This article is based on real-world testing. I’ve used the Fujifilm X100VI since its release, and the OM System OM-3 was tested extensively throughout August — including on my latest trip to Moalboal in the Philippines.

I know some people will say “why compare a fixed-lens camera to an interchangeable-lens body?” I heard the same thing years ago when I compared the Olympus Pen F with the Fujifilm X100T. And yes, on paper they’re not direct competitors.

But in practice, they share a lot: both are beautifully designed, retro-styled cameras. Both are small, lightweight, and perfect for anyone who wants something better than a phone without carrying a full-frame kit. For travel, family, or everyday shooting, that makes them natural alternatives. If you want my thoughts after shooting another year with the Fuji X100VI I wrote an article on my experience.

I use my Fujifilm X100VI constantly — it’s one of my most-used cameras. But when I saw the OM System OM-3 with its compact design and the option to pair it with the updated 17mm f/1.8 II, my curiosity got the better of me. Could the OM-3 replicate the way I use the X100VI when paired with the OM Systems 17mm f/1. II lens — while also offering the flexibility of a fully featured interchangeable-lens system when I needed it and, is Micro Four Thirds still a viable system in 2025. I added a few essential accessories to the OM-3 just as I did to my X100VI.

I’ve been shooting with both Fujifilm and Olympus/OM System cameras for over a decade, dating back to the original OM-D E-M5 and Fuji X-Pro1. I know both systems inside out, and I genuinely like them for different reasons. In this article, I’ll walk you through how each performs as a travel, family, and everyday camera — and ultimately, help you decide which one fits your style best.

Design & Styling

Seeing as both of these cameras are — in the camera world at least, and in my eyes too — beautiful designs, which one do I actually prefer? Bear in mind this is, of course, subjective.

There’s no doubt that if you sit the X100VI and OM-3 next to each other, the OM-3 stands out as the more beautiful camera, with its silver finish (I have the black X100VI). I asked my family and a few strangers, and every single one picked the OM-3 as the better-looking model.

However, I don’t think it’s that simple. For me, both are elegant designs. The OM-3 is more overtly pretty, with its retro styling, silver finish, and color wheel reminiscent of old Olympus film cameras. The finish is absolutely first-rate. It has its SLR-style EVF in the middle of the camera, complete with the traditional viewfinder hump.

The Fujifilm X100VI is also a very nice-looking camera but goes with the rangefinder styling, with the viewfinder sitting inside the main camera body, off to the left. Some may prefer one over the other. For me, being left-eye dominant but able to shoot with either eye, it makes little difference. However, the viewfinder on the X100VI is 3.69 million dots versus 2.36 million on the OM-3. In reality, switching back and forth between the two, there are differences, but they’re marginal and not a deal breaker either way. What may be a deal breaker for some is that the X100VI also offers an optical viewfinder thanks to its hybrid design. I use the EVF 99% of the time so it’s not a deciding factor for me.

I definitely appreciate the beauty of the OM-3, but I’m quite drawn to the more subtle design of the X100VI. I guess as a slightly introverted person, the X100VI in black suits me well. I can’t call a winner here, as both look incredible.

If you’re already considering picking one up, here are the latest prices:

The thing that struck me with the OM-3 is the quality of the controls and dials. Every dial turns with exactly the right amount of resistance to feel solid and purposeful, yet not so much so that it’s difficult to operate. All the buttons are raised just enough to find them when operating the camera without having to look. The shutter button feels perfect, with just the right amount of pressure needed for a half-press to focus and then a full press to take the photo.

The only minor negatives for me would be the on/off switch being on the left-hand side of the body (Olympus and OM Systems have always done this, and I still don’t know why), and the record button on top of the camera being tiny and awkward to find. No problem for us stills shooters, except I’ve re-programmed mine to turn eye AF on and off. The front color wheel dial is also a little stiff to turn, which means that for me, it’s a two-finger job. Rather than being able to quickly change it with my right hand while holding the camera, I have to do so with my left hand reaching around the body.

I also noticed that the camera strap attachment point is slightly in the way when I’m gripping the camera, although after a bit of messing around I found a position where it now sits comfortably between my index and middle fingers. There is a small thumb rest at the back of the body which helps with grip during longer shooting sessions, and the front is covered in a faux-leatherette material that gives a little purchase. Overall, considering there is very little to grip on to with the OM-3, it is surprisingly decent to hold — though it definitely benefits from an L-Grip being added.

Build quality, as I mentioned, looks to be top notch, with weather sealing that I would — and have — trusted in the worst the monsoon season can throw at me here in the Philippines. I’ve shot the EM1 Mark II and others from Olympus/OM in torrential rain here with them slung over my shoulder, and they haven’t so much as blinked. The OM-3, with its IPX53 rating, is better sealed than earlier Olympus models, so I have no worries in this regard.

Overall, I’m really pleased with the build quality of the OM-3. It feels like a tool, not a toy, and that’s important to me. In the hand it feels wider and slimmer than my X100VI, and very similar in weight when the 17mm f/1.8 II lens is attached.

