My Fujifilm X100F Kodak Portra 400 Film Simulation Recipe


Jump – South Weber, UT – Fujifilm X100F – “Portra 400”

Fuji X Weekly reader Luis Costa asked me if I could create a Kodak Portra 400 film simulation recipe for the Fujifilm X100F. I liked the idea and thought it would be a fun challenge, so I agreed. What I didn’t realize is that challenge was the keyword, as this was extremely difficult to figure out. I gave up a couple of times, but then some inspiration pushed me forward, and eventually I got it right. Or, at least, very close to right.

Portra 400 is a daylight balanced color negative film made by Kodak. There have been four different versions made since it was introduced in 1998: the original film (1998-2000), 400NC and 400VC (2000-2011), and the current version (2011 to present). I’ve used Portra 400NC (“neutral color”) and 400VC (“vivid color”) in the past, but I’ve not shot on Portra film for at least a decade, and I’ve never used the current one. There isn’t a huge difference between the different Portra 400 films, but there are small distinctions as they each have a slightly varied look.

As the name implies, this film is designed for portraits, and has a warm tint in order to enhance skin tones. Being daylight balanced means if you use it on a cloudy day, indoors, under artificial light, etc., it will look different. It’s designed for use in daylight, and using it in other circumstances will skew the white balance (which could be good or bad, depending on the image).

White balance became both the key to this film simulation recipe and the problem. I first tried auto-white-balance (with a white balance shift of +2 Red and -5 Blue), and I got good results a few times and not good results a bunch of times. Next I set it to Daylight (using the same shift) but it wasn’t quite right. Then I tried setting the Kelvin value, starting with 5600K, but couldn’t find one that was correct. Finally, I used Custom White Balance, but it took seven or eight different measurements before I got it right. I did get it right, though.

The measurement that worked was out the back door of my house midday, slightly back-lit, partly cloudy with a lot of green in the scene. Interestingly enough, once I got it right I then tried to get the same custom white balance on my X-Pro2, but it measured slightly different. My suggestion is to use auto-white-balance, and once you capture an image that looks right, use custom white balance to make a measurement of the scene and set it. I think that should work, anyway. Otherwise, just keep trying to get the custom white balance right by taking different measurements until you find one that looks good.


Hello Summer – S. Weber, UT – Fujifilm X100F – “Portra 400”


Edited using RNI Films app, Kodak Portra 400 preset.


Country Red – South Weber, UT – Fujifilm X100F – “Portra 400”


Edited using RNI Films app, Kodak Portra 400 preset.

Nailing down an exact Portra 400 look is tricky business because it depends on which version of Portra 400 film you are talking about, plus whether it was scanned (and which scanner) or printed (and which chemicals and paper). To verify that I was close, I put a couple of images through the RNI Films app on my phone using their Portra 400 preset, and compared it to my Portra 400 film simulation recipe. It was very close, but who knows how accurate their Portra preset is and what exactly it is supposed to be simulating (which film version and process). It was good verification that my recipe is at least in the ballpark, as I’m sure their preset is in the ballpark. I also examined images captured with actual Portra 400 film. I don’t think any film simulation is going to be an exact match because there are too many variables, but I think it’s perfectly alright to not be 100% spot on, as long as it gives the right impression, and this recipe does just that.

There are a few of the settings that I’ve debated, going back-and-forth over what’s most accurate. I think that the white balance shift gives the right color cast, but perhaps a bit too strongly. I’ve tried changing it, but, to me, this is what looks most correct. I’ve tried the shadows at +3 but think +2 is better. I’m still not completely convinced that highlights should be at -1 as sometimes 0 looks better, but more often -1 looks right to me. Sometimes I think that color should be at -2 and not -3, but -2 almost looks too saturated. There is certainly room to play around with the settings if one doesn’t completely agree with what I’ve chosen.

The most difficult part of my Kodak Portra 400 Film Simulation recipe will be getting the white balance correct. I didn’t find an easy way to achieve it. It’s going to take trial-and-error. With any luck you’ll get it on the first try. There are three custom white balance settings, and you can make three different ones and see which gives the best results. Just remember that Portra is a daylight balanced film, so measuring a daylight scene will give you a better chance of getting it right.

