I’ve had several people ask me what my opinions are of the upcoming Fujifilm GFX100RF fixed-lens X100-like GFX camera, which will supposedly be announced in the first quarter of 2025. Apparently, according to Fujirumors, the camera will be about the size of an X-Pro, have the 100mp GFX sensor, a 35mm (28mm full-frame-equivalent) f/4 lens, and will not have IBIS. That’s all that they’ve reported so far.
I don’t currently own any GFX cameras. They’re outside of my budget, are large and heavy compared to the X-series, and I think my use-case for one would be fairly limited. But, something like the GFX100RF would be interesting to me because the size and weight are likely to be less than typical GFX gear, and probably less expensive than a GFX100S II plus a lens. It would be a good way to dip my toes into GFX without having to buy a whole new system, or lug around something large and heavy.
One criticism that the camera is likely to receive is the lack of IBIS, but I think not having IBIS is just fine for a camera like this. First, outside of video and low-light situations, IBIS is really unnecessary for wide-angle lenses. Second, it adds size, weight, and cost, so its exclusion might actually be beneficial. Third, I think the whole “you need IBIS on 100mp because you can see even the smallest blur” argument is overstated. On this camera, IBIS would be occasionally nice to have, but far from essential, so it doesn’t bother me that the GFX100RF will apparently not have it.
The lens choice will probably be debated for a long time. Since fixed-lens cameras are stuck at whatever focal-length they are, you have to really like what it is. The 35mm lens on a GFX is like 18mm on APS-C (think Fujifilm X70 and Ricoh GR), or 28mm on full frame (think Leica Q3). That’s obviously a very popular focal-length, but it’s not for everyone. I personally prefer less wide-angle lenses most of the time (the X100VI, for example, is sometimes too wide for me). I completely understand the focal length choice for the GFX100RF; however, I kind of wish it was more like 50mm (40mm full-frame-equivalent), but that’s just my preference, and probably not what would be most desired by the majority of potential buyers.
And let’s not forget the maximum aperture of “only” f/4. That’s not an impressive maximum aperture, but also not unusual for medium-format. A larger maximum aperture would require a larger and heavier (and more expensive) lens, which would defeat the purpose of the GFX100RF. Back in 2021 I talked about this a bit: while GFX has a potentially smaller depth-of-field and better low-light capabilities, the fact that the maximum apertures are often smaller means that you oftentimes can’t fully realize those advantages. It’s a catch-22. Although f/2.8 would have been nice, f/4 as a maximum aperture is completely unsurprising to me, and probably required some engineering magic to even make that work.
We will have to wait a few more months to really know what the GFX100RF camera will be like, but what I can tell you is that this is the most excited I have been for a GFX model in a very long time. I need to prepare now—make room in both my budget and in my camera bag—for when it is announced. I’m sure, like the X100VI, if you’re not quick to order, there will be a wait to get your hands on one, as I’m pretty sure that this will be a popular camera.
It’s the holiday season, and Christmas is right around the corner. Maybe you want to give a gift to your photographer friend or family member something that they will absolutely love. Perhaps your spouse, child, grandchild, or niece/nephew is interested in following in your footsteps, and are hoping to find their first “real” camera under the tree. If you are shopping for a fellow photographer or budding photographer, I’ve got some gift ideas for you!
For my 40th birthday, my wife got me a Fujifilm X100V, which was such an incredible gift! For her 40th birthday, I gave her a Fujifilm X-T4. While those were certainly wonderful presents, they were very unusual for us, as we don’t typically spend anywhere near that much for birthdays and Christmas, and probably a lot of you reading this don’t either. There are tons of great more affordable options and it’s easy to get overwhelmed, so for this article I’m going to narrow the premise, which hopefully will provide some of you with a little better clarity.
First off, I’m assuming that you don’t have a small fortune to spend, and so you don’t mind buying used gear, which is more affordable, and perhaps a bit more practical as a gift. MPB, the sponsor of this article (where all my suggested gift ideas can be purchased from), is the largest global platform where you can buy, sell, or trade used photo and video gear—each piece checked by hand before being MPB Approved. If you’re thinking about upgrading or gifting gear this holiday season, embracing used is a great way to keep costs down without compromising on quality. Secondly, this website is Fujifilm-centric, so all of my suggestions will be related to that brand of gear.
Let’s jump right in!
Fujifilm X-T1 — Best learning camera
For someone who wants their first “real” camera to learn photography on, the Fujifilm X-T1 is my top recommendation. First, it has manual tactile controls to learn the principles of photography with (such as the exposure triangle). Second, while it is “old” for digital technology (released in 2014, a full decade ago), it is still very capable. This was Fujifilm’s flagship model when it was introduced, and 10 years later it holds up pretty well. Interestingly, in 2021, Antonio Faccilongo won the World Press Photo Story of the Year with a photograph captured with this model. Third, the X-T1 is quite affordable, and can be purchased for less than $500. You will need a lens to go with it, and my top recommendation is the Fujinon 35mm f/2, which can be had for less than $300 used. Depending on the exact copies you pick, you can get a camera and lens combo for under $800, and even under $700 if you don’t mind a few scuffs.
Fujifilm X-S10 — Affordable hybrid for videography
While many cameras are great for photography, some don’t excel at both stills and video. My top recommendation for an affordable hybrid—a camera that’s good for both stills and video—is the Fujifilm X-S10, which has in-body-image-stabilization (IBIS), an important feature for videography. If you are buying for someone who has shown an interest in creating TikTok or YouTube videos, you’ll want to strongly consider the X-S10. It can be had for under $900, which makes it the most expensive camera in this list; however, I think it pairs well with the Fujinon 15-45mm f/3.5-5.6, which is one of the more affordable lenses at about $150.
Fujifilm X-A2 – Most affordable camera
I get asked somewhat frequently what is the cheapest way to get into Fujifilm, usually from those wanting to buy a camera for their child or grandchild. Is it possible to do so under $500? Well, it is possible, but just barely. The Fujifilm X-A2 can be had for under $350, and the Fujinon 15-45mm f/3.5-5.6 is about $150, which brings you in right around $500. The X-A line was Fujifilm’s most budget-friendly series. The X-A2 was released in 2015 and is approaching 10 years old; however, it is still surprisingly capable, with similar technical stats as the Fujifilm X-T1.
Fujifilm X30 — Fun for the one who has everything
For the photographer who has it all, the Fujifilm X30 is a fun little camera! There’s a pretty good chance that the photographer you are shopping for doesn’t have this model. It’s older, and doesn’t have particularly impressive stats, but what it lacks technically it more than makes up for in pure joy. Nobody is going to make a career out of this camera, but for fun snapshots that have a ton of character, the X30 is one to take a close look at. It’s not necessarily cheap at around $700, but at least you don’t have to buy a lens for it, since it is a fixed-lens camera.
