Josh lives a fascinating life. He left the comforts of a steady day job to pursue life on the road, traveling across the country in his RV while photographing landscapes. We had a great conversation between adventures to talk about where he’s been and to where he’s going.

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I share my three biggest hopes for the X-T6: significantly improved autofocus, stronger low-light performance, and a focus on refining what already makes the X-T series so special rather than adding unnecessary gimmicks. I also talk about the unusually quiet year from Fujifilm and why I think that silence may be a sign that the company is putting everything it has into getting this camera right.

Do you agree? What would be at the top of your X-T6 wishlist? Join the conversation and let me know.

The Fujifilm X-T6 is rumored to be released this coming September and the Fujifilm fans wait with great anticipation as to what were will receive. It’s a big moment for the camera company. This is their biggest, most popular camera in their line-up. This is also a camera that Fujifilm absolutely need to wow the world when it is released.

I feel that the importance of this camera release is revealed by Fujifilm by what is NOT happening. We are not hearing any credible rumors of other cameras in the works. There have been no releases of cameras this year. Not even a minor camera. It’s as though the coast is clear. Things feel a little too quiet. I have no knowledge of what happens behind Fujifilm’s closed doors, but the radio silence feels like all hands are on deck for the X-T6.

The X-T6 will be the first Fujifilm camera to have the sixth generation sensors and processors, which is a big deal in terms of camera performance. The fifth generation cameras were met with some controversy when a firmware update hurt the autofocus performance of several cameras when using the AF-C modes. When Fujifilm finally acknowledged the issue, it was treated as a minor update rather than the severe issue that it was for many video and photography professionals.

I feel like this was a major turning point for a lot of Fujifilm fans that previously praised the company for it’s dedication to photography and videography feedback. Their silence during this time hurt fans.

Internally, I don’t believe they took that autofocus issue lightly. While the company outwardly tried to save face, internally I believe there was constant work to fix the issue.

And that brings us to today where we now have a large gap of time between announcements. I believe that Fujifilm is using this time to test, test, and yet, more tests!

So when this camera is released, what are the key items that need to be addressed in order to make this a successful launch? Here are my top three.

#1 - The Autofocus. This is a no brainer. The autofocus performance needs to be much, much better. At this stage in the camera’s life span, the autofocus needs to be miles ahead of previous generations. While it does not need to beat Canon or Sony or Nikon, it does need to be at the very least on par with them.

When they make their announcement and discuss the autofocus, there needs to be a comparison made to other brand cameras. They can even use a vague chart like Apple has during their keynotes. Fujifilm cannot go on stage and simply say the autofocus is better. That will not cut it. I feel like the audience needs real world comparisons.

#2 - Low Light Performance. This is another big item to nail. While not as important as the first point, this is one that a lot of professionals want. As a wedding photographer, this is one item I also want addressed. I would like cleaner photos at higher ISOs as well as better capture performance, to be able to nail focus during challenging lighting conditions. Yes, this requires the autofocus to be better, too, so these two bullet points go hand and hand.

#3 - Less is More. In truth, I struggled with a third bullet point. Overall, I’m happy with current of the cameras as well as the current battery life. Items one and two are things that Fujifilm absolutely needs to address. This third point is to drive home that sometimes we don’t want bells and whistles.

The manual controls are great. The ergonomics are spot on. For this camera, we do not want things that can be considered gimmicky like a film winder or anything like that.

When this camera is released, I also predict that we will receive an updated 50-140 f/2.8 (which is already being rumored on FujiRumors) as well as an updated 16-80 f/4 lens. It’s not earth-shattering to think this, these two focal lengths are popular for high end cameras and come bundled with cameras.

What do you think? Would you place the list in a different order? Would you replace any of these three with something different? I would love to hear from you.

In this episode of Film-ish, I share a personal thank you to Kevin Mullins and Neale James for everything they have contributed to the Fujifilm community over the years. Through hundreds of episodes, interviews, listener questions, gear discussions, and plenty of laughs, The FujiCast became required listening for photographers around the globe.

As someone who hosts a photography podcast myself, I’ve always appreciated the consistency, dedication, and genuine passion that Kevin and Neale brought to every episode. Producing a podcast week after week is no small task, and their work helped create a community that extended far beyond cameras and photography.