Here’s the recipe:

Classic Chrome
Dynamic Range: DR400
Highlight: -1
Shadow: +2
Color: -2
Noise Reduction: -3
Sharpening: +1
Grain: Strong
White Balance: Custom, +2 Red & -5 Blue
ISO: Auto up to ISO 6400
Exposure Compensation: +1 to +1-1/3 (typically)

The photographs labelled “Portra 400” (which are all of them except for the two RNI Films examples) are straight-out-of-camera JPEGs. I did slightly crop a couple of them, but no other adjustments were made, just minor cropping.


Greens of Summer – South Weber, UT – Fujifilm X100F – “Portra 400”


Summer Wildflower – South Weber, UT – Fujifilm X100F – “Portra 400”


Tiny Bugs On A Rosebud – South Weber, UT – Fujifilm X100F – “Portra 400”


Bloom Alone – S. Weber, UT – Fujifilm X100F – “Portra 400”


A Coffee Cup – S. Weber, UT – Fujifilm X100F – “Portra 400”


Obligatory Cat Pic – South Weber, UT – Fujifilm X100F – “Portra 400”


Hanging Prints – South Weber, UT – Fujifilm X100F – “Portra 400”


Window Box – S. Weber, UT – Fujifilm X100F – “Portra 400”



Bottle Vase – S. Weber, UT – Fujifilm X100F – “Portra 400”


Ground Coffee Beans – South Weber, UT – Fujifilm X100F – “Portra 400”


May Clouds Over Wasatch – Layton, UT – Fujifilm X100F – “Portra 400”


Window Clouds – Layton, UT – Fujifilm X100F – “Portra 400”


Standing Tall – South Weber, UT – Fujifilm X100F – “Portra 400”


Tonka – South Weber, UT – Fujifilm X100F – “Portra 400”


Bike Repair – South Weber, UT – Fujifilm X100F – “Portra 400”

Click here for my complete list of Fujifilm X100F film simulation recipes!

Lens Review: Meike 35mm f/1.7 for Fujifilm


Meike 35mm f/1.7

I had a birthday a few weeks ago. I also had an Amazon gift card. So I browsed Amazon for something to buy myself in celebration of becoming older. I was looking through Fujifilm accessories when I stumbled across a cheap $90 prime lens, the Meike 35mm f/1.7. A prime lens for less than $100? I added it to the cart, proceeded to the checkout and submitted the order.

And I immediately regretted it.

I mean, I’m older and supposedly wiser. What kind of piece-of-junk lens am I going to get for so little money? It will, most assuredly, be poorly made with subpar optics and I’ll never use it. I had wasted my money, no doubt about it, I thought. I should have purchased something else. Oh, well. The order had already been placed.

A couple of days later a package arrived at my door. Inside was a box that contained the Meike 35mm f/1.7 lens that I had ordered. I opened it up with low expectations. It felt plenty hefty, though, and not lightweight like something made from cheap plastic. I removed the lens from the box and it looked and felt solidly built, mostly made of metal. My senses were telling me that I had ordered a vintage lens from the film era, perhaps the 1960’s, and not a brand-new lens made for digital cameras.


Meike 35mm on Fujifilm X-Pro2

The Meike 35mm f/1.7 lens looked good and seemed like a quality item, but what about the optics? Was it going to perform well? Why was it so darn cheap?

I attached it to my Fujifilm X-Pro2 and immediately noticed a quirk. The aperture ring is smooth and doesn’t click at the different f-stops. That’s a little odd. I have a Helios 44-2 lens that has two aperture rings, one that clicks and one that’s smooth, and so it’s not a new concept, but it is an unusual choice.

Another quirk is that the spaces in-between the f-stops, marked by numbers on the lens, are far apart when the aperture is large and close together when the aperture is small. For example, it takes quite a turn to get from f/1.7 to f/2 but going from f/8 all the way to f/22 is a tiny turn, and trying to stop on f/11 or f/16 is a tough task.

