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| From left to right: Shu Amano, Jun Watanabe, Yuji Igarashi, and Makoto Oishi |
At the recent CP+ expo in Japan we met with senior executives from Fujifilm to get their thoughts on the state of the industry, its camera systems, and insight into why it’s so hard to buy the X100V.
Our interview panel included:
- Yujiro ‘Yuji’ Igarashi: Divisional Manager, Professional Imaging Group
- Jun Watanabe: Product Planning Manager, Professional Imaging Group, responsible for X-series
- Makoto Oishi: Product Planning Manager, Professional Imaging Group, responsible for GFX-series and optical devices
- Shu Amano: Sales and Marketing Manager, Professional Imaging Group
This interview was conducted with multiple people without an interpreter. As such, it has been edited for clarity and flow, and some responses have been combined.
How would you describe the overall health of the camera industry?
To talk about 2023, you need to look back at 2022. The core users of digital cameras have leaned more toward the enthusiast population. I believe that demand will remain relatively stable, but we have certainly seen fluctuations throughout the last few years for a variety of reasons. For example, there was quite a period of time where people couldn’t travel, so maybe they spent more on gear than traveling. It was a different situation. Some people may have bought cameras because there were articles about shortages of components.
Overall, 2022 was a very strong year for us. We introduced very strong products with our fifth-generation sensor and processor combination. Looking into 2023, the core users in the market are enthusiasts, so I think the market will remain very stable. I’m quite optimistic, but it depends on whether the industry can develop interesting products that will make a difference. It will be an ordinary year if manufacturers don’t introduce interesting products. We certainly have some introductions coming that we’re very excited about.
You made a strategic decision to skip full-frame to focus on APS-C and medium format systems. In retrospect, was that the right decision?
Of course, you can’t see the future. But this decision has been very good for us as a business, and the GFX system has become extremely important for Fujifilm’s offering. I think what’s important for us is that we have two extreme systems, which means we don’t have to compromise but can try to deliver the best among those two systems.
For the GFX, the focus is absolute image quality. For the APS-C system, we look at how we can achieve image quality in a compact, lightweight body. Our direction is set, and there’s no middle ground. I think it’s a good strategy for us.
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| Fujifilm says its decision to focus on APS-C and medium format systems has been very good for its business. |
In a market that seems intent on moving to full-frame, how do you keep users interested in APS-C?
A constant focus for us is what benefit we can provide to the end users. I think that’s more important than sensor size. So, regardless of whether it’s APS or full frame or large format, it’s whether you can come up with a better, new offering that benefits the end user. That’s what we’re focused on.
Last year Fujifilm introduced the X-H2S, the first APS-C camera with a stacked sensor. What has the reception from the market been like?
Well, one piece of good news is that we received the Product of the Year award from DPReview in 2022 [room laughs]. Of course, we’ve had the same kind of response from our dealers and end users, not only from the media, and we’re happy about that. People are seeing that we can also make cameras that can shoot fast action like wildlife, which is huge.
People are seeing that we can also make cameras that can shoot fast action like wildlife, which is huge.
For us, the biggest thing is that dealers selling our products can recommend X-mount to all kinds of photographers. In the past, when customers went into a camera store and asked which camera they recommend, the salesperson might say something like, ‘If you want image quality, nice color, and you’re not taking fast action, then the recommendation is Fujifilm. If you want to shoot more action, then some other mount might be better.’
But now the dealers don’t have to do that. They’re telling us they can now tell customers, ‘Even if you’re not interested in shooting sports today but might be interested in taking those kinds of photos in the future, Fujifilm can handle that.’ That’s what we’re hearing from dealers now, that they don’t have a reason not to include it [X-mount] in those recommendations. It’s not only about the X-H2S; this has positively affected X-mount as a whole.
What challenges did you encounter designing a camera with a stacked sensor?
The first model of a new generation is always a challenge. We spent a lot of time optimizing barriers like high-speed processing, heat, and cooling with the new stacked sensor and new processor combination. Additionally, our target markets of sports and press photography have higher demands than other categories.
We tested it many times in the field with photographers and videographers. Because of that testing, we were able to take performance to a higher level, especially the autofocus and, for the press, the FTP server. These were our main challenge points.