This episode is simply a note of appreciation and gratitude for a podcast that has inspired countless photographers—including me.

Thank you, Kevin. Thank you, Neale.

The FujiCast may have aired its final episode, but its impact on the photography community will continue for years to come.

Wedding season has finally kicked off for me. While this isn’t my first gig of the season (I’ve photographed some non-wedding events this year already) this is my first big wedding and it was in the heart of Boston. I took this photo at the UMass Club, on the 32 floor with a great view of the city. From this side of the building, I was overlooking Cambridge.

I took this photo during a lull in the wedding, where the ceremony ended, portraits were settled and I had just finished getting my gear ready for the reception. This was gearing up to be a great wedding reception because the couple had hired an amazing band, The Pulse of Boston. They were just finishing up their sound tests.

And then they played the song…

I’ve had an obsession with the song, Lovely Day by Bill Withers. I don’t know what it is about that song. Maybe it’s the smoothness of the sound. Maybe it’s that calm voice. The song, released in 1977, just a year after I was born, has this old, but timeless quality to it that dates itself by the synth sounds, but ages like fine wine with the smooth jazz.

I always stop what I am doing to take in the song.If I’m driving, I turn it up and let the sounds relax me, making any trip a little bit earlier.

I happened to be looking out the window when the song started. Even though I live near the city, I don’t photograph in Boston all that often. Wedding photography is already an oversaturated market, and in Boston, it’s doubly so. I tend to stick with the rustic settings and barn weddings. But when I get a chance to go into the city, I jump at the chance.

I photographed the skyline before the lights came on. The photo is slightly underexposed to capture the glow of the sky and the reflected lights off the buildings.

I also took this photo… or rather photos. This panoramic was stitched together from 4 or 5 photos.

The Charles River is winding through as the sun goes down. It felt good. With the song playing in the background, it put my tired mind at ease. Stopping for a moment when photographing a wedding is ideal. You can be going and going, feeding off the guests and the wedding party and not realizing that you’re tired and need a breather.

This was that moment that made me stop for a few minutes. I took the photos of the skyline and then sat back against the window and finished listening to the band play their song.

It was a lovely day, and I finally took a moment to enjoy it. And when the song finished, I got back up and got ready to start photographing a lovely night!

I photographed the skyline and the wedding on my Fujifilm X-T5 cameras. These skyline shots were shot using the XF 56mm f/1.2 lens.

So far, according to Fuji Rumors, my prediction is correct.

Now… what month will it be announced? I originally predicted that it would be January. Well… now I’m reconsidering that prediction. I think it might be more likely to be March than January.

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Since that day, I have tried to go back there because - quite frankly - it’s gorgeous. It’s an iconic winter wonderland in the truest sense of the word.

I finally was able to find the time and do it. The weather conditions were just right and for this trip I brought my X100VI with me along with the new Viltrox converter lenses to test out.

Below is the first photo using the wide angle converter.

I photographed this originally using the Reala Ace film simulation, but this photo is from the RAW file and I used Classic Neg instead. I liked the vibe better with Classic Neg.

This next photo I used the Viltrox tele-converter lens.

For this one, I stuck with Reala Ace as the film simulation. I thought the colors felt better here.

I have more photos to go through, but I wanted to quickly share these.

And the Viltrox converter lenses? They’re great. I will have more to say later on after I properly tested them, but - spoilers - they’re pretty good!.

Until next time!

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If you’ve followed my work for a while, you already know that most of my regular podcasting happens on the FujiLove Podcast, which comes out twice a month and focuses squarely on Fujifilm news, reviews, and conversations with photographers. Film-ish has always been a little different. It’s more reflective, more conversational, and admittedly far less consistent.

One of my loose goals for 2026 is to change that. I’m not great with resolutions, but I do want to spend more time sharing longer-form thoughts here, especially when it comes to where Fujifilm seems to be heading. Consider this post the first step in that direction.

I spent a lot of time on the FujiLove Podcast talking about 2025, which was a strange and challenging year for the entire tech industry. Fujifilm had real successes, particularly with the X-E5. From the outside looking in, it appears to have been a strong seller, and the response from photographers has been overwhelmingly positive. I personally love the camera and am still eager to pick one up when the timing makes sense.