This is a manual focus lens and the focus ring is smooth. It seems to have the right amount of give, not too firm and not too loose. There is a focus distance scale on the lens, something that is too often missing today. The front element doesn’t rotate and it has 49mm threads.


Meike 35mm on Fujifilm X-Pro2 with coffee

I was shocked when I reviewed some frames that I had captured with the Meike 35mm lens on my X-Pro2 and saw how crisp they were. It’s sharp. Very sharp, in fact! I would expect this sharpness out of a lens that costs much more, but not out of budget glass. From the perspective of creating crisp images, this lens is right up there with the best. And it looks good attached to the X-Pro2.

I was then shocked by the amount of vignetting and the soft corners when using a large aperture. This is why the lens is so cheap. When wide open the Meike 35mm is almost unusable. I say almost because you could use the flaws as an artistic tool to give your images character. Things noticeably improve at f/2, but it’s still pronounced. By f/2.8 I would say that the vignetting and soft corners are minimal enough that you could live with them, but they don’t fully go away until f/8. Apertures smaller than f/8 suffer from diffraction. There is a small amount of chromatic aberrations that can be found when the aperture is f/4 and larger, but overall it’s well controlled. There’s a fairly pronounced pincushion distortion, which you’ll notice if you photograph a brick wall.

Bokeh, which is the quality of the out-of-focus area of an image, looks very good with this lens. When wide open there is a slight swirly effect, similar to the Helios 44-2 but less pronounced. When the aperture is large the subject separates nicely from the background.

The Meike 35mm f/1.7 is an excellent budget standard prime lens option for your Fujifilm camera. It’s all manual, which I like but some people might not. It has lots of character, something that’s often missing from modern lenses. It certainly has plenty of flaws and there is a reason why it’s cheap, but overall it performs much better than the price point would indicate. Even if the MSRP was $150 (instead of $90) it would still be an intriguing option. If you don’t already own a standard prime lens for your Fujifilm camera, this is one that you should consider, and, because it’s very inexpensive, it should fit into everyone’s budget.


Securely In Father’s Arms – Mt. Rushmore, SD – Fujifilm X-Pro2 & Meike 35mm


Conoco – Edgemont, SD – Fujifilm X-Pro2 & 35mm


Sinclair – Edgemont, SD – Fujifilm X-Pro2 & Meike 35mm


Big Cookie, Little Girl – Custer, SD – Fujifilm X-Pro2 & Meike 35mm


Camping Face – Custer, SD – Fujifilm X-Pro2 & Meike 35mm


Campfire – Custer, SD – Fujifilm X-Pro2 & Meike 35mm


White Flower Blossoms – Bountiful, UT – Fujifilm X-Pro2 & Meike 35mm


Green Hills Under Grey Sky – South Weber, UT – Fujifilm X-Pro2 & Meike 35mm


State & Federal Symbols – Mt. Rushmore, SD – Fujifilm X-Pro2 & Meike 35mm


Monumental – Mt. Rushmore, SD – X-Pro2 & Meike 35mm


George – Mt. Rushmore, SD – Fujifilm X-Pro2 & Meike 35mm


Mount Rushmore Monochrome – Mt. Rushmore, SD – Fujifilm X-Pro2 & Meike 35mm


Ominous – Custer, SD – Fujifilm X-Pro2 & Meike 35mm


Flowers & Rail – Edgemont, SD – Fujifilm X-Pro2 & Meike 35mm


Getting Ranger Badges – Mt. Rushmore, SD – Fujifilm X-Pro2 & Meike 35mm

See also: Fujinon XC 16-50mm f/3.5-5.6 OIS II lens review

One Year Later

My wife, Amanda, and I just celebrated Johanna’s first birthday. Yes, our little daughter turned one-year-old. If you follow Fuji X Weekly I’m sure you’ve seen many pictures of her. The time has flown by!

When Amanda was nine-months pregnant, just before Johanna was born, I did some portraits of her in a forested area near our home. One year later we returned to this same location and I photographed both of them together. It’s kind of a before-and-after, except it’s a whole year later.

It’s neat to see the difference a year makes. So much has changed. It’s good to look back, as it makes it easier to appreciate the now. I hope to return next May and do this again, perhaps make it an annual tradition.


