The 40MP sensor obviously provides a greater resolution than the X100 V’s 26MP. The extra pixels are also handy when you need cropping, which is a common requirement for a camera with a fixed wide-angle lens. And while the lens is the same as before, it’s still sharp enough to resolve additional details.
If this sensor looks familiar, that’s because it’s the same as the one on the X-T5 and X-H2, so the image quality here is similar. In-camera processing of JPEG and 10-bit HEIF files is pleasant, with accurate colors and noise reduction and a nice balance of detail. You can often share photos directly out of the camera, which is important for street photographers who do little or no post-processing.
14-bit RAW photos offer plenty of room for fine-tuning, even in bright or dark areas. However, if you underexpose shots and try to increase the levels, the noise can get out of control compared to a full frame camera.
Higher resolution doesn’t hurt image quality much at higher ISOs. It handles noise well up to ISO 6400 and you can go up to 12800 if the exposure is set correctly. I was impressed with the quality when shooting in bars and other dark environments.
And of course, the X100 VI offers Fujifilm’s full range of film simulation modes. You can experiment with popular looks like Velvia, Eterna or Acros black and white and still have a full color RAW backup. As the only major camera company selling 35mm film, Fuji’s simulations are the most enjoyable and realistic.
Video
The X100 VI’s excellent video features are another bonus. It’s almost identical to the X-T5, so you can shoot 6.2K at 30fps with 1.23x crop, or 4K at up to 60fps with line skipping and 1.14x crop. The camera also offers up to 30p sub-sampling 4K or high definition 4K 30p with 1.23x crop using the full sensor width. Fujifilm also introduced 10-bit and F-Log2.
It took me a while to get used to the different modes and farming levels. 6.2K and 4K HQ have pronounced rolling shutter, so you should be aware of that. At the same time, the full-sensor subsampled is noticeably less resonant than in 4K HQ mode.
Video autofocus matches what I saw with photos, which is that it was decent, but not very reliable for moving subjects. AI-powered AF locked on subjects, but still couldn’t always keep up with flying birds, animals or vehicles.
Handheld video is now a real option with in-body stabilization. It worked well as long as I wasn’t moving around a lot and offers a ‘high’ mode which smooths out the vibrations even more. Digital stabilization is also an option, but it’s not supported by 6K or HQ modes and doesn’t really reduce shake for walking or fast movements.
Video quality is solid for a small compact camera, offering the same accurate colors you see in JPEG photo modes. Shooting in 10-bit F-Log allows you to significantly adjust or get creative with shots in post. If you want a special look straight from the camera, you can shoot video using film simulation modes.
Collection
Fujifilm has made all the right moves to keep the popularity of the X100 VI high by combining a very capable street and travel camera into a beautifully retro-cute body. The extra resolution, in-body stabilization and new video features should be enough to entice owners to upgrade.
At $1,600, the X100 VI doesn’t have much competition—which is strange given its success. The Leica Q3 comes to mind, although it costs $6,000. Another option is the $1,000 Ricoh GR IIIx, which offers in-body stabilization and an ND filter. However, the resolution is lower at 24MP and lacks the high-end video features of the X100 VI.
Sony’s ZV-1 II also falls into this compact category, but it’s designed primarily for video. Keep an eye out for Panasonic as it may release a new compact camera, according to recent rumours. Either way, if you’re in the market for a high-end compact car and can afford the X100 VI, I wouldn’t hesitate – there’s a lot of camera inside that beautiful body.