At the same time, 2025 was defined by price increases across nearly every camera brand. Tariffs and broader economic pressures pushed costs higher, and that reality is still influencing how companies plan their releases. With that context in mind, looking at Fujifilm’s roadmap for 2026 becomes especially interesting.

According to current rumors, the X-T6 is expected to be announced in September. That timing stood out to me immediately. Fujifilm has traditionally favored January, May, September, and October for major announcements, and January 2026 passed without a significant X-Series release. We did see the Instax Cinema Camera, which looks like a genuinely fun product, but nothing aimed at professionals or serious enthusiasts.

That absence made me wonder why the X-T6 appears to be landing in September rather than May. My best guess is production. The X-T line has historically been one of Fujifilm’s most successful platforms, rivaled only by the X100 series. It’s the camera that can do just about everything. It’s capable enough for professional work, flexible enough for hybrid shooters, and still approachable for everyday photography. That kind of camera creates enormous demand.

If Fujifilm expects the X-T6 to be another hit, it makes sense to give themselves as much time as possible to build as many units before launch. September allows for a longer production runway, which could help avoid the supply issues we’ve seen with other popular models.

What surprised me more than the X-T6 timing, though, was what hasn’t been rumored. I fully expected to see an X-H successor before an X-T refresh, yet there has been nothing concrete on that front. The X-H line has always occupied an interesting space. The photographers who use it tend to absolutely love it, while others gravitate toward the X-T series instead. In many ways, the two lines are very similar in capability, with ergonomics and shooting style being the real differentiators. But anyone doing video tends to gravitate towards the X-H line… at least that is what I noticed.

I don’t believe Fujifilm will release an X-H and an X-T in the same year again. They tried that once, and it didn’t work in the X-H line’s favor. My sense is that Fujifilm learned from that experience. As a result, I don’t expect a new X-H camera in 2026. If I had to guess, I would place the next X-H release in 2027, likely in the fall.

That same cautious approach seems to apply even more strongly to the X-Pro line. Every time release rumors start circulating, people ask whether this will finally be the year of the X-Pro4. I don’t think it will. Fujifilm appears to be guarding that release very carefully, and for good reason. The X-Pro3 was deeply loved by its users, myself included, but it launched at a high price and suffered from well-documented hardware issues that hurt its broader appeal.

Despite those problems, I still believe the X-Pro3 was a great camera. I never minded the hidden LCD screen, and when the camera worked as intended, it was a joy to use. That history is exactly why I think Fujifilm is taking its time with the X-Pro4. They cannot afford for it to miss the mark. My prediction is that the X-Pro4 will not arrive in 2026 and will instead be released in January of 2027. The X-T6 is simply too large a presence to release anything nearby that could compete with it.

That doesn’t mean 2026 will be completely quiet. I could see Fujifilm refreshing the X-S line, possibly in May or October. A GFX update also wouldn’t surprise me, and there has been some interesting chatter about compact GFX lenses that could point to more experimental designs. A panoramic-style GFX camera is not out of the question, although I remain hesitant to predict it with any confidence.

The camera I keep coming back to, though, is an X70 successor. I don’t think it’s coming in 2026, but I do believe it’s coming. My guess is late 2027. The continued success of Ricoh’s compact cameras makes Fujifilm’s absence in this space increasingly noticeable. When I had the chance to try the X-M5, I couldn’t help but think that its size and feel would have made it an excellent foundation for a modern X70-style camera.

So why hasn’t it happened yet? I suspect the answer is manufacturing complexity. Unlike most X-Series cameras, an X70 successor would require a dedicated lens design and unique mechanical components. That kind of investment only makes sense if Fujifilm is confident the camera can succeed over multiple generations. The original X70 didn’t fail because photographers disliked it. It failed because it launched at the wrong time, was overshadowed by other releases, and lost its sensor supply before it could find a stable audience. Ironically, it became popular only after it was discontinued.

I think, and this is pure speculation, Fujifilm now sees that the market is ready again.

So here’s where I land. I believe the X-T6 will be the defining Fujifilm release of 2026, and possibly the only major one. We may see a smaller X-Series update or a GFX refresh, but I don’t expect multiple flagship launches. Looking ahead to 2027, I expect to see the X-Pro4 to be released in January, a new X-H camera for May, and finally an X70 successor in September or October.

