppers) wrote that the X100VI “has quickly become one of those rare cameras that changes the way you think about shooting”. He emphasizes that it’s compact and unassuming yet powerful, freeing photographers from the bulk of gear without feeling limited. In his review titled “The Compact Camera That Does It All,” Cooke highlighted unique features that make the X100VI stand out, such as the combination of high-res stills, internal log video, IBIS, and built-in ND – “a core combination [that] doesn’t exist in any other camera at this level”. He also noted how IBIS and the leaf shutter/ND filter let you fluidly move between stills and video on adventures without extra gear, which many cameras can’t manage. Cooke did address downsides: “Even with all these strengths, the X100VI isn’t perfect. Autofocus trails behind competitors like Sony and Canon… especially in continuous tracking”. And obviously, a fixed 23mm lens means no multi-focal flexibility. But he frames these not as deal-breakers, more as inherent compromises one accepts for the X100VI’s strengths. He ultimately found the camera “encourages shooting for yourself” – it’s a perfect personal companion even if it wouldn’t entirely replace his full-frame kit for paid work.
• Anshel Sag (Forbes) wrote a piece focusing on the camera’s strong specs and elusive availability. He lauded the X100VI’s technical improvements but noted with some frustration that “a full year after the X100VI was released — the United States’ biggest camera retailer, B&H Photo, still [couldn’t keep it in stock]”. This speaks to both the camera’s desirability and the supply challenges (more on that in the next section). Forbes’ coverage praised Fuji for listening to users – adding IBIS, boosting resolution, improving video – making the X100VI a rare compact that appeals to pros and enthusiasts alike. But Sag’s article really drove home that owning one became a bit of a saga due to demand.
• Ritchie Roesch (Fuji X Weekly) reported on an interview with Fujifilm executives who disclosed just how extraordinary the demand was. They doubled production from the X100V’s level (from ~7,500 to 15,000 units a month) and still couldn’t meet it. In one year, Fuji shipped as many X100VIs as the total X100V units sold in four years. Roesch’s analysis rebuts conspiracy theories by confirming the “unprecedented demand… No camera has been as in-demand as the X100VI ever. In all of history, no model from any brand received more preorders”according to Fuji’s GM. This context from an industry watcher underscores the consensus: the X100VI is a bona fide phenomenon, not just another product refresh.
• Ken Rockwell, known for his bold opinions, noted in his review that the X100VI added “everything we’ve been asking for”: the 40MP sensor, 6-stop stabilization, base ISO 125 for more highlight headroom, faster electronic shutter, new film sims, etc. He tends to highlight the practical: for instance, he points out the electronic shutter now goes to 1/180,000 which is fantastic for shooting at f/2 in broad daylight without overexposure. Rockwell’s tone implies that Fuji over-delivered on features but also (humorously) that all these improvements made the camera so popular it’s hard to get. He often reminds readers that ultimately “it’s just a camera” and the photographer makes the image, but in the X100VI’s case even he acknowledged it’s a uniquely fun tool that “does nothing other cameras can’t – except make you want to go out and shoot with it.”
• David Fleet (The Cotswold Photographer), a long-time Fuji shooter, provided a field-tested perspective. He uses the X100VI for travel/documentary work and finds it “a blend of simplicity, image quality, and compactness” that aligns perfectly with those needs. He was impressed by the high ISO performance and lens sharpness, sharing 100% crops shot at ISO 5000 to show the camera’s low-light prowess thecotswoldphotographer.com. Fleet also commented on build: even though his X100VI is made in China, “I’ve noticed no compromise in quality”, noting the dials and overall feel are just as solid. He did encounter that one fogged LCD issue from condensation, but that was a one-off event. He emphasizes the camera’s strengths for “documentary and travel photography”, calling IBIS and the 40MP sensor extremely useful in real-world shooting (like when conditions aren’t ideal). Perhaps most telling, he says the X100VI has become his go-to camera for personal projects and everyday carry, even though he owns high-end gear – meaning it’s the camera he wants to have with him.

In general, the sentiment from experts is that Fujifilm struck gold with the X100VI by keeping the soul of the X100 series (the design, the fixed lens ethos, the fun factor) while addressing nearly every shortcoming people had with the X100V. The result is a camera that reviewers not only respect for its specs but love for how it makes them feel when shooting. Many experienced photographers have described using the X100VI as “pure joy” or a throwback to why they fell in love with photography in the first place, free from the gadget-heavy experience of larger systems. That’s a rare combination of left-brain and right-brain appeal in the camera world.

Of course, no product is perfect or for everyone. Critics have noted the areas where the X100VI is just okay: battery life (decent but not great), autofocus (very good, but not class-leading for fast action), and the fixed focal length (a deal-breaker for some folks). Also, the price creep was mentioned – at $1,599 launch it’s $200 more than the X100V debuted at, and current market prices hitting $1,799+ mean it’s not exactly an impulse buy for most. One Fstoppers article even provocatively asked if the X100VI is “overhyped” due to the social media frenzy, concluding that while it might not spec-sheet-beat a full-frame, it offers an intangible X-factor that clearly resonates with a new generation of photographers.

In the end, the professional consensus is that Fujifilm has a modern classic on its hands. The X100VI is a camera that, in the words of one reviewer, “exists for the experience” as much as for the results. And the results, by the way, are stellar – but it’s the experience that has made so many pros and enthusiasts smitten.

Comparisons: X100VI vs. The Competition

Fixed-lens compact cameras with large sensors are a niche but fiercely competitive category. The Fujifilm X100VI’s closest rivals come from a few other brands that also cater to photographers wanting high image quality in pocketable form. Here’s how the X100VI stacks up against its peers and alternatives in 2025:

Ricoh GR III / GR IIIx (and the upcoming GR IV)

The Ricoh GR series is often the other name dropped when talking about street photography cameras. The GR III (28mm equivalent lens) and GR IIIx (40mm eq.) are pocketable APS-C compacts beloved by street shooters. They differ from the X100VI in several ways:

• Size & Portability: The GR cameras are significantly smaller and lighter (around 257g). They truly fit in a pants pocket. The X100VI is compact but jacket-pocket size and about double the weight of a GR. For those who value ultimate stealth and portability, the GR has an edge – you can literally have it in hand, almost unnoticed. David Hobby famously said “the best camera is one you’ll actually carry” – by that metric, the GR is a winner for minimalism.
• Lens and Focal Length: The GR III has an 18.3mm f/2.8 (28mm equiv) lens, and the GR IIIx a 26.1mm f/2.8 (40mm equiv). Fuji’s 23mm f/2 sits in the middle at 35mm eq., which many consider the sweet spot. The GR’s lenses are slightly slower (f/2.8) and wider/narrower depending on model. If you need a 28mm field of view, the X100VI’s fixed 35mm might feel constraining – conversely, if you prefer 40mm for tighter framing, the GR IIIx caters to that. Image quality from Ricoh’s lenses is excellent (sharp, with a bit of field curvature character). But Fuji’s lens at f/2 can achieve shallower depth of field and performs better in low light (one stop faster). Also, Fuji has a leaf shutter and built-in ND; the GR has a conventional shutter and a 2-stop ND filter built-in. The GR’s leaf shutter (in earlier GRs) was lost in GR III – correction: GR III uses an electronic shutter primarily, and has a mechanical shutter on the sensor. It can sync flash at 1/250s typically, whereas Fuji can do 1/1000+. So for flash use, X100VI is superior.
• Sensor & Image Quality: GR III/IIIx use a 24 MP APS-C sensor (GR IV is rumored to have ~26 MP) imaging-resource.com. The X100VI’s 40 MP is almost a stop more resolving power. In practice, Fuji’s files give you more cropping leeway. Dynamic range and base ISO: GR III has base ISO 100, Fuji base 125 – similar ballpark. High ISO, both are good up to 3200, Fuji might pull ahead slightly due to newer tech and BSI design. Color science is subjective: Fuji’s film sims vs Ricoh’s neutral but pleasing output. Many love Fuji JPEGs more, but Ricoh’s DNG files are very flexible too.
• Viewfinder: The biggest operational difference: Ricoh GR has NO viewfinder (no EVF or OVF). It’s LCD compose only (though you can buy an optical add-on finder that slides into hotshoe for a specific focal length). The X100VI of course has that gorgeous hybrid finder. This alone is a deciding factor for many – if you need an eye-level finder or love OVF shooting, the GR isn’t for you. If you’re fine composing on an LCD at arm’s length (like a phone), the GR’s lack of VF keeps it super slim.
• Autofocus and Speed: Older GR models had only contrast-detect AF, which was a bit slower. The GR III introduced hybrid AF (phase detect) which improved speed. It’s decent in daylight, but can hunt in low light. Fuji’s AF (especially with X-Processor 5 and subject detect) is more advanced – able to track subjects and faces, whereas GR is more about focus-and-recompose or snap focus (pre-focus at a distance for instant shutter). Street photographers often use GR’s “Snap Focus” mode which is zone focusing (e.g. everything at 2m is in focus) – that’s great for instant candid snaps and zero shutter lag. Fuji can zone focus too, but it’s more oriented to using autofocus normally. Startup time: Ricoh GR turns on almost instantly (under ~0.7s), Fuji is roughly ~1s, both fairly quick.
• Stabilization: Interestingly, Ricoh GR III has IBIS as well (3-axis ~4 stops). The new GR IV is spec’d to have 5-axis IBIS, likely closing in on 4-5 stops. Fuji’s IBIS is rated 6 stops, but real world likely ~4-5 stops benefit too. So both now offer stabilization, which is great for low-light cityscapes etc. Fuji’s IBIS also stabilizes video (important since GR’s video historically is not great).
• Video: Here Fuji crushes Ricoh. The GR III was limited to 1080p60 with mediocre quality. The GR IV appears to still not prioritize video (no 4K mentioned). The X100VI does 6.2K/4K, 10-bit, etc. If video matters at all, the X100VI is leagues ahead. Ricoh basically designs GR for stills only – many GR users don’t care about video.
• Build & Features: The GR is very minimal – no tilting screen (fixed LCD), no weather sealing, no fancy dials (it’s more menu/button driven). It’s designed for quick operation (one-handed) and ultimate compactness. Fuji has the tilting screen, the analog dials, and (with filter) weather resistance; GR has no weather sealing (a common gripe: dust can eventually get on sensor in GR if not careful). Ricoh added 2 GB internal memory in GR III, and now GR IV is reported to have a whopping 55 GB internal storage, plus they moved to microSD which is non-traditional (Fuji uses standard SD). Internal storage on GR IV is neat – you can shoot without a card in a pinch, or have backup – Fuji doesn’t offer that. Battery life on GR is quite poor (~200 shots), Fuji’s is a bit better (~300). So both aren’t great, but you’ll want spares for GR for sure.
• Price: Ricoh GR III is ~$900–1,000, GR IIIx ~$1000. These are significantly cheaper than X100VI’s $1,600–1,800. However, Ricoh GR IV is rumored to be priced much higher – possibly $1,500–$2,000 given new components and market positioning. If true, Ricoh is clearly pushing the GR IV upmarket, essentially overlapping with Fuji’s pricing. That might include an optical accessory or something (there’s mention of an “HDF model” coming later, possibly with a built-in EVF or accessory finder). Right now (Sept 2025), the GR IV is expected to be announced in Fall 2025. Early info indicates GR IV sticks to 26 MP, 28mm f/2.8 lens, adds slightly better IBIS (5-axis), better connectivity, and internal memory – but otherwise is an evolutionary upgrade. Essentially, Ricoh appears to be refining the GR for its loyalists rather than doing a radical reinvention.

In summary – Fuji X100VI vs Ricoh GR: If you want a viewfinder, versatile 35mm focal length, superior video, and Fuji’s ergonomics/film sims, the X100VI clearly wins. It’s the better all-rounder. If you prioritize ultimate pocketability, a pure stealth street tool, or you love 28mm or 40mm primes, the Ricoh GR series is hard to beat – it literally can go everywhere and encourages a very candid style (especially with snap focus). Many serious shooters actually own both: using the GR for when they absolutely need smallest size or a 28mm POV, and the X100 for when they want the richer feature set and 35mm POV. Notably, with Ricoh planning a GR IV soon, Fuji will face a more direct competitor at a similar price. But the lack of a built-in viewfinder on the GR will still separate the two audiences. One Reddit user perhaps summed it up: “The X100 is my choice for deliberate photography walks, the GR is always in my pocket even when I’m not out to shoot”.

Leica Q3 (and Q2)

Leica’s Q series (full-frame fixed-lens cameras) can be seen as the luxury big brother to the X100VI. The latest Leica Q3 (released mid-2023) is a formidable camera with a formidable price tag (~$5,995). Here’s how they compare:

