August | 2023 | FUJI X WEEKLY

The new Film Simulation will be…

*On Top of the World* – Farmington, UT – Fujifilm X100V – Fujicolor Reala 100 Recipe

Fujirumors is reporting that the new film simulation that will be announced—along with the GFX100 II camera—on September 12 will be called Reala.

Fujicolor Reala 100 was Fujifilm’s first Superia film, even though initially it did not have Superia in the name. Superia films shared Fuji’s “4th layer technology” and Reala was the first to have it, but Reala was marketed towards “pro” photographers while Superia was marketed towards “consumer” photographers. Eventually Fujifilm added Superia to Reala’s name. There were several different versions of Reala manufactured, including a high-ISO Tungsten one made for motion pictures, but Reala 100 was the most popular. Reala was very similar to Superia, but Superia was intended for “general purpose” photography while Reala was intended for portrait and wedding photography. Colors are rendered a little differently between the two films, especially blue, which is deeper and more saturated on Reala, despite Reala being overall slightly less saturated than Superia 100. Fujifilm discontinued Reala in 2013.

When I read that Reala would be the name of the new film sim, I wondered how Fujifilm would differentiate the rendering of it from Classic Negative, which is closely modeled after Superia emulsions. Would it be a slight tweak with deeper blues and slightly lower vibrancy? After given it some thought, I believe that the Reala film simulation won’t be an accurate facsimile of Reala film, but something else entirely.

*Golden Light in Abandoned House* – North Salt Lake, UT – Fujifilm X100V – Fujicolor Reala 100 Recipe

Some film sims are meant to be somewhat accurate reproductions of specific emulsions, such as Classic Negative and Acros. Some are meant to be general representations of certain groups of films but not accurate to any specific, such as Classic Chrome (Kodak slide film) and Eterna (motion picture emulsions). Others are just brand names, and aren’t meant to accurately replicate the films they’re named after, such as Provia and Astia; in the case of Astia, Fujifilm says it renders the ideal of the emulsion—what the film would have looked like if they could have done it—but not the actual aesthetic. In the case of Nostalgic Neg., it’s meant to replicate an era of American film, and not any specific stock. Eterna Bleach Bypass emulates a darkroom process.

I have zero inside knowledge, so I can only speculate what the new Reala film simulation will look like. Come September 12th, we’ll have a much better idea. What I think you can expect is a neutral rendering. I believe that it will be low-contrast with accurate-yet-muted colors.

*Almost* – Farmington, UT – Fujifilm X100V – Fujicolor Reala 100 Recipe

A few weeks ago, a Fujifilm manager stated, “…it’s important for us that we have an image that is very clean. Because of course for editing in post-production, you can do anything, right? As long as the original image is very clean and has the best image quality.” The interviewer responded, “I guess my ideal would be if the camera could even save, say, an ‘undisturbed’ JPEG. It’s kind of funny thinking of a JPEG as some sort of a RAW format.”

That’s what I think the new Reala film sim will be: a very clean, “undisturbed” look as a foundation for editing. Maybe Eterna-like low-contrast toning with PRO Neg. Std-like colors, and maybe even more muted than that. From there, you can manipulate the file however you wish using your software of choice. I know there are people who want that, but probably most of those who read this website regularly will be disappointed if it’s true. I’ll hold out judgement until I see it, but I’m crossing my fingers that the Reala film simulation will be a tweak of Classic Negative that will more closely mimic Reala emulsions. If it does not end up replicating the film, I’m sure I will still be able to make some interesting Film Simulation Recipes with it, no matter how it looks. But… I’m sure it won’t be given to any currently existing cameras, only those models that come after September 12th, so it will likely be awhile before I get a chance to try it.

RitchieCam Update Explanation

Posted on August 29 by Ritchie Roesch

*RitchieCam App – Faded Film Filter – iPhone 11*

You might or might not have noticed the recent RitchieCam 1.6.1 update. The App Store description states, “Temporarily removed HEIC format on certain operating systems until a future RitchieCam update.” So what’s going on?

There’s a weird bug on iOS 17 that affects RitchieCam. While iOS 17 isn’t officially out yet, the Beta test version is available today. Sometime between two and three weeks from now, Apple will make iOS 17 available to all compatible iPhones (which will be most), and your phone might even automatically update itself to the new operating system overnight as you sleep. It’s uncertain if Apple will fix the bug prior to publicly launching iOS 17 in mid-September.

The weird bug only affects HEIC format, and not JPEG. Photos captured using the HEIC format on RitchieCam display strangely like a double-exposure, as if the picture is offset and enlarged over itself with a 50% opacity. If you share the images (text, airdrop, email) to a non-iOS 17 device (for example, an iPhone with iOS 16, or a computer) it displays normally, but on iOS 17 phones, it displays super weirdly. HEIC images captured with the standard Apple camera app don’t seem to have this issue.

*RitchieCam App – Instant Color 1 Filter – iPhone 11*

I don’t know what exactly is causing the problem, so I don’t yet know how to fix it. It’s been reported to Apple, so I’m hoping that when iOS 17 is released next month, they’ll have fixed whatever it is that they did to cause this issue, but I have no way to know if they will or not. If not, I hope to get to the bottom of it and have HEIC working properly again soon.

The temporary fix that RitchieCam version 1.6.1 provides is simple: disable HEIC on iPhones that have iOS 17. If your iPhone has iOS 16.6 or older, there’s no change for you. Whatever you have selected, whether HEIC or JPEG, will work as normal. But if you have the iOS 17 Beta, or the public version when it is released soon, RitchieCam will default to JPEG, and HEIC will be unavailable for you to choose. I’m really sorry if this causes any trouble. Hopefully it will be short-lived, and HEIC will be available in the near future for iOS 17.

I also want to say “thank you” to everyone who reported this issue to me. Your feedback allowed this temporary fix to be made available before the new operating system rolled out to the masses. I really appreciate your help!

Report: Fujifilm will Introduce a New Film Simulation on September 12

Posted on August 28 by Ritchie Roesch

According to Fujirumors, Fujifilm plans to introduce a new film simulation on September 12, the same day they will announce the upcoming GFX100 II camera. It’s assumed that the new film sim will be found on the new GFX camera, although the rumor doesn’t state that outright.

I’m always excited when Fujifilm introduces a new film simulation, which should be pretty obvious. But I do wonder why Fujifilm has decided to introduce new film simulations on GFX models. Let me explain.

From the data I have, only a small number of people shoot Film Simulation Recipes on GFX cameras. The vast, vast majority do so on Fujifilm X-Trans cameras, not Bayer (GFX or APS-C). Most do so on X-Trans III or newer models, with the majority on X-Trans IV. While some people use film simulations on GFX cameras, most keep it in Provia/STD and adjust the color profiles in Lightroom to whatever they want. The film simulations are mostly for JPEG photographers (yes, Lightroom, Capture One, etc., have their own versions of them), and most GFX owners are not shooting straight-out-of-camera JPEGs, but instead are RAW editing.

Fujifilm introduced the Nostalgic Neg. film simulation, which is the latest film sim, on the GFX 50S II, and Fujifilm used it to promote that camera. Nostalgia Neg. didn’t become available on X-series models until the X-H2S, which was released a whole year later, and it wasn’t even mentioned in any of the promotional material for that camera or the one that followed. It was barely mentioned in the promotions for the X-T5, but at least they talked about it a little. By far, most of those using Nostalgic Neg. are doing so on the X-T5, X-H2, X-H2S, and X-S20, and only some are using it on the GFX 50S II and GFX100S.

*Stop for the Sunset* – Surprise, AZ – Fujifilm X-T5 – Emulsion ’86 Recipe – Nostalgic Neg.

Even though Fujifilm didn’t really use the new film sim to promote the X-Trans V models, I know that it was a significant reason why many have purchased and love the new cameras. Obviously it’s not the only reason or probably even the main reason for many, but an important reason nonetheless. The new film sim—despite Fujifilm doing so very little to get the word out about it—has been a fairly significant selling point for those buying X-Trans V cameras. Similarly, Classic Negative was a big selling point for many X-Trans IV models.

The lesson here is that new film simulations don’t do a whole lot to promote GFX camera sales because, for the most part, GFX owners don’t care about them. Obviously not all, but definitely the majority. On the flip side, new film sims are an important aspect of X-Trans buying decisions, as many X-series photographers use them regularly, yet Fujifilm ignores this potential opportunity. It just makes no sense to me, and I think it’s a pretty significant mistake by Fujifilm.

I don’t know what this new film simulation will be. I have many ideas on what it could be, but I have zero inside information on what it will be. It could be PRO Neg. Z, based on the Fujicolor Pro 800Z film stock. Another idea is PRO 400H, based on Fujicolor Pro 400H, which should produce pastel colors when overexposed like the film does. How about a super vibrant option based on Fortia 50? Or a film sim that replicates IR? Cross process? Instax? There are a lot of potential options.

I do hope that Fujifilm will give this new film simulation, whatever it is, to the current X-Trans V lineup via firmware updates, but I don’t think they will. They absolutely should, though. My guess is that the X100Z (or whatever they will call it) or X-Pro4—whichever model comes next—will be the first X-series camera to get it.

What do you hope the new film simulation will be based on? What are some good ideas for future film sims? Let me know in the comments!

Fujifilm SOOC Summer 2023 Photography Challenge

Posted on August 25 by Ritchie Roesch

I just became aware that Fujifilm Middle East is currently conducting a photography contest just for straight-out-of-camera pictures! Use either the factory-default film sims or Film Simulation Recipes. No editing allowed, only camera-made JPEGs.