The X100VI feels equally well built but takes a more minimalist approach. The rear of the camera looks more sparsely populated with buttons, even though it offers a joystick (not found on the OM-3). It also, of course, offers real dials for shutter speed and ISO, as well as an aperture ring on its lens, whereas the OM-3 uses the standard PASM dials for dialling in exposure settings. PASM is quicker in use, but Fuji’s dials offer a more fun experience.

The OM-3 offers a decent rear LCD screen which is fully articulating. One of the benefits of this is that it’s fully protected when closed. The X100VI’s screen is beautifully designed and sits flush with the body, yet offers a simple tilt up/down mechanism. The Fuji’s is better for shooting discreetly, the OM-3’s is more flexible.

Overall, design and handling is quite different between the two. Although the OM-3 looks just as retro as the Fuji, it is suited to faster-paced shooting — as we’ll also see later on. When I first picked up the OM-3, my initial instinct was that the X100VI is more comfortable and felt more natural in my hand. However, as I shot the OM-3 more and more in Moalboal, here in Cebu, I really started to like it. It’s still not quite as comfortable as the X100VI, which feels softer and more rounded. However, add an L-grip to them both and they start to feel very similar. I wrote a detailed article on the best accessories to add to your Fuji X100VI here.

Overall, I’d say the Fuji gives the experience of a retro camera with its looks and physical control dials, whereas the OM-3 simply gives the appearance of one.

Features & Image Quality

In my opinion, both Fujifilm and OM System have always produced some of the best SOOC JPEGs in the industry — but they go about it in very different ways.

Fujifilm leans into its film simulations, which offer a fantastic array of looks, many of them with a nostalgic vibe. There’s likely a film simulation to suit all tastes. Personally, I shoot in Classic Chrome most of the time. If you want to get your X100VI quickly set up for shooting then download my free setup guide as well as downloadable settings file to load straight on to your camera. It includes AF setup as well as custom functions and Fuji film recipes already added.

The OM-3 also produces great JPEGs, but they’re less about nostalgia and muted tones and more about vibrant, realistic colors. If you want things right in-camera and want lots of immediate choices, normally I’d say go Fuji. However, the OM-3’s color wheel gives you a huge amount of freedom to create your own looks if you’re willing to put in the time. It has a novel way of allowing you to do this through its color wheel for both color and monochrome profiles.

It’s the old Pen F vs X100 argument again: do you want Fujifilm’s immediately accessible film simulations (plus custom recipes widely shared online), or do you prefer the freedom of OM System’s more intuitive, Lightroom-style color wheel where you can see adjustments live in the viewfinder as you shoot?

High ISO Performance

APS-C vs Micro Four Thirds isn’t a huge gap these days, but yes — the X100VI performs slightly better once you get up to ISO 6400. It’s not just that there’s less noise; the Fuji’s noise pattern is more uniform and therefore more pleasing to the eye. The difference is small, around 1/3 to 1/2 a stop.

Personally, I like having Fujifilm film simulations available as Lightroom profiles for RAW files, but at the end of the day, they’re just color profiles. I can get results I like out of both cameras.

Lenses and Rendering

Comparing the Fuji’s fixed 23mm f/2 to the OM System 17mm f/1.8 II, both are sharp, but the Fuji is better corrected for chromatic aberrations. I’ve noticed more purple and green fringing with the 17mm f/1.8 II. That said, the OM-3 lets you switch lenses — and when I paired it with the 25mm f/1.2 Pro, the results surpassed the Fuji lens, though at the cost of size and weight.

Black & White Profiles

Fujifilm is rightly known for its beautiful Acros profile, one of my favorites for rich black and white with excellent tonality. The OM-3 also has fantastic black and white options via the color wheel, with three profiles as standard. Profile 2 is meant to replicate Tri-X, but I find it a bit too contrasty, so I’ve tweaked it and am still settling on my preferred look.

Computational Features vs Classic Tools

Where the OM-3 really shines compared to the X100VI is in features. It offers Live View, Live Bulb, and Live Composite, which make long exposure photography incredibly easy by giving you live feedback as the exposure builds. It also offers both tripod-based (80MP) and handheld (50MP) high-resolution modes. These not only increase detail but also reduce noise at higher ISOs while improving color fidelity. They don’t come without some issues though, for instance I have found that handheld high-res mode’s benefits in terms of detail are inconsistent.

On top of that, the OM-3 includes software-based ND and graduated ND filters. In my testing, they often do a great job of replicating long exposures and balancing high dynamic range scenes without bracketing. There are caveats (which I’ll cover in my full review), but overall, they’re impressive.

The Fujifilm X100VI doesn’t have these computational features, but it does have tricks the OM-3 can’t match. Its leaf shutter allows for extremely fast flash sync speeds, and when combined with the built-in flash, it makes fill flash in bright daylight easy. It also has a built-in four-stop physical ND filter that lets you shoot shallow depth-of-field portraits in bright light — something the OM-3’s software-based ND can’t replicate.

