Fujifilm 2025: A Year of Peaks and Valleys
▼ Summary
– Fujifilm’s 2025 product lineup was eclectic and difficult to grade, ranging from fun but technically poor cameras to good but boring ones.
– The year was unusual partly because the company’s current X-Trans and GFX sensor generations are aging and likely nearing replacement.
– Key camera releases included the niche, cinema-focused GFX Eterna 55 and the medium-format fixed-lens GFX100RF, alongside the fun but low-quality X half and the well-received X-E5.
– Fujifilm released only three new lenses, with two being unremarkable X-mount lenses and one being a specialized, expensive video lens for the GFX system.
– The year felt like a transitional “gap year” as the company prepares for new camera generations, resulting in a mixed performance graded as C+.
Assessing Fujifilm’s performance over the past twelve months presents a unique challenge. The year wasn’t defined by a lack of activity, but rather by a wildly inconsistent portfolio that swung from technically flawed yet enjoyable gadgets to highly competent but uninspiring tools. This eclectic mix makes it hard to arrive at a simple verdict, highlighting a transitional period for the iconic imaging brand.
A significant factor behind this unusual year is the apparent sunsetting of key technologies. The current generation of X-Trans sensors feels dated and is almost certainly nearing replacement, a sentiment that also applies to the medium-format GFX system’s imaging core. This impending refresh likely influenced the company’s product strategy, resulting in a curious assortment of new cameras.
The camera releases themselves told a story of extremes. On one end stood the specialized GFX Eterna 55 cinema camera, a $16,500 tool built for filmmakers seeking large-format versatility, albeit with some sensor readout limitations. On the opposite end was the playful X half, a device championing analog-style fun over image quality with its tiny 18-megapixel sensor. While its technical output was questionable, its spirit and design philosophy resonated strongly with a segment of photographers.
Perhaps the most intriguing release was the GFX100RF, a bold fixed-lens medium-format camera. It marries the formidable 102-megapixel sensor with a stunningly sharp 28mm equivalent f/4 lens. To achieve its compact form, Fujifilm made the conscious decision to omit in-body image stabilization, a trade-off that defines its character. It stands as a fascinating experiment that expands the popular X100 concept into a new realm of image quality.
More conventional excellence was found in the X-E5, a 40-megapixel interchangeable-lens camera with rangefinder styling. It effectively captures the aesthetic and quality of the coveted X100VI while offering the flexibility of the entire X-mount lens library. Closing out the year was the iterative but capable X-T30 III, which refined its predecessor with better autofocus and video in a familiar, affordable package.
A more glaring shortcoming was the lackluster lineup of new lenses. Only three were introduced, and one was a highly specialized, expensive cine lens for the GFX system. The two additions for the X Series, the XF 23mm f/2.8 and the XC 13-33mm zoom, are competent and compact but fail to generate excitement. This sparse offering feels particularly noticeable given the two distinct lens systems Fujifilm supports, leaving many to wonder when older lenses will be updated or more innovative optical designs will emerge.
When looking at the year as a whole, 2025 had the distinct feeling of a pause. The company seems to be conserving its energy and resources for a forthcoming generational leap in both camera systems. Within that context, we saw flashes of brilliance and daring, like the GFX100RF, alongside curious experiments like the X half. The overall grade reflects this mixed bag: a C+ for a year that delivered functional products and interesting ideas but lacked the cohesive, groundbreaking momentum Fujifilm is known for. The anticipation now firmly shifts to what the next chapter will bring.
(Source: PetaPixel)