Fujinon WCL-X100 II & TCL-X100 II — Conversion lenses for X100-series cameras
If you are searching for a holiday gift for the photographer or budding photographer in your life, I hope that this list provided you with some clarity. I always enjoy receiving camera-related clothes and coffee mugs and things like that as gifts, but if you really want to give a camera or lens, those do cost a lot of money, and I think that this list has some excellent suggestions; however, feel free to browse MPB’s current inventory, as you just never know what you might find.
Today, Evergreen Cases is having a Black Friday sale, and everything site-wide is 20% off, including the Evergreen + Fuji X Weekly Protective Case for Fujifilm X100-series cameras. This discount won’t last long, so if you’ve been considering getting this case (or anything else that Evergreen caries, such as the 28″ Short Strap), this is a good opportunity. You must order directly through their website—and not Amazon or anyplace else that carries their products—in order to get 20% off.
An inverted U curve is a graph that shows a relationship between two variables where one positively affects the other until it reaches a peak, then flattens out before it begins to have a negative effect (looks like an upside-down U). It’s a good way to quantify and visualize the concept of diminishing returns. It’s the saying too much of a good thing as a mathematical equation. In my opinion, we reached a point of diminishing returns with our digital cameras several years back.
While pretty much every aspect of a digital camera can be affected by this, a good example is resolution. Most people don’t need any more than 12-megapixels, considering how the vast majority of pictures are viewed. The amount of resolution one needs is dependent on what one is going to do with the picture: if it will only be shared on Instagram and through text messaging, 6mp is probably plenty; however, if you will make poster-sized gallery prints, 6mp is not anywhere close to enough. The percentage of photographers who need 24-megapixels is quite small, and the percentage that need more than that is much smaller (nice to have and need are two different things). Think of it this way: the difference between 16mp and 24mp is about the same leap as between 26mp and 40mp, but since most people don’t even need 24mp, the extra jump to 40mp has no practical advantage for the majority of photographers (only some), while perhaps having a negative effect on storage, since the files are much larger. A photographer is unlikely to avoid a 24mp camera because it has “too much” resolution, but they might a 40mp model (I’ve had a few people tell me this), which illustrates the inverted U curve perfectly.
I’m not meaning to pick on resolution here, it’s just an example. Specs sell cameras, whether or not they have any practical benefit for the person buying. 40mp sounds a lot sexier than 16mp, but probably 80% of those buying the 40mp camera only really need 16mp, and 95%+ likely only need 24mp. One must consider what their individual needs are because we’re all different. Someone might very well find 100mp to be barely sufficient, while another would absolutely hate having such large files. Someone might have a Fujifilm GFX100S II for a specific purpose, a Fujifilm X-H2s for another, and a Fujifilm X70 for another (true story). An individual might find their needs vary greatly depending on the situation, so they have multiple options, and choose the one that best fits the purpose of what they’re creating.
Architecture Archway – San Diego, CA – Fujifilm X-T50 – Pacific Blues
Our cameras today are almost always more capable than we are (with maybe only a few extraordinarily rare exceptions). In fact, I saw that someone recently created a short film on a $9 toy camera. The limitation is not the gear, it’s only what you do or don’t do with it. Ansel Adams famously stated, “The single most important component of a camera is the 12 inches behind it.” Even though most cameras can basically auto-do-everything (and more and more people rely on that), I believe his statement is just as true today as it was when he coined it, if not more so. Those who take charge of their gear (whatever their gear is) and use it in creative ways tend to have a better chance to stand out from the crowd—and boy-oh-boy is it crowded! We’re in a day and age where everyone has a camera with them all the time.
Pretty much every aspect of our cameras—resolution, dynamic range, high-ISO, frames-per-second, autofocus capabilities, etc., etc., etc.—have all reached a point of diminishing returns. They’re all near the top of the inverted U curve. Yes, camera makers can improve these things, as they should. I have no doubts that they will continue to strive to make the greatest products that they possibly can. But… these improvements will have a practical benefit for fewer and fewer photographers. We can gripe over small things—and turn those small things into big things—but there’s never been a better time to be a photographer or videographer. Our gear—whatever it is—is truly amazing! We should appreciate just how lucky we are, and complain less about how our incredible gear just isn’t quite incredible enough for us.
Since most aspects of digital camera technology is near the peak of the inverted U curve, where can camera makers turn to for improvements that will actually have a more wide-spread impact? My advice is user experience. In my opinion, how you feel using your camera is just as important as the technical specs. This could be interpreted as ergonomics and button placement, which are both aspects of what I’m talking about, but not just merely those things. It’s not only how the camera feels, but more so it’s how the photographer feels while using it. I believe that the experience plays a notable role in the image outcome (more than we often give credit), so camera makers should focus more on the emotional side of camera design. If any and every make and model is capable of getting the job done no matter the job (which is pretty much where we are now), why should someone choose your camera? As specs and advancements matter less and less, it’s not necessarily going to be technical improvements that attract buyers, it’s going to be how people feel while getting the job done with the camera in hand.
What precisely that means will vary from person-to-person, and brand-to-brand. What provides me with a good experience might not be the same for you. We’re all different, so that’s why there are different strokes for different folks. For me, it’s Fujifilm gear with retro-inspired designs and traditional tactile controls, and also straight-out-of-camera results that don’t require any editing for the pictures to look good. Each camera brand should consider how they can improve the user experience for their customers, and design their future models with the experience in mind just as much as the technical capabilities. Make your customers feel just as good about the gear in their hand as the potential images that they’ll create with it.
Fujifilm has some cool swag in their merch store. Specifically, I want to bring to your attention their Film Simulation t-shirt (a.k.a. 20 Years of Film Simulations shirt), which is a personal favorite. I’ll probably grab a second one, because—as often as I wear it, which is all the time—I’m sure it will wear out quickly. I joked with my wife—who also has one—that I should get six more, one for each day of the week; she was not amused by this suggestion, probably because she knew that I was half serious.
My shirt was actually handed to me from Fujifilm on a rooftop in New York City, when the Fujifilm X-T50 was launched. In other words, it was free. Something I’ve come to learn is that Fujifilm likes to give away things whenever they host events. It might be shirts, hats, bags, patches, or stickers. They even gave away a camera at Create With Us in Austin! I often wear my Film Simulation t-shirt, and a hat with the Classic Negative Film Simulation patch on it—another freebie and product that should be in the store.
Above: Me, wearing the Film Simulation shirt, on a rooftop in New York City. You might recognize those I’m conversating with (it was both a thrill and honor). Photo by Amanda Roesch with a Fujifilm X-T4.