The rules, which can be found on Fujifilm’s website, are simple enough:

MUST: Shoot RAW + JPEG
CANT: Post-process outside of camera
NEED: Finalists to submit RAW to verify
ALLOWED: Custom Recipes
COUNTRIES: UAE, KSA, Bahrain, Kuwait, Qatar, Egypt, Lebanon, Iraq, Uzbekistan, Nigeria and Pakistan
DEADLINE: 23 September 2023

Third prize is a $500 coupon for Fujifilm gear, second prize is a $1,000 coupon, and first prize is a $2,000 coupon… enough for a Fujifilm X-T5 or X-H2! If you reside in one of those 11 qualifying countries, definitely consider entering this competition.

*Sentinel & Merced* – Yosemite NP, CA – Fujifilm X100V – Vintage Color Recipe

One of the judges is Fujifilm X-Photographer Bjorn Moerman. If you’ve ever watched any of the SOOC Live YouTube videos, you’ll instantly recognize him, as he regularly tunes-in and participates in the show. You’ve likely seen several of his phenomenal pictures; a few are found in the latest Viewers’ Images slideshow published just today! Many of his amazing photographs are straight-out-of-camera using Fuji X Weekly Film Simulation Recipes (including all of those seen in the SOOC Live videos). Sometimes in photography competitions you have to wonder about who the judges are and if they’re actually qualified for that role, but not in this case, especially since Bjorn is one of them.

I love the idea of this competition, and I hope that it catches on. Shooting straight-out-of-camera JPEGs is becoming a more and more popular approach, and Fujifilm photographers are on the leading edge of it. Fujifilm North America should definitely do a SOOC photo contest, too—I think it would be a huge hit, while also spreading the word that Fujifilm cameras are capable of capturing incredible pictures that don’t require editing. For many people, that realization is a game-changer, making photography more enjoyable, more efficient, and more accessible.

The First 7 Film Simulation Recipes to try on your Fujifilm X-Trans V camera

Posted on August 24 by Ritchie Roesch

I get asked somewhat regularly which Film Simulation Recipes one should try first. Perhaps you just purchased your first Fujifilm camera, or maybe you’ve had one for awhile but have never tried Recipes before—with so many to choose from (there are now 300 Film Simulation Recipes on the Fuji X Weekly App!), it can be hard to know where to start. Which Recipes are essential to program into your camera right away?

Everyone has their own tastes and style, so what one person might love another might not. That’s why it’s great to have such a wide variety to choose from—there’s bound to be at least a few that you’ll appreciate. Options are good up until the point where there are too many, and it becomes difficult to decide. I don’t want you to be paralyzed by choices, so let me suggest seven to program into your C1-C7 Custom Presets first. You might love all of them, or you might find that only one or two suit you well. Either way, these are ones that you should definitely try.

This will be a series of articles. The first one, which you are reading now, is for X-Trans V models, and I’ll work my way through the other sensors in the parts to come. If you have a Fujifilm X-H2, X-H2s, X-T5, or X-S20, I invite you to program the Film Simulation Recipes below into your camera.

There are a couple of special notes about the X-S20. First, it has an X-Trans IV sensor but an X-Trans V processor, so it’s a bit iffy if it should be included in this list or with the X-Trans IV cameras; however, reports I have received indicate that, due to its rendering and options, it best fits in the X-Trans V category. Second, the X-S20 has only four custom presets and not seven, so pick the four below that are the most intriguing to you, and once you’ve had a chance to try those, then replace your least favorite with another from this list.

Without further ado, let’s take a look at seven Film Simulation Recipes to program into your Fujifilm X-Trans V camera first!

Kodachrome 64

Kodachrome 64

Kodachrome 64 was a classic slide film, and it’s become a classic Film Simulation Recipe. It’s very popular, and it would be a shame to not include it—in fact, I put it first for a reason. This is one of those Recipes that everyone should try! It produces a retro 1970’s through 1990’s slide film aesthetic reminiscent of the pictures found on the pages of magazines like National Geographic. For best results use in sunny daylight; however, it can be decent in other situations, too, like overcast, shade, and blue hour.

Kodak Portra 400 v2

Kodak Portra 400 v2

This Recipe mimics the aesthetic of one of Kodak’s most-loved color negative film stocks: Portra 400. As the name implies, it’s especially well suited for portraits, but it is also good for many genres of photography. Kodak Portra 400 v2 is another Film Simulation Recipe intended for use in sunny daylight situations, and it’s my favorite option for golden hour images.

Fujicolor Super HG v2

Fujicolor Super HG v2

Fujicolor Super HG v2 produces a 1980’s Fujifilm color negative film vibe, which is notably divergent from the aesthetic of the first two suggested options. Perhaps more importantly, this Recipe is highly versatile, and can be used for almost any subject or light—including overcast, indoor artificial light, and nighttime cityscapes—where some other Recipes might be less than ideal. If you are after one option that can do it all, take a look at this one.

Pacific Blues

Pacific Blues

The Pacific Blues Film Simulation Recipe is specifically intended for a sunny summer day at the beach, which it is absolutely incredible for, but it’s surprisingly good for other situations, too. I’ve had great success with it on dreary overcast and foggy days. I’ve used it for portraits. I’ve used it for natural light indoors. It’s definitely not always the best Recipe for a given situation, but it often does quite well, and sometimes the pictures it produces are just stunning.

1970’s Summer

1970’s Summer

If you want a vintage vibe from your photographs, 1970’s Summer is for you! It produces a New American Color aesthetic that will transport you back in time 50 or so years. For best results, use in sunny daylight—this is a great option for when the sun is high in-between the two golden hour periods. This Recipe isn’t particularly versatile, but when it works it’s absolutely incredible.

Vibrant Arizona

Vibrant Arizona

Vibrant Arizona mimics the Wes Anderson look that’s in-style right now. It’s bright, warm, and colorful. This Recipe is intended for use in sunny daylight, especially harsh midday light. It’s not always the best option, but in the right situations it’s wonderful.

Kodak T-Max P3200

Kodak T-Max P3200

It would be a shame not to include a black-and-white Recipe in this list, so we’ll conclude with Kodak T-Max P3200, which is not only a great monochrome option, but is also excellent for high-ISO photography. If the light is getting dim and you need to bump the ISO up a bit, this is a great one to use. Or if you want classic B&W pictures with grain and good contrast, the Kodak T-Max P3200 Film Simulation Recipe will produce that for you.

Coming soon: the next installment in this series!

Find these Film Simulation Recipes and many more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

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Seeing in Shades of Grey

Posted on August 22 by Ritchie Roesch

*Firehoses* – Litchfield Park, AZ – Fujifilm X100V – Kodak T-Max P3200 Recipe

Black-and-white pictures are abstract by nature. They’re not faithful reproductions of the world as we see it. Because it is abstract, the photographer is invited to capture the scene in a unique way, with a vision that is dissimilar to—and perhaps even the opposite of—reality. It’s not so much about what the scene is, but about how we see the scene through a divergent eye, and how we can express that to the viewer. It’s a timeless approach to fine-art photography.

The strength of color photographs is color, but it’s also its weakness. When color works within a color theory—perhaps contrasting or harmonious—it can create an especially dramatic or beautiful picture; however, when the colors within an image work against each other, it can be a distraction. B&W photos remove the distraction of color, allowing the viewer to see the important elements without color fighting for their attention—it’s the art of subtraction.

*Clouds & Cactus* – Buckeye, AZ – Fujifilm X100V – Kodak Tri-X 400 Recipe

Black-and-white photography is about light and shadow. It’s about contrast. It’s about shape. Texture. Pattern. Space. Emotion. Those are very important elements to color photography, too, but they’re even more critical to B&W pictures. Mastering monochrome will make you a better photographer, even for your color work.

Join myself and Fujifilm X-Photographer Nathalie Boucry as we finish our discussion of B&W photography in-depth on SOOC Live this Friday, August 25th, at 10:00 AM Pacific Time, 1:00 PM Eastern. I’ve included the video below so that you can easily find it on Friday. Also, if you haven’t uploaded your photographs captured with the Kodak Tri-X 400, Kodak T-Max P3200, Ilford HP5 Plus 400, and/or Acros Film Simulation Recipes, be sure to do so ASAP (click here)! There’s not much time, so don’t delay. I hope to see you on Friday!

Also, if you missed our the initial discussion of black-and-white photography, check it out below:

300th Film Simulation Recipe + Fuji X Weekly is 6 Years Old!!

Posted on August 21 by Ritchie Roesch

*American Paint Horse* – Litchfield Park, AZ – Fujifilm X-E4 – Kodachrome Blue Recipe

Today marks two very big milestones: I just published the 300th Film Simulation Recipe in the Fuji X Weekly App, and Fuji X Weekly began six years ago today!

Kodachrome Blue, which is a Patron Early-Access Recipe—meaning, it’s available right now to all those who subscribe to the Fuji X Weekly App—is the 300th Film Simulation Recipe. I never imagined that I’d publish so many—it only took six years! The next handful are already well in the works, so I’m far from finished creating them.

It’s shocking to me how many photographers are using Film Simulation Recipes on their Fujifilm cameras. I don’t know exactly how many, but from the data I have, I would estimate that it’s at least 100,000 people worldwide. I would guess that tens of thousands use Recipes regularly. The way photographers approach the craft is shifting, as the one-step philosophy has been catching on, especially over the last two years.