• Sensor & Image Quality: The Q3 has a 60 MP full-frame sensor, dwarfing the APS-C 40 MP in pixel count and sensor size. The larger sensor of the Leica will generally have better low-light performance and the ability to create much shallower depth of field with its f/1.7 lens. The Q3’s images are incredibly detailed (and you can even output 36MP or 18MP RAWs via pixel binning modes). For dynamic range, both are excellent, but the Q3 likely has an edge in extreme scenarios due to sensor size. However, the X100VI’s image quality holds its own – unless you’re making huge prints or pixel-peeping side by side, both produce stunning photos. Color: Leica’s output is more neutral/modern (though the “Leica look” is a thing some swear by), while Fuji’s colors/film sims are beloved by its users.
• Lens: Leica Q3 has a Summilux 28mm f/1.7 ASPH lens. It’s wider and significantly faster than Fuji’s 23mm f/2. At f/1.7 on full-frame, you can get very blurred backgrounds and great low-light capability. However, 28mm vs 35mm is a personal preference. 28mm captures more in the frame – good for environmental shots and tight spaces, but some find it a bit wide for general use. Leica addresses this by offering in-camera crop modes (35mm, 50mm, 75mm crops) utilizing that high-res sensor. In fact, cropping the Q3 to 35mm still yields about 39MP, and to 50mm gives ~18MP, which is like having a virtual X100VI and a virtual 50mm camera in one (with the caveat of lower resolution when cropped). The Fuji’s lens at f/2 on APS-C roughly mimics a 28mm f/2.8 full-frame DOF – so Leica can blur more background if desired. Optically, both lenses are stellar: sharp across frame by f/2.8, and Leica’s is critically sharp even near wide open. The Q3’s lens also has a macro mode (flip a switch, it can focus super close ~6.7 inches), something the X100VI doesn’t do natively (closest focus ~10 cm which is ~4 inches, but Q3 macro goes to 17cm with a different focus scale). So for macro or extreme close-ups, Leica wins.
• Viewfinder & Screen: Q3 has a high-res OLED EVF (5.76M dots) vs Fuji’s 3.69M dot EVF. The Q3’s is larger and clearer, likely noticeable if you compare. The Q3 also, for the first time in Leica, has a tilting touchscreen (3” 1.84M dots) – similar concept to Fuji’s tilt, though Leica’s has a unique triple-hinge tilt design. Both cameras finally have tilting screens (previous Q2 was fixed screen). So in terms of composition, Leica gives you a great EVF and tilt screen; Fuji gives you a decent EVF, optical finder option, and tilt. The optical finder is a unique Fuji advantage – Leica Q is EVF only (some might prefer OVF shooting Fuji offers).
• Autofocus: Leica improved AF in Q3 with phase detection (previous Q was contrast only). It’s reportedly much better now – locking quickly, and it has face detect, etc.. Still, Fuji’s AF with subject tracking might actually be more versatile in finding eyes, animals, etc. Leica historically isn’t known for AF smarts as much as Fuji/Sony. Both will do fine for general use, but hardcore action tracking is not their forte. In low light, Q3’s bigger sensor might help AF sensitivity.
• Features & Video: Leica Q3 stepped up with tech: it offers 8K video and 4K up to 60, 10-bit, etc., plus features like wireless charging (with an optional grip). It’s surprisingly modern – but one Fstoppers review called it “beautiful yet questionable” for some design quirks. Video on Q3 is decent (8K out of 60MP is natural, and it can do 4K60), but Leica is not primarily a video-first brand. Fuji’s 6.2K max is a notch below 8K, but practically, both give more than enough resolution for most needs, and Fuji’s video might actually be easier to work with (better interface and live controls for video). The Q3 has no built-in ND filter or anything like that; Fuji’s advantage there stands. The Q3 does have IBIS (yes, a full-frame with IBIS crammed in) – it’s rated ~5.5 stops, which is on par with Fuji’s 6 stops considering sensor size differences.
• Build & Handling: Leica Q3 is a larger camera (about 5.1 x 3.8 x 3.1 inches, 743g with battery). It’s heftier and not pocketable at all (whereas Fuji can squeeze in a big coat pocket). Leica is weather sealed (IP52 basically), so it’s quite robust out of the box. The build is superb – machined metal, luxurious feel. Fuji is well-built but Leica is a tank. Handling: Fuji has all the analog dials, Leica Q3 is a bit more minimal (aperture ring on lens, but shutter and ISO are in menus or assignable – Q3 has a multi-function wheel and doesn’t have dedicated ISO dial unless you assign the lens ring or use a thumb wheel). Some prefer Fuji’s traditional dials, others like Leica’s simplicity.
• User Experience: Owning a Leica is partly about the brand mystique, the minimalist interface, the “Leica look” and colors, and the connection to a legacy of photography. It’s also about paying a lot for that experience. The X100VI gives some of that vibe (rangefinder style, manual controls) at a much lower cost – indeed Dustin Abbott jests that X100VI is a poor man’s Leica dustinabbott.net. Many have noted the X100 series scratches the itch for a Leica-like camera without emptying the bank.
• Price: Leica Q3 at ~$6000 vs Fuji at ~$1600 (or even $1800). We’re talking nearly 3-4 times the cost. For the price of one Q3, you could buy an X100VI and a high-end Fuji X-T5 with a couple of lenses – or take an epic photography trip. The Leica is unquestionably excellent, but diminishing returns apply – it’s a luxury object as much as a tool.

Who should get which? If money is no object and you prefer a 28mm focal length with full-frame look, the Leica Q3 is arguably the best fixed-lens camera money can buy – a “60-MP monster in a timeless body”. It’s fantastic for street and travel if you don’t mind the weight and want the maximum image quality. However, many photographers find the X100VI gives them 90% of the joy and capability at a fraction of the cost dustinabbott.net. The Fuji’s 35mm lens might actually be a more universally liked focal length (some Q owners actually put a frame line in the EVF for 35mm crop and shoot it like a 35 most of the time!). Also, if you occasionally want a longer or wider option, the X100VI can adapt (with WCL/TCL or digital crops) – the Q3 can crop too thanks to high res, but you’re paying for those pixels. For most enthusiasts, the X100VI offers a better value and more flexibility, plus things like an OVF and film sims that the Q lacks. Meanwhile, the Q3 offers that full-frame look, a bit better image quality, and the prestige of the red dot – at a serious premium.

Interestingly, a Fstoppers writer quipped: “the RX1R III’s $5100 price tag makes even Leica Q cameras seem reasonable”– highlighting that Leica isn’t the only expensive game in town now (Sony joined that club too). Which brings us to…

Sony RX1R II and RX1R III

Sony’s RX1R series are full-frame fixed-lens compacts like the Leica Q, but even smaller. The RX1R II (released 2015) and the newly announced RX1R III (released July 2025) make an interesting comparison with the X100VI:

• Size & Design: The RX1R II was extremely compact for a full-frame: similar footprint to the X100 but without a viewfinder hump (it had a pop-up EVF). The new RX1R III likely maintains a small size but adds features. Sony doesn’t chase the retro aesthetic – the RX1 is more modern minimalist design, with an aperture ring on the Zeiss lens but otherwise more electronic controls. The X100VI and RX1R are both rangefinder-like compacts, but Sony’s is even more streamlined (no physical dials for shutter/ISO like Fuji; you adjust via command dials or the aperture ring). Build quality on the RX1 series is high (metal bodies), but Fuji’s is arguably more ergonomic with the dedicated controls.
• Sensor: RX1R III leapfrogs with a 61 MP full-frame sensor (likely the same as in the Sony A7R V). That’s even higher than Leica’s 60MP and far beyond Fuji’s 40MP APS-C. It will deliver incredible detail and dynamic range (Sony’s 61MP sensor is known for ~15 stops DR). The older RX1R II had 42 MP. So Sony is about high resolution and full-frame image quality in a tiny body. Low-light: the 61MP is possibly ISO-less in performance up to ISO 6400 or so; X100VI’s 40MP APS-C will have more noise at high ISO comparatively, simply due to sensor size, though BSI design helps. But for pure image quality, RX1R III should be top of the class (with caveat: packing 61MP in a tiny body could mean thermal or processing slowdowns, but presumably it’s fine).
• Lens: The RX1R II/III has a 35mm f/2 Zeiss Sonnar lens – effectively the same focal and aperture as Fuji (35mm f/2 full-frame vs Fuji’s 23 f/2 APS-C). That means on the Sony you get much shallower DOF potential (f/2 on FF ~ f/1.2 APS-C equivalent in terms of blur). It’s a stellar lens – reviews of RX1R II lauded its sharpness and character; some even said “it’s got a much better lens than the Leica Q”. It has a leaf shutter too, like Fuji, enabling high sync speeds. So lens-wise, Sony and Fuji both have 35mm f/2, but Sony’s covers full frame. Practically, Sony can produce more background blur and slightly better low-light gather. But Fuji’s lens is also excellent; difference is subtle unless you really need that full-frame look. Minimum focus on original RX1 was 20cm; Fuji is 10cm – Fuji focuses closer (though at close range, Fuji’s AF slows a bit, whereas Sony’s might too).
• Viewfinder: RX1R II had a built-in EVF that popped up (2.4M dot). The new RX1R III likely has a fixed integrated EVF (not sure on spec, but maybe 3.69M or higher). Fuji has the hybrid OVF/EVF – Sony is EVF only, no optical. If you love optical, Fuji is unique; if EVF is fine, Sony’s EVF in the III is probably comparable or even better resolution.
• Autofocus: The new RX1R III incorporates Sony’s latest AF tech, including AI subject recognition (as seen in A7R V). It likely outperforms Fuji in AF, especially for eye-AF and tracking. Sony has been the leader in AF; bringing that to RX1 means it will lock onto eyes, animals, etc., very tenaciously. Fuji’s AF is good but still a step behind the cutting-edge that Sony sets. So action or candid portraits might be easier with Sony’s AF system.
• Performance: The old RX1R II was somewhat slow (shot 5 fps bursts, had middling buffer). The new RX1R III should be faster, but we don’t expect sports camera speed – perhaps ~6-8 fps mechanical. Fuji does 11 fps mechanical, 20 e-shutter (with some crop). Sony might not crop at high burst but likely lower fps. We’ll see. Either way, these cameras aren’t about high burst counts usually.
• Video: This is interesting – Sony actually gave RX1R III decent video: it can shoot 4K and likely utilizes that 61MP to oversample. It has 4K60 and even an active cooling if needed? (Not sure, but given price and sensor, they might have limited to 4K30 to avoid overheating, need to confirm). However, one might not gravitate to an RX1 for heavy video; a Sony A7C or similar would be more logical. The Fuji actually might be more video-friendly ironically (with built-in ND, etc.). The Sony RX1R III is very expensive, and reports say its $5,100 price tag has sparked controversy, “making even Leica Q cameras seem relatively affordable”. At that price, you expect a do-it-all camera, but early impressions from some (like on Reddit) are mixed, calling it possibly a “dud” for the cost. It may be seen as too niche and too pricey, whereas Fuji hits a more balanced sweet spot.
• Other features: The RX1R III lacks a built-in ND (to our knowledge), and since it’s leaf shutter, max shutter was 1/2000s (on RX1R II) – not sure if improved. Fuji’s e-shutter 1/180k gives it an edge for bright light shooting sans ND. The Sony likely has better connectivity (full Wi-Fi, possibly USB-C with faster throughput). Both use single card slots; Sony’s might be UHS-II though (just guessing given high res bursts). Battery life on RX1R series historically was poor (~220 shots). Unless Sony gave it a bigger battery (maybe the new NP-BX1, but likely still small), don’t expect it to beat Fuji’s ~310 shots.
• Price: Big difference. RX1R II was $3,300 new; the RX1R III is $5,099 USD at launch cined.com. That’s nearly 3X the X100VI. It’s a super-premium compact now, arguably priced even above Leica Q3 in some markets (Q3 $5995). Sony perhaps figures they’re offering 61MP and Sony tech which justifies it, but it’s steep. Meanwhile, one can get an X100VI and have enough left for a nice trip or another camera for that money.

Bottom line – Fuji X100VI vs Sony RX1R III: The RX1R III is like the “ultimate” 35mm compact on paper – full frame, ultra-high resolution, Zeiss lens, Sony’s best AF, etc. But it asks extreme money and sacrifices some of the charm factor (no optical viewfinder, no physical dials in the same way, no film sims). The Fuji X100VI gives a more analog, rangefinder experience that many find more fun and inspiring to shoot. For practical image-making, the RX1R III will produce amazing files – if you need gigantic prints or love pixel-peeping fine detail, it wins. However, the X100VI’s files are already rich and 40MP is plenty for large prints (how often do most need more?). Fuji also has the edge in versatility (the hybrid VF, better video ease, built-in ND, etc.) and of course cost. Unless you absolutely require full-frame quality or are a dedicated Sony user willing to pay the premium, the X100VI remains the more sensible choice for most. It’s telling that the second-hand market for the old RX1R II actually dipped as low as ~$1,800 a couple years ago (due to lack of updates), but now interest revived and used ones climbed back over $2k by 2025. Sony clearly sees a demand for a high-end compact and resurrected it – time will tell if that gamble pays off at such a price. Meanwhile, Fuji’s X100VI has already proven its appeal, albeit in a different sensor class.

Other Alternatives and “Competitors”

Beyond Ricoh, Leica, and Sony, there aren’t many direct competitors in 2025, because the market for premium compacts shrunk with the rise of smartphones. However, a few other cameras or systems are worth mentioning:

• Fujifilm X-E4 / X-E5 or X-Pro3: These are interchangeable-lens Fuji cameras that, when paired with a small lens, can somewhat emulate an X100. For example, an X-E4 with the XF 27mm f/2.8 pancake (41mm equiv) is very compact. But the X-E4 (2021) lacks an optical finder and IBIS; it’s more akin to a small rangefinder-styled body with EVF. The X-Pro3 has an optical hybrid finder like X100, but it’s larger, interchangeable, and quite different philosophy (plus discontinued in many places, awaiting an X-Pro4 likely in 2026). If someone loves Fuji’s style but really wants multiple focal lengths, an X-E or X-Pro with primes is an alternative path – albeit a pricier and bulkier one than an X100VI. For example, carrying an X-E4 with 23mm f/2, 35mm f/2, and 50mm f/2 lenses would cover multiple angles, but you lose the singular simplicity of the fixed-lens approach. Also, currently, the X100VI’s sensor is newer (40MP vs X-E4’s 26MP) and it has IBIS which X-E4 lacks.
• Canon: Canon’s last APS-C compact was the PowerShot G1X Mark III (2017) with a 24MP APS-C and 24-72mm zoom. It’s not in the same league for image quality (the lens was slower and the camera didn’t gain much traction). Canon seems to have exited the large-sensor compact game. They now focus on EOS M or R50 etc. So no current competitor.
• Nikon: Nikon’s attempts included the Coolpix A (2013 APS-C 28mm compact) which was a one-off, and the cancelled DL series. In 2025, Nikon doesn’t offer a fixed-lens large sensor compact either (they focus on Z mirrorless). So none from Nikon.
• Sigma & Others: Sigma had the DP Quattro series (APS-C Foveon sensor fixed-lens cameras in various focal lengths). Those are very niche – amazing detail at base ISO due to Foveon, but not versatile (poor high ISO, slow operation). Not a mainstream competitor. There’s also the Sigma fp/fp L which are tiny full-frame ILCs that one could mount a small lens on (like Sigma 45mm f/2.8) to mimic a compact, but that’s an interchangeable lens scenario, not fixed.
• Smartphones: It’s worth mentioning that a lot of casual photographers who might have bought a midrange camera now rely on phones. However, something like the X100VI appeals to those who consciously want a dedicated camera experience – so the competition is not so much iPhone vs X100VI (different use cases), though high-end phones have gotten very good in light and even have decent low-light with computational tricks. But they cannot reproduce the look of a large sensor and fast lens (especially depth of field and dynamic range) in many situations. The X100VI is for those willing to carry a camera to get those photographic advantages and haptic enjoyment, which a phone can’t provide.

