Fujifilm X100VI Review | PCMag

The Fujifilm X100 series is a long-running favorite among enthusiasts and pro photographers who want a fixed-lens camera with picture quality and handling on par with swappable-lens models. The latest iteration, the X100VI ($1,599.95), has all the same appeal as earlier entries, including a retro-style exterior, physical dial controls, and a unique optical-electronic hybrid viewfinder. Under the hood, this edition gets in-body stabilization and a wonderful 40MP sensor that enables digital zoom—both upgrades over the exceptional X100V. Earlier versions were always a joy to use, but these improvements add real utility and reinforce just how enjoyable it is to hold the camera and use it to make images. It easily earns our Editors’ Choice award for compact cameras and gets an even stronger endorsement than its predecessors, a rare five-star rating. The only real issue is availability: The X100VI is already on back order, so you’ll have to wait in line to get one.

Design: Built for Everyday Photography

The X100VI takes design inspiration from rangefinder cameras from the ’60s and ’70s. Although it’s all digital inside, the camera’s handling and exterior are similar to old fixed-lens rangefinders, like from the Canonet series. Similar to these antique models, the X100VI uses a permanently attached prime lens with a moderately wide angle of view and a corner-positioned viewfinder. There’s huge appeal here for rangefinder fans who don’t want to pay top dollar for a Leica M11 or who want something smaller than Fuji’s interchangeable-lens X-Pro3.

(Credit: Jim Fisher)

I classify the X100VI as a compact, point-and-shoot camera, though its features are beyond basic and its form is made for jacket pockets rather than jeans pockets. Even so, it’s not too much to carry, coming in at 2.9 by 5.0 by 2.2 inches (HWD) and about 1.1 pounds. Fuji sells it in an all-black or a two-tone, silver-and-black finish. I’ve tried both but think the latter option looks better. Of course, folks after a less noticeable camera are likely to prefer the stealthier black edition.

(Credit: Jim Fisher)

Construction quality is top-notch. Fuji puts a leatherette wrap around a magnesium alloy frame and uses aluminum for the top and bottom plates to achieve a sturdy feel. The camera includes dust and splash protection, but it isn’t fully weather-sealed since the front of the lens is a potential ingress point. However, you can add the AR-X100 ($49.95) filter adapter and PRF-49 ($49.95) or another 49mm filter to plug the gap and make the camera fully dust- and drip-resistant.

(Credit: Jim Fisher)

That the adapter ring and filter aren’t in the box is one of my few complaints about the X100VI. A lens hood is missing, too, a worthwhile add-on since the fixed 23mm F2 prime can show some flare. The LH-X100 hood costs $79.95 and includes the AR-X100 filter adapter for that price because you must use the two in tandem. Some aftermarket hoods mount directly to the X100VI’s built-in accessory thread, however.

The X100VI works with the same accessories as previous iterations, so there are ample third-party hoods on the market. And even though the new camera is slightly thicker than the X100V, a design change that accommodates the in-camera image stabilization system, it works with the same add-on grips and baseplates as the Mark V. I didn’t have any problem using the small built-in grip, but you might want to add one if you prefer more depth for the body. The SmallRig add-on costs around $40 and doubles as an Arca-Swiss baseplate. I haven’t used this particular grip, but other SmallRig accessories I’ve tried work well.

Optics: A Prime Lens With Useful Digital Zoom

The X100VI realizes its slim form and stellar picture quality through its fixed, permanently attached lens. The lens’ 23mm F2 design pairs with the 40MP APS-C format image sensor to capture the same angle of view as a 35mm lens on a full-frame system. Veteran photogs should be familiar with the 35mm focal length; it’s a favorite for documentary, street, and slice-of-life photography. It also works well for photos of small groups and environmental portraits. The X100VI has a decent macro focus capability, too; the lens locks on to subjects as close as 3.9 inches for approximately 1:3.8 macro reproduction.

(Credit: Jim Fisher)

Like many small cameras, the X100VI puts its mechanical shutter inside the lens rather than just over the shutter. The leaf shutter design comes with some practical advantages. It’s quiet, for instance, and supports sync with either the in-body flash or a more powerful add-on strobe at speeds as short as 1/4,000-second. The lens also includes a 4-stop neutral density (ND) filter that cuts incoming light. Using ND is handy if you want to take long-exposure images in daylight. It’s also useful for video recordings since the best practice is to use a shutter speed that’s about half your frame rate. The ND filter makes it possible to obtain the 1/60-second setting for 30fps and 1/48-second speed for 24fps footage.