I told Fujifilm that they should sell the t-shirt, because they’re really cool, and people love sporting brand swag. I wore it on some of the summer photowalks, and, whenever I did, people would ask me where they could get one themselves. At the time it wasn’t for sale, but Fujifilm now has them available for purchase on their website! I have no idea how long this shirt has been available, I only noticed it over the weekend. Maybe it’s been there awhile, I have no idea.
At $19.95, the price is pretty affordable. This would be an excellent Christmas present… perhaps you’ll want to drop some hints to your family and/or friends. I hope one will be under your tree on December 25th. Or don’t wait, and order yourself one right now.
Did Fujifilm ask me to promote this? Do I get a kickback from every purchase made? No, and no. I just really like the shirt, and a lot of people have asked me about it. This is a public service announcement. If you have wanted one of these t-shirts for yourself, you can buy one straight from Fujifilm’s website today.
A Fall Day in Philly – Philadelphia, PA – Fujifilm X-T4 ES – Aerochrome v2
I had a great time in Philadelphia this last weekend with Allan Ali at Unique Photo as a part of their two day Camera Show. Allan and I led a photowalk through the Old City. There were about 70 in attendance, which was amazing—it just edged out Denver as the largest photowalk that I’ve hosted. It was such an honor to have been a part of the Camera Show. I don’t know if there are very many other stores that are doing what Unique Photo is doing. The photographers in Philadelphia are incredibly fortunate.
I brought my Fujifilm X-T4 ES (“Extended Spectrum”) infrared camera with me to Philadelphia. This camera is a ton of fun, and it’s also a great conversation piece. It’s a “wow” camera, and people are really intrigued by it. I think if it were more widely known and available, people would buy it in much larger numbers. I had my Aerochrome v2 Recipe programmed into the X-T4 ES, and used it quite a bit on the photowalk.
Corn Exchange – Philadelphia, PA – Fujifilm X-T4 ES – Aerochrome v2
Probably the top genre for infrared photography is landscapes. The false color rendering lends itself well for photos that are bold and a bit abstract, especially when there are lots of trees and other vegetation. I’m sure that there are some doing IR urban and street photography, but probably not many. I enjoy using the X-T4 ES in unexpected ways, as it’s really a different way to see the world around you, and also serendipitous, with a lot of surprising results. I don’t know if I can convey through words just how much enjoyment that I’m getting out of this camera, but I’m really loving it!
The Fujifilm X-T4 ES with my Aerochrome v2 Recipe—due to the false colors—turns spring and summer into autumn, and it turns autumn into a more rich display—it’s like fall on steroids. With this camera and Recipe, it’s not only always autumn, but an especially brilliant autumn. That’s the most obvious use, but that doesn’t mean it can’t produce striking results for other subjects and in other situations, such as indoors and even nighttime photography.
Camera Show – Philadelphia, PA – Fujifilm X-T4 ES – Aerochrome v2
Things are Looking Up – Philadelphia, PA – Fujifilm X-T4 ES – Aerochrome v2
Leaves on a Brick Road – Philadelphia, PA – Fujifilm X-T4 ES – Aerochrome v2
Crosswalker – Philadelphia, PA – Fujifilm X-T4 ES – Aerochrome v2
Three Recycle Cans – Philadelphia, PA – Fujifilm X-T4 ES – Aerochrome v2
Standing on Steam – Philadelphia, PA – Fujifilm X-T4 ES – Aerochrome v2
Photographers in Elfreth’s Alley – Philadelphia, PA – Fujifilm X-T4 ES – Aerochrome v2
Connecting – Philadelphia, PA – Fujifilm X-T4 ES – Aerochrome v2
Vertical Composition – Philadelphia, PA – Fujifilm X-T4 ES – Aerochrome v2
Photowalking – Philadelphia, PA – Fujifilm X-T4 ES – Aerochrome v2
Photographing a Photographer Photographing a Photographer – Philadelphia, PA – Fujifilm X-T4 ES – Aerochrome v2
George’s House – Philadelphia, PA – Fujifilm X-T4 ES – Aerochrome v2
Rainbow – Philadelphia, PA – Fujifilm X-T4 ES – Aerochrome v2
Street View – Philadelphia, PA – Fujifilm X-T4 ES – Aerochrome v2
Vegan – Philadelphia, PA – Fujifilm X-T4 ES – Aerochrome v2
Fire Tree – Philadelphia, PA – Fujifilm X-T4 ES – Aerochrome v2
Red Tree in the City – Philadelphia, PA – Fujifilm X-T4 ES – Aerochrome v2
Urban Cowboys – Philadelphia, PA – Fujifilm X-T4 ES – Aerochrome v2
Fujifilm just released three firmware updates, one for the X-H2s, one for the X-H2, and one for the GFX100 II. Among some video improvements (F-Log2 C, anyone?) and minor bug fixes, the main headline is autofocus improvements. Essentially, Fujifilm fully fixed the AF bug that had been plaguing these cameras for the last handful of months. Fujifilm has said that more firmware updates for other cameras (the X-T5 and X-S20 were specifically mentioned) are coming before the end of the year—my guess is in December.
I’ve never had a problem, personally, with the autofocus on my Fujifilm X-T5 or any other model. Mostly, it seemed to affect people using some specific settings in some specific scenarios. So some photographers were greatly affected, some only sometimes, and others were not at all. Obviously this was a big deal for those greatly affected, so it is excellent news that the fix is now available—yea! For those not affected, I always recommend waiting a little while (at least a few days) before updating the firmware in case there are any issues that come up (this isn’t just for Fujifilm, but any product by any brand).
Some people provided Fujifilm with valuable constructive feedback that I’m sure helped tremendously with this firmware update; however, in my opinion, there were others—haters, constant complainers, and trolls—who (sadly) only gave destructive criticism that has to some extent hurt the brand and community (which I believe was the goal for some). Their voice, unfortunately, seemed quite loud, and some of that can be attributed to trolls using multiple accounts, pretending to be multiple individuals in comment sections, Facebook groups, and forums. A troll says something outrageous, a normal person gives a reasonable response, and then the troll replies multiple times, pretending to be multiple people; those reading it might assume that the troll is “right” just because so many seem to agree with them (but it is only one person)—once you know what to look for, it’s quite easy to spot. This is toxic, and crazy (literally, not just figuratively). I would encourage website owners and administrators to crack down on this behavior; however, I know it’s hard to do because trolls will usually return under a different name. I would hope that these firmware updates would quell the outrage, but I’m sure it won’t, as it was never really about the AF for many of them—the AF woes were merely a means to reach an end (attention, chaos, trouble, hate, etc.).
Now that autofocus has been fixed via firmware, we can finally get back to appreciating just how truly wonderful our cameras are, because they are. It’s such a great time to be a photographer, we are all pretty lucky.