Autofocus

Now let me start this section by saying that, while the X100VI is not the fastest focusing camera in the world, for single shot, everyday photography I have found it to be perfectly fine. It’s way faster than the Ricoh GRIII for example. However, the difference between it and the OM-3 when trying to capture faster action is pretty significant. I attempted shots of Sofia running towards me on the beach that I honestly wouldn’t even attempt (and didn’t) with the X100VI. Out of several series of over 50 shots that I took, only a couple were out of focus. I repeated this test twice and the results were always the same. So if capturing your children speeding around while on vacation is important to you, then there is only one option here that I could hand on heart say will do the job. The OM-3 is significantly better in these kinds of scenarios.

Overall

Both cameras are fantastic tools. The OM-3 is more flexible, not just because of interchangeable lenses, but because its features let you leave your tripod and filters at home while still being able to shoot handheld 50MP high-resolution images. I’d trust its weather sealing above the X100VI’s, too. If you want flexibility, adaptability, and a camera that can cover an incredible range of shooting scenarios, the OM-3 is a superb choice — especially for Micro Four Thirds shooters who want a compact but versatile system.

The Fujifilm X100VI doesn’t have as many bells and whistles, and its AF performance isn’t as quick, but what it offers can’t quite be replicated by the OM-3. That’s the genuinely immersive shooting experience: the leaf shutter, built-in ND filter, rangefinder styling, simplicity, discretion (especially in black), and those superb film simulations. If you want beautiful results straight out of camera without having to tweak much, the X100VI delivers.

Frequently Asked Questions

Are there technically “better” cameras out there? Absolutely. The Sony A7C II gives you faster, smarter autofocus and class-leading full-frame image quality (its basically the same as the Sony A7IV which I owned and compared to its predecessor here). The newly announced Ricoh GR IV will likely be the more pocketable everyday option. But both of those have their own compromises — and that’s exactly where the X100VI finds its charm. See my full comparison of the X100VI and Ricoh GRIII.

Because the truth is this: yes, it is worth the hype… but to ensure it’s the right camera for you, you need to set the hype aside and look more closely at what this camera is — and what it isn’t. You may also want to consider these compact camera alternatives.

Some of the links in this article are affiliate links. If you choose to purchase through them, I may earn a small commission at no extra cost to you. This helps support the site and allows me to keep creating free content like this. Thanks for your support!

Why Hype Almost Put Me Off the X100VI

The funny thing is, hype usually has the opposite effect on me. When every photographer on Instagram is suddenly carrying the same camera, it doesn’t make me want one — it makes me hesitate. I’ve never been someone who likes to follow trends for the sake of it. If anything, I’ve often gone against the grain just to see the world differently.

That’s why I can honestly say I didn’t buy the X100VI because of the hype. In fact, I bought it despite the hype. I already owned the X100T back in 2014 and the X100V before the hype kicked in, and I use other systems alongside Fuji — so I knew exactly what I was getting into, and I didn’t need the internet to convince me. What mattered to me was whether this latest X100 was still a camera that could stand on its own merits, not just as the flavor of the month.

I’ve included a very personal video that I created while using the X100Vi for a project about my father below. It may go some way to explaining my attachment to it.

Why I Keep Reaching for the X100VI

What appeals to me most about the X100VI is its simplicity without compromise. I find it refreshing not to think about lens swaps or what gear to pack. If I only bring the X100VI, I have no choice but to use it — and that clears my head. Instead of debating which focal length might work best, I’m free to focus entirely on composition, light, angles, and how to tell the story in front of me.

Some will argue you can achieve the same by putting a single lens on an interchangeable-lens camera. Technically, that’s true — but for me it isn’t the same. With those systems, I still face the decision before I even walk out of the house. With the X100VI, there’s no decision to make. It’s 23mm, full stop (unless you count the converters, which I don’t use). I compared the XT5 against the X100VI here.

And that 23mm (35mm equivalent) has become my favorite focal length. It’s wide enough to give context, but not so wide that it loses intimacy. It works for travel, environmental portraits, and family life in equal measure — and just as importantly, I simply like the way the photos look at this focal length.

So why the X100VI specifically, when there are other fixed-lens cameras out there? I also own the Ricoh GR III, and my daughter has the GR IIIx. They’re brilliant cameras in their own right, but the experience is very different. I’ve learned I need a viewfinder to stay connected and to concentrate on framing properly. Holding a camera out in front of me, composing on an LCD, feels too much like using a phone — and that’s not what photography means to me.

The X100VI also keeps me grounded in the shooting process through its physical dials. They’re slower than a PASM dial, yes, but when I use this camera, speed isn’t the goal. I’m shooting more deliberately, and the dials support that rhythm perfectly.

Then there are the little Fuji touches that make this camera uniquely versatile: the built-in flash, the internal ND filter, and the leaf shutter. Together, they give the X100VI abilities that very few other cameras offer. I can shoot wide open in bright light, add subtle fill-flash in backlit situations, and sync flash at high shutter speeds — all in a compact package that slips into a small bag.

On top of that, the lens is sharp and compact, and even at f/2 it can give you enough shallow depth of field to separate a subject. Once you’ve customized the controls and set up the custom functions, you can shoot without ever menu-diving again. And of course, this being Fujifilm, the SOOC JPEGs are some of the best I’ve seen from any camera I own — another reminder that the X100VI isn’t just about specs, it’s about the entire shooting experience.

