Fujifilm has just launched the X100VI, the latest in its well-loved X100 series of compact cameras. The announcement came with quite a bit of buzz, thanks in part to its retro look and a design philosophy that’s clearly rooted in the analog photography world. But here’s the catch that’s stirred up some debate: the X100VI doesn’t shoot RAW files.
Now, this is a pretty big departure from what we expect from modern digital cameras. Nearly every pro-level and enthusiast camera lets you shoot RAW, giving photographers the freedom to tweak every little detail in post. So Fujifilm’s move here feels like a conscious choice to stick to their “analog vibes” and push a certain way of interacting with images.
A Philosophy of Finished Photos, Not Files
Fujifilm has long been famous for its in-camera image processing, especially its Film Simulation modes that mimic classic Fujifilm film stocks. For many users, these aren’t just filters or presets—they’re central to the creative process.
With the X100VI, that idea goes even further. By limiting users to JPEGs only, Fujifilm is basically nudging photographers to trust the camera’s processing and pick from the wide range of film simulations. The goal? Deliver a “finished” photo right out of the camera, cutting down on the need for heavy editing later. It’s very much a nod to the film days, when the development and printing process largely shaped the final image.
A Fujifilm rep summed it up nicely during a recent briefing: “We want photographers to focus on the moment, on composition, and on the in-camera settings. The X100VI is about embracing the creative choices made at the time of capture, much like photographers did with film.”
The Appeal of Simplicity and Creative Constraints
Interestingly, for some photographers, not having RAW isn’t a limitation—it’s actually freeing. In a world overloaded with endless editing options and complex workflows, the X100VI offers a simpler, more focused path. It encourages you to make your creative decisions before hitting the shutter—things like exposure, white balance, and film simulation.
This can lead to a more deliberate shooting experience. Instead of worrying about fixing a bad exposure or color balance later on the computer, you’re pushed to get it right in-camera. That might help you better understand light and exposure, since there’s less of a safety net in post.
A lot of photographers enjoy this kind of challenge. It forces you to really master your camera settings and understand how each film simulation affects your image. For street photographers, travelers, or anyone who likes to shoot spontaneously, the direct-to-JPEG workflow can be a refreshing creative outlet. The camera becomes more of a creative partner, delivering images that feel complete the moment you press the button.
The Trade-Off: Loss of Post-Processing Flexibility
That said, the lack of RAW will be a dealbreaker for many. RAW files capture unprocessed sensor data, giving you the greatest flexibility to adjust exposure, recover shadow and highlight details, tweak white balance precisely, and apply color grading or noise reduction with less degradation.
JPEGs, even excellent ones like Fujifilm’s, come with compression and in-camera processing baked in. This limits how far you can push edits without losing quality. If you’re a professional who needs full control or prefer a non-destructive workflow, RAW is pretty much essential.
Think about a tricky lighting situation—RAW files let you rescue details from bright or dark areas that a JPEG might permanently lose. That’s crucial if you’re shooting commercial work or complex projects where every pixel counts.
Target Audience and the X100 Series Legacy
The X100 series has always occupied a unique niche. It’s not trying to be a powerhouse pro camera or compete on every tech spec. Instead, it’s for people who appreciate a blend of classic design, portability, and that tactile, enjoyable shooting experience.
By dropping RAW support, the X100VI doubles down on this identity. It’s made for photographers who care as much about the process as the end result, who enjoy the feel of physical dials and the satisfaction of getting the shot “right” in-camera. It’s really about offering a simpler, more direct photographic journey—one that recalls the film era.
For many fans, the X100 isn’t about pixel-level scrutiny or the absolute technical best. It’s about mood, feeling, and the distinctive character the camera imparts. So, in this light, not having RAW isn’t a missing feature—it’s a deliberate part of what the camera is all about.
Is the X100VI the Right Camera for You?
It really depends on your style and workflow.
If you love Fujifilm’s film simulations, enjoy making creative choices while shooting, and want a streamlined editing process, the X100VI could be a perfect fit. It encourages a thoughtful approach to photography and delivers beautiful, share-ready JPEGs.
But if you rely on heavy post-processing, need the maximum flexibility to tweak your images, or work in situations where recovering highlights or shadows is a must, the lack of RAW will probably be frustrating. You might be better off with other Fujifilm models or different brands that support RAW capture.
Ultimately, Fujifilm’s decision with the X100VI is bold—and maybe a bit polarizing. It’s a camera designed for photographers who embrace analog-inspired constraints and value in-camera creativity over post-production freedom. For those folks, the X100VI offers a unique, satisfying experience—even without the familiar flexibility of RAW files.