(Credit: Jim Fisher)

The fixed lens comes with a trade-off in versatility. You can’t swap out optics on a whim like you can with a mirrorless camera or SLR, so you should make sure you’re comfortable with the moderately wide angle it captures. The 40MP sensor adds some flexibility, however, with support for in-camera crops at 20MP (50mm equivalent) or 10MP (70mm equivalent). It’s easy to switch between angles since the manual focus ring works to zoom in or out when the camera is set to autofocus. You also need to swap the focus mode to change the zoom if you are in the manual focus mode, but this isn’t a big deal in light of the Manual/Continuous/Single (M/C/S) focus switch on its left side of the X100VI.

Comparison of scene with WCL-X100 II (left) and without a converter attached (right) (Credit: Jim Fisher)

Fuji offers two add-on conversion lenses for the X100VI: The WCL-X100 II ($349.95) for a wider 28mm equivalent starting angle and the TCL-X100 II ($349.95) for a 50mm equivalent. The WCL is useful for photogs who crave a wider angle and an appropriate size for the camera. However, the TCL has less appeal here than with older 26MP models like the X100V since it’s a bit large and covers an angle you get with the digital zoom. In testing both adapters, they negatively impacted picture quality at f/2 but performed well at smaller f-stops. Both complete the X100VI’s weather sealing, too.

The WCL-X100 II broadens the angle to 28mm (Credit: Jim Fisher)

If you prefer a wider angle of view from a fixed-lens camera, the $969.95 Ricoh GR III is a more attractive choice. It’s significantly smaller and pairs a stabilized, 24MP APS-C sensor with a 28mm f/2.8 equivalent prime lens. The GR III doesn’t include an eye-level viewfinder, however. If that’s a must-have, the lux Leica Q3 is available with a 28mm f/1.7 lens and a 60MP full-frame sensor. Of course, its $5,995 price puts it out of reach for most people.

The TCL-X100 II turns the camera into a 50mm, but is bulky (Credit: Jim Fisher)

The remainder of in-production alternatives to the X100VI are scant. Ricoh has the GR IIIx with a 40mm f/2.8 equivalent prime and recently added the GR III HDF and GR IIIx HDF, both of which swap out the GR III’s in-lens ND filter for one that provides an optical soft focus effect. And for black-and-white imaging, Leica still sells the Q2 Monochrom that’s similar to the Q3, just with a 47MP monochrome image sensor behind its fixed lens. There are still a few pocketable cameras with smaller Type 1 sensors and zoom lenses on sale, too. The Canon G7 X Mark III and Sony RX100 VII are good examples, though their imaging engines are a couple of steps behind those of APS-C and full-frame cameras.

Classic Analog Controls

The X100VI doesn’t just look like a vintage camera, its exposure controls are similar to classic models, too. It uses a set of three dials to set the legs of the exposure triangle. The aperture control ring is part of the lens barrel, while the dual-purpose shutter/ISO dial and a dedicated EV compensation control are on the top plate. I appreciate the straightforward approach. Each control surface serves as a visual indicator for manual settings, and all but the EV dial include an A (automatic) position if you want the camera to choose a setting.

(Credit: Jim Fisher)

The only real tricky one to use is the ISO setting. Since it’s part of the shutter dial, you need to pull up on the edge of the dial to raise it slightly and set sensitivity manually. If you find that ergonomic aspect inconvenient, you can set the ISO dial to the C position, which moves control to the camera menu. Fuji has been using this control scheme since the first iteration of the camera and takes a similar approach to its X-T mirrorless series, so it’s no surprise it gets it right. Others have struggled to replicate this success. The retro-style Nikon Z f and Z fc, for instance, make you disable Auto ISO in the camera menu in order to swap between the ISO dial and automatic sensitivity.

The camera also uses an old-school shutter release, complete with a thread so you can attach either a mechanical release cable or a soft release button. I find a soft release to be an ergonomic benefit, but the shutter release is comfortable to operate by itself, too. There’s also an unmarked, customizable function button next to the shutter. It toggles eye and face detection by default, though you can remap it to another function if you prefer. I set it to toggle the in-lens ND filter since I change that function often.

