FUJIFILM spent most of 2025 in the wake of 2024's X100VI camera, riding the wave of its internet virality to an instantly sold-out product that remains out of stock pretty much everywhere. This year the company delivered three new cameras and a new lens, all of which iterated on their winning X100VI concept. The company also cannonballed into the deep-end of the cinema camera space with the announcement of their large format sensor camera and a video-friendly power-zoom lens.
The GFX100RF, or the Medium Format X100VI
One of the things that sets FUJIFILM apart from other camera manufacturers is their consistent ability to repurpose their analog history into high-quality digital products. In many ways, the GFX100RF is a culmination of this brand-level strength, harkening back to the company's history of medium-format cameras (including fixed-lens rangefinders like the GW690 III "Texas Leica") while incorporating their industry-leading Film Simulations derived directly from the company's film stocks.
Like the X100VI, the GFX100RF is rangefinder-inspired, conceived around premium image quality with maximal portability. So they stuffed that massive GFX-series sensor into a stylish body that's still smaller and lighter than most of the mirrorless and DSLR cameras on the market. Its built-in, fixed-focal length lens offers a 28mm full-frame equivalence that satisfies the street-scene, slice-of-life photography at which this camera excels. An aspect ratio dial and digital teleconverter take advantage of the larger sensor to offer users additional visual variety.
The camera was received warmly, if not to raves, but it didn't matter. Like the X100VI, this "medium format point & shoot" camera sold out immediately and remains unavailable.
The X half, or the X100VI Mini
Having opened the year big and serious, the company did a hard pivot to small and fun with the release of the X half. Its design loses nothing in style for being familiar to its bigger brothers, and here FUJIFILM again played to its strength by riffing on the film world’s half-frame concept and meld the ease of digital shooting with the pleasure, presence, and texture of shooting film. The markets for both film and compact cameras have seen similar levels of resurgence, and the company's wise choice to tackle both nodes of demand in the X half yielded yet another enthusiastic customer response, especially in Japan, where the camera has been a best-seller since its launch.
This unique digital camera features a 1” vertically oriented 18MP sensor and a fixed 10.8mm (32mm full-frame equivalent) focal length, f/2.8 lens that produces 3:4 stills and video. Beyond its film sims, however, this camera boasts design decisions in both software and hardware intended to promote a filmlike immersive shooting experience, including a Frame Advance Lever, Film Camera mode, a slim, pill-shaped LCD that displays the chosen Film Simulation, and integration with INSTAX printers.
In what's become something of a theme with niche and/or premium photo products, the X half underwhelmed critical expectations while outpacing sales expectations. Unlike its bigger brothers, it is in fact currently in stock, and in this author's opinion is worth purchasing bundled with an INSTAX Mini printer.
The X-E5, or the Interchangeable X100VI
By June, FUJIFILM stopped saying the quiet part out loud and began screaming it with the release of the X-E5 mirrorless camera, a compact, film-inflected, rangefinder-style interchangeable lens camera that was accompanied by a brand-new pancake lens, the XF 23mm f/2.8 R WR. Put together, the paired duo was a dead ringer for the X100VI, a similarity that went beyond mere likeness, as the X-E5 has the same sensor, processor, and, for the first time in an X-E series camera, the same in-body image stabilization.
Of course, the X-E5 is also compatible with the more than 40 X-mount lenses FUJIFILM currently offers, making it the most optically versatile camera of the bunch and offering users the opportunity to disrupt the design rigidity of the X-E5's fixed-lens counterparts.
The X-E5, while not entirely sold out, remains a high-seller around the world. It was perhaps the best-received by reviewers of the 2025 trio, and consumers appreciated that its increased versatility didn't sacrifice size or look.
The GFX ETERNA, or the Medium Format Cinema Camera
In the latter part of the year FUJIFILM pivoted away from the mostly cornered "digi-film" consumer market and made good on a much-anticipated promise: its first-ever dedicated cinema camera built around the GFX-series medium format sensor. The GFX ETERNA 55 Cinema Camera, despite incorporating the ubiquitous Film Simulations into its post-processing toolkit, is a decidedly professional-facing product with a corresponding price-tag. The sensor is joined by video-first features like an internal variable neutral density filter (ND0.6 – ND2.1), Adobe Frame.io Camera to Cloud support, an optical low-pass filter, and a host of input/output options. Users will be able to capture footage in five primary formats—GF, Premista, 35mm, Anamorphic 35mm, and Super35mm—in resolutions up to DCI 8K. Available codecs include ProRes 422, H.265, and H.264.
Impressively, the camera has a native open gate mode in 4K at 48p, allowing users to capture the full image circle of compatible large format lenses. Speaking of which, FUJIFILM also announced a 32-90mm T3.5 power zoom lens, featuring a large and utilitarian focal range and an optical design engineered to handle the high resolving needs of the ETERNA.
Both camera and lens are currently available for pre-order and have yet to ship.
For more details on FUJIFILM’s 2025 releases or to see their full lineup of products, be sure to check out the rest of our blog and our SuperStore.