In summary, the X100VI currently occupies a Goldilocks zone: It’s more affordable (and arguably more fun) than the ultra-pricey full-frame compacts like Leica Q3 or Sony RX1R III, but more feature-packed and photographer-friendly than the minimalist pocket Ricoh GR. It basically has no identical competitor – which is likely why it’s selling so extraordinarily well. Fujifilm’s combination of a high-end sensor, quality lens, hybrid VF, and retro styling in a cohesive package is unique. Other brands flirted with parts of this formula but none have sustained and iterated like Fuji has with the X100 line. With Ricoh GR IV on the horizon and Sony re-entering the ring, 2025 is an exciting time for fans of compact cameras – but the X100VI remains the benchmark that others will be measured against in the APS-C segment. As Imaging-Resource put it when discussing the GR IV: Ricoh is focusing on refinement rather than revolution, meaning Fuji’s head start with the X100VI’s feature set still gives it an edge for those wanting a more complete tool. And for those considering full-frame options like Q3/RX1, it often comes down to budget and brand loyalty – many find Fuji hits the sweet spot of “premium enough” without requiring a second mortgage.

Pricing, Availability & Where to Buy (as of Sept 2025)

The Fujifilm X100VI was launched in early 2024 with a suggested retail price of $1,599 USD (body in silver or black). In some regions, initial pricing was around £1399 GBP / €1599. However, due to its extreme popularity and limited supply, the real-world pricing and availability have seen some turbulence:

• Street Price & Current Cost: As of September 2025, the official MSRP in the U.S. appears to have crept up to about $1,799 at major retailers. This may reflect a Fuji price increase or simply the price retailers set once initial stock sold out. In any case, most places list it around $1799 now (body only). In Europe, it’s roughly €1799. Keep in mind, these prices are when you can actually find it in stock. Due to demand, some buyers have paid premiums on the secondary market.
• Availability Issues: The X100VI quickly became notorious for being hard to get. On launch, it sold out immediately with huge preorders. In the U.S., stores like B&H Photo and Adorama were overwhelmed. By March 2025 (a year after release), it was reported that B&H – one of the largest camera retailers – still could not keep the X100VI in stock. Many customers had backorders waiting 6+ months. There were instances of lottery or raffle systems in some markets to allocate the scarce units. Grey market importers took advantage, and on eBay or other sites the camera was selling for over $2,000 at times during 2024-2025.
• Fujifilm’s Response: Fujifilm acknowledged the supply crunch and stated they ramped up production. According to interviews, they doubled production from the X100V’s rate and even exceeded that, eventually producing over 15,000 units per month. They also said that in the first year they shipped as many X100VIs as the total number of X100Vs sold in four years, which is extraordinary. Despite this, initial demand was so high that waitlists persisted through most of 2024 and into 2025.By mid-2025, there were signs the worst of the shortage was easing: “slowly but surely Fujifilm is catching up. Here and there the X100VI has been seen in-stock at camera stores, particularly the black version… The 10-month-long waits are in the past” reported Fuji X Weekly in March 2025. Indeed, around June 2025, some U.S. retailers briefly had units on shelves – Imaging Resource even ran a headline “The Fujifilm X100VI Is Finally Back in Stock — For Now”. But they tended to sell out quickly whenever they appeared.
• Where to Buy: Your best bet is to order from a major authorized retailer and be patient. In the U.S.: B&H Photo, Adorama, and Amazon are key places. B&H currently lists the X100VI (Silver) at $1,799 but as “Temporarily Out of Stock”. Adorama has a product page at $1,799 and as of this writing sometimes shows limited stock (they might allow backorders). Amazon often has third-party sellers listing it, sometimes above MSRP.In Europe, retailers like Wex Photo (UK), Park Cameras or Calumet, etc., have carried it – often on backorder. In Japan, Yodobashi and Bic Camera had lottery-style sales initially. Fujifilm’s own online store in some regions (e.g., Fujifilm US Shop) occasionally has stock or bundles, but those go fast too. It’s wise to sign up for stock notifications or follow Fujifilm/fan communities for alerts.
• Limited Edition Model: If you’re a collector and willing to spend more, Fujifilm released a 90th Anniversary Limited Edition X100VI (limited to 1,934 units). It comes in a special package with some cosmetic differences (classic logo engraving, a matching leather strap, etc.). Its MSRP was around $1,999 (about $400 premium over standard). Unsurprisingly, it sold out immediately via Fujifilm direct. Occasionally one pops up on eBay or reseller sites, often marked up (some owners try to flip these for $3000+ given their rarity). If you just want the camera to use, the standard edition makes more sense financially.
• Used Market: Given how scarce new stock was, the used market for X100VI has been quite hot. It’s not uncommon to see used units selling for near retail or even above retail on forums and sites like FredMiranda or MPB. For instance, in late 2024, people were paying $1700-$1800 for lightly used ones (basically no depreciation). By late 2025, as availability improves, used prices might normalize a bit (perhaps a tad below $1600 if supply catches up). But be cautious: buying used means no warranty, and since these cameras are so new, be sure the seller is reputable and the camera is in good shape (and not a grey import if that matters for service).
• Grey Market: Some retailers (especially on eBay or overseas) offered “Import” versions during the shortage at a markup. These are genuine Fuji cameras but not officially imported by Fuji in your country, meaning warranty service might be an issue. In the height of desperation, some went this route, paying maybe $2000 to get one from Japan immediately. Now, with patience, you shouldn’t have to resort to that as Fuji has been delivering more units to each region.
• Financing and Deals: Given its popularity, discounts have been non-existent. Don’t expect sales or bundles at lower price – Fuji hasn’t needed to incentivize sales for obvious reasons. At best, maybe around holidays a retailer might throw in an accessory (like an SD card or small bag) for free. The price is holding firm. Financing options (like store credit cards, PayPal Credit, etc.) can soften the blow by splitting into payments if needed. B&H and Adorama for example sometimes have special financing for 6-12 months.
• Major Retailer Status (Sept 2025):
  • B&H: Lists both Silver (MFR #16953912) and Black (MFR #16821913). Silver page shows out of stock, black page even said “Discontinued” at one point, which could just mean they temporarily pulled the listing due to no stock or a SKU change. Likely not truly discontinued; perhaps B&H using a different SKU for black now. It’s advisable to call or use their “Notify When In Stock” feature.
  • Adorama: Shows “Backordered” on X100VI (with price $1,799). They allow adding to cart to reserve a unit.
  • Amazon: Often lists it via third-party – sometimes above $1,899. Check that the seller is reliable if going that route, and watch for Amazon restocks sold by Amazon directly.
  • Best Buy: Interestingly, in the US, Best Buy has started carrying some high-end cameras online. The X100VI might appear on their site occasionally. If so, you might use local store pickup if available.
  • Local Camera Stores: Don’t overlook brick-and-mortar specialist shops. Some smaller camera stores had waiting lists and got a trickle of units. Building a rapport with a local dealer could help – they might call you when one comes in. By late 2025, local stores might finally have a few on display as supply improves. (For example, there were reports by mid-2025 of some local shops in the U.S. getting a handful of units, and if you walked in at the right time, you could snag one).