When I was in Ann Arbor, Michigan, a week-and-a-half ago, Bryan Minear let me try his GFX100S II, and I was blown away by it. Such amazing image quality! I think, with the size and weight, perhaps it requires more thoughtful consideration of when and where to use (I tend to like smaller gear, such as my X100VI and X-E4). Also, I didn’t care much for the PASM controls. And even at $4.6K, it’s still well outside of my budget. With that said, this is an extremely affordable and capable medium-format (“more than full frame”) digital camera. If you’ve been thinking about buying one, it might be a good time to do so.
I get asked somewhat regularly when I think the X-Pro4 camera will be announced, or if it will ever come. It’s long overdue. Some folks are even losing hope, believing that Fujifilm has abandoned the line altogether. I often see questions like: When will the next X-Pro come?What will be different about it?Was the X-Pro3 the last iteration?
The X-Pro1 is a historically significant camera. It was the first interchangeable-lens X-series model, and the first X-Trans camera. Fujifilm’s success in the digital camera world hinged on this one model. If it flopped, there would not likely be any X or GFX cameras being manufactured today. The X-series would be a forgotten footnote, like Samsung’s NX line. However, the camera was a success, and the rest is history, as they say.
The lifecycle of the X-Pro series has been pretty consistent. The X-Pro1 was announced in early 2012. Exactly four years later, the X-Pro2 was announced. The X-Pro3 came just a smidge early, in fall 2019 (instead of early 2020). If this pattern continued, the next X-Pro—presumably called X-Pro4, or maybe X-Pro5 since the number four is considered unlucky in Japan (sometimes, but not always, Fujifilm skips it)— should have come out either in fall of 2023 or first quarter of 2024. Obviously it didn’t. And there’s not been any indication that it is coming soon, either. The X-Pro4 is now long overdue, and seemingly abandoned. An X-Pro4 in 2024 would have made a lot of sense, as would an X-Pro5 in 2025 (assuming they skip the number four).
In my opinion, camera makers refresh camera lines much too quickly. A four-year cycle should be pretty normal, and some models should take longer than that. I don’t have a problem with the next X-Pro coming out five or even six years since the last. I do wish that the X-Pro3 hadn’t been discontinued. I can’t say for sure, but its discontinuation was likely due to the ribbon wiring harness to the rear screen not being reliable enough, which caused problems for some X-Pro3 owners. The backwards rear screen was a bold experiment that I applaud Fujifilm for having the guts to try, but ultimately I think it was a bust. Between the screen issues and so-so sales after the initial demand faded, I think Fujifilm felt the X-Pro3 had run its course after three years.
Just to be clear, I have no inside information. Sometimes people assume that I do, but I don’t. I get my information the same way that you do. All I have are guesses. Please take this article with a grain of salt.
I believe that Fujifilm is currently developing the next X-Pro camera right now. I don’t know if they’re at the beginning stages or near the end or somewhere in-between (probably somewhere in-between). It’s possible that a few people already have their hands on a prototype, I don’t know. But I do have a lot of confidence that the work has begun on the camera and it is somewhere on the path to becoming a reality. There will be an X-Pro4 (or maybe called X-Pro5) in the future, I’m 99.9% sure of it.
When exactly the camera comes out and what will be different about it is something I don’t know. Back in 2023 I speculated that it was likely to be released in 2024. Earlier this year I speculated that it was likely fall of 2024, or maybe spring 2025 at the latest. Obviously I was wrong about those dates. Some speculation that I’m mildly confident will prove to be true: the next X-Pro iteration won’t be X-Trans V, but X-Trans VI.
Fujifilm introduced the world to X-Trans technology with the X-Pro1. The X-Trans I sensor was fairly short lived (only the X-Pro1, X-E1, and X-M1 cameras had it… the X-M1 paired the sensor with the X-Trans II processor). The X-Pro series completely skipped over the X-Trans II sensor. Fujifilm introduced the X-Trans III sensor with the X-Pro2. The X-Pro3 was the third X-Trans IV camera; however, they introduced Classic Negative, Grain size, Color Chrome FX Blue, and Clarity with it. My guess is that—like X-Trans II—Fujifilm will skip X-Trans V and go straight for X-Trans VI, introducing that sensor with the next X-Pro camera.
From Dust To Dust – Great Sand Dunes NP, CO – Fujifilm X-Pro2 – Kodachrome II Recipe
I don’t know what will differentiate X-Trans VI from X-Trans V, but my guess is speed and efficiency. Probably not megapixels. I suspect that Fujifilm will look to improve autofocus, frame rates, sensor readout, heat dispersion, and things like that, with the next X-Trans sensor. Most of these improvements are unlikely to significantly impact an X-Pro model due to how people typically use these cameras, but I’m sure they will be welcomed nonetheless—especially if the Clarity pause can (finally) be shortened. Fujifilm might (should, in my opinion) introduce a new Film Simulation—Fortia? XPro (cross-process)? Natura? PRO Neg H (looks like 400H and turns pastel with overexposure)?—and maybe a new JPEG tool or two (faded shadows? split toning? Medium Grain strength and size? mid-tone boost? half-step WB Shift?) with the X-Pro4. Increasing the number of Custom Settings presets from 7 to 10 (or more) would be celebrated. The XPan aspect ratio is a must, I think. There’s plenty that Fujifilm could do.
But there’s also plenty that Fujifilm shouldn’t do. I will be mildly surprised if the X-Pro4 has a backwards screen like the X-Pro3 (my guess is that it will be more like the X100VI and X-T5); otherwise, the less they change the better. Look at the feedback from the X-Pro2 and X-Pro3, and change as little as possible. In my opinion, the best X-Pro iteration was the Fujifilm X-Pro2, so if the upcoming X-Pro is more like it I certainly won’t complain.
My guess is that the X-Pro4 (maybe called X-Pro5) will be announced either in September/October of 2025 or (more likely) the first quarter of 2026. Prior to its announcement, I would expect that Fujifilm will release an X-E5 (the X-E series is almost always released at the end of a sensor generation) and maybe an X-T30 III. Both of those will likely have an X-Trans IV sensor paired with the X-Trans V processor (although it is certainly possible that the X-E5 will get the 40mp X-Trans V sensor). I wouldn’t be surprised to see another model, such as the 1″ sensor camera that’s been rumored, also announced in 2025. My best guess—and remember, it’s just a guess—is that the next X-Pro, along with the X-Trans VI sensor, will arrive in early 2026, approximately 15 to 16 months from now. I know a lot of people are looking forward to it, and it will surely eventually happen, but I think it’s still a little ways out.
Photographing with Fujifilm – New York City, NY – Fujifilm X-T4 ES – Aerochrome v2
A little over two years ago Fujifilm stated that they’re working on “wow” products, so I gave my Top 10 suggestions for that in an article entitled 10 “WOW” Products Fujifilm Should Be Making Right Now. I thought it would be fun to revisit the article. Did Fujifilm make any of those suggestions? What “wow” products have they released that didn’t make my list? Which ones should they still pursue?
