During CP+ 2025, Fujifilm was more discreet than last year – which marked the company’s 90th anniversary. However, with numerous recent releases, Fujifilm is showing strong dynamism in the photography market.
We had the opportunity to meet Jun Watanabe, Head of Product Planning (X series and X100), and Makoto Oishi, Head of Product Planning (GFX series) within the Imaging Solutions Division, as well as Tomohide Yazawa, Head of the Imaging Device Unit. With them, we discussed the excitement surrounding their latest products, the new video and sports-oriented focus of the medium format hybrids, as well as the cross-development of lenses for APS-C and medium format.
Fujifilm appears to be in an exceptionally strong financial position in 2025, with high demand for its mirrorless cameras, compact models, and Instax line. Has the company’s strategy of avoiding the full-frame market proven beneficial?
Tomohide Yazawa : I think the recent trend we see has nothing to do with whether we are avoiding full frame or not. The key factor of success is that we launch attractive products and services that meet the demands of our customers.
For example, among the younger generation, including women, sales volume of Fujifilm products is increasing. These customers want something that’s different from what others have.
They want to take pictures that stand out from those taken with smartphones, for instance. We’ve met that demand with the X100VI through its distinctive design and film simulation features.
That’s why even though it’s priced at over a thousand US dollars, younger people between 20 and 30 years old are willing to pay for it. The key to our success is product attractiveness.
Can we say that China is currently the most dynamic market for Fujifilm?
Tomohide Yazawa : Yes, China is driving sales and is the leader among all countries where we sell our products. I think the key driver here is, again, the young generation.
According to official numbers, people aged 20 to 39 represent over 40% of China’s total population. This means nearly half of people in China are under 40. These young people are driving sales now, in addition to our core users who have been using our cameras for a long time.
It seems to be a repetition, but how is Fujifilm going on the X100VI production capabilities?
Tomohide Yazawa : The demand continues to grow and we are receiving many orders. We’ve been increasing our production capacity and we’re trying to catch up—and we are making progress.
However, demand is still slightly higher than our production capabilities. It’s been quite a long seller and will likely continue to be so for more than a year or two.
While the compact camera market is booming, particularly the expert segment, some are eagerly awaiting the launch of a medium format expert compact camera. Is this something that could be considered?
Makoto Oishi: Actually, we can’t say anything.
But from the beginning of the GFX launch, many photographers—and even ourselves—have had such an idea. We understand that some people would like a large format version of the X100. However, it would be quite different from the X100, which has an APS-C sensor.
So even if we were to develop something like that, I’m not sure how much bigger or heavier it would be compared to the X100 series.
You already did something a bit similar with the GFX50r and its rangefinder style, didn’t you?
Makoto Oishi: Our latest releases for large format cameras are the GFX 100 II and GFX 100S II, which have a different design. However, we don’t want to say we’ll never develop that kind of rangefinder-style compact large format camera.
You have also announced the development of the GFX Eterna medium format cinema camera and GF Power Zoom lenses. Is this the next key market for Fujifilm?
Makoto Oishi: While we were developing and launching the GFX series, the demand for filmmaking was increasing year after year.
We also developed video features, especially with the GFX 100 II, which is a hybrid camera that supports not only still photography but also filmmaking, with 4K or larger format capabilities. As you may know, Fujifilm has a history of developing film for the filmmaking market.
With that background, technology, and knowledge, we announced the development of the GFX Eterna because we believe the filmmaking market is growing significantly. That market is also important for us, not just still photography.
And how do you cope with rolling shutter on your GFX medium format cameras for video?
Makoto Oishi: Actually, the GFX Eterna uses the same system as the GFX 100 II, and the minimum rolling shutter is 50 ms in full framing 4K 16:9.
Additionally, the GFX Eterna will have two more specifications. We can extend the video reading field to the full surface of the sensor in 4:3 format, enabling open gate recording while minimizing rolling shutter as much as possible.
How is the GFX system beneficial for video makers compared to other kind of sensor format?
Makoto Oishi: GFX cameras have a large format sensor, so the sensor itself can record deeper information about the image. The GFX100 II already supports high dynamic range, F-Log2 and F-Log2C in RAW. We can also rely on Dual ISO 800 and 1600 in video.
Additionally, Fujifilm has a very long history with color science, not only for still photography but also for filmmaking.