Finally, there’s history. Long before the hype train gathered around the X100V, I spent over a year shooting with the X100T as my only camera while living in the Philippines. That experience taught me that when a camera does exactly what I need, the noise around it doesn’t matter. I don’t buy into hype — but if the tool works for me, I’ll damn well buy it.

Conclusion

Yes — in my opinion, the Fujifilm X100VI is absolutely worth the hype. Not because it’s perfect, but because it delivers a unique combination of simplicity, portability, build quality, image quality, and user experience that is unmatched at this price point.

Could you get better image quality and an equally enjoyable shooting experience? Sure — but you’ll need to spend another $5,000 or so to step up to something like the Leica Q3. Want something smaller and lighter? The Ricoh GR III was fantastic value when I bought mine for around $1,000, but prices have crept up to $1,300 and it comes with real compromises: no viewfinder, no weather sealing, and slower autofocus. The newly announced GR IV improves autofocus, but it still lacks a viewfinder and weather sealing — and at $1,499, it’s now priced within touching distance of the X100VI.

That’s why the X100VI continues to stand out in 2025. It’s not just a hyped-up toy, and it’s not just a retro design exercise. It’s a serious photographic tool that encourages you to slow down, commit to a focal length, and focus on making images. For me, that makes it not only worth the hype — but one of the best cameras you can buy today. If you already have your X100VI then see the best accessories currently available for it that take it to the next level.

Last Updated May 2026 — After using the X100VI quite a bit since moving to Scotland at the beginning of 2026, and as stock availability of the X100VI has improved significantly, the odds have tilted further in the X100VI’s favour in my opinion — unless you can find a great deal on a used X100V.

I owned the X100V and only sold it because I needed the money for something else at the time. When I was ready to jump back into the X100 line, the X100VI had just been announced — so I pre-ordered it and wrote up my full X100VI review here. I’ve just written up my thoughts after another year shooting the X100VI. If you’re looking for the best small cameras for travel photography then here are the best ones currently available I also showed how the X-T5 performs against the latest full frame cameras in my X-T5 vs Nikon Z6III article in case you’re thinking of going with an X-T5 instead of the X100 series.

Having now used both, here’s my honest take on how much has really changed… and whether it actually matters. If you are trying to compare the best two compact cameras then I put the X100VI vs the GRIV in my latest article and wrote a full Ricoh GRIV review too.

Some links in this article are affiliate links. If you purchase something through them, I may earn a small commission — at no extra cost to you. It helps support the site and keeps me fuelled with coffee. Thanks!

Image Quality — Don’t Let the Megapixels Fool You

The X100V’s 26MP X-Trans IV sensor still delivers excellent image quality. In fact, the jump to the 40MP X-Trans V sensor in the X100VI sounds more dramatic than it actually is — as I also pointed out in my XT5 vs X100VI comparison.

Yes, you get more resolution. Yes, you can crop a bit more. But in reality, it doesn’t make a huge difference. I try to get my composition right in-camera, so the extra resolution doesn’t really change much for me.

You do get a lower native ISO of 125 on the X100VI compared to ISO 160 on the X100V. While the difference isn’t huge, it does make it slightly easier to shoot wide open in bright sunlight without hitting the maximum shutter speed or needing an ND filter as quickly.

Design and Handling — Spot the Difference

Physically, the two cameras are almost identical. Same size, same layout, same controls. Unless you’re looking at the model number, you’d struggle to tell them apart — especially when compared to other compact options like the Ricoh GR III, which takes a very different approach to size and handling.

The lens is the same too — the updated version that debuted on the X100V. Both produce excellent results across the frame. There’s no advantage here either way.

In short: if you liked how the X100V felt in the hand, you’ll feel right at home with the VI. Because it’s basically the same camera.

Autofocus — Now With Bonus Train Mode

The X100VI brings slightly faster autofocus and subject detection modes. You get options for animals, birds, cars, motorcycles, airplanes… and yes, trains. Because obviously, tracking high-speed locomotives with the X100 series is what most buyers are planning to use their cameras for.

Jokes aside, face and eye detection work well, and the new subject recognition is a decent addition. But unless you’re really pushing the AF system, the difference from the X100V is minimal — and as I noted in my XT5 + 23mm f/1.4 WR vs X100VI comparison, even Fuji’s flagship autofocus doesn’t magically transform real-world use at this focal length.

It’s a nice upgrade on paper. In practice? It’s pretty similar.

Video — Better Specs, Still Not the Right Tool

Yes, the X100VI has improved video specs — 6.2K, better bitrates, more formats.

No, I’m not going to waste time pretending this turns the X100VI into a cinema camera..

This is not a video tool. If you’re looking at the X100 line for video, you’re in the wrong place.

IBIS — The Only Upgrade That Actually Matters

Here’s where things finally get interesting.

The X100VI is the first X100 to feature in-body image stabilization (IBIS), rated up to 6 stops. That’s a big deal — if it fits the way you shoot.