Amanda, 9 Months – S. Weber, UT – Fuji X-E1 & Helios 44-2


Amanda & Johanna – S. Weber, UT – Fuji X-Pro2 & 60mm

Engagement Photos For One – Portraits of Fianceé After Couple Splits


On To New Adventures – Herriman, UT – Fujifilm X-Pr02 & 16mm f/1.4

I’m not a portrait photographer and I don’t usually do portrait photography, although I’ve found myself in that genre many times over the years. It’s simply not my forté and so I avoid it. Because I am a photographer, I get asked fairly often to do portraits, and sometimes I oblige. Recently I was asked to capture some engagement pictures for someone I know. The future bride and groom are big Disney fans and they had made arrangements to do the photo shoot at The Real Up House in Herriman, Utah.

You’ve probably seen the Disney/Pixar movie Up, where the grumpy old man and the tag-along Wilderness Explorer go on an adventure to South America by using a bunch of helium balloons to transport a house. There’s a home in Utah that closely resembles the one from the movie, even down to the smallest details. This is where the couple wanted to have their engagement photographs captured, and, for a fee, you can do just that. It was all set up and everything was good to go.

Except that the soon-to-be bride and groom called off their engagement a couple days before the photo session was scheduled to happen.

I encouraged the now-ex-fianceé to still go through with the photo session. I told her it would be therapeutic and empowering. I suggested that it might help her feel better about herself. She agreed, and so she kept her appointment and we went–just her and I.

It wasn’t the best time of day for a portrait photo session. The couple had scheduled the noon appointment before consulting with me. I did what I could with the light that was there. I used a Fujifilm X-Pro2 with a Fujinon 16mm f/1.4 lens and a Fujinon 60mm f/2.8 lens, as well as the Fujifilm X100F, which has a built-in 23mm lens. On both cameras I used the PRO Neg. Hi film simulation for these images.

The ex-fianceé had a good time. She said that she was very glad that she went and didn’t cancel the appointment. I think it was good for her to go. If anything it shows that happiness is a choice, and she chose to be happy despite the circumstance. That’s self-empowerment! That’s what these pictures are about.


Waiting For Paradise Falls – Herriman, UT – Fujifilm X-Pro2 & 16mm f/1.4


Me – Herriman, UT – Fujifilm X100F


Letting Go – Herriman, UT – Fujifilm X-Pro2 & 16mm f/1.4


Float Away – Herriman, UT – Fujifilm X100F


Clubhouse Color – Herriman, UT – Fuji X-Pro2 & 16mm f/1.4


Just Me – Herriman, UT – Fujifilm X-Pro2 & 60mm f/2.4


Squirrel – Herriman, UT – Fujifilm X100F


Squirrel Friend – Herriman, UT – Fujifilm X-Pro2 & 60mm f/2.4


Happiness Is From Within – Herriman, UT – Fujifilm X-Pro2 & 60mm f/2.8

My Fujifilm X-Pro2 Dramatic Classic Chrome Film Simulation Recipe


Fujifilm X-Pro2 & Meike 35mm

This film simulation recipe, which I’m calling Dramatic Classic Chrome, is the first that I’ve created for the Fujifilm X-Pro2. Up until this point all of them have been for the X100F; however, what I’ve discovered is that these settings are 100% compatible with all X-Trans III cameras. I figured that this was the case, but it wasn’t until my X-Pro2 arrived in the mail a few weeks ago that I was able to verify it. Any of my recipes will work on the X100F, X-Pro2, X-T2, X-T20, X-E3 and X-H1, even though the title says, “My X100F Film Simulation Recipe” or “My X-Pro2 Film Simulation Recipe.” Use this on any and all X-Trans III cameras, including the X100F.

I was experimenting with the JPEG settings on my X-Pro2, and specifically I was attempting something that looked vintage-film-like, perhaps similar to cross-processed slide film. I didn’t have a specific film in mind, just a certain look. Unfortunately I wasn’t able to achieve exactly what I had in mind, but what I did create I like, and I think it’s actually a good Classic Chrome recipe. It’s a little bit grittier and dramatic than my standard recipe.