One-step photography is simply the elimination of the editing step. The process was initially invented by Edward Land, co-founder of Polaroid, who said, “…by removing most of the manipulative barriers between the photographer and the photograph, it is hoped that many of the satisfactions of working in the early arts can be brought to a new group of photographers.” He added, “All that should be necessary to get a good picture is to take a good picture, and our task is to make that possible.” The term one step photography was coined by Ansel Adams (yes, the legend himself!), who stated that Polaroid instant film cameras were “revolutionary” for both amateurs and professional photographers. He wrote a whole book about it called Polaroid Land Photography, and dedicated an entire chapter to the one-step approach. Film Simulation Recipes are having a similar revolutionary affect on modern photography. I’m really honored and humbled to have had a hand in that.

*This picture appeared in the very first Fuji X Weekly article, captured with my first Recipe: Acros*

It began six years ago today, when I published the very first Fuji X Weekly article. This website was originally a Fujifilm X100F journal—essentially, a long-term review of that particular model. I said in the first post, “If nobody ever reads this, I’m OK with that.” I also stated, “I want this to be a treasure for those who find it and are truly interested in its content.” People came—a lot of people, far more than I ever thought possible—as word of it spread, almost entirely organically.

Things took a completely different turn in the months and years to come. The focus shifted from one specific camera to all Fujifilm models. Film Simulation Recipes were initially only a small part of this website, but later became its primary focus. Then the App came. It’s really unbelievable how far all of this has come. And it’s thanks to you! Without your regular readership and continued support, Fuji X Weekly would have probably vanished awhile ago. I’m so very grateful to all of you!

Perhaps six years in the future we’ll look back, and today’s huge milestones will seem small in comparison. I can feel the tide building, and bigger things are on the horizon. I don’t know what exactly, but I can feel it. I hope that you’ll continue this journey together with me, and we’ll collectively see where it all goes, because it is indeed going somewhere. Thanks for being a part of Fuji X Weekly!

Now let’s all grab our Fujifilm cameras, head out the door, and capture some wonderful pictures using one or more of the Film Simulation Recipes in the Fuji X Weekly App. Not sure which to try? The Which Recipes When series is intended to help you with that. Still not sure, try the Random Recipe selector, and let the App choose for you!

Don’t have the Fuji X Weekly App on your phone? Download for free today, and consider becoming a Patron to unlock the best App experience and to support this website.

Magenta Negative — Fujifilm X-E4 (X-Trans IV) Film Simulation Recipe

Posted on August 21 by Ritchie Roesch

*Flag & Dome* – Hot Springs, AR – Fujifilm X-E4 – Magenta Negative

This Magenta Negative Film Simulation Recipe is intended to mimic the use of a Magenta Color Correction Filter, such as the Tiffen CC30M, which reduces the intensity of green, and is used to combat green color casts. Back in the film days, using Color Correction Filters was common, but it is much less so now, since you can dial in very precise white balance adjustments for whatever the light is; however, you can still use these filters if you want to. Instead of using a magenta filter, you can simply shoot with this Film Simulation Recipe.

Because this recipe uses Classic Negative, it has a generic Fujicolor Superia aesthetic; however, it is not meant to precisely mimic any specific Superia emulsion. The inspiration actually came from a YouTube video by Cammackey, entitled Fujifilm X100V Recipes / Old Film Tricks. A couple of Fuji X Weekly readers requested a Recipe similar to his, but without the need for extra gear. While Magenta Negative is a little different than his, it is intended to produce similar results, just without the need of a Color Correction Filter, which his Recipe requires. I want be sure that credit is given where it is due: Cammackey was the original influence for Magenta Negative.

*Abandoned Porch Seats* – Hot Springs, AR – Fujifilm X-E4 – Magenta Negative

This Film Simulation Recipe is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras. For X-Trans V, simply set Color Chrome FX Blue to Weak instead of Strong. Magenta Negative was published in June of 2022 as a Fuji X Weekly App Patron Early-Access Recipe, but it’s been replaced by a different Early-Access Recipe, so now it’s available to everyone!

Classic Negative
Dynamic Range: DR400
Highlight: -2
Shadow: -1
Color: 0
Noise Reduction: -4
Sharpness: -2
Clarity: -4
Grain Effect: Strong, Large
Color Chrome Effect: Strong
Color Chrome Effect Blue: Strong
White Balance: 5100K, +4 Red & +2 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: 0 to +2/3 (typically)

Example photographs, all camera-made JPEGs captured using this Magenta Negative Film Simulation Recipe on my Fujifilm X-E4:

*Overcast Bougainvillea* – Buckeye, AZ – Fujifilm X-E4

*Wet Red Rose* – Ridgedale, MO – Fujifilm X-E4

*Flowers by a Rock Wall* – Ridgedale, MO – Fujifilm X-E4

*Birdcage Wall* – Buckeye, AZ – Fujifilm X-E4

*Waterfall in the Ozarks* – Ridgedale, MO – Fujifilm X-E4

*Staircase Waterfall* – Ridgedale, MO – Fujifilm X-E4

*Unexpected Canyon* – Ridgedale, MO – Fujifilm X-E4

*Chapel & Cannon* – Ridgedale, MO – Fujifilm X-E4

*Pine Above Rooftop* – Ridgedale, MO – Fujifilm X-E4

*Magnolia Flag* – Hot Springs, AR – Fujifilm X-E4

*Ozark* – Hot Springs, AR – Fujifilm X-E4

*Little Cloud* – Hot Springs, AR – Fujifilm X-E4

*Plaza* – Hot Springs, AR – Fujifilm X-E4

*Window View* – Hot Springs, AR – Fujifilm X-E4

*Spiderweb on a Window* – Hot Springs, AR – Fujifilm X-E4

*Tree Prism* – Hot Springs, AR – Fujifilm X-E4

*Ford & Tree Shadows* – Hot Springs, AR – Fujifilm X-E4

*Steampunk Art* – Hot Springs, AR – Fujifilm X-E4

Find this Film Simulation Recipe and nearly 300 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

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Kodachrome Blue — Fujifilm X-E4 (X-Trans IV) FXW App Patron Early-Access Film Simulation Recipe

Posted on August 21 by Ritchie Roesch

*American Paint Horse* – Litchfield Park, AZ – Fujifilm X-E4 – Kodachrome Blue

Kodak made Kodachrome color-reversal (slide) film from 1935 through 2009. There are three era’s of Kodachrome: 1935-1960, 1961-1973, and 1974-2009. Each era has its own look; the second and third eras are probably the most similar. Kodachrome is actually a B&W film, with color dyes added during development. It was a unique and complicated process. Because of how the film works, it’s the most difficult emulsion to scan, often producing a blue cast that doesn’t exist when viewing the slides through a projector or on a light table.

Professional labs will have a profile to color correct Kodachrome scans, but even that’s not usually a 100% match. As it used to be said, “There’s nothing like projected Kodachrome!” If the scans aren’t carefully corrected, the results are often significantly more blue than the slides. The feeling that all the world’s a sunny day (as Paul Simon sang) is completely gone. Once you know what to look for, it’s easy to spot these incorrectly color corrected Kodachrome images, and they’re prevalent.

*Rebels* – Buckeye, AZ – Fujifilm X-E4 – Kodachrome Blue

Over the last few weeks I’ve stumbled across several sets of these incorrectly color corrected Kodachromes while perusing the web, mostly from the second era of the film. I thought that the look was interesting, so I set out to recreate it on my Fujifilm X-E4; however, the process was more challenging than I had anticipated. I had assumed that Classic Chrome would be the best film simulation to base this new Film Simulation Recipe on—it was the obvious choice, right?—but I couldn’t get it to look right. It was actually the fifth film sim I tried before I decided that I was finally on the right track.

After four different modifications, I felt I got it as close as I could, and had a reasonable facsimile of the film when not appropriately color corrected. Interestingly, I compared my Recipe to some incorrectly colored Kodachrome 64 film scans in my collection—some frames I captured on a Canon AE-1 back in 1999 that (when I later had them scanned) the lab rendered too blue—and the resemblance was striking. I made one more small change to the Recipe to get it even closer, and called it good. One thing that I wish was possible is a little more color saturation, but +4 is the highest option; if +5 or maybe +6 were available, I’d have bumped Color just a tad higher.

*Actual Kodachrome 64 film — improperly color-corrected scan*

This Kodachrome Blue Film Simulation Recipe is compatible with the Fujifilm X-T4, X-S10, X-E4, and X-T30 II cameras. For X-Trans V models, set Color Chrome FX Blue to Weak. You can use it on newer GFX cameras, but it will render slightly differently, and I recommend setting Shadow to +1. This isn’t a Recipe that I suspect will be anyone’s go-to for everyday use—I’d look at Kodachrome 64 or Kodachrome II for general photography—but it’s a fun one that I think some of you will really appreciate in certain circumstances. I personally like the retro feelings that Kodachrome Blue produces.

The Fuji X Weekly App is free, yet becoming a Fuji X Weekly Patron unlocks the best App experience! One benefit of being a Patron is you get early access to some new Film Simulation Recipes, such as this one. These Early-Access Recipes will eventually become available free to everyone in time. Patrons help support Fuji X Weekly and, really, without them there would be no App. So I want to give a special “thank you” to all of the Patrons!