With the X100V, I had to respect the old reciprocal rule: keep your shutter speed at your focal length (Full frame equivalent 1/35) or faster to avoid shake. Most of the time I’d shoot at 1/100s or higher anyway, because most of my photos these days have movement and people in them.

But with the X100VI, I’ve now got the creative freedom to:

• Drop the shutter down to 1/2s or even 1s for intentional motion blur
• Shoot handheld in low light without a tripod
• Lower ISO to maximise image quality when the scene is static

No, it won’t freeze motion — IBIS isn’t magic. But if your subject isn’t moving and you’ve got decent technique, it opens up new possibilities. And that does make a difference.

Film Simulations — Reala Ace Makes Its Debut

The X100VI also introduces Reala Ace, a new film simulation exclusive to the latest generation of Fujifilm cameras. Based on a professional negative film stock, it’s designed for faithful color reproduction with soft tonality and neutral contrast.

In use, it sits between the more stylised look of Classic Chrome and the muted subtlety of Pro Neg Standard. It’s clean, balanced, and neutral — a good everyday option if you want accurate color without a baked-in aesthetic. If you’re curious how to get the most out of it (and the rest of the camera), I’ve put together a full X100VI setup guide and settings walkthrough here and I’ve also written about the best accessories for the X100VI here.

Personally? I don’t use it much. Not because it’s bad — it’s not — but because I’ve already got my go-to film sims. Still, it’s a nice addition, and I can see others enjoying it.

Firmware Support — Another Reason to Go VI

Let’s not ignore the practical stuff. The X100VI is the newer camera, and that means it’ll likely get firmware updates and long-term support for longer than the V. If that matters to you — or if you’re hoping for future improvements — this might factor into your decision.

So… Should You Upgrade?

If you already own the X100V, there’s no real reason to upgrade — unless you specifically need IBIS for how you shoot.

Image quality is basically the same. Autofocus is only slightly better. Subject detection isn’t really a primary need for this kind of camera. Reala Ace is fine, but it won’t change your photography. And unless you regularly shoot slow shutter speeds in low light, IBIS won’t be a game-changer either.

The truth is: the X100V is still a brilliant camera. The X100VI just adds some nice-to-haves — not must-haves.

But — if you’re buying into the X100 line for the first time, get the VI. It’s the more flexible camera. It gives you IBIS, more resolution (if you care), and a longer lifespan in terms of firmware updates. There’s no reason to buy the older model if you’re starting fresh.

Best Fuji X100VI Accessories

I’ve put together a complete accessories list for the Fujifilm X100VI — including batteries, straps, thumb grips, filters, and more. Everything on this list also works with the X100V.

View the Full Accessory Kit

Final Thoughts

The X100VI isn’t revolutionary. It’s a small but meaningful refinement.

You still get the same compact form, the same excellent lens, the same Fuji charm. But now, you also get IBIS, a bit more resolution, and a few extra features that give you just a little more creative freedom.

So no, it won’t transform your photography. But if you’re the kind of person who can make use of what it offers, it might just expand what’s possible with the X100 series.

If not? Save your money. Your X100V is still more than good enough.

Where to Buy the Fujifilm X100VI

If you’re ready to pick up the X100VI, here’s the link to the exact model I use — via Amazon. It’s a small way to support the site at no extra cost to you.

Check Current Price

Last Updated March 2026: A few months on from when I first wrote this article, and I still find myself splitting my time evenly between the sleek, beautiful, and compact X100VI and the premium, high-quality 23mm f/1.4 WR on the X-T5. Read on to see why that’s still the case even in 2026.

After years of shooting the Fuji X system, I’ve put together a guide to the best Fujifilm lenses and which ones are actually worth buying.

I’ve used both setups extensively for photographing my kids, daily life, and travel — often side by side. One is compact and elegant. The other is more flexible and, in some ways, more powerful. But which one’s better? If you’re interested in seeing the best options for 50mm equivalent lenses on fuji then this article compares the 35mm f2 and 33mm 1.4WR.

Let’s break it down — from autofocus and image quality to usability, emotion, and price. Because as similar as they seem, these two setups actually feel very different in the real world.

Jump to the quick comparison table

As a dad of two daughters, one of the most important things I can do with my cameras is capture the moments of them growing up — the experiences and trips that we share together as a family. Here are the best Fujifilm travel photography cameras and lenses if you want to make your own memories. My eldest, Sofia, is going to be 10 this year, and it’s a good reminder of just how quickly time passes. My youngest, Isabelle, will be two in a few months time (July is an expensive month for me — it’s also my mum’s birthday). Over the years, I’ve made a habit of photographing Sofia regularly, but there have been times when I’ve missed out on moments. I don’t want that to happen with Isabelle. I want to create a lifetime of memories of the two of them growing up together. I’ve put together an article discussing the best portrait lenses for Fujifilm which will help you capture those special moments but if you’re still undecided which camera to get then these are the best cameras for family photography.

This post contains affiliate links. If you buy something through these links, I may earn a small commission — at no extra cost to you. It helps me keep this site running and allows me to spend more time creating free content like this. Thanks for your support!