I would love to be proven wrong. Surprises are half the fun.

If you enjoyed this, you can find more writing here on Substack (I hope to write more in addition to recording more podcasts) and regular episodes of the FujiLove Podcast. I’m hoping to do more of these this year, even if I’m terrible at keeping resolutions.

Thanks for reading.

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Last week Fuji Rumors shared a sales chart from one of Japan’s biggest retailers. In that chart, it showed that the Fujifilm X-M5 and the X-E5 are the number 2 and 3 top selling cameras in Japan.

The number 1 selling camera was the Ricoh GR 4, a compact camera much akin to the Fujifilm X-70.

And it raised the question: why hasn’t Fujifilm made a successor to the X-70 camera?

To answer that question, let’s take a look at the x-70 itself.

It had a very rocky history.

It was announced on January 15, 2016.

However, also announced on that day were the X-E2s, and the legendary X-Pro2.

So it had some tough competition. Especially from the X-Pro 2 which was sporting the 24MP sensor, an upgrade from the 16MP sensor in the X70.

There were rumors floating around that the sales of the X70 were not great. It’s hard to say for certain because Fujifilm never officially said anything, never provided any numbers.

But the nail in the coffin had to be when Sony discontinued the production of the 16MP sensor. That essentially put an end to the X70 and the X-E2 cameras. There were rumblings of reasons why a successor never surfaced. Things like an upgraded processor had heat issues in such a small body was one that floated about. We can’t know for certain until Fujifilm says it.

And that brings us to today. Almost 10 years later, still no successor.

Why?

I have some theories.

Fujifilm has already made the spiritual successor: The X-E4 and the X-E5 are the spiritual successors already. They are very small and share the same flip-up LCD screen on the X70. This theory is a bit loosey-goosey, I’ll admit. But when these cameras launched with their pancake lenes, my thought immediately went to the X70. Sure, it’s not AS small, but this is the smallest they could make it. That counts, right? Well, probably not. When those cameras launched, it felt like it just reminded fans of the X70 of what they could have had.

Fujifilm is being very, very cautious: I think Fujifilm’s early days of the X series cameras came with some growing pains and learning experiences. Timing, it appears, is everything. And the camera that suffered the most was the X-H1. That camera was announced in February of 2018 and a few months later the X-T3 was announced. I remember there being a backlog of X-H1 cameras selling at a reduced price WITH the battery grip.

And let’s not forget the X-Pro3, the camera with a radical design change that divided the fanbase. On top of that, the camera launched at a much higher price than the previous version and the hardware issues the camera experienced was a dealbreaker to the remaining audience. Again, Fujifilm did not reveal numbers, but there are articles on the web that talk of an initial good start, but a sharp decline there after.

It’s been 6 years with no signs of the XPro4.

And that brings us to today. Look at the way Fujifilm has been handling their stock. The X100VI, the most successful camera Fujifilm has ever made - arguably the most successful camera ever - can’t keep up with demand to this day, one year later. Rather than making a bazillion units and shipping them off, it’s been a slow, continuous burst. It feels like - again, I have no proof of this - their previous set-backs hurt so much that they do not want to risk over-producing to mitigate loss.

And we’re here today... still no X70 successor.

It’s certainly a flag... I’m sure it has Fujifilm’s attention.

So then what could POSSIBLY be holding back the successor?

I think it’s this... I think it’s the lens.

Let me explain... no, that will take to long. Let me sum up.

The X-M5. When I reviewed that camera, I thought that the size was incredibly small! I also thought that this would be a PERFECT X70 successor. So why the X-M5 and not the X70? It comes down to the lens. The rest of the camera uses similar parts. Same camera sensor, same processor, same electronic viewfinders, they have a bunch of varieties of those... or you don’t even need them! The LCD screens. It’s all parts that can be found on other Fujifilm cameras. Everything except the lens.

The lens elements will need to be custom for the X70, much like they are for the X100 series. All that work, time, effort, money in a camera that might not sell well?

Might not sell well??? I already feel the blood pressure raising on this one. But surely this camera should be different, right? People are BEGGING for this camera. The secondary market for the X70 is the proof! It’s going for at least $999 for a nearly 10 year old camera. Isn’t that the proof?