(Credit: Jim Fisher)

The body includes front and rear control dials, as well as marked buttons for AEL/AFL, Disp/Back, Drive/Delete, Menu/OK, Play, and Q on the rear plate. An eight-way joystick handles menu navigation and sets the position of the focus box. The camera controls are customizable, so you’re not locked into the default settings. For instance, you can switch away from using the old-school shutter dial and aperture ring in favor of the front and rear command dials for exposure control. If you want to tune the X100VI to suit your needs, dive into the manual or spend some time tinkering with the Button/Dial menu pages.

(Credit: Jim Fisher)

An on-screen menu complements the physical controls. It loads with a press of the rear Q button for quick access to up to 16 different settings. The menu is completely configurable, so you can populate it with the options you change most often and pare it down to 4, 8, or 12 options (via the main menu) if you prefer less clutter. The X100VI uses separate Q menus for stills and video, meaning you can craft one for either discipline. The quick menu is navigable using the joystick and dials or via touch.

(Credit: Jim Fisher)

A Hybrid EVF and Tilting Touch Display

The hybrid optical-electronic viewfinder is a signature feature of X100 cameras. The X100VI’s implementation is identical to the X100V, but that’s not a bad thing at all. In the optical mode (OVF), the viewfinder provides fixed 0.5x magnification with bright optics that show the world in clear focus. A white LED frame marker outlines the image area, while a moveable green box indicates the focus area. The frame line changes based on the digital zoom setting or attached conversion lens.

(Credit: Jim Fisher)

The OVF is similar to what you get with a rangefinder camera and has enough coverage to show some information outside the confines of the lens angle. Photojournalists and documentarians tend to appreciate this aspect since they can better anticipate action and capture fleeting moments.

Manual focus is available through the OVF, too. The X100VI pops up a small EVF display in the bottom right corner that shows a magnified area of your image. A few different focus aids are available, including modes that simulate a rangefinder double image, an SLR microprism collar, and peaking. These aids are also available for manual focus through the EVF or rear display.

(Credit: Jim Fisher)

The OVF is charming and provides extra appeal for rangefinder devotees. While I certainly enjoy the rangefinder experience—I’ve been using a Leica M (Typ 240) for personal work since its release—I leaned on the EVF far more in testing. The 3.7-million-dot OLED is exceptionally sharp and shows a smooth picture in standard mode, while a more power-hungry 100fps Boost mode is also available. A rep from Fujifilm wasn’t able to confirm the refresh of the EVF in its default mode, but it’s most likely 60fps since it shows smoother motion when recording 4K60 video versus 4K30. The EVF is a good size (0.66x) considering how small the camera is, though the full-frame Leica Q3’s EVF shows a larger 0.79x image to the eye. The Q3 lacks an optical viewfinder mode, however.

I appreciate the ability to preview the exposure and active Film Simulation profile more than the ability to anticipate action outside the frame. I also have more confidence that the X100VI is focusing on the right subject with the electronic view, especially at near macro distances. The OVF frame lines shift to account for parallax, but they’re still less than ideal for close-up photos. Your mileage may vary, of course, and the beauty of the X100VI’s design is that you can freely swap between the viewfinder modes. The body includes a small lever at the front to make the switch, so you don’t have to dive into the camera menu each time.

(Credit: Jim Fisher)

The tilting touch screen is standard fare for a digital camera. It’s decently large (3 inches) and sharp (1.6 million dots). The display has good viewing angles, adjustable brightness (accessible in the Q menu), and tilts for low- or high-angle photos. It doesn’t swing out to the side or face forward, so it’s not ideal for selfies or vlogs. A forward-facing display would require a deeper body design, so I expect most photographers to be just fine with this trade-off.

Battery: Get a Spare for All-Day Use

The X100VI runs on the same battery as the X100F and X100V—the NP-W126S. The VI is a little more power-efficient than these predecessors, so it should snap a decent 450 photos per charge, up from 420 exposures with the X100V. Fuji doesn’t list battery life for video recording, but I drained about two-thirds of the battery after recording 48 minutes of 6.2K24 footage. You should thus expect roughly an hour of video recording time on a fully charged cell. Using Wi-Fi and editing in-camera cuts into the runtime.