In summary, expect to pay around $1,599–$1,799 for a new X100VI and be prepared for potential wait times. The situation is improving compared to 2024’s frenzy, but it’s still a high-demand item. Fuji’s production is ongoing, and they don’t seem to be limiting it intentionally – it’s just a lot of people want it. As Fuji’s GM said, “we understand it’s frustrating; until we clear [the backlog], some will still say ‘I’ve been waiting 10 months.’ But we are getting closer”. If you place an order now with a reputable dealer, you’ll likely get your camera in a much shorter timeframe (maybe weeks) compared to the months-long waits early adopters endured.

One last tip: decide if you want silver or black. Both are standard production models, priced the same. Historically, Fuji released silver first then black a bit later; by now both are generally available. Silver has that classic look with the silver top and bottom plates, black is the stealthier all-black. Some users chose black hoping it’d attract less attention on the street (and indeed Fuji mentioned black versions were coming and sometimes were a bit easier to find mid-year). Resale should be similar for both (no limited runs). It’s purely personal preference – silver shows less fingerprints and minor scratches, black is more low-profile. If one color is in stock and the other isn’t, you might just go with what’s available.

Lastly, keep an eye on firmware updates when you get your camera. Fuji has already issued several (1.11, 1.20, 1.30, 1.31) fixing bugs and improving AF. It’s good practice to update to the latest firmware for the best performance (the latest as of Sept 2025 is v1.31 which just fixes minor bugs). Firmware can be downloaded from Fujifilm’s site and loaded via SD card. If buying used, definitely check the firmware version and update if needed – for example, firmware 1.20 significantly improved AF-C tracking.

User Feedback & Community Buzz

The public sentiment around the X100VI has been extraordinarily positive, bordering on fervent. This camera didn’t just launch – it launched a movement of sorts, continuing the viral fame of its predecessor (the X100V went TikTok-viral in 2022/23, spurring renewed interest in Fujifilm compacts). Here are the key themes from user reviews and community discussions:

• “It makes photography fun again.” This is a common refrain. Many users – from hobbyists to seasoned pros – report that using the X100VI rekindles their creativity. They love the tactile controls, the lack of lens decisions, and the film-like experience of just roaming with a fixed prime. On forums, you’ll find statements like “I haven’t enjoyed shooting this much in years” or “The X100VI reminds me why I fell in love with photography”. One Fstoppers writer who was initially skeptical admitted after a few months, “I now fully understand why this camera is still sold out everywhere… It’s about the experience”. He was shocked to find himself using straight-out-of-camera JPEGs with no editing – something he never did – simply because the process and results were so satisfying.
• JPEG and Film Simulation Love: A lot of X100VI users shoot JPEGs and take advantage of Fuji’s film simulations and recipes. The camera has inspired a community of “recipe sharing” (tweaked film sim settings) to achieve various looks (e.g. Kodachrome-like, cinematic tones, etc.). Users love that they can often use the JPEGs directly and spend less time on a computer. It ties into the “focus on shooting, not editing” ethos. The addition of new sims like Reala ACE was welcomed, and classic ones like Classic Chrome, Pro Neg, etc., continue to have fans. Many also appreciate the new Nostalgic Neg. introduced recently for its warm retro vibe (which pairs well with travel photography).
• Street Photography Community: In street photographer circles (on Reddit r/fujix100, r/fujifilm, etc.), the X100VI is a darling. People share their street shots and gush about how inconspicuous and quiet it is. The leaf shutter plus the quietness means you can capture candid moments without drawing attention – a huge plus that users mention often. Some even compare it to shooting with a Leica rangefinder for street: high praise. A Reddit user humorously said, “I love my X100VI cause I can take it into concert venues. Fixed lens magic. :)” – highlighting that some concert venues don’t allow interchangeable lens cameras but compacts like X100VI fly under the radar.
• New Photographers and Generation Z: Thanks to social media hype, a lot of younger folks who might have otherwise just used phones got interested in the X100 series. There are anecdotes of college students saving up to get an X100VI as their first serious camera. They’re drawn by the cool retro look and the idea of “a camera that makes no edit Instagram pics”. On TikTok and Instagram, you’ll find content creators showing off the camera and its outputs, contributing to aspirational buzz. It’s almost become a lifestyle accessory – something that looks stylish around your neck and signifies you’re into creative photography. Fujifilm couldn’t have hoped for better free marketing. However, some veteran photographers roll their eyes at the hype, cautioning newcomers that “it’s not a magic camera that will instantly make your photos great”. Indeed, a tongue-in-cheek thread titled “Fuji X100VI and why maybe you don’t NEED one” popped up, with experienced users reminding that technique and vision still matter. But even many skeptics ended up conceding that the X100VI can be a fantastic tool if it motivates you to shoot more.
• Community Support & Accessories: The X100 line has a rich ecosystem of accessories that users discuss: e.g., lens hoods (the LH-X100 or third-party ones to minimize flare and for looks), adapter ring + UV filter for weather sealing (almost a must-do and widely recommended on forums), thumb grips that slide into the hotshoe for better handling, and soft shutter release buttons (the X100VI has a threaded shutter button – users often screw in a decorative soft release). There are also half-cases, straps, etc. The community loves customizing their cameras. You’ll see posts proudly showing a brass soft release or a leather case that “patinas” over time, giving each camera a bit of personal character.
• User Critiques: No camera is perfect, and actual user feedback brings up a few recurring cons:
  • Lens flare and ND quirk: Some users note that without the hood or adapter, the X100VI’s lens can flare in strong backlight (the X100V’s lens was known to flare a bit too). The simple fix is the hood or just being mindful of light angles. Also, a few mention the built-in ND filter, while great, can introduce slight color cast (warm) – minor and correctable, but noted by the pixel-peepers.
  • Battery life: As expected, people coming from DSLRs or bigger mirrorless find 300 shots per battery middling. Spare batteries (cheap off-brand ones exist too) are commonly recommended. The USB-C charging is loved though (“I just charge it in the car between spots” one travel user said).
  • AF in some scenarios: While AF is generally praised, a few users found that in very low indoor light or very busy scenes, the autofocus can occasionally choose the wrong thing (especially if not using the tracking mode properly). The improved firmware helped; early on some complained of face detect picking a face on a poster in the background instead of the subject – later updates addressed some of that. It’s always a topic on forums: “What AF mode are you using for XYZ?” The consensus is it’s good, but not foolproof, and learning the camera’s AF settings (single point vs zone vs tracking, etc.) is key.
  • Heat in video: A few videographers tested its limits; if you try to record lengthy 6.2K clips on a hot day, the camera can overheat and shut off (it shows a temperature warning). For short clips it’s fine, but users caution it’s not a replacement for a real video workhorse if you need long continuous takes.
  • Minor bugs: Early units had a few firmware quirks – e.g., a bug where the camera wouldn’t turn on with certain SD cards (fixed in 1.21), or freeze issues in rare cases (also fixed). Fuji’s firmware updates have largely squashed these, and community members often advise newcomers: “Update your firmware first thing!”
  • Cost and Accessibility: Some in the community express a bit of disappointment that a camera they love has become so sought-after that it’s expensive and hard to get. Long-time Fuji users who were used to X100s being a niche cult camera now see a wave of new users. It’s mostly positive, but a few gatekeepers lament the “TikTok crowd” hype. On the flip side, others welcome fresh eyes, saying it’s great more people discovered the joy of this series.
• Repair/Service Experiences: A few early users unfortunately dropped or dinged their cameras (it happens in travel). Fuji’s service network generally handled repairs well – replacing a scratched lens element or fixing a sticky shutter (rare issue). Costly though, if out of warranty: e.g., a lens replacement could be a few hundred dollars. Some proactive users bought extended warranties or insurance given the camera’s value. There were no widespread defects reported – it appears to be a solidly built model with no Achilles’ heel (unlike say the X100S, many years ago, which had “sticky aperture blade” syndrome in some units – nothing like that has emerged for X100VI).
• Inspiration and Community Content: The X100VI community is vibrant. There are dedicated Flickr groups, Instagram hashtags (#x100vi), and YouTube channels where users share their work and tips. Fujifilm itself featured some “X-Photographers” using X100VI in their blogs. The social aspect keeps people engaged – challenges like shooting only JPEG straight from camera for a month, or using only one film sim, etc., circulate and users partake. All this fuels more love for the camera.