Yes, secondary markets for the X70 is strong, but there are not that many in circulation. So it’s difficult to gauge what the REAL demand is. It could be a very vocal minority screaming on comment sections and a fraction of that audience are spending the money on the overpriced X70 right now.

But what I really think it comes down to is timing.

My prediction: I think that there will be an X70 successor. I think that the X70 will be announced in September/October... of 2027.

Here is my reasoning. I think they want to sell the X100VI and the X-E5 and let them have their proper day in the sun, which they are having right now. I think that next year, in 2026, we will see the first debut of the Generation 6 sensors/processors. I originally predicted the X-T6 would be the first, but a fellow listener thought it would be more fitting for the X-H series instead... and I happen to agree.

I’m not as confident on the next part, but I’ve already stuck my foot in my mouth this far... might as well finish the leg, too ;-) I think that September of 2026 will be the XPro4. January of 2027 will be the X-T6.

Those are my predictions... based only on my gut feelings and past experience with release dates. I am 90% confident... that I am mostly incorrect. I’m putting that on front street.

But what are your thoughts? Let me know in the comments, or email me at filmishshow@gmail.com

So I finally had to give this camera back to Fujifilm. It pained me to do so. I had a lot of fun photographing on this camera. It’s so well made.

Here is the video that I finally published. I had a lot of fun taking the camera here and there. In the video I took the camera on a hot air balloon, to a grand hotel in the White Mountains in New Hampshire, and the wharf in Newburyport. That’s just what made the video. I also have footage of taking the camera to Boston at another wedding venue.

Enjoy the video!

I was on my way to photograph a wedding in Devens, MA. I stopped at the Marriott in Devens before I started my gig and I was met with this really interesting bathroom setup.

The lights in the bathroom were very weird, very directional, focusing the light on the toilet itself while the rest of the stall stayed in the shadow.

I shot this with my iPhone on the wide setting. I also underexposed the image to emphasize the shadows.

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Well, August 1st came and went. The tariffs are locked in place, set in stone... for now. It was negotiated that there will only be a 15% tariff on non-automotive products imported from Japan. That is up by 5% from the temporary 10% tariff, but lower than the 24/25% tariff that was threatened. I waited a little bit to see if the dust would get kicked up again, but things seem like they are stable.

Based on my two most recent posts, I wanted to look back and see what I got right, what I got wrong, and what I didn't see coming at all.

What I got wrong

I presented three scenarios.

#1 Best Case - tariffs go back to the way they were and Fujifilm lowers the price of the X-E5 to be on par with the X-T50.

#2 Worst Case - tariffs go to 24% or 25% and the X-E5 stays at the current price which already considers the 24% tariff.

What I got right

#3 More profitable case - tariffs are lowered but Fujifilm does not adjust the price of the X-E5 to reflect new tariff. Keeps it up at the 24%/25% rate.

We can scratch the first and second cases off the list. It was #3 that was the closest. The tariffs were lowered, but the price of the X-E5 remains at $1,699 in the United States. As rumors have it, the X-E5 presales are doing well. If they are doing well... if people are willing to pay for it, why change it?

What I completed missed

What I did not see happen is that Fujifilm adjusted their camera and lens prices to reflect the new tariffs. This is happening across all camera brands and I'm not surprised by this. The profit margin on camera and lens sales are pretty thin.

A complete list of price changes can be found here - Fuji Rumors did a great breakdown of the items as well as the price difference. But I wanted to touch on these cameras.

• X-H2S body – $ 2,799 (+300 USD = 12% up)

• X-H2 body – $ 2,199 (+200 USD = 10% up)

• X-T5 body – $ 1,899 (+200 USD = 12% up)

• X100VI – $ 1,799 (+200 USD = 13% up)

• X-T50 body – $ 1,599 (+200 USD = 14% up)

• X-S20 body – $ 1,499 (+200 USD = 15% up)

• X-M5 body – $ 899 (+100 USD = 13% up)

All of the cameras are at least increased by $100. Prices in the United States love to end in "XXX9.99" so prices were going to be increased by increments of 100. Not all of these are a 15% increase, but it's important to note that tariffs are applied to the wholesale cost of the item and not the retail price.