WCL-X100 II conversion lens, f/5.6, 1/280-second, ISO 125, Reala Ace (Credit: Jim Fisher)

You can easily get through a photo outing on a fully charged cell. The battery charges in-camera via USB-C, meaning you can top it off via a power bank if you’re on the go. I suggest picking up a spare for all-day outings, vacations, and events in which you plan to take a ton of shots, however. Fuji’s first-party replacement costs $59.99, but there are plenty of third-party options available for less. Wasabi Power, a well-regarded after-market supplier, sells a four-pack for $31, as an example.

f/2, 1/400-second, ISO 125, Classic Negative (Credit: Jim Fisher)

A hinged door protects a few connection ports on the right side of the camera. The aforementioned USB-C connector is there for charging, data transfer, and UVC/UAC webcam support, and also works with 3.5mm headphones via an adapter (not included). You also need an adapter to connect an external mic since the camera uses a tiny 2.5mm connector, rather than the standard 3.5mm. Finally, there’s a micro HDMI port. These ports are mainly for video use, USB-C aside. One note on webcam use: You need to either make sure you’re recording or disable the camera’s Auto Power Off setting (via the menu) if you’re using it for streaming, otherwise it might turn off at the worst possible moment. In testing, the X100VI worked well on a Google Meet call for a while, but its power-saving feature suddenly caused it to cut out. And once I woke it up, my audio was out of sync. This issue is simple to work around, so it’s not a sticking point, though Fuji should automatically disable the power-saving feature in such scenarios.

f/2, 1/640-second, ISO 125, Nostalgic Negative (Credit: Jim Fisher)

Bluetooth and Wi-Fi enable a connection with smartphones and tablets. The camera uses the Fuji X App (available for Android and iOS), which supports file transfers, remote control, and firmware updates. All the features work well. When I performed a firmware update, the process took about six minutes in total.

The memory card slot is in the same compartment as the battery on the bottom. The slot works with SD, SDHC, and SDXC cards, but supports just UHS-I speeds. I didn’t note any slowness in writing photos to memory and the interface is fast enough for 6.2K video recording, but this limitation can affect performance in the continuous drive mode. The X100VI supports full-resolution capture at 11fps with its leaf shutter, and either full-width 13fps or 1.29x cropped 20fps with a fully electronic shutter. It manages 20 lossless compressed Raw photos before the buffer fills at 13fps and requires about 15 seconds to commit them to memory. For JPGs, you can expect 60 shots before the rate begins to slow and 20 seconds to clear. UHS-II support would undoubtedly speed up the buffer clear times, though it’s impossible to say by how much.

f/4, 1/50-second, ISO 125, Reala Ace (Credit: Jim Fisher)

Confident Autofocus and Stabilized Imaging

The X100VI comes with an entirely competent autofocus system. It supports single-shot and continuous autofocus with focus points across nearly the entire sensor, as well as face and eye detection for people. You can choose from a variety of sizes for the focus box, including pinpoint, midsize boxes, zones, or full coverage. The rear eight-way joystick works well here, as it makes it easy to move the focus point around to cover your subject. You can also tap on the touch screen to focus.

f/2, 1/280-second, ISO 125, Acros+Yellow Filter (Credit: Jim Fisher)

Some features go beyond the basics, including discrete subject recognition modes for Airplanes, Animals, Automobiles, Birds, Motorcycles and Bikes, and Trains. Given the wide, prime lens, I don’t think anyone will buy the X100VI for sports or wildlife photography, pursuits that demand the best possible autofocus. The X100VI isn’t up for those tasks but it’s more than adequate for the types of snapshots its lens suits. I consistently got candid, in-focus photos of people and pets in testing.

f/2, 1/180-second, ISO 125, Reala Ace (Credit: Jim Fisher)

The fixed 23mm f/2 lens is the same one Fuji uses in the X100V. But with a 40MP image sensor behind it (up from 26MP), the lens resolves more detail and supports the aforementioned digital zoom modes. In our Imatest evaluation, it scores in the outstanding range for a 40MP chip (4,200 lines) wide-open and is as good as it gets in the f/2.8-5.6 range (4,800 lines). Diffraction sets in around f/8 but doesn’t have a significant effect on picture quality until f/11 (3,400 lines) and f/16 (2,400 lines).

f/11, 1/4-second, ISO 125, Velvia (Credit: Jim Fisher)