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| The Fujifilm X-H2S was the first APS-C camera with a stacked sensor, and won DPReview’s 2022 Product of the Year award. |
Using a high-resolution sensor in the X-H2 and a high-speed sensor in the X-H2S makes sense for a pair of flagships, but what does that mean for the rest of the camera lineup? Can you build a lineup around two such extreme sensors?
We currently have the fifth-generation devices and the fourth-generation series with the current 26-megapixel sensor, which delivers great image quality. We have more options and can choose the best combination for each. Sometimes, 40MP might be overkill, and 26MP might be more efficient, and that sensor delivers very good image quality.
Do you have a sense of how many X-H2S buyers are professionals? Who are they?
Based on what we know, probably 10% or more. Wildlife photographers more so than press photographers at the moment. Press photographers need an established system. The X-H2S was our first attempt at incorporating FTP, but we’re working on it, we’re trying. We’ve just started to challenge.
This camera is not only for stills; it’s a hybrid. Our target for video isn’t the production studio but things like startups, small companies, independent content creators, and one-person operations who want cinema quality. So, when we categorize professionals, including the video side, professional videographers may represent the most users in terms of numbers. Many of those users are also new users, so it’s not like they’re stepping up from last year’s model.
Is it important to you that professionals use the X-H2S?
I think so. If you look at the pure sales side, more semi-pros and enthusiasts will buy the camera, but it’s important to get the blessing of top professionals. If the pros are using it, and that’s visible, it will give confidence to enthusiasts.
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| Recent cameras from Fujifilm have included more features to appeal to video users, including an add-on fan module for the X-H2S. |
The X-H2S has impressive video features. Are you seeing users of other systems switching to Fujifilm for video?
Yes. They see the image, especially the color, and performance is also important. We have the resolution and high speed. Many users are choosing our system due to top-level image quality and performance.
Videographers who want to shoot this kind of quality are always looking for a good body and a good lens, even if they’re not from the same system, and many use adapters. The X-H2 has many possibilities, with excellent quality and tonality, and the market has accepted F-Log2. One content creator said ProRes is the biggest reason to buy the X-H2S because it provides so much margin for editing.
Many users are choosing our system due to top-level image quality and performance.
Also, having a stacked sensor, with that spec, at such an affordable price is attractive. If they can buy the camera, make content, and monetize, that’s another reason to buy the X-H2S. They can even buy two or three cameras – it’s an affordable system.
For pros, we also announced compatibility with Frame.io at Adobe Max in October, and we’re also very excited about that cloud service. That makes the workflow much faster.
How important is video to the future of Fujifilm?
Some things we’ve already discussed explain why we think video is important. Of course, we want to get into the video market; the boundary between video and stills in content creation is becoming less and less. Creating content is usually a mixture of stills and video, and that trend will continue. So, to be successful in the imaging industry, it’s very important to be good on the video side.
Is there room for a dedicated video camera in the X-mount lineup?
We believe there’s potential because now we have a hybrid that’s been very well accepted. We know we have the technology, so we’re always looking into the possibility.
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| Fujifilm says its GFX medium format system targets full-frame camera users in addition to existing medium format photographers. |
Historically, medium format has been a relatively small portion of the digital camera market. Has the GFX system increased the size of that market?
Yes, absolutely. With regard to the [historical] medium format market, we’ve never just targeted that market alone, because our sales alone would be bigger than that market. We were targeting high-end full-frame users as well. That’s where we keep an eye on things, so our target market is actually much bigger. From the beginning, we tried to make GFX a more flexible and easier-to-use system with the best image quality possible.
We’ve never just targeted [the medium format] market alone, because our sales alone would be bigger than that market.
Fujifilm used to make many medium format film cameras, and we know that many photographers and enthusiasts used medium format. Things have changed slightly in the digital generation, but we believed that medium format would be back, even in a digital world.
Three years ago, you told us that roughly 20% of GFX users were professionals and 80% were amateurs. Is this still the case?
We don’t have exact numbers, though we think it’s roughly the same ratio but with a much larger number of users. GFX cameras have become more accessible, so there may be slightly more growth on the enthusiast side.
However, we’ve grown on the professional side as well, including B2B. We have more lenses, and we’ve announced a tilt-shift lens, so we’ve also been growing on the professional side.
The X100V continues to be incredibly popular, with used models selling online for hundreds of dollars over retail price. What’s driving this?