And finally, we have various Fujinon cinema lenses and are developing quality zoom lenses. We offer lenses for both Super 35 and large format. That’s why we also announced the development of the new cinema GF Zoom lens [a motorized zoom 32-90mm T3.5, Editor’s note].
Last year, Fujifilm renewed its XF 16-55mm f/2.8 II, which was highly anticipated by photographers. When you “modernize” a lens, what are the important elements to consider?
June Watanabe: In addition to enhancing image quality and resolution, we also focus on making lenses smaller, lighter, and equipped with faster autofocus and improved operability. Generally, we aim to maximize the advantages of our APS-C system through compact lenses.
If you could rank these elements in terms of priority, what would be the most important when updating a lens?
June Watanabe: The most important element is image quality, followed by the reduction in size and weight, and then improved operability.
Fujifilm also returned to the “entry-level” segment with the X-M5, altough we thought this segment had been abandoned. Is this segment now more promising than the high-end market?
June Watanabe: We believe both segments are equally important. But this camera, which we don’t consider “entry-level,” is important for Fujifilm to attract new users.
The GFX 100 II has been considered the first medium format camera “for sports” – have you received any feedback from photographers who used medium format during the Paris Olympics?
Makoto Oishi: Yes, some photographers are using GFX 100 II or GFX 100S II for the Olympics. Of course, our latest GFX cameras don’t perfectly support sports photography, especially for fast shooting with continuous autofocusing.
Currently, we’re working on improvements for higher continuous framerates and better autofocusing, even with the large format sensor and its lenses.
We’ll continue to develop these capabilities year by year to ensure that sports photography becomes more achievable with our medium format cameras.
However, I believe the GFX 100 series are exceptional cameras for archiving these kinds of world historical events.
Technically, do you think GFX could get a stacked medium format sensor?
Makoto Oishi: Yes, I would love to have this kind of technology. But I don’t know how costly it would be. It’s quite scary for me.
Fujifilm unveiled the Fujinon 500mm f/5.6, the first lens that appeared to be developed for both medium format and APS-C sensors. Is this a development strategy that you will continue to pursue?
Makoto Oishi: It’s a brilliant idea from our optical designers, isn’t it?
With prime telephoto lenses, the size is determined by the aperture and focal length, not by the sensor size.
That’s one of the reasons we can share the optical design, particularly the front elements of the GF 500 mm. Naturally, the rear optical elements differ between APS-C and large format due to the different sensor sizes.
The timing was also perfect—we already had plans to develop the GFX 100S II, and this body-lens combination works exceptionally well for sports photography and wildlife.
While AI is currently used for subject recognition and tracking in cameras, what additional opportunities do you see for this technology in the future?
June Watanabe: We believe the most important thing is how to use AI technology. It has the potential to be applied to all aspects of the camera—for example, image quality, autofocusing, image stabilization, and video.
The first and most important application is using it for better image quality and performance.
Makoto Oishi: I think the recent development of AI in cameras is still at the very beginning. So, as Jun said, it could bring many possibilities, not only for subject detection but also for image processing, auto white balance, exposure, distortion compensation, and various other settings.
Fujifilm has gained recognition for its X-Summit events, where the company shares details about upcoming developments. How important are these events to Fujifilm’s overall strategy?
Tomohide Yazawa: Our basic concept of marketing is direct-to-customer—we want to communicate directly with photographers. X-Summit is very important as it allows us to deliver information about new products or services directly to customers.
Even more important is conducting offline events alongside X-Summit. While we stream X-Summit to YouTube, we also hold Fujikina simultaneously. This is an offline event where we invite customers to come, touch and try the products, and see real pictures and prints. Through this hands-on experience, customers truly understand the value of our products.
So yes, X-Summit is crucial, but X-Summit alone doesn’t lead to our success.
Compared to most camera manufacturers, Fujifilm seems to be having a more open communication. Do you agree with me?
Tomohide Yazawa : During our most recent X-Summit in Tokyo, we conducted a voting session where attendees could help decide which lenses we should develop next.
Direct communication with customers is a core principle for us. We genuinely want to understand what lenses photographers are interested in.
While we can’t fulfill every market request—business considerations still apply—we do prioritize what our customers want.
Customer feedback is our most reliable and trusted source of information, which is why we engage in these kinds of interactive initiatives.
Thank you to Mr. Watanabe, Mr. Yazawa, and Mr. Oishi for answering our questions. We would also like to thank the team at Fujifilm Corp and Fujifilm France for making this interview possible.