Find Kodachrome Blue in the Fuji X Weekly App! If you are a Fuji X Weekly App Patron, it’s available to you right now.

Example photographs, all camera-made JPEGs captured using this Kodachrome Blue Film Simulation Recipe on my Fujifilm X-E4:

*Play Garden Tools on a Wall* – Buckeye, AZ – Fujifilm X-E4

*Stormy Day Bougainvillea* – Buckeye, AZ – Fujifilm X-E4

*Growing Bougainvillea* – Buckeye, AZ – Fujifilm X-E4

*Bougainvillea Day* – Buckeye, AZ – Fujifilm X-E4

*Bougainvillea Blue* – Buckeye, AZ – Fujifilm X-E4

*Building Storm over Street Lamp* – Buckeye, AZ – Fujifilm X-E4

*Three Palms over Building* – Buckeye, AZ. -Fujifilm X-E4

*Palm Lights* – Buckeye, AZ – Fujifilm X-E4

*Corner Tower* – Buckeye, AZ – Fujifilm X-E4

*Neighborhood Roof* – Buckeye, AZ – Fujifilm X-E4

*Concrete Roof Tiles* – Buckeye, AZ – Fujifilm X-E4

*Sunlight From Above* – Buckeye, AZ – Fujifilm X-E4

*Little Blue Rainbow* – Buckeye, AZ – Fujifilm X-E4

*Red Umbrella on a Sunny Day* – Buckeye, AZ – Fujifilm X-E4

*Water Angels* – Buckeye, AZ – Fujifilm X-E4

*Fake Flowers on a Table* – Buckeye, AZ – Fujifilm X-E4

*Potted Palm Plant* – Buckeye, AZ – Fujifilm X-E4

*Fresh Flowers* – Buckeye, AZ – Fujifilm X-E4

*Two Way Stop* – Avondale, AZ – Fujifilm X-E4

*Underpass* – Avondale, AZ – Fujifilm X-E4

*Taillight* – Avondale, AZ – Fujifilm X-E4

*Two Shoes* – Buckeye, AZ – Fujifilm X-E4

*Unexpected Portrait* – Buckeye, AZ – Fujifilm X-E4

*Guitarist* – Buckeye, AZ – Fujifilm X-E4

*Attic Window* – Buckeye, AZ – Fujifilm X-E4

*Yellow Honeysuckle Trumpet* – Buckeye, AZ – Fujifilm X-E4

What could a Fujifilm Digital XPan Camera look like and should they make it?

Posted on August 18 by Ritchie Roesch

In my Will there be a new Fujifilm X camera announced in September? article I mentioned that Fujifilm should include an XPan 65:24 aspect ratio as an option on the X-Pro4, whenever that camera comes out. GFX models already have this, but Fuji hasn’t given the XPan ratio to any X-series cameras. The X-Pro4 seems like a logical place to start, especially if it is given the 40-megapixel sensor, which has plenty of resolution to support the crop. But, should Fujifilm make a “real” XPan camera, and what would that look like?

XPan was a collaboration between Fujifilm and Hasselblad in the late-1990’s and early-2000’s. XPan cameras were 35mm interchangeable-lens rangefinders that produced panoramic pictures across two film frames—the pictures were twice as wide as normal 35mm images. The cameras were also capable of capturing regular 35mm frames, should the photographer not wish to create panoramic pictures. Two XPan cameras were made; Hasselblad called them XPan and XPan II while Fujifilm named them TX-1 and TX-2. The X100-series models have a striking resemblance to XPan cameras.

*XPan crop — Fujifilm X-T5 — CineStill 400D v1 Recipe*

I don’t think it would be all that difficult for Fujifilm to make a true XPan camera. It would require two APS-C sensors placed side-by-side, or—probably more preferably—one chip cut to the same size as two. The lens would be the big issue, since X-Series lenses wouldn’t offer enough coverage. Either Fujifilm would make it a fixed-lens camera (like the X100V, but with a different lens that has coverage), or they’d need lenses that would cover the wide frame. If they decided on the interchangeable-lens concept, GF-mount lenses from the GFX series would have enough coverage, so it would make sense to use them. In other words, the XPan camera would technically be GFX, but in an X-series body and with an X-Trans sensor.

Even though the TX-1 and TX-2 looked more similar to the X100V, I think using an X-Pro body would be a good option to build it on. Call it the TX-Pro4 or X-Pan1 or something like that. The hybrid viewfinder would need to be modified to accommodate the wider frame, but otherwise the camera wouldn’t need a whole lot of changes.

*XPan crop — Fujifilm X-T5 — Kodak Ektachrome E100VS v1 Recipe*

There are three different sensors that Fujifilm is currently using in the X-Trans V generation of cameras: 40-megapixel (X-H2, X-T5), 26-megapixel stacked (X-H2s), and 26-megapixel X-Trans IV (X-S20). Which would they put into the XPan camera?

If they chose the 40-megapixel option, which would actually be 80-megapixel, that would be the most marketable, since megapixels sell. On the 100-megapixel GFX cameras, the XPan aspect ratio reduces the resolution to 50mp, while the 50-megapixel models reduces the resolution to 25mp; 80mp would be much more than either! The disadvantage would be the processing power required and heat dispersion necessary, which would be a huge challenge for Fujifilm, so I don’t think this is a likely option.

*XPan crop — Fujifilm X-T5 — Fujicolor Superia 100 Recipe*

The other two are both 26-megapixel sensors, which would equal 52mp on an XPan model. This would be the same resolution as using the XPan aspect ratio on the 100mp GFX cameras. The new stacked sensor is great for speed but is much more expensive, while the older X-Trans IV sensor is still good yet affordable. Of the two, the stacked sensor is the most intriguing; however, it would likely raise the price of the camera by around $800-$1,000 over using the X-Trans IV option. As the X-S20 demonstrates, pairing the X-Trans IV sensor with the X-Trans V processor is a viable option, and probably what Fujifilm should choose.

Basically, I’m suggesting that Fujifilm modify the (eventual) upcoming X-Pro4 with two 26mp X-Trans IV sensors (instead of the presumably 40mp X-Trans V sensor that the regular X-Pro4 will have), utilizing X-Processor 5. This would give the camera 52mp of resolution when shooting the XPan aspect ratio, or 26mp when shooting in 3:2. The XPan camera would have over 2.5-times more resolution than shooting a 40mp sensor cropped to the XPan aspect ratio.

*XPan crop — Fujifilm X-T5 — Classic Slide Recipe*

Who would buy this camera? Wouldn’t it be super niche? It would indeed be niche, but it would also be a “wow” product that a lot of people would talk about. Where I think it would get a lot of unexpected attention is with cinematographers, since some of the ultra-wide aspect ratios (think Ultra Panavision) could be shot in 4K, 6K, and possibly even 8K. Also, it would provide a bridge between the X-series and GFX, since those with GFX models could use their existing lenses on this camera, and those not in the GFX system could eventually jump in after buying a couple lenses for their XPan model.

Will Fujifilm make this camera? Probably not. I’d be pretty shocked. Should they? I think so. I believe it would sell well enough that it would be worthwhile for Fujifilm. I’d definitely buy one! Would you?

Provia/STD — Fujifilm XF1 (EXR-CMOS) Film Simulation Recipe

Posted on August 17 by Ritchie Roesch

A Film Simulation Recipe for the Fujifilm XF1, X100, X10 & X-S1 cameras.

*Tower Above the Trees* – Buckeye, AZ – Fujifilm XF1 – Provia/STD Recipe

This Film Simulation Recipe was simply an attempt to improve the factory default Provia film sim, with the goal of creating a more analog-like rendering. On the XF1, Provia doesn’t look half bad out-of-the-box, but I thought with some adjustments, I could make it better. I think it turned out pretty well—I’m quite happy with the results I’m getting from this Recipe.

The Fujifilm EXR-CMOS sensor generation quality reminds me of analog half-frame, which are cameras that only expose half of a 35mm frame, allowing you to get twice as many pictures on one roll of film, but at the expense of image quality. For smaller prints it’s no big deal, but if you want to enlarge bigger than 8″x10″, the difference is noticeable, particularly the larger you print. For internet viewing and prints up to 8″x10″, the image quality from the Fujifilm XF1 is great, but I wouldn’t want to print large or crop deeply, because it would begin to fall apart. With that said, I do like the rendering from this camera—it’s a bit different from the other sensor generations.

*Lamps & Neon* – Buckeye, AZ – Fujifilm XF1 – Provia/STD Recipe

This “Provia/STD” Film Simulation Recipe is compatible with the Fujifilm XF1, X100, X10, and X-S1 cameras. You can use it on X-Trans I, X-Trans II, and Bayer models, too, but it will look slightly different (feel free to try, though)—at the bottom of this article is one picture captured on my Fujifilm X70, which is an X-Trans II model, using this Recipe.