To recap, my 10 ideas were:
10. Minimalist Model — no rear LCD or video mode 9. 135mm lens — really, any focal length prime in-between 90mm and 200mm 8. A new pancake lens — I suggested 15mm, 23mm, and 40mm as potential options 7. GFX 100R — 100mp successor to the GFX 50R 6. ISOCELL — bring the Fujifilm/Samsung joint technology to the X-series 5. Infrared — I suggested the X-T30 II as the model of choice 4. Digital XPan — a dedicated 65:24 aspect ratio camera 3. X200 — full-frame X100-like camera 2. X80 — successor to the X70 1. Acros-Edition — monochrome-only X100 or X-Pro camera
Fujifilm Photowalk – Ann Arbor, MI – Fujifilm X-T4 ES – Aerochrome v2
How does it look 27 months later? With nearly zero promotion, Fujifilm released the X-T4 ES (“Extended Spectrum”) infrared camera over the summer. It flew completely under the radar! While few own it, whenever I show my X-T4 ES to people, it always gets a strong “wow” reaction. As far as I’m aware, B&H is the only camera store currently selling it, and you have to order either in-person or over the phone—it’s not available online right now. So far, I’ve published two Recipes for the Fujifilm X-T4 ES: Aerochrome v1 and Aerochrome v2. If Fujifilm were to do even a little promotion for this camera and made it easier to buy, it would sell decently well, I’m certain of it. Of my 10 ideas, this is the only one so far that has come to pass.
There are “rumors” circling about potential upcoming gear. I’m not sure what may or may not come, but a few of the items (or similar) in my list have been floated on websites like Fujirumors. Even though only one has become reality, it’s possible that in a year or two more can be checked off (I’m sure that some probably won’t ever happen). My top choices would be a new pancake lens, digital XPan, X200 (perhaps GFX instead of full-frame), X80, and a monochrome-only X100 or X-Pro. It’s hard to know what the future holds, but I do believe several “wow” products are in the works right now (including the GFX Eterna cinema camera that Fujifilm recently teased).
NY Photographer in IR – New York City, NY – Fujifilm X-T4 ES – Aerochrome v2
Of course, the most obvious “wow” product released by Fujifilm is the X100VI, the most in-demand camera by any brand ever. Fujifilm is getting closer to fulfilling all of the preorders and backorders… word on the street is that if you don’t mind the black version, you might be able to get it real soon without much of a wait. Since demand is higher for the silver model, that one will likely require more patience. This camera has the potential to become the most-sold model ever. It will be interesting to see if demand remains high over the next few years—I think it certainly could.
Now it’s your turn. Let me know in the comments which wow product you’d like to see Fujifilm make next! I’m pretty excited for what’s coming down the pike, whatever it might be. I think there will be plenty of upcoming announcements over the next couple of years to get especially excited for.
When I looked at Fuji X Weekly this morning, I immediately noticed a weird issue: some photos were not displaying the correct size. Some were, some were not. There didn’t seem to be any rhyme or reason to it. After some investigating, I discovered that the issue was only on Google Chrome, and not Safari or other browsers. And only on desktop, and not mobile. After a lot of frustration, and then some help from WordPress, I found the issue and fixed it.
Here’s what it looked like:
Left: Google Chrome / Right: Safari
First, let me apologize if your viewing experience was abnormal. It was normal before my weekend trip to Philadelphia (can’t wait to write about that), and very much not normal when I looked at the website this morning. I spent a few hours today trying to figure it out. I’m not exactly sure what changed, but the issue was clearly with Chrome—something that they adjusted recently, apparently. I’m a photographer and not an IT specialist, but sometimes I’ve got to put on my webmaster hat. I’ve been able to resolve most of the issues over the years, thanks to those who have shared their solutions publicly, have emailed me directly with a fix, and the WordPress help desk. If you ever see something on Fuji X Weekly that doesn’t look right, please let me know.
WordPress advised me that the specific issue affecting this website is how Chrome now handles lazy-loading images. For those who don’t know (I didn’t know until a few minutes ago), lazy loading is an optimization technique for loading pages faster and reducing memory. It’s good when it works, but obviously not good when it doesn’t. Google changed something with how Chrome lazily loads pictures, and my website was affected by this. Thankfully, someone figured out an easy fix.
If you are not sure where to do that, it’s found in Apparence -> Customize -> Additional CSS. I hope this information is helpful to someone. For the rest of you, sorry to take you through the weeds, and for the problem. Now that it’s fixed, I can get back to the things that I was hoping to get to today. Like lunch. And a second cup of coffee.
If you’re new to Fujifilm—or not new to Fujifilm but fairly new to Film Simulation Recipes, or just curious about your camera—and you’d like to take a deeper dive into the various Film Simulations, Fujifilm X-Photographer Nathalie Boucry has an excellent series on her blog called Colour Your Story that you need to check out and follow.
The way that this series works is that each Film Simulation gets two parts: an introduction and a deeper dive. The introduction article explains what that particular Film Simulation is and what it is good for. The sample pictures are with that film sim set with the default factory settings. The followup article, entitled Let’s take [it] to Another Level (or a similar sentiment), discusses some Recipes that use that film sim as the base. So far, Nathalie has two Film Simulations in the series complete: Provia and Velvia.
Definitely take a moment out of your day and read up on those four posts. The series is worth following—get on her mailing list (at the bottom of each article) so that you don’t miss out on the future installments. I’m looking forward to all of the rest—there are 20 film sims, so Nathalie undoubtably has her work cut out! A series like this takes a ton of effort to put together, so, if you appreciate it, be sure to leave her a comment on her page letting her know.
Autumn at Boulder Lake – Clinton, CT – Fujifilm X-T4 ES – Aerochrome v2
I’ve had several people inquire when the next Infrared Film Simulation Recipe for full-spectrum cameras (like the Fujifilm X-T4 ES) will drop. I mentioned that I had a few in the works and even shared some sample pictures of what those might look like. It’s been awhile, so when will those Recipes be made available?
The first IR Recipe that I published for my Fujifilm X-T4 ES (“Extended Spectrum”) camera was Aerochrome v1 in July. Shortly thereafter I made a discover that directly led to the Aerochrome v2 Recipe, which I published in August. So far, those are the only two that I’ve posted. The reason is simple: I like the Aerochrome v2 Recipe so much, that’s all I’ve been using. I can’t stop. I’ve waited so many years to get this look, and I just can’t set it aside. All of the photos in this article were captured with the Aerochrome v2 Recipe over the last few months.