Interestingly enough, the look changes a bit depending on the light and lens. In high contrast situations, you’ll get a high contrast image, with dark shadows and bright highlights. In low contrast situations, you’ll get a good amount of contrast with shadows and highlights that retain their details. This film simulation definitely has a film-like quality, but not any specific film or process. Perhaps it’s in the neighborhood of Agfa transparency film that’s been cross-processed, but that’s not really accurate. Maybe Ektar that’s been push-processed a couple stops? I’m not sure about that, either.


Securely In Father’s Arms – Mount Rushmore, SD – Fujifilm X-Pro2 & Meike 35mm

One thing that I did different with this film simulation recipe is set Dynamic Range to auto. In auto the camera almost always chose DR100, so you could just set it to DR100 instead of auto and get the same results. I did not use DR200 because I wanted more contrast, although on a couple occasions, in really high contrast scenes, the camera chose DR200. I’ve yet to find a situation where the camera chose DR400.

Something else to point out is, while I have the saturation set to 0 in this recipe, on some photographs I changed it to +1 and some other photographs I changed it to -1, situation specific. I think 0 is good for most pictures, but some seem to look better with just a little more or a little less color saturation.

Classic Chrome
Dynamic Range: DR-Auto
Highlight: +3
Shadow: +3
Color: 0
Noise Reduction: -3
Sharpening: +1
Grain Effect: Strong
White Balance: Auto, -1 Red & +1 Blue
ISO: Auto up to 12800
Exposure Compensation: +1/3 or +2/3 (typically)

Example photos, all camera-made JPEGs, using my Fujifilm X-Pro2 Dramatic Classic Chrome Film Simulation recipe:


Monumental – Mount Rushmore, SD – Fujifilm X-Pro2 & Meike 35mm


Starry Nites – Park City, UT – Fujifilm X-Pro2 & 23mm


Waiting To Arrive – SLC, UT – Fuji X-Pro2 & Meike 35mm


National Drink – Ogden, UT – Fujifilm X-Pro2 & 23mm


Red Drum – Unitah, UT – Fujifilm X-Pro2 & 23mm


Bike Flag – Uintah, UT – Fujifilm X-Pro2 & 23mm


Empty Carts – Ogden, UT – Fujifilm X-Pro2 & 23mm


Yellow Door – Uintah, UT – Fujifilm X-Pro2 & 23mm


Train of Thought – SLC, UT – Fujifilm X-Pro2 & Meike 35mm


Instamatic – South Weber, UT – Fujifilm X-Pro2 & 16-50mm


White Flower Blossoms – Bountiful, UT – Fujifilm X-Pro2 & Meike 35mm


Yellow Pots – Park City, UT – Fujifilm X-Pro2 & 23mm


Radius Lines – Park City, UT – Fujifilm X-Pro2 & 23mm


Slow – Park City, UT – Fujifilm X-Pro2 & 23mm

Photoessay: Antelope Island State Park, Utah – Part 3: Fujifilm X100F


Great Salt Lake & Wasatch Range – Antelope Island SP, UT – Fujifiom X100F

Part 1 – Fujifilm X-E1  Part 2 – Fujifilm X-A3  

Antelope Island State Park is a special place, but I think it is especially wonderful near sunset. That’s when the rather ordinary rocks reflect the sun’s colors, becoming vivid and rich. It’s when you can really appreciate the reflections in the typically smooth water. The crowds leave and everything becomes peaceful. It is, hands down, the best place in Utah to experience the setting sun.

A visit to Antelope Island is like a taking a vacation. It’s stepping into another place, even though, for me, it’s only a short drive. It’s like travelling without all of the travelling. It’s a quick one-day staycation, if you will, but I always feel rejuvenated and more balanced when leaving.

The photographs in this article were all captured using a Fujifilm X100F. This camera is the perfect travel camera because it is small and lightweight enough to fit into a large pocket and it’s never in the way, yet it delivers exceptional image quality. A couple of these images received some very minor touch ups with Snapseed, but are otherwise all camera-made JPEGs using my different film simulation recipes.