Provia/STD
Dynamic Range: DR-Auto
Highlight: -1 (Medium-Soft)
Shadow: -1 (Medium-Soft)
Color: +1 (Medium-High)
Sharpness: -1 (Medium-Soft)
Noise Reduction: -2 (Low)
White Balance: 5600K, -3 Red (R/CY) & -1 Blue (B/Ye)
ISO: Auto, up to ISO 1600
Exposure Compensation: 0 to +1/3 (typically)

Example photographs, all camera-made JPEGs using this Provia/STD Film Simulation Recipe on a Fujifilm XF1:

*Potted Palm* – Buckeye, AZ – Fujifilm XF1

*Five-Story Tower* – Buckeye, AZ – Fujifilm XF1

*Block Wall Vines* – Buckeye, AZ – Fujifilm XF1

*Singular Bulb* – Buckeye, AZ – Fujifilm XF1

*Yellow Trumpet Blossoms* – Buckeye, AZ – Fujifilm XF1

*Bunch of Blossomed Bougainvillea* – Buckeye, AZ – Fujifilm XF1

*Roof Design* – Buckeye, AZ – Fujifilm XF1

*Street Lofts* – Buckeye, AZ – Fujifilm XF1

*Multicolored Water in Mason Jars* – Buckeye, AZ – Fujifilm XF1

*Moose Antlers* – Buckeye, AZ – Fujifilm XF1

*Fuji X Weekly* – Buckeye, AZ – Fujifilm XF1

Comparison

*Captured using this Provia/STD Recipe on a Fujifilm X70*

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Will there be a new Fujifilm X camera announced in September?

Posted on August 16 by Ritchie Roesch

Fujifilm will be announcing some new gear on September 12; Fujirumors is reporting that it will be GFX cameras and lenses, including a GFX100 successor (which, apparently, wasn’t the GFX100S), GF 55mm f1.7, GF 30mm f/5.6 tilt-shift, and GF 110mm f/5.6 tilt-shift. A rumor has floated for awhile now that two X-series cameras would be released in 2023. The first was the X-S20. What will the second be? And will it be announced in September?

We know that the X100V replacement won’t come until next year, so which one will be next? There’s been a lot of speculation that it could be the X-Pro4 because it’s long overdue; however, if it is, something would have likely already leaked about it, so I’m marking it as unlikely. How about an X80? Fujifilm absolutely should release this camera, but I think that ship has sailed in their minds, and it’s not even on the list of potential future models. X-A8 or X-T300? Those lines have been discontinued, so no. It’s much too soon for an X-H3 or X-T6 or X-S30. What does that leave? The X-E5 or X-T40 (which they might call X-T50). Let me give a few quick reasons why I think it will and won’t be each of those models.

*Evening Charge* – Santa Rosa, NM – Fujifilm X-E4 – Kodak Portra 400 v2

It will be the X-E5 because the X-E4 was a hot commodity just before being surprisingly discontinued (presumably so that manufacturing efforts could be diverted to the X100V). It was backordered everywhere and even sometimes selling for more than MSRP. There’s still quite a demand for it, but so very little supply. It was strange that Fujifilm axed an in-demand model, but if they were preparing to release a successor, it makes a lot more sense.

It won’t be the X-E5 because Fujifilm will probably only offer one base-level camera going forward (due to shifting markets), and between the X-T00 and X-E lines, it’s more likely the X-E that’s not renewed. Besides that, historically, the X-E line comes at the very end of a sensor generation, not towards the beginning or middle.

*Wearing Grandpa’s Hat* – South Weber, UT – Fujifilm X-T30 – Kodacolor

It will be the X-T40 (or X-T50) because this line is long overdue for an update. The X-T30 was released over four years ago. The X-T30 II was an extremely minor upgrade, mostly just a firmware update that should have been given to the X-T30. Both the X-T30 and X-T30 II have been discontinued, so it makes sense that a new version is about to come out. Besides, the X-T00 line has been a good seller for Fujifilm, and the current lineup is in desperate need for a camera of its class.

It won’t be the X-T40 because the X-T30 II was released only two years ago. While it sold well, it wasn’t as in-demand or trendy as the X-E4. Aside from that, Fujifilm is clearly focusing more on higher-end models, and not entry-level.

*Tunnel Silhouette* – Farmington, UT – Fujifilm GFX-50S – Classic Negative Industrial

What’s my opinion? I think, if an X-series camera is announced on September 12, it will be the X-T40. I don’t think the X-T40 will likely be a major upgrade, so including it on the same day as the GFX150 (or whatever the new GFX camera will be called) makes sense. Just as likely, no X-series models will be announced on September 12; perhaps the next camera will be the X-Pro4 in November (that’s just speculation, I have zero inside information).

The X-T40 will probably be the exact same thing as the X-T30 II, except with the X-Processor 5, which brings improved autofocus and video specs, along with the Nostalgic Neg. film simulation. I suspect that it will have the same X-Trans IV sensor and the same NP-W126S battery, and be 95% the same camera. I don’t think it will be revolutionary; however, it will be Fujifilm’s sub-$1,000 option, which I think is still important to offer. Don’t be surprised, if Fujifilm does decide to eventually release an X-E5, that the X-T00 and X-E lines aren’t available at the same time. In other words, they might manufacture the X-T40 for a year or two (depending on how it sells), and then discontinue it as they prepare to release the X-E5. Once that’s been on the market for a year or so, it’ll get discontinued in time for the next X-T00. I think Fujifilm sees these two models as competing against themselves to some degree. I wouldn’t be surprised at all if one of these two lines was simply (and quietly) discontinued.

*Indoor Blooms* – Salt Lake City, UT – Fujifilm X-Pro3 – Fujicolor Superia 800

In my opinion, I think Fujifilm has been secretly working on the X-Pro4, and I wouldn’t be shocked if it was released in November (like the X-T5 was last year). I think it would make a ton of sense. They’ll probably readdressed the rear screen somehow. I do believe it will have the 40mp sensor, and don’t be surprised if it is the first X-series camera with the XPan aspect ratio as an option. This would be a smart move, I think, and it would fall within Fujifilm’s shift towards focusing more on higher-end cameras and less on lower-end.

What do you think? Will an X-series camera be announced on September 12? Which model will it be? What do you hope for? Let me know in the comments!

Creative Collective 053: Going Ultra-Wide for Dramatic Photographs

Posted on August 15 by Ritchie Roesch

*Panic Purchases* – Farmington, UT – Fujifilm X-T30 & Rokinon 12mm

Dramatic photographs are statement pieces that grab the viewer’s attention. There are several techniques that you could employ to capture dramatic pictures, including light, subject matter, and composition/point-of-view. In this article I will discuss a particular piece of gear that often delivers dramatic results: the ultra-wide lens.

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10 Vintage Film Simulation Recipes You Should Try!

Posted on August 10 by Ritchie Roesch

A lot of people are interested right now in achieving a vintage aesthetic with their Fujifilm cameras. Retro renderings are in-style, but with about 300 Film Simulation Recipes to choose from on the Fuji X Weekly website (and App), it can be difficult to know which ones to use. If you are after a vintage look, let me suggest 10 Recipes to you. They all have “vintage” in the name, and each will deliver a retro analog-like rendering.

Some of the Film Simulation Recipes below are quite popular (especially the first one), and maybe you’ve even used a few of them yourself. Many of them are less popular and are often overlooked; maybe you’ve seen them, but never programmed them into your camera. Perhaps this is the very first time you’re seeing a couple of these Recipes. Whatever the case, if you are after a vintage look, pick a couple of these to try today!

The first three Recipes below are compatible with X-Trans III cameras, plus the X-T3 & X-T30; to use them on newer X-Trans IV models, set Color Chrome Effect and Color Chrome FX Blue to Off, Clarity to 0, and choose a Grain size (either Small or Large). The next five are compatible with “newer” X-Trans IV models (X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II); to use them on X-Trans V, set Color Chrome FX Blue one step lower (Weak instead of Strong, Off instead of Weak). The last two are compatible with X-Trans V cameras; the second-to-last Recipe can be used on some X-Trans IV models (X-T4, X-S10, X-E4, and X-T30 II) by setting Color Chrome FX Blue to Weak instead of Off.

Take a look at the 10 Vintage Film Simulation Recipes below. If one or two or three of them stand out to you as especially interesting, go ahead and give them a try!

Vintage Kodachrome

*Old Log in Kolob Canyon* – Zion NP, UT – Fujifilm X100F – Vintage Kodak Recipe

Vintage Agfacolor

*Palms & Canopy* – Pismo Beach, CA – Fujifilm X-E4 – Vintage Agfacolor Recipe

Vintage Kodacolor

*Large Stone & Tall Grass* – Farmington, UT – Fujifilm X-H1 – Vintage Kodacolor Recipe

Vintage Negative

*Suburban Reed Evening* – Farmington, UT – Fujifilm X100V – Vintage Negative Recipe

Vintage Vibes

*Playing in a Dirty Kitchen* – Farmington, UT – Fujifilm X-E4 – Vintage Vibes Recipe

Vintage Color

*Elephant Seal Beach* – San Simeon, CA – Fujifilm X-E4 – Vintage Color Recipe

Vintage Color v2

*Boy With Nerf Gun* – Farmington, UT – Fujifilm X-Pro3 – Vintage Color v2 Recipe

Vintage Analog

*Arch Over Bell Tower* – Litchfield Park, AZ – Fujifilm X-E4 – Vintage Analog Recipe

Vintage Bronze

*Rudolph* – Buckeye, AZ – Fujifilm X-T5 – Vintage Bronze Recipe

Vintage Cinema

*Ball on a Wall* – Buckeye, AZ – Fujifilm X-T5 – Vintage Cinema Recipe

Find these Film Simulation Recipes and many more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Fujifilm Film Simulation Patches!

Posted on August 9 by Ritchie Roesch

Fujifilm just introduced a new product: film simulation patches!