Perhaps one of the most telling pieces of feedback: users often give the X100VI human-like nicknames – treating it less like a gadget, more like a trusty companion. You’ll hear “my X100VI goes everywhere with me” or jokingly calling it “Exivy” or such. It indicates the attachment people form. As one user review put it: “This camera has soul. It just makes me want to get out and shoot every day.” That sentiment is echoed widely across forums and reviews.

Known Issues, Firmware Updates, and Tips

Reliability: Thus far, the X100VI has proven to be a reliable camera with no major systemic issues reported. Unlike some previous Fuji launches, there haven’t been recalls or widespread complaints of a particular defect. However, there are a few minor issues/quirks that owners and technicians have noted:

• Lens Cap and Paint Wear: The included push-on lens cap is a bit loose – many users nearly lost it until they got a filter/hood (after which the cap often doesn’t fit). Some buy a 49mm pinch cap after adding a filter. Also, the black paint version can show brassing at edges with heavy use; the silver version hides wear better. This is cosmetic, but black body owners mention slight paint wear on corners if carried without a case over time (some actually like the brassed look – “wabi-sabi” as a badge of use).
• Lens Dust: Because the lens extends and the camera isn’t sealed without the filter, there’s a slight risk of dust entering. A few users who didn’t use a filter reported seeing a dust speck on the sensor after months of use. It’s not common but can happen – again, using the adapter + filter early essentially seals that pathway. If dust does get in, Fuji service can open it to clean (usually a paid service if out of warranty). So, community tip: make your X100VI weather resistant from day one – it’ll prevent dust and allow worry-free shooting in adverse conditions.
• Firmware & Feature Updates: Fujifilm has been great about firmware support. Key updates:
  • v1.11 (June 2024): Fixed some early bugs like the rare AF freeze and an external monitor movie freeze issue.
  • v1.20 (Dec 2024): Big one – “AF algorithm partially revised to improve focusing accuracy and subject tracking”. Users did notice AF-C got stickier after this, and tracking improved. It also possibly tweaked auto-exposure in some modes and added the support for the new Fuji XApp connectivity.
  • v1.30 (July 2025): This coincided with Fuji switching entirely to the new XApp and dropping old Camera Remote support. It enhanced wireless security and changed menus related to that. Importantly, after this update you must use the Fujifilm XApp (and have iOS13+/Android 9+). It also reduced the lens shutter actuation count in certain operations, a nice longevity tweak (so the shutter doesn’t unnecessarily open/close as often when switching modes). That’s good for wear-and-tear reduction.
  • v1.31 (July 2025): Just “minor bug fixes”.
  Fuji may issue further firmware if needed, possibly to add compatibility with new accessories or minor improvements. (E.g., X100V got new film sims via firmware later – Fuji might or might not add new ones to X100VI depending on hardware).
• Overheating in Continuous Use: As mentioned, if you push it with long video or leave it on in high performance mode in heat, it can get warm. It has an automatic shutoff threshold. For typical photography it’s a non-issue. For video, one tip is to use “Economy” mode or turn off the display when not needed to reduce heat buildup.
• Accessory Screw Caution: The tripod mount is very close to the battery door. If you use a plate or tripod, be mindful that some large plates can block the battery door from opening. Also, when using a grip case or L-bracket, choose one designed for X100 series to avoid that issue. A small nit, but travelers who use mini tripods mention it.
• Repair Notes: If something does go wrong: Fujifilm’s service centers can service the X100VI since it’s a current model. Spare parts like leaf shutter, aperture assembly, or EVF unit are presumably available. Historically, older X100 models eventually needed aperture blades replaced (in first-gen X100) or viewfinder recalibration. No patterns of failure yet with X100VI – too new. It’s wise to treat the lens gently since it’s fixed – a serious drop might misalign it (it is a complex unit with shutter and aperture built-in). If under warranty, Fuji will fix manufacturing issues; they won’t cover drops, obviously. Turnaround time depends on region – in the US, Fuji New Jersey has done repairs in 1-2 weeks typically. In Europe, service might go through local Fuji or contracted repairers.
• SD Card Tips: A strange bug was fixed where certain SD cards caused a boot issue. After firmware updates, that’s gone. But still, using a reputable UHS-I card (like SanDisk Extreme Pro or similar) is recommended to avoid “WRITE ERROR” issues (one bug fixed in v1.21 was a rare write error with some cards). A UHS-II card will work but at UHS-I speeds only. Usually 95 MB/s cards suffice for 40MP stills and 4K video.
• Future Firmware Rumors: FujiRumors speculated that Fuji might bring features like “Pixel Shift multi-shot” to X100VI via firmware (since the sensor supports it in X-T5). However, that might not happen due to the leaf shutter (which might introduce movement between shots). Nothing official on that. But keep an eye on Fuji’s firmware page – sometimes they pleasantly surprise with added features.
• Next X100 Series Model: Naturally, people are curious about what’s next – an X100VII? or X200? Given Fuji’s typical cycle, and the fact that X100VI is still supply constrained, no new X100 is expected until at least 2027. FujiRumors (a usually credible source) explicitly said “no X-Pro4 in 2025” and likewise, no sign of X100 successor in immediate pipeline. The company is likely focusing on fulfilling X100VI demand and updating other lines (like X-Pro, X-E, etc., which are due). Some rumors float about an “X100V II” or something – but those are more wishlists (like a variant with a different focal length). Fuji did file patents for a 18.5mm f/2 lens (28mm eq) and a 33mm f/2 (50mm eq) for possible future fixed-lens cameras. That has fueled speculation of maybe a new line (perhaps an X200 with a different focal length?). No concrete info though. For now, X100VI is the latest and greatest, and Fuji tends to enjoy a good multi-year run with each X100 generation.
• Competitor Rumors: On the competitor front (relevant to X100VI’s context): Ricoh’s GR IV we discussed is coming Autumn 2025 – if you’re cross-shopping, maybe wait to see its final specs and reviews. Sony’s RX1R III just hit in July 2025, so that will be part of the conversation moving forward, especially among full-frame enthusiasts cined.com. Leica probably won’t replace the Q3 until maybe 2027/28 (they operate on long cycles too).