The X100 series is our most iconic model. The retro film camera looks, the design, and the compact size make it attractive. Users are posting the X100 on TikTok and making it look cool. You see many people on TikTok posing with the camera; they’re not posting the camera itself or the photos they take, but posing with it. It’s cool to own an X100V. It’s like a fashion item. That’s incentivizing the younger audience.
The current X100V is the newest model, and it’s in demand not just by the younger generation but by the entire range of users. Every generation loves the X100V. Also, people buying the X100V aren’t just existing Fujifilm users, but people who use other systems, so it’s like a gateway to our system. This camera is unique and very important to our system.
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| Thanks to social media, the X100V has become a very popular camera. If you want to buy one your biggest challenge will be finding an X100V for sale – unless you’re willing to pay hundreds of dollars over retail price on the used market. |
When do you expect the supply of the X100V to improve?
Believe it or not, we’ve increased capacity even more, but the demand keeps growing. We can’t say when we’ll catch up because demand isn’t flat; it continues to grow. But we’re trying our best to catch up.
Might we ever see a medium format version of the X100? Would you want to use such a camera yourself?
Never say never, right? Of course, everybody has their own opinion. If it were that size [points to the X100V on the table], I would use it [room laughs]. It depends on size. We hear that request from all over the world, but we hear many requests.
If we made a GFX format with a fixed lens, it might be a similar gateway to our GFX system, which is interesting for us.
If we made a GFX format with a fixed lens, it might be a similar gateway to our GFX system, which is interesting for us.
2023 is DPReview’s 25th year of operation, so we wanted to ask you what you think are the most important changes to photography over the past 25 years.
Congratulations! That’s a tricky question because there are so many choices. For Fujifilm, of course, there’s the move from film to digital.
Makoto Oishi: I still remember the Casio One digital as the first product that had 10MP. That was a big game changer. Before that, nobody believed they needed 10MP, but after that product launched, everybody had to have at least 10MP. As an engineer, that was a significant turning point.
Jun Watanabe: I used to work in the mobile phone industry and worked with a phone over 20 years ago with a camera, and you could see images instantly. [Mr. Watanabe referred to the J-phone, Japan’s first mobile phone with a back-facing camera.] Then I joined a camera manufacturer, and the image quality was amazing compared to the cell phone camera. Image quality is a core value of the digital camera, so I think the rise in quality we’ve achieved over 25 years is so important.
Yuji Igarashi: I remember looking at 4×6 prints from four-megapixel and six-megapixel cameras and trying to figure out, what are enough pixels for that size? And if that’s enough, then it’s good enough to replace film. That’s how we were judging.
Makoto Oishi: We used to print photos, even from digital cameras. But after the smartphone became available, we all see photos on the phone. That’s a big impact.
Editor’s note:
By Dale Baskin
I found the Fujifilm executives to be refreshingly candid and open in an industry that often tilts in the direction of highly scripted interviews.
The team doubled down on the company’s strategy to focus on two systems, APS-C and medium format, rather than jumping on the full-frame bandwagon, and stated that it had been a good business decision for Fujifilm. They believe it allows them to offer unique products that bring tangible benefits to customers without compromise. According to them, the GFX system has grown the entire medium format segment of the market, and the X-H2S has reshaped retailer and consumer opinion of what Fujifilm cameras can do. It has also attracted more video users to the system.
I found the Fujifilm executives to be refreshingly candid and open in an industry that often tilts in the direction of highly scripted interviews.
As with almost every other manufacturer I spoke with at CP+, one theme that stood out was the increased demand for video. That’s not just because they see existing Fujifilm users wanting more video features but because it’s a growth opportunity. As Mr. Igarashi pointed out, many video users buying Fujifilm cameras are new to the system, not people upgrading from previous models.
The most interesting and fun part of our conversation revolved around the X100V rangefinder-style camera, which has become incredibly popular lately, thanks partly to social media. Fujifilm sees the X100V as a gateway to its system, and that while the company has increased production to meet demand, the demand keeps growing. When I asked the team whether we might ever see a medium format version of this type of camera, they speculated that such a camera might provide a similar gateway to the GFX system. Two be clear, they did not indicate that there’s a product in the works, but it’s an encouraging attitude for photographers hoping to see such a camera.
Author:
This article comes from DP Review and can be read on the original site.