Yellow Car – Provincetown, MA – Fujifilm X-T4 ES – Aerochrome v2
But I will get to work on more infrared Recipes for Fujifilm full spectrum cameras real soon. I’m excited to experiment and make new discoveries, and share it with you. This is a journey, and I just paused for a little while to appreciate the view. So stay tuned, more IR Recipes are coming soon.
For those not sure what all of this even means, just real quick: there’s light beyond the visible spectrum that digital cameras are sensitive to. A filter is added onto the sensor to block that light so that you get “normal” pictures. A full spectrum camera does not have an IR filter, which allows it to capture light beyond the visible spectrum, resulting in unusual colors (filters are used to control how the camera interacts with the light). Mostly, it requires one to send off their camera to a company that will do an invasive and expensive procedure to remove the filter; however, earlier this year Fujifilm briefly sold a full-spectrum IR camera (the X-T4 ES) in the U.S. (in the past they only made it available for “forensic, scientific, and cultural preservation applications” and not the general public). While it is no longer being sold directly from Fujifilm, I believe that you can still buy the Fujifilm X-T4 ES from B&H, but it requires a phone call or stopping by in person (can’t order from the internet). If you want one, I’d recommend inquiring sooner than later, because there are probably not very many copies available.
Anyway, below are photographs that I captured with the Aerochrome v2 Film Simulation Recipe on my Fujifilm X-T4 ES:
Well, apparently Ricoh will not be announcing a GR IV anytime soon, according to Pentax Rumors. Additionally, the supposed GR IV Monochrome camera will likely never happen.
When Fujirumors reported it last week, I suggested that the news should be taken with a grain of salt. It just didn’t make sense to me. Not because these cameras wouldn’t be massively successful or that I wouldn’t be personally interested, but because Pentax Rumors didn’t report it first, and the GR III and GR IIIx are selling very well, so there should be no eagerness from the brand to replace them.
Pentax doesn’t update their lineup as often as other manufacturers. I think that’s good, and that camera companies—including Fujifilm—discontinue models much too quickly. A normal production lifespan should be four-to-five years, then, when the next generation is released, it’s a notable refresh. With quickly advancing digital technology and stiff competition, it can be tough to wait that long, so maybe don’t listen to me; however, I think replacing cameras every two or three years (sometimes less) is just difficult to sustain and seemingly unnecessary.
I don’t believe there is any need for Ricoh to replace the GR III anytime soon, as long as they continue to offer Kaizen firmware updates to keep it fresh. Same for the Fujifilm models in the current lineup that are getting older, such as the X-T30 II, X-H2s, X-H2, and X-T5. There’s been talk within the community recently about successors, but there’s no need for Fujifilm to release them anytime soon. I would suggest 2026, personally, or maybe even 2027. That’s probably an unpopular opinion, but I’d like to see Fujifilm manufacture models for more than just a couple years before discontinuing them. I don’t mind that an X-Pro4 hasn’t been announced yet, but it’s too bad that the X-Pro3 was discontinued. Ditto for the X-E5 and X-E4. The X-E4 should still be being manufactured right now, since it was discontinued with such a large demand and long backorder list.
I think we reached a point awhile ago where we can keep our cameras for many years and they’re still excellent and not obsolete. Obviously that’s a tough position for manufacturers, because perhaps consumers aren’t buying as many copies since they’re waiting longer to upgrade. My opinion is that if camera makers design and release desirable models—maybe unconventional yet intriguing or exciting cameras—it will drive sales. The Ricoh GR III and Fujifilm X100VI are both excellent examples of this. Neither are cameras that you really need, but they’re both ones that a lot of people want. They are desirable because they’re fun, and not just soulless tools packed with the latest technical advances. Fujifilm—perhaps more than any brand—is good at making those types of cameras. It’s really fueled their success, and will continue to do so well into the future.
In just three days—Saturday,November 16th—is the Philadelphia photowalk! I will be co-leading this with Allan Ali, who brings excitement, energy, and fun, as well as expertise and talent. Allan is a local legend, and you will not want to miss this opportunity to photograph with us. We teamed up for a photowalk back in August, and it was truly great!
This photowalk, which will be through the historic and beautiful Old City, is in conjunction with Unique Photo as a part of their two day Camera Show. Even if you don’t join the photowalk, at least come to the Camera Show, because it will be completely worthwhile (and while you’re there, you might as well come along on the photowalk).
If you are in Philadelphia or even as far as New York City, I hope that you can join us. It’s from 10:15 AM to 12:15 PM, and will include a short classroom presentation (we’ll begin and end at Unique Photo in Philadelphia). The cost is $10 per person (but you get it back with a $10 token for in-store purchases), and you must preregister (click here). I hope to see you in Philadelphia very soon!
Fujifilm just announced that they are creating a GFX Eterna cinema camera to be released sometime in 2025.
When I was at Fujifilm’s Create With Us event in Austin back in September, they had a Fujinon Duvo HZK 25-1000mm f/2.8-5.0 Box Lens on display. For those who don’t know, this is a quarter-million-dollar broadcast lens, used for sporting events. The camera attached to the lens was a Sony.
Fujinon lenses are renown in the cinema and broadcast world, but Fujifilm doesn’t have a filmmaking camera. Actually, Harlem Fragments was filmed on an X-H2s. A number of short films and mini documentaries have been filmed on an X-H2s, too. But, setting that aside, a true pro cinema camera—something ESPN would use, or Universal Pictures—was missing. I recognized this in Austin, and mentioned to the sales rep that Fujifilm should develop a camera to go with the lens, instead of using a competitor’s model. I guess they were already pretty far along in development, but I had no idea.
I don’t anticipate many, if any, reading this will ever buy the GFX Eterna. Maybe a couple of you. I’m sure it will be very expensive. But if you are a broadcaster or filmmaker, perhaps this is something you’re excited for. I can imagine some IMAX pictures being filmed on this.
One last thing: kudos to whoever at Fujifilm named the camera. It’s brilliant. A monochrome-only X100 Acros or X-Pro Acros would be really cool, too. Just throwing that out there.
This article pits the Fujifilm X-T50 and Fujifilm X-T30 head-to-head on an autumn photowalk in Ann Arbor, Michigan. Just to warn you, this will likely be the most unfair camera comparison anywhere on the internet. Nonetheless, I hope that you find it worthwhile, or at least enjoyable.
Fujifilm introduced the X-T30 in February of 2019. It features a 26mp X-Trans IV sensor, and was Fujifilm’s mid-tier SLR-styled camera until it was replaced by the nearly identical X-T30 II in November of 2021. Fujifilm announced the X-T50 in May of this year. It features a 40mp X-Trans V sensor and IBIS, as well as the contentious Film Dial. While it is not the X-T30 II’s successor (I assume that means an X-T30 III is a possibility in the future), the two models are clearly in the same family. They are similar in size and design, but the X-T50 is slightly larger and heavier (to accommodate IBIS), with rounded corners and is more expensive. According to the spec sheets, the X-T50 is better in pretty much every aspect, but not necessarily by leaps and bounds. Overall, these two cameras are pretty similar for stills photography; however, for video, the X-T50 is the winner.