These 2″x2″ embroidered iron-on patches are a great way to share your love of film sims to those around you. Put them on your camera bag, backpack, jean jacket, etc.. There are 11 of them: Provia, Velvia, Astia, Classic Chrome, PRO Neg. Hi, PRO Neg. Std, Classic Negative, Eterna, Monochrome, Acros, and Sepia. Find them on Fujifilm’s online store. Not sure why Eterna Bleach Bypass and Nostalgic Neg. didn’t make the cut, other than these patches resemble the small “box-top” screen on the back of the Fujifilm X-Pro3, and those two film sims aren’t available on that model.

I think they’re really cool. I ordered a couple, and plan to iron them onto my travel camera bag. They’re not exactly cheap at $10 per patch (or all 11 for $79.50, which is actually a significant bulk discount), but I think it’s a fun way to show your love of film simulations. I also think it’s fascinating that film sims are now so prominent—in large part due to the popularity of Film Simulation Recipes—that Fujifilm is merchandising them. I’d love to see them do more of this type of thing.

Exciting: Fujifilm Film Simulations just got real with these embroidered applique patches, in 11 different designs. Digitally recreated, based on historic film stocks, our Film Simulations are now available in all-new physical form. These quality, machine-embroidered patches can be heat-applied to fabric surfaces, from clothing to backpacks. Are you a bold Velvia fan, or an admirer of the timeless Acros? Grab either one separately, or the both of them if you can’t make up your mind. Love them all? We don’t blame you! Get ’em while the iron’s hot!
—Fujifilm

Pro Film — Fujifilm X70 (X-Trans II) Film Simulation Recipe

Posted on August 8 by Ritchie Roesch

*Sunny Afternoon Blooms* – Buckeye, AZ – Fujifilm X70 – Pro Film Recipe

For this Film Simulation Recipe, I was attempting to accomplish two different things: create a Recipe that uses Underwater White Balance and produce results with an analog-like color negative film aesthetic. To the second point, this Recipe does produce that in generic terms. It’s not intended to mimic any specific film emulsion, although there might be some unintended resemblance to Fujicolor Pro 160C, or—to a lesser extent—Kodak Portra 160VC.

The reason I chose the Underwater White Balance type is because I’ve yet to use it with any X-Trans II Recipe; since your camera will remember one White Balance Shift per White Balance type, this can be another option to consider for your C1-C7. If each of the seven Film Simulation Recipes programmed into your Custom Presets has a different White Balance type, you won’t have to worry about changing the WB Shift when switching between your C1-C7 Custom Preset.

*Red Bicycle* – Buckeye, AZ – Fujifilm X70 – Pro Film Recipe – Photo by Jon Roesch

This “Pro Film” Recipe is compatible with all Fujifilm X-Trans II cameras (except the XQ1 and XQ2, which don’t have the PRO Neg. Hi film simulation). You can use this Recipe on the X-Pro1 and X-E1 (as well as many of the Bayer models), although the results will be slightly different.

PRO Neg. Hi
Dynamic Range: DR200
Highlight: -1 (Medium-Soft)
Shadow: -2 (Soft)
Color: +2 (High)
Sharpness: -1 (Medium-Soft)
Noise Reduction: -2 (Low)
White Balance: Underwater, 0 Red & -2 Blue
ISO: Auto, up to ISO 3200
Exposure Compensation: -1/3 to +1/3 (typically)

Example photographs, all camera-made JPEGs using this “Pro Film” Film Simulation Recipe on a Fujifilm X70:

*No Turning Back* – Phoenix, AZ – Fujifilm X70

*Yellow Truck* – Buckeye, AZ – Fujifilm X70 – Photo by Jon Roesch

*Sunset Ford* – Buckeye, AZ – Fujifilm X70 – Photo by Jon Roesch

*Van Accessible* – Phoenix, AZ – Fujifilm X70

*Walkway Bicycle* – Buckeye, AZ – Fujifilm X70 – Photo by Jon Roesch

*Window in the Wall* – Buckeye, AZ – Fujifilm X70 – Photo by Jon Roesch

*Locked Up Bike* – Buckeye, AZ – Fujifilm X70 – Photo by Jon Roesch

*Corner Table* – Phoenix, AZ – Fujifilm X70

*Clouds over Rooftop* – Buckeye, AZ – Fujifilm X70

*Sunlight Behind Pavilion* – Buckeye, AZ – Fujifilm X70 – Photo by Joy Roesch

*Backlit Tree & Wall* – Buckeye, AZ – Fujifilm X70 – Photo by Jon Roesch

*Electric Wall* – Buckeye, AZ – Fujifilm X70

*Backyard Jo* – Buckeye, AZ – Fujifilm X70

*Backlit Water Fountain* – Buckeye, AZ – Fujifilm X70 – Photo by Jon Roesch

*Green Field* – Buckeye, AZ – Fujifilm X70 – Photo by Jon Roesch

*Park View* – Buckeye, AZ – Fujifilm X70 – Photo by Joshua Roesch

*Photographing the Photographer* – Buckeye, AZ – Fujifilm X70 – Photo by Joshua Roesch

*Arizona Green* – Buckeye, AZ – Fujifilm X70 – Photo by Joy Roesch

*Early Morning Bougainvillea* – Buckeye, AZ – Fujifilm X70

Find this Film Simulation Recipe and nearly 300 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Is the Fujifilm X-S20 X-Trans IV or X-Trans V?

Posted on August 7 by Ritchie Roesch

Is the new Fujifilm X-S20 X-Trans IV or X-Trans V? I’ve been asked this question a handful of times, so I thought it would be worthwhile to answer on the Fuji X Weekly blog.

The nearly three-year-old Fujifilm X-S10 is an X-Trans IV model, and we’re over one year deep into the X-Trans V generation, so surely the X-S20 is X-Trans V, right? It’s not that simple. You see, Fujifilm is using the X-Trans IV sensor inside the X-S20. Does that then makes it an X-Trans IV model? Well, the X-S20 has the new X-Processor 5 chip. So is the camera X-Trans IV or V? The answer is yes! The X-S20 is both X-Trans IV and X-Trans V at the same time.

This isn’t the first time that Fujifilm has done this. The often-overlooked X-M1 had an X-Trans I sensor paired with the X-Trans II processor. Still, this is an unusual arrangement in the Fujifilm lineup. It’s a rare exception to the norm. The X-Trans IV sensor is “old” now, but it is still quite excellent, so I don’t think it was a bad move by Fujifilm whatsoever to keep using it. Personally, I really like the X-Trans IV sensor.

The question is whether you should use X-Trans IV Film Simulation Recipes or X-Trans V Recipes on the X-S20? The differences between the aesthetic output of these two sensor generations are pretty minor. The biggest distinction is how deeply blue is rendered on some film simulations; most notably, on X-Trans V cameras, Classic Chrome, Classic Negative, Eterna, and Eterna Bleach Bypass render blue more deeply than on X-Trans IV models.

*More Than Double Wide* – Arlington, AZ – Fujifilm X-T5 – 1970’s Summer Recipe

I’ve never used a Fujifilm X-S20 (and probably never will, unless Fujifilm sends one to me …hint, hint Fujifilm), so I have no firsthand experience on how exactly blue behaves on it. Is it more like X-Trans IV or V? I don’t have a definitive answer. But, two people have reported to me that they believe the X-S20 output looks the same as other X-Trans V cameras, so I’m inclined to believe that the programming makes pictures captured with it look like X-Trans V despite the X-Trans IV sensor. With that said, I don’t believe it matters a whole lot since the output is so similar, and I think it’s ok to use either X-Trans IV or X-Trans V Film Simulation Recipes. My recommendation is to use X-Trans V Recipes, as well as X-Trans IV Recipes that use Provia, Velvia, Astia, PRO Neg. Hi, PRO Neg. Std, Acros, Monochrome, and Sepia; for X-Trans IV Recipes that use Classic Chrome, Classic Negative, Eterna, and Eterna Bleach Bypass, reduce Color Chrome FX Blue by one notch (Weak instead of Strong, Off instead of Weak) when possible. That’s simply a recommendation, as I’m not certain what the right answer is.

Do you like the results that a particular Film Simulation Recipe produces? If a certain Recipe gives you the look you want—whether it’s an X-Trans V, X-Trans IV, or even X-Trans III Recipe—that’s what’s important, and it’s great that you found it. Whether or not you’re “supposed to” use that one on your camera is irrelevant. I have the Fujifilm X-S20 categorized as an X-Trans V model for Film Simulation Recipe purposes, but don’t let that stop you from using X-Trans IV Recipes on it.

Golden Negative — Fujifilm XF1 (EXR-CMOS) Film Simulation Recipe

Posted on August 6 by Ritchie Roesch

A Film Simulation Recipe for the Fujifilm XF1, X100, X10 & X-S1 cameras.

*Los Angeles* – Avondale, AZ – Fujifilm XF1 – Golden Negative

Right at the very beginning of the X-series, but before X-Trans, Fujifilm briefly used a different sensor called EXR-CMOS. It was a 12-megapixel Sony CMOS sensor with an array similar to Bayer, except tilted at 45° (Fujifilm had previously used this tilted pattern on their Super-CCD sensors). The advantage to this unusual arrangement was that two of each color pixels sat near each other on the sensor, allowing for pixel-binning. Of course we’re familiar with pixel-binning now, as many cellphone sensors do this, but it was pretty revolutionary when Fujifilm did it roughly 15 years ago. It didn’t really catch on because 1) Fujifilm was only binning two pixels (not the more common four that we see today) and 2) the already somewhat low-resolution sensor was cut in half in order to do it. Basically, the advantages were fairly small while the disadvantage was somewhat significant.