For me, the 23mm focal length is perfect for family photos. It’s wide enough to provide context and capture the places we visit, but not so wide that you can’t also take compelling portraits. There are three 23mm options for Fuji: the more affordable Fuji 23mm f2 , the premium 23mm 1.4 WR , and the X100VI . Today, I’m focusing on the 23mm 1.4 WR paired with my XT5 and the X100VI.

If you’re looking for a camera to record your family’s special moments, and you’re drawn to the 23mm focal length, then like me, you’re going to have to make a choice. If you already have a Fuji system camera, it’s a choice between the 23mm f/2 and the 23mm 1.4 WR, or do you go with the X100VI — a smaller, lighter option with its own set of benefits and limitations? I’ve also written a full X100VI vs X100V comparison that might help if you’re deciding between fixed-lens models.

If you haven’t seen my 23mm f/2 vs X100VI comparison, you may want to check that out as well. But if you’re wondering whether the 23mm 1.4 WR and XT5 combo offers the best image quality for capturing your family’s precious memories — but you’re concerned about the size and weight making it less likely you’ll bring it along — then keep reading.

Handling

The Fuji XT5 paired with the 23mm f/1.4 WR weighs in at (960 g with lens hood) — significantly heavier than the X100VI at 521g. I still find it comfortable enough to carry, but the X100VI is noticeably lighter, so it’s a bit easier to grab for quick shots. Both cameras perform well with fast-moving children, but the difference is in how they feel when you’re shooting with one hand. Picture this: baby bag in one hand, camera in the other, trying to get that quick shot. The balance between the two setups makes a noticeable difference here. The 23mm f/1.4 WR on the XT5 sticks out quite a bit, making it front-heavy and more difficult to manage when shooting one-handed.

For those moments, the X100VI’s smaller, better-balanced form might make it the better choice for some parents. I combat this with a Smallrig handgrip on my XT5, which improves handling, though it does add a little more weight.

Autofocus Performance

Both the XT5 and X100VI offer very good autofocus for fast-moving subjects, though neither quite reaches the latest Sony levels of performance. Eye AF works well and is accurate on both cameras, with the 23mm f/1.4 WR having a slight edge thanks to its linear motor, which helps it grab focus faster and hold it better on moving kids.

The X100VI does make a bit of noise when focusing, while the 23mm f/1.4 WR is silent. This is a small but useful difference when you’re trying not to distract your kids or others around you.

Lens Performance

So, which setup gives the best image quality for those once-in-a-lifetime memories? In my previous article, I found that the lens in the X100VI is better than the 23mm f/2, with better sharpness and silky smooth bokeh. The 23mm 1.4 WR brings something extra to the table. It’s sharper across the frame, has more micro contrast, and offers a bit more “pop” in your images. It’s sharp from the center to the edges and free from chromatic aberration in the situations I’ve tested. It does have a small amount of distortion, but it’s easily corrected in Lightroom.

Below you can see an example of the distortion found in the 23mm 1.4WR lens. If you hover over the image, the automatically corrected in Lightroom image will show. This is very minor issue that is really easy to fix in Lightroom with the click of a button.

The big advantage of the 23mm 1.4 WR is its larger maximum aperture of f/1.4. This gives you a full stop more light than the X100VI’s f/2, which can make a real difference in lower-light situations, like evenings out with the kids or those twilight beach walks. Plus, the extra aperture size allows for more creamy, blurred backgrounds if that’s your style.

Which One Should You Choose?

The 23mm 1.4 WR paired with the XT5 is an excellent combination and gives superior performance, but is it the right choice for you? That depends on what you want from your camera.

If you want the best image quality in all kinds of situations — low light, creating smooth background blur — then the 23mm 1.4 WR is the clear winner. It’s a fantastic lens for family photographers who want to create beautiful images. It’s also marginally faster than the X100Vi to focus.

However, if your goal is to have a small, lightweight camera that you can always carry with you, the X100VI is hard to beat. It’s discreet, light, and self-contained. You don’t have to worry about lens changes, and it’s small enough to slip into a bag or carry around your neck without thinking about it. Plus, that built-in flash can help you capture moments when the light is less than ideal.

If you already own an XT5 or any other Fuji inter-changeable lens camera, the X100VI may not make sense unless you’re looking for something more compact. In that case, the 23mm f/2 offers a similar experience at a lower price. Alternatively, for a bit more, you can get the 23mm 1.4 WR for better performance.

Quick Conclusion – If you value size and portability, get the X100VI (if you can find stock). If you want the best quality and most flexibility then the 23mm f/1.4WR is worth the money and it’s not that heavy, especially compared to full frame options.

For a long time, I was a 35mm guy. Not the classic rangefinder 35mm field of view — I’m talking about Fuji’s 35mm f/1.4, which I used for years as my go-to, general-purpose lens. It gave me the kind of subject isolation I liked: shallow depth of field, a bit of compression, and a tighter frame that made it easier to crop distractions and guide the eye.

I always found it harder to make impactful images with the 23mm focal length. It felt too wide. Too loose. Too easy to end up with photos that lacked focus — in every sense of the word. I had the original Fuji 23mm 1.4 lens which was very good but I struggled to use it. I have just put the newer 23mm 1.4WR up against the Fuji X100VI and reviewed it too.