All of these price increases seem reasonable to me and make sense. The one that has me scratching my head is the X-T50. The increase to $1,599 is interesting. The X-T50 and the X-E5 share the same functions, but it's a shame that the X-E5 isn't getting lowered to this price. By looking at these prices, you can almost imagine the "importance" of these cameras in the eyes of Fujifilm... and maybe to the consumers, too.

Yet to happen

The one additional item that I speculated on is the cost of Generation 6 cameras. We won't know that for at least another year or so. But the prices in the United States, if these are selling well, then I still have the sneaking suspicion that the world will follow suit in these price increases.

Only time will tell.

I encourage everyone to check out her substack as well as her Instagram and web site.

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Note: This is purely speculative. I have no insider information—just observations and thoughts based on what's publicly available. So, with that out of the way… let's dive into some Fujifilm pricing speculation.

In a recent post, I compared Fujifilm to Nintendo while discussing the new X-Half camera. Since then, the comparison has only grown stronger. Now, I see another trait they may share: a rise in pricing—and not just because of tariffs.

In my write-up about the X-E5, I noted that its $1,699 price tag in the U.S. appears to be the result of tariff-related costs, while prices in other regions like the UK and Australia stayed aligned with the X-T50. That got me thinking:

What happens if the U.S. and Japan resolve their trade dispute?

Alternatively…

What happens if, after the July 8th deadline, the tariffs return to 24%?

Let’s start with the second scenario—it’s more straightforward.

The X-E5 is already priced about 24% higher than expected. While tariffs apply to manufacturing/import costs (not retail), the $1,699 tag vs. a likely $1,399 pre-tariff price aligns with that increase.

If tariffs stay at 24%, then the current pricing is already adjusted. Future Fujifilm cameras would also see similar increases. For example:

• The X-Pro3 launched at $1,799 (base) and $1,999 (premium).

• A tariff-adjusted successor might land at $2,200–$2,500.

• The X-T5 launched at $1,699—an X-T6 could come in at $2,100 or more.

That’s Scenario #2, and it’s not great. But what about the “best case”?

Scenario #1: Tariffs are lowered

If trade talks succeed, the U.S. and Japan could restore pre-tariff conditions. This would be the ideal outcome.

It could mean the X-E5’s price drops before shipping in August, possibly aligning with the X-T50’s $1,399 price point. That would be a relief—and a sign that sanity has returned to global pricing.

But now, let’s talk about Scenario #3… which might be worse than tariffs.

Scenario #3: The Nintendo Effect

This brings us back to Nintendo. Let me explain!

Nintendo released the Switch at $299 in 2017, while competitors like PlayStation 4 and Xbox One launched at $399 and $499, respectively. Switch games were around $50–$60.

Fast forward: Game development costs ballooned. Publishers warned that prices needed to rise, but no one moved first.

Then came the Switch 2… with $80–$90 game prices. This happened before new tariffs were in play.

Why mention this? Because Fujifilm might be watching—and learning.

The X100VI launched at $1,599 and was almost immediately impossible to find at MSRP. Resellers sold it for double—and people bought them.

The X-E5 is also reportedly selling very well in preorders (according to FujiRumors and Vice). That success signals something important:

Consumers are willing to pay higher prices.

So, if tariffs are lowered… why would Fujifilm reduce the price?

They probably won’t. I believe we’re seeing the new normal.

Yes, the U.S. tariffs were the initial catalyst. But the strong demand has validated the price increase. It’s a litmus test—and we’ve passed it with our wallets.

I predict Fujifilm’s 6th generation cameras will reflect this higher pricing worldwide, not just in the U.S.

A Double-Edged Sword

On one hand, Fujifilm earns the right to charge more. Their cameras aren’t just tools—they’re experiences. That’s why I love the brand.

But that loyalty has limits.

Fujifilm still needs to learn from the 2024 firmware fiasco, when X-T5 and X-H2 users faced serious autofocus issues in AF-C mode. While the fix eventually came, Fujifilm’s radio silence for most of the summer and the dismissive tone of their eventual response soured trust.

Now, the X-E5 closes the book on their 5th-generation sensor and processor. We're entering the 6th generation. Many of us hope the next big release is the X-Pro4—and it better be a worthy successor.

Because if Fujifilm plans to raise prices globally, then their next cameras need to live up to that hype… and more… so much more.