The advantages of EXR was an increase in dynamic range and high-ISO performance. In order to achieve that, the camera had to be switched to EXR mode, which basically took the place of the DR options. Within the EXR mode, one of the settings was called D-Range Priority. Sound familiar? Unfortunately, to unlock D-Range Priority (and the other EXR options), one had to sacrifice half of the resolution and the ability to save a RAW file. My guess is that EXR was infrequently utilized on these cameras, but I really don’t know, as I only purchased one—a Fujifilm XF1—just recently.

Of the four X-series cameras that used an EXR-CMOS sensor, only the X100 was APS-C, and the other three were 2/3″, which was much smaller. I’ve never used the original X100, and only recently the XF1 with its tiny 2/3″ EXR-CMOS. The color rendering should be pretty identical, but the dynamic range and high-ISO noise performance is likely slightly different. I know this because I have used both an APS-C and 2/3″ X-Trans II sensor, and that’s what I observed. I don’t expect a significant difference in output between the four EXR-CMOS cameras, but the X100 will be a little superior to the other three.

*Empty Restaurant Chair* – Litchfield Park, AZ – Fujifilm XF1 – Golden Negative

The JPEG options on EXR-CMOS are very similar to X-Trans I, but the rendering is slightly different. You can use X-Trans I, X-Trans II, and Bayer Film Simulation Recipes that use Provia, Velvia, Astia, Monochrome, or Sepia film simulations; however, they will look a bit different on the XF1, X100, X10, or X-S1 cameras. Likewise, you can use this Golden Negative Recipe on X-Trans I, X-Trans II, or Bayer models, but it will render just a tad different. This isn’t to discourage you from trying, but to simply say that results will vary. I call this Film Simulation Recipe “Golden Negative” because I was attempting to achieve an aesthetic similar to the Golden Negative Recipe for Bayer cameras that have Classic Chrome; EXR-CMOS cameras don’t have Classic Chrome, so I used Provia instead. It’s definitely not identical, but this Film Simulation Recipe looks really good, and I think, if you have an EXR-CMOS sensor camera, you’ll truly enjoy this one.

Provia/STD
Dynamic Range: DR-Auto
Highlight: -1 (Medium-Soft)
Shadow: 0 (Standard)
Color: +1 (Medium-High)
Sharpness: 0 (Standard)
Noise Reduction: -2 (Low)
White Balance: Auto, +1 Red (R/CY) & -3 Blue (B/Ye)
ISO: Auto, up to ISO 1600
Exposure Compensation: +1/3 (typically)

Example photographs, all camera-made JPEGs using this Golden Negative Film Simulation Recipe on a Fujifilm XF1:

*Pink Bloom in Blue Sky* – Buckeye, AZ – Fujifilm XF1

*Bougainvillea & Building Storm* – Buckeye, AZ – Fujifilm XF1

*Block Wall & Bougainvillea* – Buckeye, AZ – Fujifilm XF1

*Garden Gate* – Buckeye, AZ – Fujifilm XF1

*Bougainvillea in Summer* – Buckeye, AZ – Fujifilm XF1

*Yellow Trumpets* – Buckeye, AZ – Fujifilm XF1

*Vines on a Cinderblock Wall* – Buckeye, AZ – Fujifilm XF1

*Attic Window* – Buckeye, AZ – Fujifilm XF1

*Cirrocumulus behind Tree Leaves* – Buckeye, AZ – Fujifilm XF1

*Ball Field & Distant Storm* – Buckeye, AZ – Fujifilm XF1

*Overcast Palm* – Buckeye, AZ – Fujifilm XF1

*Dry Grass in the Park* – Buckeye, AZ – Fujifilm XF1

*Shade Maker* – Buckeye, AZ – Fujifilm XF1

*Young Photographer* – Buckeye, AZ – Fujifilm XF1

*Car Window Boy* – Goodyear, AZ – Fujifilm XF1

*Dead Flowers in a Pot* – Buckeye, AZ – Fujifilm XF1

*Hanging Bulbs* – Buckeye, AZ – Fujifilm XF1

*Tile Rooflines* – Buckeye, AZ – Fujifilm XF1

*Illuminated Window* – Buckeye, AZ – Fujifilm XF1

*Breakfast Served Backwards* – Litchfield Park, AZ – Fujifilm XF1

*Vines over Birdcage* – Buckeye, AZ – Fujifilm XF1

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Problems with the Fuji X Weekly Website — A Message from the Webmaster

Posted on August 4 by Ritchie Roesch

“I seem to have trouble loading your site and posting comments… Most comments never got through.”
-TheCameraEatsFirst

I’m not a web designer. I’m not an IT expert. I’m not a programmer. Yet, here I am, playing each of those roles.

I’m a photographer. That’s what I want to spend as much of my time as practical doing. I’m also a writer to an extent, which is something else that I enjoy doing. The Fuji X Weekly website is my outlet for both. I like helping other photographers, and am truly honored that my Film Simulation Recipes have had such an impact on so many and even the industry at large—it’s far more than I ever imagined!

Sometimes, though, I have to set my camera down, and be the Fuji X Weekly webmaster. Who came up with that name, anyway? Webmaster sounds so dramatic. Was it on Peter Parker’s shortlist, and after a coinflip he went with Spiderman instead? Surely it was an IT guy—his office was probably in a dark corner of a basement and he felt really under-appreciated for all his hard work maintaining some large company’s website—who coined the term, so that he might get more respect and maybe a pay raise.

*Arizona Sunbeams* – Glendale, AZ – Fujifilm X-T5 – 1976 Kodak

When I first enrolled in college many, many years ago, I didn’t really know what I wanted my career to be. A lot of adults advised me to major in a technology field, like coding or engineering. So that’s what I did. In the very first semester I took this class called Computer Basics, which was mostly about how to use Word and PowerPoint and the internet, which was fairly young at that point—DPReview wouldn’t launch for several more months, and Ken Rockwell wasn’t even on the scene yet. The final project for that class was to write a simple DOS program, something like if you prompt it to answer 1+1 it would give you 2. I struggled so much, and passed the introductory-level class with a C. The very next semester I changed my major to photography.

Problems with the Fuji X Weekly website have been ongoing since it first launched on August 21, 2017. I’ve had to learn how to design a website, and to an extent how to code. I was suddenly a webmaster. I didn’t feel much like the master of the web, and I still don’t. I’ve learned so much about it over the years; however, I’m far from an expert. Mostly, I limp along, and hope that Google has the answer to whatever problems I’m trying to solve. YouTube University has been invaluable!

Lately, though, the problems have grown. It started several months back when I needed to upgrade hosting, because I was pushing the upper limits of the plan I was paying for. Unfortunately, what should have been a seamless switch wasn’t, and I was suddenly experiencing both small and big issues. Next, because my expenses expanded—for both the website and apps—I brought back ads, but through a different company that promised a better experience. That’s been a huge headache, and it hasn’t exactly gone well. I’m fighting to get the ads to be minimal, unobtrusive, relevant, and appropriate (yet cover the expenses)—it’s been a battle, and we’re still not there. I’m on the fence on how I’ll move forward with this. I’ve almost pulled the plug several times on the ads—and I still might—but I’m hoping to get it right at some point soon. I appreciate your patience with this.

*Dramatic Sunset behind Saguaro* – Buckeye, AZ – Fujifilm X-T5 – 1976 Kodak

Some of the website problems are definitely significant. Probably the biggest one is that some people are experiencing an error, and the page won’t load. The message is “too many attempts” or “too many redirects” or something like that. I haven’t found the root of this issue, but clearing the cache and cookies has sometimes resolved it (so try that if you’re experiencing this problem). I don’t know why some people get this error while most don’t, or why clearing the cache is sometimes the fix. If any of you know the answer, please reach out to me, because I’d love to fix it.

Another issue that just recently came to my attention is that a lot of comments aren’t coming through. There are two aspects to this. First, I moderate the comments. Someone who has never commented before, or who has included a link to a website, will often get flagged for moderation. I get a lot of troll and spam comments that I don’t want published because it ruins the experience for everyone, so moderating these are important. This is my website, so I have the authority—and, really, obligation—to do this. Comments held for moderation haven’t changed as far as I can tell. The second aspect is that WordPress will flag obvious spam comments as spam. I get probably 100 of these type of comments each day, sometimes much more than that. Unfortunately, many non-spam comments are getting flagged as spam for some reason. I dug through the spam folder, and found intermixed with all the spam comments a handful of clearly not-spam comments, some by regular readers who have commented many times before. There are so many spam comments that it’s not practical to go very far back looking for the few non-spam that got flagged, but I know that I need to dig through it daily now. I’m really sorry if your comment didn’t come through. I don’t know why this happened or even when, but hopefully I’ll be able to find and approve all of the non-spam and non-troll comments going forward.

Are there other issues that I’m not aware of? I hope not, but I’m certain there are. Whenever I put on my webmaster cap, I do my best to fix them, but I cannot fix what I’m not aware is broken. If you’ve experienced some sort of issue, don’t hesitate to let me know—it’s greatly appreciated whenever someone does. And if you know how to fix the problem, please share with me the answer! I might technically be in the IT field, and I’ve certainly learned a heck-of-a-lot over the last six years, but I’m still in over his head on some of this stuff. Besides, I’d rather be out with my camera, capturing photos for next Film Simulation Recipe—especially during golden hour, when the light can be magical.