Sunset Rock – Antelope Island SP, UT – Fujifilm X100F


Painted With Warm Light – Antelope Island SP, UT – Fujifilm X100F


The Cracked Earth – Antelope Island SP, UT – Fujifilm X100F


Frary Peak Behind The Rocks – Antelope Island SP, UT – Fujifilm X100F


Light Around The Corner – Antelope Island SP, UT – Fujifilm X100F


Sun, Stone & Water – Antelope Island SP, UT – Fujifilm X100F


Rocks Above The Lake – Antelope Island SP, UT – Fujifilm X100F


Lake From Lady Finger Point – Antelope Island SP, UT – Fujifilm X100F


An Antelope Island Evening – Antelope Island SP, UT – Fujifilm X100F


Island Joy – Antelope Island SP, UT – Fujifilm X100F


Warm Light Over Antelope Island – Antelope Island SP, UT – Fujifilm X100F


Sunset From Lady Finger Point – Antelope Island SP, UT – Fujifilm X100F


Dipping Sun – Antelope Island SP, UT – Fujifilm X100F


Three Gulls – Antelope Island SP, UT – Fujifilm X100F

Part 4 coming soon!

Possible Workaround For Custom White Balance Shift


The one question that I’ve been asked the most, by far, since starting this blog last year is whether or not custom white balance shifts can be saved on the X100F. Some of my film simulation recipes, such as Vintage Kodachrome and Fujicolor Superia 800, require different white balance shifts. Auto-white-balance allows you the option to save one white balance shift that’s always on (as long as auto-white-balance is selected), but you can’t customize it for each set of custom settings.

What I’ve done, and it’s not convenient but it works for me, is simply remember what the shift is and adjust it whenever I want to use one of those film simulation recipes that require a shift. For example, I know that Vintage Kodachrome requires +2 Red and -4 Blue and that Fujicolor Superia 800 requires -2 Red and -3 Blue, so I manually make the white balance adjustment before making the exposure.

Fuji X Weekly reader Luis Costa has a different workaround, so I thought I’d share it. The X100F has the option to program three custom white balance settings. You can set the white balance shift to something different with each one. So C1 could be for Vintage Kodachrome, C2 could be for Fujicolor Superia, C3 could be for Classic Chrome and the auto-white-balance could have a white balance shift set for something else. You could have four different white balance shifts saved for different recipes that are all programmed for easy use.

The problem with this solution is that the custom white balance settings are not auto-white-balance. It’s a custom kelvin number based on a measurement by the camera. If the light changes you have to make a new measurement. If you use a grey card and don’t rely on auto-white-balance, Luis Costa’s workaround is a godsend and you should absolutely use it. If you rely on auto-white-balance, then it’s something that you may want to try, but you might find it to be just as much work as adjusting the white balance shift each time you change recipes.

Depending on how you use white balance on your X100F, this might be the thing you’ve been looking for, or it might be something to try and see if it works for you or not. I did give it a try myself and found it to be a good option if the lighting doesn’t change (for instance, shooting outdoors on a sunny day), but a little cumbersome for constantly changing light.

Another thought on how this might be helpful is that you could set a white balance shift in each of the custom white balance options so that you have a reminder of what exactly the shift should be for the different film simulations. You wouldn’t use custom white balance, but simply look at what you set the white balance shift to so that you can remember what to set the shift on your auto-white-balance each time you change recipes.

Hopefully this all makes sense. It’s a little confusing to me as I read it, and I wrote it! My suggestion is to play around with the custom white balance settings and find out for yourself if it’s something that might be helpful to you. Thank you, Luis, for pointing out this white balance shift workaround!

Another Difference Between the Fujifilm X100F & X-Pro2 (or, I Hate Dust)


Storms Over Wyoming – Rawlins, WY – Fujifilm X-Pro2 & Meike 35mm

One week ago I published an article explaining the differences between the Fujifilm X100F and the X-Pro2 with the 23mm f/2 lens. There is one important point that I left out that sets the X100F apart (either good or bad, but I believe good), and that is dust on the sensor. Anytime you have an interchangeable-lens camera, you open up the possibilities (probabilities, really) of finding dust spots in your images.