This last Saturday, Bryan Minear and I cohosted a photowalk in Ann Arbor in conjunction with PROCAM and Fujifilm. We had an excellent turnout: I counted 48 people, including myself and Bryan. The weather was nice—a nearly perfect crisp autumn morning—and the scenery beautiful. It was a massive success, and just a ton of fun. It was so great to meet those who came out!
One especially great aspect of this photowalk for me is that my seven-year-old daughter, Johanna, was able to join us. I gave her my Fujifilm X-T30 to photograph with, set with the Kodak Portra 400 v2 Film Simulation Recipe. I’ve let her use some of my old digicams before, but not a “nice” camera like the X-T30. I wasn’t sure how well she would do with it, but gave her a quick tutorial and let her have at it. Honestly, she stole the show.
Above left: Johanna with an X-T30, captured by me with an X-T50 using the Fujicolor PRO 160C Warm Recipe; Above right: me with an X-T50, captured by Bryan Minear with a GFX100S II.
I bet you can already see where this article is going. Yes, this totally unfair camera shootout is between myself with a Fujifilm X-T50 and Fujinon 27mm f/2.8 lens and my seven-year-old daughter with a Fujifilm X-T30 and TTArtisan 27mm f/2.8 lens. Even though I had the better gear, I had absolutely no chance of winning. Johanna—with an X-T30—won in a landslide. We’ll get to the pictures in just a moment.
The Fujifilm X-T30 has a few fewer film simulations and JPEG options than the X-T50, but it is still a very, very capable camera. Even in the hands of a child, it can capture excellent images. Between the two, I’ll grab the X-T50 every time; however, if I were trying to decide to buy an X-T50 or X-T30 II, that would be a much tougher decision—the X-T30 II is a better value, while the X-T50 is a little more capable. I don’t think you can go wrong either way. Between a used X-T30 and brand-new X-T30 II, I would lean towards the X-T30 II due to Classic Negative and other firmware upgrades.
Above, top-left: by Rickey White. Above, bottom-right: by Bryan Minear. Above, all others: by my wife, Amanda Roesch. Amanda used a Fujifilm X-T5 + Fujinon 56mm f/1.2 lens + Fujicolor Negative Recipe.
The reason why I declared Johanna the winner is because I’m her dad (she was always going to win… I never had a chance—all the dads out there understand), and also because young children are oftentimes good photographers. They are naturally curious and creative. They don’t think about all the “rules” and what they “shouldn’t” do; instead, they’re just having fun. Also, their perspective is so much different—quite literally, because they are smaller, but also figuratively—so it’s a completely different take from what most adults see—they notice things that others completely overlook. If you have a child, I definitely recommend allowing them to photograph with you sometimes. Don’t be afraid to let them borrow one of your cameras (I know, it’s a risk… my oldest son dropped and broke one of mine when he was little). Those experiences might be pivotal for them, and at the least it’s something you both will remember and cherish for many years.
Below are straight-out-of-camera JPEGs captured during the Ann Arbor photowalk by Johanna using a Fujifilm X-T30 and the Kodak Portra 400 v2 Recipe and by me using a Fujifilm X-T50 and the Film Dial Recipes.
I get asked fairly regularly which Film Simulation Recipes are the most popular. For me, this is a fascinating topic, but it’s definitely hard to know definitively. While I get a glimpse on social media, my best gauge is the Fuji X Weekly website statistics; specifically, which Recipe articles are viewed the most. I don’t collect any data on the Fuji X Weekly App, so that’s no help—although, if I did, it would likely offer the most accurate picture; however, it would still be impossible to know which Recipes people programmed into their Fujifilm cameras, or how often they used each. Perhaps a survey would be particularly useful, yet even it has its limitations. While certainly a flawed method, page-view website statics offer the best glimpse at which Film Simulation Recipes are the most popular, so that’s what I’m using for this article. These are simply the Top 25 most-viewed Recipes on the Fuji X Weekly website last month (October 2024).
These types of lists are usually pretty predictable. There are often a few surprises—there is always some movement—but from one month to the next, it’s mostly the same. This time, I was shocked. Just shocked. Yes, some were not all that surprising, but some were highly unexpected. For just the second time this year, Kodachrome 64 has dropped out of first place, and for the first time ever a Fuji X Weekly App Patron Early Access Recipe has reached #1. Also, this is the first time that a Monochrome-based Recipe has even made the list… in October, two of them cracked the Top 10, becoming the first B&W Recipes to rank higher than Kodak Tri-X 400 in a very long time.
Johnny’s BBQ – Nashville, TN – Fujifilm X100VI – Fujicolor Blue – by Jonathan Roesch
Those Recipes with Kodak brand names in the title—Kodachrome, Portra, Gold, Tri-X, T-Max, etc., etc.—are usually the most popular. Classic Chrome is the king of film simulations, as the majority of the most-viewed Recipes are based on that film simulation; however, the Number One Recipe this month is based on Classic Negative—only the second time that has happened this year.
Without any further delay, below are the most popular Recipes of last month!
Top 25 Most Popular Film Simulation Recipes of October 2024
This is an App Patron Early Access Recipe, which means that right now it is only available in the Fuji X Weekly App to Patron subscribers. Eventually it will be available free to everyone, but that might take awhile. This Recipe uses the Classic Negative film simulation, and was published only two weeks ago. It’s highly, highly surprising that it not only cracked the Top 10, but made it all the way to the top spot. Interestingly, it beat out #2 by a very large margin.
A Classic Chrome based Recipe for X-Trans IV cameras that is the long-time most popular Film Simulation Recipe for Fujifilm cameras. It’s rare that this one isn’t Number One, and I’d be surprised if it isn’t back on top next month.
Reggie’s Portra, a popular Classic Chrome based Recipe for X-Trans IV cameras, usually ranks high. Last time it was #2, and now it is #3. This is the most versatile of the Portra Recipes, and the most popular for portrait photography.
This is a new B&W Recipe for X-Trans IV & V cameras that was published about a month ago. Acros-based Recipes are the king of black-and-white, and Kodak Tri-X 400 is usually the only one to crack the Top 25. This one uses Monochrome+G, so it is quite surprising to find it ranked so high.
This is also a new B&W Recipe for X-Trans IV & V cameras that was published about a month ago. This one, too, uses the Monochrome+G film simulation. I was shocked to find both this one and the Hard Tone version above in the Top 10.