1976 Kodak — Fujifilm X-T5 (X-Trans V) Film Simulation Recipe

Posted on August 3 by Ritchie Roesch

*All the World’s a Summer Day* – Buckeye, AZ – Fujifilm X-T5 – 1976 Kodak

The 1976 Kodak Film Simulation Recipe began as an attempt to recreate the aesthetic of legendary photographer Joel Meyerowitz, an American New Color photographer first known for serendipitous street photos of New York City. Meyerowitz has had one of the most prolific careers of any photographer, and he’s still active today at 85 years old! His look has been one of the most requested to replicate on Fujifilm cameras, so I eagerly delved into what exactly that is and how to mimic it.

One of the first roadblocks I encountered is that Joel Meyerowitz doesn’t have one unique style. His aesthetics vary significantly through the years. That shouldn’t be surprising because he’s on his seventh decade of photography. It’s well known that Meyerowitz used a lot of Kodachrome—in fact, he shot with all three eras of the film. In his early days it was the original ISO 10 Kodachrome, but very quickly that was replaced by Kodachome II and X; a significant chunk of his iconic street photography was captured during this time. Then Kodachrome 25 and 64 came along. All of those emulsions, while very similar, had their unique characteristics. I have a number of Film Simulation Recipes that can produce a Meyerowitz look because they replicate a film that he frequently used, including Vintage Kodachrome, Kodachrome 1, Kodachrome II (here, too), Kodachrome 25 (here, too), and Kodachrome 64 (here and here, too).

While Meyerowitz was known for Kodachrome, many of his most famous photographs were not captured on that film. He used Ektachrome sometimes for his 35mm work, and he used it extensively for his 8×10 large format photography. There have been over 40 different emulsions that carried the Ektachrome brand name, so it’s hard to know which specific ones he used. Some Ektachrome Film Simulation Recipes are Old Ektachrome, Kodak Ektachrome 100SW, Kodak Ektachrome E100VS, Ektachrome E100GX, Ektachrome, Ektachrome 320T, and Thommy’s Ektachrome. Some of these can probably be used to replicate a Meyerowitz look, too.

*Closed Red Umbrella* – Goodyear, AZ – Fujifilm X-T5 – 1976 Kodak

He didn’t just shoot with Kodachrome and Ektachrome, but also Anscochrome sometimes. He might have used other emulsions, too, it’s not real clear. One thing is for sure: whichever film he used, the emulsion wasn’t the finished picture, the print was (or the replication of the print in a book). Today, film is often scanned, and that’s how we see the photos captured with it, but for much of Meyerowitz’s career, the print (and not the scan) was what we saw. The printing process—the chemicals, the paper, and a host of other factors—could significantly affect the end result. That process changed and evolved over the decades. All of this is to say that no one Film Simulation Recipe will ever be able to replicate all of Joel’s various aesthetics. Probably not even ten Recipes. Aside from the ones already mentioned, 1970’s Summer and especially Summer of 1960 are a couple that could potentially produce a Meyerowitz look.

I studied about fifty of Joel’s photographs, mostly from the 1970’s. Some of them were urban street pictures, some were suburban or small-town images, and others were coastal photos. I looked for commonalities between the various pictures. I paid close attention to the lighting. I focused in on about two dozen that seemed similar enough, and tried to replicate the look with my Fujifilm X-T5. This 1976 Kodak Film Simulation Recipe was my sixth iteration. It’s not perfect, because, even within those 20+ similar Meyerowitz photographs, there are still some subtle differences. Aside from that, Fujifilm’s options, which are much more robust than they used to be, are still limited, and you can only do so much. Still, sometimes the resemblance between some of Joel’s pictures and the images captured with this Recipe are remarkable!

This Film Simulation Recipe got its name because the majority of the pictures that it is based on were captured in 1976. Some were 35mm and likely Kodachrome 25 and Kodachrome 64, but could also be Ektachrome-X and/or Ektachrome Pro 64, or even Anscochrome 64. Some were large format and likely Ektachrome Pro 64, Ektachrome 6118 Tungsten, and/or Ektachrome 160 Daylight, or even possibly Aschochrome 32. 1976 was a pivotal and transitional year for Joel Meyerowitz, as he began to explore landscapes and small-town life, particularly along the Massachusetts coast. He also began shooting with a large format Deardorff view camera. Since this was such an important year in Meyerowitz’s photographic journey, since many of the pictures that this Recipe was modeled after were captured in 1976, and because the vast majority of his photos were shot on Kodak film, I call this Recipe 1976 Kodak.

*Two Birds* – Tempe, AZ – Fujifilm X-T5 – 1976 Kodak

The 1976 Kodak Film Simulation Recipe is quite versatile, and works well in many lighting situations and for many genres of photography. You might find it to be slightly overly warm in artificial light, but otherwise use it anytime. It’s compatible with Fujifilm X-Trans V cameras, which (as of this writing) are the X-T5, X-H2, X-H2s, and X-S20. Those with newer GFX cameras can use it, too, although it will likely render slightly different (use it anyway!). Try this Recipe with a vintage lens to further replicate a retro aesthetic.

Film Simulation: Nostalgic Neg.
Grain Effect: Strong, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Off
White Balance: Auto, -2 Red & -4 Blue
Dynamic Range: DR200
Highlight: +1.5
Shadow: +3
Color: +4
Sharpness: -2
High ISO NR: -4
Clarity: -3
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs using this 1976 Kodak Film Simulation Recipe on my Fujifilm X-T5:

*Country Truck* – Buckeye, AZ – Fujifilm X-T5

*Truck being Photographed* – Buckeye, AZ – Fujifilm X-T5

*Tonka Wall* – Buckeye, AZ – Fujifilm X-T5

*Nissan Nature* – Buckeye, AZ – Fujifilm X-T5

*Empty Campus* – Avondale, AZ – Fujifilm X-T5

*Street Glimpse* – Buckeye, AZ – Fujifilm X-T5

*Leaf & Treats* – Buckeye, AZ – Fujifilm X-T5

*Evening Reflected in Glass* – Buckeye, AZ – Fujifilm X-T5

*Dead Decorative Flowers* – Buckeye, AZ – Fujifilm X-T5

*Old Tricycle* – Buckeye, AZ – Fujifilm X-T5

*Two Red Chairs* – Buckeye, AZ – Fujifilm X-T5

*Locked Bike* – Buckeye, AZ – Fujifilm X-T5

*Circles of Life* – Buckeye, AZ – Fujifilm X-T5

*Fountain Not Flowing* – Buckeye, AZ – Fujifilm X-T5

*Orange Pot* – Buckeye, AZ – Fujifilm X-T5

*Mineral Discoloring* – Buckeye, AZ – Fujifilm X-T5

*Covered Promenade* – Avondale, AZ – Fujifilm X-T5

*Curious Closed Curtain* – Buckeye, AZ – Fujifilm X-T5

*Office Abstract* – Buckeye, AZ – Fujifilm X-T5

*Plastic Green* – Buckeye, AZ – Fujifilm X-T5

*Joshua Waiting in a Blue Chair* – Avondale, AZ – Fujifilm X-T5

*Photography is Life* – Avondale, AZ – Fujifilm X-T5

*Friendly Neighborhood Spiderman* – Buckeye, AZ – Fujifilm X-T5

*Guitar Practice* – Buckeye, AZ – Fujifilm X-T5

*Green Leaves Hiding Behind Gate* – Buckeye, AZ – Fujifilm X-T5

*Park Bench* – Buckeye, AZ – Fujifilm X-T5

*Rainbow & Trumpets* – Buckeye, AZ – Fujifilm X-T5

*Ceramic Tile Roof* – Buckeye, AZ – Fujifilm X-T5

*Suburban Home* – Buckeye, AZ – Fujifilm X-T5

*Date Palm* – Buckeye, AZ – Fujifilm X-T5

*Bougainvillea Garden* – Buckeye, AZ – Fujifilm X-T5

*Distant Thunderstorm Building* – Buckeye, AZ – Fujifilm X-T5

*Uptown Snake* – Sedona, AZ – Fujifilm X-T5

*Green Soccer Field* – Buckeye, AZ – Fujifilm X-T5

*Scootering* – Buckeye, AZ – Fujifilm X-T5

*Rooftop at Dusk* – Buckeye, AZ – Fujifilm X-T5

*Distant Sunset* – Buckeye, AZ – Fujifilm X-T5

*Pastel Sunset over Ball Field* – Buckeye, AZ – Fujifilm X-T5

*Foul Pole & Full Moon* – Buckeye, AZ – Fujifilm X-T5

*Saguaro at Sundown* – Buckeye, AZ – Fujifilm X-T5

*Dramatic Sunset behind Saguaro* – Buckeye, AZ – Fujifilm X-T5

*Purple Sky* – Buckeye, AZ – Fujifilm X-T5

*Sunset over School* – Buckeye, AZ – Fujifilm X-T5

*Sunset Lit Cloud* – Buckeye, AZ – Fujifilm X-T5

*Fast Scooter at Night* – Buckeye, AZ – Fujifilm X-T5

*Basketball Moon* – Buckeye, AZ – Fujifilm X-T5

*Moon Through the Hoop* – Buckeye, AZ – Fujifilm X-T5

*Moonshot* – Buckeye, AZ – Fujifilm X-T5

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

Fujifilm X-T5 in black: Amazon B&H Moment
Fujifilm X-T5 in silver: Amazon B&H Moment

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