The integral 4-stop ND filter makes it less necessary to stop down in most instances, even for longer exposures in sunlight. You might want to go down to f/16 to get the sunstar effect in landscape shots, however. The same diffraction effect that scatters light as it passes through the small 9-blade iris creates distinct 18-point starbursts around bright points of light. Landscape photographers can use this effect to get more dramatic scenes that incorporate the sun. I didn’t see too much false color from internal reflections in these scenarios, though the lens can lose contrast and flare at wider apertures when the sun is prominent or just outside of the frame. It’s worth purchasing the accessory hood to reduce this effect, as mentioned.

f/11, 1/4-second, ISO 200, Velvia (Credit: Jim Fisher)

High-resolution cameras are more prone to show the effects of hand shake, but the 6-stop, in-body image stabilization (IBIS) system means you won’t have to worry at all at longer shutter speeds. If you’re snapping photos in dim light, subject motion is more likely to induce blur than an extended 1/8- or 1/15-second exposure time. The IBIS is also handy for daylight scenes in which you want to keep still objects steady and blur subject motion. I had no problems getting 1/4-second handheld photos with care in such scenarios. The X100VI is a fantastic pick for landscapes with moving water and street scenes in which you want to blur the motion of people and cars.

f/2, 1/35-second, ISO 2000, Reala Ace (Credit: Jim Fisher)

The lens blurs backgrounds readily at f/2. It can also get a good amount of bokeh at smaller f-stops if you focus close or place a sizable distance between the subject and background. The X100VI draws lovely images. Transitions away from the plane of focus are gradual, while false color is absent. Brighter parts of the defocused background, called specular highlights, are mostly round wide-open and show just a slight cat’s eye effect. They completely round out at smaller f-stops. On the downside, the highlights show a little bit of onion skin texture (a result of imperfections in the surface of molded aspheric optical elements inside the lens) and have more distinct than feathered edges. Neither is a major problem since the lens draws generally soft and distraction-free backgrounds.

f/11, 1/4-second, ISO 500, Velvia (Credit: Jim Fisher)

The 40MP X-Trans BSI CMOS sensor and X-Processor 5 imaging engine are new to the X100VI, but the pair appears in a couple of interchangeable-lens cameras, such as the Fuji X-H2 and X-T5, so its performance comes as no surprise. It supports a native ISO 125-12800 sensitivity range with Auto ISO and goes from ISO 64-51200 in manual ISO mode. The lower extension (ISO 64-80) is useful for very bright scenes in which the ND filter isn’t enough to reduce incoming light, but it cuts into the dynamic range of Raw images. Settings above ISO 12800 reduce dynamic range, as well as introduce noise that detracts from detail. Several file formats are available, including ready-to-share 8-bit JPG and 10-bit HEIF, as well as Compressed, Lossless Compressed, and Uncompressed Raw, all with 14-bit color.

f/5.6, 1/680-second, ISO 125, Reala Ace (Credit: Jim Fisher)

Raw photos in Lightroom Classic with the default level of noise reduction show strong detail with little evidence of luminance (grain) or chroma (splotchy color) noise through ISO 3200. Grain starts to cut into detail at ISO 6400. The grain gets rougher at ISO 12800, but pictures still look quite good due to its tight, small pattern. I observe rougher, more noticeable grain at ISO 25600-51200, enough to obscure fine detail. For JPGs, the sensor delivers clear, clean images through ISO 1600. I see some mild contrast loss in the ISO 3200-12800 range, a consequence of in-camera noise reduction that softens sharp lines in our test scene. Detail takes a couple of steps back at ISO 25600-51200; here the noise reduction erases fine lines. Color fidelity is strong throughout the entire ISO range, however, and there’s no sign of a color cast at the high end of the sensitivity range or splotchy color noise.

f/2, 1/50-second, ISO 125, Reala Ace (Credit: Jim Fisher)

You might want to use JPGs with a Fuji camera since its processing engine offers a host of compelling, characterful Film Simulations. Out of the box, the camera is set to the Standard/Provia look, one that’s meant for everyday photography and snaps photos that look like most default profiles. Other options include Acros, Astia/Soft, Classic Chrome, Classic Negative, Eterna/Cinema, Eterna Bleach Bypass, Monochrome, Nostalgic Negative, Pro Negative Standard, Pro Negative Hi, Reala Ace, Sepia, and Velvia/Vivid. Of these, Reala Ace is a new addition and serves as an alternative to Provia. It has similar colors and contrast, but a little less saturation. It quickly became my favorite color profile of the bunch. For more detail on each look, make sure to read our explainer.