I have owned my X100F for about 10 months now. I have never encountered one single dust speck on any of my pictures captured with that camera. I purchased it second-hand, and the camera is about two-years-old. No dust, no problems. It might never have a dirty sensor!

The X100F is not weather sealed, and there is a small possibility of dust finding its way onto the sensor. It has happened to some people. If it does happen, there’s no dust-removal option built into the camera, and so you are out-of-luck. You either just deal with it, or you send it off somewhere to have it cleaned, which I understand is an expensive option. If dust does manage to land on the sensor, that really stinks! But so far, knock on wood, that has not happened and I’m hopeful that it won’t ever happen.

I’ve had my X-Pro2 for a few weeks now, and I’ve found dust spots on my pictures several times. I’m very careful when I change lenses on this camera. I never do so in an obviously dusty place. I have the lenses prepared so that it is a quick change. I never point the camera up when there is no lens attached. I set the dust-removal to activate at both start-up and shut-down, and I’ll turn the camera on-and-off several times immediately following a lens change. Even with all of these precautions, I still manage to find dust specks sometimes, like on Storms Over Wyoming at the top, which has some obvious specks on the upper-right side.

I hate dust! Dust and photography don’t mix well, and it’s been an ongoing battle since the invention of the camera. Back in the film days dust was a constant problem, and it seemed impossible to win. I would carefully clean the film prior to printing, and I would still find dust spots and lines on my prints. It’s not as bad in the digital photography world, but it is still a significant issue. It’s still an ongoing battle. And it still infuriates me! I’m just as frustrated by it now as I was 20 years ago.

With the X100F dust is no issue whatsoever, and that’s awesome! However, if dust ever does get on the sensor, that would be a big problem. With the X-Pro2, dust is a continuous problem, but most of the time it’s not tough to overcome. It only rears its ugly head occasionally, and it can be dealt with when that happens without a lot of heartache (but some heartache nonetheless). The fact that I’ve not had to deal with dust at all with the X100F is great, and the fact that I’ve already had to deal with dust with the X-Pro2 is not great. For me, that’s a significant contrast.

First Street Photography Images With Fujifilm X-Pro2


Slow – Park City, UT – Fujifilm X-Pro2 & 23mm

The Fujifilm X-Pro2 is a popular camera for street photography. It looks cool. It has a silent shutter (the electronic one, not the mechanical shutter). It’s weather sealed. It makes wonderful images. What’s not to love? So when my X-Pro2 arrived in the mail less than two weeks ago, one of the very first things that I did with it was shoot some street photography.

I’ve had the chance to take the camera to Ogden, Park City and the Salt Lake International Airport (all in Utah), and capture some street images. I used a Fujinon XF 23mm f/2 R WR lens, a Fujinon XF 16mm f/1.4 R WR lens, and a Meike 35mm f/1.7 lens, all three of which are great lenses for this genre of photography. All three of them pair well with the X-Pro2. I’ll be discussing each in more detail in the coming weeks.

All of these images are straight-out-of-camera JPEGs. The color photographs are Classic Chrome (a mix of my X100F Classic Chrome recipe and a new more punchy recipe that I’ll be sharing soon). The black-and-white images are Acros. Those are both great film simulations for street photography. I use these two film simulations the most, followed by Velvia, Astia and PRO Neg. Std., although I rarely use anything but Classic Chrome and Acros for this type of photography.

I look forward to even more street photography with the X-Pro2 (and X100F) in the coming months. I’ll be sure to post the images here on Fuji X Weekly, so I invite you to follow this blog if you aren’t already.

Take care!