In conclusion, the X100VI is a mature, well-supported product by now. Fuji’s ongoing firmware support and the robust user community means any small hiccups get ironed out or workarounds found. If you’re considering it, know that thousands of photographers have put it through its paces for over a year, and it has emerged with an almost legendary status – not for being fault-free, but for delivering on its promises and then some. As one reviewer said, “there’s nothing here in terms of tech that isn’t available in other cameras, but the X100VI’s magic is how it’s all packaged and how it makes you feel using it”. And part of that magic is Fujifilm’s attention to detail and user feedback, evident in their firmware updates and the camera’s thoughtful design.

Future Outlook: Rumors & What’s Next

As of late 2025, the Fujifilm X100VI is still riding high on its success. Fujifilm will likely continue production well into 2026 to satisfy demand. But what about the future – both for the X100 line and competing offerings?

• Fujifilm X100 Series Rumors: Officially, Fuji has said nothing about an “X100VII” or any successor. Unofficially, don’t expect one imminently. The X100V to X100VI gap was 4 years (2020 to 2024). Given how well the X100VI is selling, Fuji is in no rush. Some predict the next model might come around 2027 (which could coincidentally be the X100 series’ 13-14th anniversary). A fun guess: If they continue Roman numerals, maybe it’ll be X100VII (7) – or Fuji might throw a curveball and call it X200 (who knows!).There’s also speculation that Fuji might introduce variants instead of waiting so long. For instance, an X100VI “S”or something with a different focal length lens. Fuji hasn’t done multiple focal options in X100 before (they rely on conversion lenses for that), but seeing Ricoh’s success with GR III (28mm) and GR IIIx (40mm), one wonders if Fuji would ever do, say, a 50mm equivalent fixed-lens camera. There was a rumor of a “fixed lens X-Pro” concept called X100 “T*” or something, but that was likely confusion with the limited edition. No solid info on this, so it remains more of a wishlist topic in forums.What might an eventual X100VII have? If we’re dreaming: possibly the next-gen X-Trans sensor (whenever Fuji makes one) maybe 50MP? Perhaps stacked sensor for faster speed (though cost could be too high). Some want even better video (4K60 without crop was given; maybe 6K60 in future?). Others ask for an internal ND stronger than 4 stops or even built-in lens stabilization (though with IBIS now, lens OIS isn’t needed). One hardware desire: a better card slot (UHS-II) – if next sensor demands it. Also maybe an improved EVF (maybe 5 million dot panel) and who knows, maybe Fuji could incorporate some sort of global shutter if sensor tech leaps. But all that is likely a long way off.
• Competitor Plans: We’ve covered the known ones: Ricoh GR IV is confirmed for Fall 2025. It’s essentially an iterative upgrade (26MP, 5-axis IBIS, same lens, better connectivity). One interesting tidbit: the GR IV has an “HDF” model planned (possibly a version without an AA filter or with a different filter array) after winter 2025. The pricing rumor ($1500+) suggests Ricoh positioning it more premium. It will be interesting to see how the GR community reacts and if it pulls any would-be Fuji buyers. Usually though, if you want a VF and 35mm lens, Fuji still stands apart.Sony RX1R III just launched (July 2025), so that will be current for a while. Its reception has been mixed in discussion forums mostly due to price. Sony likely won’t update it for a long time now that they’ve finally released a III. If it doesn’t sell well, they might quietly discontinue like they did with RX1R II after some years. If it does, well, it’s another option albeit niche.Leica Q series – the Q3 is new (2023) and Leica typically does about a 4-year cycle, so maybe a Q4 in 2027 or so. Some rumor sites wonder if Leica might do a Q “Monochrom” version (pure B&W sensor) as they did for Q2 – that could come maybe in 2025/26. That’s relevant only to a very niche group though (and $$$).Other Fujifilm fixed-lens: On Fuji’s own front, interestingly they have the X100RF listed (for the limited edition) and also a mysterious “X half” in their product listing. “X half” might be a concept or placeholder (some speculate it could be something like a fixed-lens medium format or a hybrid camera). There’s also the GFX100RF in medium format – which turned out to be a special edition GFX100 with fixed lens for some industrial use, not consumer. So likely nothing major there for us.Interchangeable lens trend: It’s worth noting that as of 2025, many companies put most R&D into interchangeable lens mirrorless systems. Fuji itself released the X-T5, X-H2/H2S recently, and an X-S20. Nikon/Canon have none in this fixed category, preferring to sell compacts only in the vlogging space. So Fujifilm and Ricoh remain the champions of the enthusiast fixed-lens segment. The success of X100VI might encourage others (could Canon revive a high-end PowerShot? There’s chatter but no evidence; they did release some quirky compacts like the PowerShot V10 vlogging camera – but that’s not in this league). Nikon’s retro-styled cameras (like the new Nikon Zf ILC in late 2023) show retro is in, but Nikon hasn’t hinted at a fixed-lens model.
• Software and Apps: Fuji’s new XApp (released 2023) has been a big improvement for connectivity. They might further update it to allow more cloud features (they already have Frame.io integration in camera). Perhaps in future firmware we might see support for things like tethering via USB (unlikely needed for X100 though), or maybe some fun features like in-camera panoramic modes or advanced bracketing. Currently, the X100VI covers most bases.
• Film Simulation Updates: Whenever Fujifilm develops a new film sim (like they did with Classic Neg, Eterna Bleach Bypass, Nostalgic Neg, Reala ACE in recent years), they often backport to existing models if technically possible. If Fuji launches a new sim with say the next X-Pro or X-T, it might come to X100VI via firmware if hardware supports it. That’s one reason X100 fans keep an eye on Fuji announcements even for other cameras.

In a nutshell, the near future (next 12 months) in this space will see:

• Fujifilm continuing to push out X100VI units and likely a firmware or two if needed.
• Ricoh GR IV hitting the market – watch for reviews around Oct/Nov 2025 to see how it compares.
• Possibly more special editions (Fuji loves doing limited colors or kits, e.g., maybe a graphite edition in future, though they did the 90th Ann. one already).
• The community around X100VI will keep growing, with more users sharing content.

Looking further out, by the time an X100VII comes, the camera landscape might shift (maybe computational photography gets into dedicated cameras? Some rumors of future Fuji featuring on-sensor AI or such, which could trickle to X100 series eventually). For now, the X100VI is state-of-the-art in its niche, and nothing in 2025 has definitively dethroned it for the title of best premium compact camera. It will be exciting to see if Fujifilm can replicate this level of success with other models (like an X-Pro4 eventually) and how they’ll innovate for the next iteration of X100.

One thing’s for sure: the X100VI has cemented its place and will be fondly remembered as one of Fuji’s greatest hits. As technology marches on, that intangible X100 charm is likely to remain the series’ secret weapon. In the words of a user review, “If the X100VI is any indication, the future of photography isn’t just about specs – it’s about the feeling you get when you press the shutter”. And that is something no spec sheet can quantify.

Sources:

• Fujifilm X100VI Official Product Page
• B&H Photo – X100VI Overview & Specs
• The Cotswold Photographer – Real-World X100VI Review thecotswoldphotographer.com
• Fstoppers – X100VI Review: The Compact Camera That Does It All
• Fuji X Weekly – X100VI Surpassing X100V Production (demand & production interview)
• PentaxRumors – Comparing Ricoh GR IV vs GR III (Ricoh GR IV info)
• CineD – Sony RX1R III Announced (Sony specs & price) cined.com
• Forbes/Moor Insights – X100VI Strong Specs, Hard to Buy (availability)

, , , , ,