But in 2014, all that changed.

If you’re trying to decide which Fuji lens to buy, take a look at my guide to the best Fujifilm lenses in 2026.

See why I still shoot photos and not video

A Breakup, a Backpack, and the X100T

After a breakup, I sold off nearly all of my gear. I wanted a fresh start and something simpler. I kept just one camera: my Fuji X100T. No interchangeable lenses, no choices to make. Just the X100T, a few accessories, and a one-way flight to Southeast Asia.

I spent over a year travelling around the Philippines with that single camera. I shot with it almost every day — on beaches in Boracay, in mountain villages in Negros, in restaurants, helicopters, makeshift houses. That 23mm lens became my only option — and, eventually, my favourite. The X100 series is still one of my top recommendations in this guide to the best Fujifilm travel cameras and lenses.

At first, I appreciated the simplicity: no lens changes, nothing to distract me. But what surprised me most was how versatile the 23mm focal length actually was. I could shoot landscapes with it, yes, but also environmental portraits, daily street life, quiet moments — and more often than not, it delivered.

Learning to See Differently

What I came to realise is that 23mm requires more from the photographer. With a tighter frame like 35mm, you can get away with a shallow depth of field and let the background fall away. With 23mm, you don’t have that luxury — especially if you’re not wide open or close to your subject. You need to compose intentionally.

I started seeing the frame as a three-dimensional box. Everything inside had to be considered. Balance, layering, depth — it all mattered. It wasn’t enough to just point the camera and open the aperture. I had to arrange. I had to think. I had to be patient and purposeful.

Ironically, it was lessons I’d known as a landscape photographer — foreground, mid-ground, background — but hadn’t consistently applied to my everyday shooting. That changed with the X100T. Once I started to approach all compositions as spatial problems, 23mm stopped feeling wide and started feeling powerful.

It became a kind of puzzle — constantly moving, reframing, waiting for that missing piece. The kind of frame where you find yourself thinking, “If only a dog had walked in here… if only that kid had been standing just a little to the left.” That’s the challenge of 23mm, and it’s why I never get bored with it.

Why I Still Shoot 23mm Today

That’s why I still own and shoot with a Fuji X100 series camera. Right now, it’s the X100VI — and it continues to feel fresh because the focal length continues to stretch me. It’s not the easiest to compose with, but it’s one of the most rewarding when you get it right.

23mm gives you enough width to tell a story, to include context and scene — but not so much that you’re dealing with distortion or exaggeration. It’s a natural storytelling focal length, perfect for the way I shoot: simple gear, real moments, layered frames.

Don’t get me wrong — I still enjoy other focal lengths, that’s why I own the Fuji X-T5 and reviewed it here. The 35mm is a long-time favourite, and I’ve always had a soft spot for the look you get around 50mm (Full frame equivalent). But recently, I’ve been exploring 18mm more — which adds another level of compositional challenge, like 23mm turned up a notch. I also enjoy shooting the 56mm 1.2WR lens.

Next: Which 23mm Lens is Right for You?

I’ll be diving deeper into Fuji’s 23mm options soon. Right now, I’m testing the f/2 and the newer f/1.4 WR, both on my XT5 — alongside the built-in lens on the X100VI. I’ll be looking at sharpness, size, rendering, autofocus, and price to help you figure out which 23mm makes the most sense for your style and budget.

If you haven’t already, you can also check out my previous comparison of the X100VI vs the XT5 + 23mm f/2, which was the starting point for this whole series of thoughts.

Until then, if you’ve struggled to get on with 23mm in the past, I’d encourage you to give it another try. It might just surprise you — the way it surprised me.

This article is based on side-by-side testing carried out in the Philippines and using real-world scenarios. I travel all the time and put together a great article showing the best Fujifilm cameras and lenses for travel photography here.

Even after having used a number of different camera brands lately, I still find that both the X-T5 and X100VI are the cameras that I reach for the most. Both of them offer the kind of user experience that I find very important and is crucial as to whether I get out and shoot. This article is now a few months old and yet it still shows the difference between these two setups well. If you’re trying to decide which Fuji lens to buy, take a look at my guide to the best Fujifilm lenses in 2026.

I recently put both the XT5 with the 23mm f/2 and the X100VI through their paces trying to keep the comparison as useful as possible by shooting standard scenes for both setups. I have also put the Fuji 23mm 1.4WR up against the X100VI and done a full review of the 23mm 1.4WR. My methodology for the sharpness tests was to shoot from a tripod using the same settings to avoid any differences in postition, angle or settings. I’ve owned both cameras for a while now, and this isn’t just a spec-sheet comparison—it’s also based on field use, image review, and practical insight.

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Introduction

Trying to choose between the Fujifilm X100VI and the XT5 with the XF 23mm f/2 isn’t easy—both are compelling street and travel cameras. Do you buy with your head or your heart, Is the X100VI (see my review) worth spending the extra money on if you already have an XT5 (more details in this post) or other Fuji camera? Is it really worth the hype? Does the 23mm f/2 lens give you what the X100VI does? Having used both extensively, I’ve come to some very clear conclusions. This isn’t just about what’s theoretically better. It’s about what works and how they perform — and as I explored in my X100VI vs X100V comparison, it also highlights what each camera brings to the table in terms of the experience.