f/2, 1/35-second, ISO 200, Classic Chrome (Credit: Jim Fisher)

It’s worth trying a few different looks to find your favorite or choosing one that’s appropriate for a scene. Even if you use the camera in Raw mode, you have the option of processing photos in-camera to try out different takes on the same scene. A bracketing option is available as well; it creates three versions of each photo you snap, each with distinct JPG settings. In addition to the Film Simulation looks, the X100VI supports virtual film grain and a color chrome effect to better render deeply saturated subjects. Fuji’s JPGs are second to none and especially useful for creators who want to try out different photo styles without having to deal with desktop Raw processing software.

f/2, 1/1,250-second, ISO 125, Acros+Yellow Filter (Credit: Jim Fisher)

6.2K Video With 10-Bit Color

Given its photo-centric design and control scheme, I think of the X100VI as a camera for stills, but Fuji puts plenty of video features inside. The camera supports full-width 4K24 and 4K30, as well as 4K60 with a 1.14x (40mm equivalent) crop with 10-bit 4:2:2 color sampling and H.265/HEVC compression at up to 200Mbps. It also offers 8-bit H.264 capture for creators with lower-power systems that can’t handle HEVC footage. All of these modes are good picks for scenes with motion since they offer fast (15ms) scan speeds to suppress rolling shutter effects, though they use subsampling to achieve this, which cuts into detail. There’s one other advantage to these 4K options; they support additional digital stabilization that nets steadier results for shots with significant camera movement.

You can swap to a 4K HQ or 6.2K recording mode for sharper output at up to 30fps. Both introduce a heavier 1.23x crop (43mm equivalent) and cut sensor readout speed in half (30ms). You’re better off using these for landscape scenes and other scenarios without a lot of camera or subject motion. H.264 and H.265 are available for 4KHQ, but H.265 is required for 6.2K recording, so you need a fairly powerful system to handle edits. If you’re looking for lighter file sizes, 1080p is an option for standard recording speeds and for 120 and 240fps slow-motion.

WCL-X100 II conversion lens, f/2, 1/240-second, ISO 125, Reala Ace (Credit: Jim Fisher)

The full array of Film Simulation looks work for video. Although Eterna is the de facto standard for cinematic color tones, I really like the way Reala Ace looks on a big monitor for movies. If you prefer to take control over color edits, you can swap to the flat F-Log2 profile. It records with lower saturation and contrast but offers expert video editors plenty of leeway to apply a creative color grade.

f/2, 1/210-second, ISO 125, Acros+Yellow Filter (Credit: Jim Fisher)

The built-in mic is about as good as any other camera’s. It’s fine for casual use but isn’t something you should rely on for a YouTube show or indie film project. As mentioned, the X100VI works with external mics, but you need an adapter to connect most models.

In certain modes, the camera can overheat when recording video. I only got about 20 minutes of 4K60 footage before the camera stopped recording due to heat, so it’s wise to choose a 24 or 30fps frame rate for longer clips. At 6.2K24, the X100VI rolled for 48 minutes before overheating in my tests. If you need to record for longer durations, an interchangeable lens camera is a better tool for the job. Both the Fuji X-H2 and X-H2S work with an add-on cooling fan, while the Panasonic GH6 and S5 II have internal fans.

(Credit: Jim Fisher)

Verdict: The Best Fixed-Lens Camera You Can Buy

The Fujifilm X100 series has long been a favorite for creators who prefer a small camera with a built-in lens, and the sixth-generation edition is the best yet. It maintains the tried-and-true design of the original, while including welcome technical improvements like a 40MP sensor and in-body stabilization. The X100VI is far more than the sum of its parts: Interchangeable-lens image quality, effective stabilization, discrete control dials, a hybrid viewfinder, and a svelte build make it an absolute joy to use. If you’re looking for a serious compact camera that’s easier to carry than full-size alternatives and doesn’t compromise any part of the photography experience, the X100VI is our Editors’ Choice winner and gets a remarkable five-star rating. It’s not often that we review a camera that’s both a real pleasure to use and a spectacular picture-taking machine. If you can’t find an X100VI in stock and don’t want to wait on a back order list, consider the smaller, more affordable Ricoh GR III and IIIx or the luxury-minded, full-frame Leica Q3.