Into The Darkness – Ogden, UT – Fujifilm X-Pro2 & 16mm


Famous Monster – Ogden, UT – Fujifilm X-Pro2 & 23mm


Button For Walking – Ogden, UT – Fujifilm X-Pro2 & 23mm


Urban Bicycling – Ogden, UT – Fujifilm X-Pro2 & 16mm


Lounge Talk – Ogden, UT – Fujifilm X-Pro2 & 23mm


Good Life – Ogden, UT – Fujifilm X-Pro2 & 23mm


Time To Clean – Ogden, UT – Fujifilm X-Pro2 & 16mm


Carry Out Wayward Son – Ogden, UT – Fujifilm X-Pro2 & 23mm


Train of Thought – SLC, UT – Fujifilm X-Pro2 & 35mm


Waiting To Arrive – SLC, UT – Fujifilm X-Pro2 & 35mm


Starry Nites – Park City, UT – Fujifilm X-Pro2 & 23mm


Window Shopping – Park City, UT – Fujifilm X-Pro2 & 23mm


Coffeehouse Conversation – Park City, UT – Fujifilm X-Pro2 & 23mm


Sidewalk Job – Park City, UT – Fujifilm X-Pro2 & 23mm


Walking & Talking – Park City, UT – Fujifilm X-Pro2 & 23mm


Never Shop While Hungry – Ogden, UT – Fujifilm X-Pro2 & 23mm


Going Down – Ogden, UT – Fujifilm X-Pro2 & 23mm


Long Boarding – Ogden, UT – Fujifilm X-Pro2 & 23mm

Thanksgiving Point Ashton Gardens (Part 2)


Caladium Leaves – Lehi, UT – Fujifilm X100F

This is a follow-up to yesterday’s photoessay of the Thanksgiving Point tulip festival, in which I used a Fujifilm X-Pro2 and 16mm lens to capture blossomed flowers in the beautiful Ashton Gardens. This post has a Part A and a Part B. The first part features just a few photographs that I captured last fall at Ashton Gardens inside Thanksgiving Point in Lehi, Utah. The second part features photographs that I captured of the tulip festival last year using a Fujifilm X-E1 with a Rokinon 12mm lens and an X-Fujinon 135mm lens.

Early last fall I visited Thanksgiving Point with my family. We went to a couple different museums and then, since my wife and kids had yet to see Ashton Gardens, we made a quick stroll through it. We didn’t stay long and I didn’t take a whole lot of photographs. The camera I used was a Fujifilm X100F, which I had only owned for a couple of months at that time. These photographs are straight-out-of-camera JPEGs.

I went to the 2017 tulip festival alone because my family was out-of-town. I was using a Fujifilm X-E1 at the time (this was several months before I purchased the X100F), and I had one wide-angle lens and one telephoto lens, although I used the 12mm lens twice as much as the 135mm lens on that trip. Carrying around two lenses was much less convenient than having just one lens attached to the camera (such as the X100F or X-Pro2 with the 16mm lens), but it allowed me to capture some images that I otherwise wouldn’t have been able to. These photographs were post-processed using Alien Skin Exposure and Nik Collection software.

I shared this year’s Ashton Gardens tulip festival photographs yesterday, so I thought it was fitting to also show these other photographs captured at the same location. Enjoy!


Delicate Pink – Lehi, UT – Fujifilm X100F


Koi Pond – Lehi, UT – Fujifilm X100F

Thanksgiving Point Tulip Festival 2017:


Tulip Blossom Monochrome – Lehi, UT – Fujifilm X-E1 & 12mm


Little Blooms, Big Blooms – Lehi, UT – Fujifilm X-E1 & 12mm


White Bloom – Lehi, UT – Fujifilm X-E1 & 12mm


Tulip Bloom – Lehi, UT – Fujifilm X-E1 & 12mm


One Tulip – Lehi, UT – Fujifilm X-E1 & 12mm


Tulips By The Creek – Lehi, UT – Fujifilm X-E1 & 135mm


Garden Statue – Lehi, UT – Fujifilm X-E1 & 135mm


Tulips – Lehi, UT – Fujifilm X-E1 & 135mm


Pink Tulip – Lehi, UT – Fujifilm X-E1 & 12mm


The Secret Garden – Lehi, UT – Fujifilm X-E1 & 12mm


Tulip & Wall – Lehi, UT – Fujifilm X-E1 & 12mm


Thousand Origami Cranes – Lehi, UT – Fujifilm X-E1 & 12mm


Forest & Falls – Lehi, UT – Fujifilm X-E1 & 12mm


Colorful Floating Umbrellas – Lehi, UT – Fujifilm X-E1 & 12mm