Field of View: Not the same

Although both setups aim for a 35mm equivalent field of view, the 23mm f/2 on the XT5 is slightly wider. It’s not dramatic, but if you’re used to 23mm (35mm equivalent), you’ll notice the extra sliver of space in the frame. Here’s why 23mm focal length is one of my favourites.

Sharpness: X100VI Has the Edge

Across multiple aperture settings, the X100VI’s lens is sharper in most real-world scenarios:

At f/8, the 23mm f/2 just pulls ahead—and only if you’re pixel peeping.

Bokeh & Rendering

At large apertures, the X100VI produces smoother, less nervous bokeh, while the 23mm f/2 sometimes shows onion-ring patterns and harsher transitions.

For candid portraits or background separation on the street, the X100VI looks more refined. . Looking for accessories to enhance the X100VI? Here’s my tested list of what works

Close Focus Performance

Here’s where the difference is really noticeable: the X100VI beats the XT5 + 23mm combo in close-up performance.

• The X100VI can focus significantly closer then the 23mm f2 lens.
• At f/2 and f/5.6, the X100VI remains sharper and more detailed.
• The 23mm f/2 feels softer in these conditions..

If you enjoy shooting textures, signage, or tight environmental portraits, the Fuji’s fixed lens is the better tool.

Distance & Microcontrast

Even at distance, the X100VI offers more microcontrast and perceptible sharpness, especially when comparing foliage, details, or distant faces.

This isn’t pixel peeping—it’s a visible improvement even when not zoomed in.

X-T5 + 23mm vs X100VI: Size, build and handling

X-T5 + 23mm f/2: The Full X-Series Experience

• Larger body gives you a deeper grip and more physical controls — great for those coming from DSLRs or needing a beefier feel
• 3-axis tilt screen is ideal for waist-level shooting and also allows flexibility to shoot in portrait orientation.
• Twin card slots offer real redundancy for pro or travel use
• Weather-sealed body and lens combo — no need for filters or workarounds
• Custom function buttons everywhere — highly configurable for serious users
• Lens flexibility — swap the 23mm f/2 for a 56mm for portraits or a zoom for travel
• Best for photographers who like full control, lens flexibility, and don’t mind carrying a slightly bulkier body.

• X100VI: Minimal, Balanced, and Immersive
• Fixed lens means no decision fatigue — just pick up and shoot
• Extremely compact and balanced — Fits into a (large) jacket pocket
• Hybrid viewfinder (OVF/EVF) offers a unique, immersive experience — especially for street
• Leaf shutter is nearly silent and enables flash sync at fast shutter speeds
• Built-in 4-stop ND filter lets you shoot wide open in bright tropical light without adding filters
• Built-in flash is surprisingly usable for subtle fill in harsh light
• Best for shooters who value stealth, simplicity, and staying in the moment.
• Here is how I set up the X100VI.

Verdict:

If you want versatility, lens options, better and faster auto-focus and pro-level control, the X-T5 + 23mm is the obvious choice. But if you value better image quality, simplicity, compactness, and lighter weight, the X100VI is hard to beat.

Portability & Discreet Shooting

• Weight: XT5 + lens is heavier and bulkier.
• Size: X100VI is pocketable in a jacket (just about) and less conspicuous.
• Shutter noise: X100VI is nearly silent thanks to the leaf shutter.

In street environments where subtlety matters, the X100VI feels like a ninja. If you’re planning to travel light, here’s how I set up my X100VI for travel

Price & Availability

• XT5 + 23mm f/2: Often easier to find and flexible for future lens swaps.
• X100VI: Hard to find and typically overpriced due to demand.

If you’re on a budget or already have X-mount lenses, the XT5 makes more financial sense.

Final Thoughts

If you’re choosing a dedicated travel or street camera, and sharpness, beautiful rendering, and portability matter the most to you, the X100VI is the clear winner. While I really enjoy using both setups, the X100VI does offer a better experience at this focal length. It feels more compact, more balanced and for me at least, due to its fixed focal length it removes any lingering doubts in my mind about which lens I should be shooting with. With the XT5, there is always a little part of my brain saying, should I quickly slip the 35mm lens on and see how that looks.

You can see my full Fuji travel kit here, including the lenses I use with the XT5.

But if you need a more versatile system, already own Fuji lenses, or plan to shoot in demanding conditions, the XT5 + 23mm f/2 remains a solid, dependable choice—especially if you value the flexibility of interchangeable lenses. This setup gets you 90% of the X100VI experience while being more practical, allowing upgrades to even better lenses and lets not forget, in stock. Coming soon I will also be putting the 23mm f/1.4 WR lens up against the X100VI and seeing wheter the extra size, weight and price are worth it? Still can’t decide which camera to get? I go into more detail in this comparison.

See how the Fuji X-T5 fits in among the best system cameras and the X100VI fares against the best compact cameras.