Vintage Kodachrome, which is based on Classic Chrome, is one of the older Film Simulation Recipes on Fuji X Weekly, and is compatible with X-Trans III cameras. It usually cracks the Top 15, and sometimes the Top 10. Last month it was #11.
It is probably unfair to include the Film Dial Recipes in this list because it is not one but 14 Recipes. Last month was the first time seeing it in the Top 25, and I was faced with the choice of included it (as unfair as that might be) or not. The Vibrant Arizona article is technically four Recipes, so there is a precedence for its inclusion. I think the sudden rise in interest in the Film Dial Recipes is due to three things: 1) people buying the X-T50, 2) the announcement of the X-M5 (which also has a Film Dial), and 3) people realizing that these Recipes can be used for a lot of other cameras, and not just those with the knob. In September it was ranked #7.
This is oftentimes the highest ranked Classic Negative based Recipe, but this month it is Number Two (if you don’t include Superia Negative from the Film Dial Recipe set). This particular version of Pacific Blues is compatible with X-Trans IV models, but there is also an X-Trans V version. It also rose one spot since last month.
This version of Kodak Portra 400 was commonly the third most popular Film Simulation Recipe on Fuji X Weekly for a long time; however, it has been slowly falling. Last month it ranked #9.
This is the long-time most popular B&W Recipe on Fuji X Weekly, although it places third this time (not including Neopan Negative in the Film Dial set). It’s based on the Acros film simulation, and has compatibility with X-Trans III, X-Trans IV, and X-Trans V models. It remains in the same position.
This is an Eterna-based Recipe for X-Trans V cameras; however, it’s simply an adaptation of the X-Trans IV version that has been around awhile. It also remains in the same position.
Reala Ace used to be the most popular Classic Negative Recipe, typically found in the Top 10, and sometimes even the Top 5 (and even once at #1!), but it has fallen quite far in the rankings, including four spots since last month. This Recipe is for X-Trans V cameras.
I published this Recipe, which uses Classic Chrome and has compatibility with both X-Trans IV and X-Trans V cameras, in April. It fell two spots since September.
Published in June, this is the highest-ranked Recipe that uses the Nostalgic Neg. film simulation (aside from Nostalgic Film in the Film Dial set). It also remains in the same position compared to last month.
Above: Aurora Borealis captured in Central Park NYC on an iPhone 13 using the Vibrant Color filter in RitchieCam.
I’m very proud of my iPhone camera app, called RitchieCam. But this last weekend I broke it, and I’m very sorry about that. For some of you, the app stopped working a couple days ago. But now it’s fixed! Let me explain what happened and why.
When Apple introduced the iPhone 16 and iOS 18 a couple of months ago, they included some new features. I wanted to incorporate those into RitchieCam so that you could take advantage of them. Whenever Apple introduces something new, that doesn’t mean that it is easily implemented into third-party apps. Sometimes they exclude it from even being available, and in order to include it one must take unconventional and roundabout paths. The volume button as a shutter release is one example of that: it was only fairly recently that Apple officially supported it for third party apps like RitchieCam, and so (until they did) it was quite crazy the programming necessary to make it work. Some things have been figured out, and some things haven’t. RitchieCam has a very small team working on it in their spare time, yet we’ve been able to do a heck-of-a-lot, all things considered. There’s a lot more that we’d like to do, and are currently working on.
Thankfully and amazingly—and really because of Sahand Nayebaziz, who is an incredibly talented app developer—we were able to get most of the new iPhone 16 and iOS 18 features added to RitchieCam. We finished it up late last week, submitted to Apple for approval, and over the weekend it went live. I was really excited, but then reports began to come in: the app keeps crashing and is unusable. Yikes! I’m very appreciative of all those who reported the problem.
The issue was actually very small, but it was a matter of finding and correcting it. It was related to iOS 17—if you were on iOS 18, you didn’t experience any issues; if you were on iOS 17, simply updating the iOS would clear it up. Some people hadn’t done that yet, and also some people have older devices not capable of updating to iOS 18. Those are the folks who experienced the problem, which essentially rendered the app useless—I apologize for the problem and inconvenience. We figured out the issue, got a new update built, submitted it to Apple, and yesterday afternoon it was approved and made available. If RitchieCam isn’t working on your device, make sure to update it right now.
Above: Various photos captured on an iPhone 13 using the RitchieCam app.
We didn’t find the problem while beta testing because all of our iPhones were updated to iOS 18. There’s a simulator that allows you to test the app on various devices and iOS versions, and it had worked well on it with no problems—the simulator didn’t catch the crash. Once we found an iPhone with iOS 17 to test it on, the problem was immediate and obvious. Figuring out why and resolving it was another issue, but we got it done. It’s now fixed, and RitchieCam should be working just fine for you (if you’ve updated it).
For iOS 18, one cool new feature is launching RitchieCam directly from the Lock Screen. It’s easy to setup, and makes accessing the app much quicker. If you have an iPhone 16, you can use the new Camera Control Button for various functions, such as exposure adjustments. This isn’t a major update, but hopefully these new features will be helpful to some of you. I don’t use RitchieCam for serious work (although people do use their iPhones for such, so it’s certainly possible…), but it’s very convenient for casual images that most likely will be sent in a text or posted to social media. In particular, I like to use it for the 65:24 XPan aspect ratio (something Fujifilm should include in their 40mp X-series cameras). RitchieCam is available for free in the App Store; become a Patron to unlock all of the features and filters, and to support future development.
This comes from Fujirumors, and not Pentax Rumors, so I’m not sure how much salt needs to be taken with it. On the one hand, Fujirumors has a reputation of accuracy; on the other hand, you’d expect it to break on Pentax Rumors first. One the one hand, the GR III series is five-years-old now (approaching six), so it’s pretty old for a still-in-production digital camera and very logical that an update is imminent; on the other hand, Ricoh has done a good job of keeping it fresh with firmware updates, and demand for this camera is still sky high. I don’t think Ricoh “needs” to release a GR IV, but it would sell like hotcakes if they did.
Why am I talking about this on Fuji X Weekly? For starters, I have Recipes for Ricoh GR cameras, so this is an excellent excuse for a shameless plug. If this camera does indeed come, I will buy it. If a B&W-only version comes later, I’ll buy that, too. GR cameras are great because they are so small. They’re more pocketable than Fujifilm, which makes them excellent for travel or everyday carry. I don’t think they’re as fun (or quite as good) as Fujifilm cameras, but for casual photography, they can still be quite fun (and good). Which brings me to this: Fujifilm should fast-track the long-overdue X70 successor, presumably called X80.
The X70 was Fujifilm’s closest competitor to the Ricoh GR. It has traditional tactile manual controls—one aspect of what makes Fujifilm special—and Fujifilm’s excellent Film Simulations. An X80 would be immensely popular, and its exclusion from the X-series lineup is a missed opportunity. I hope that it is in Fujifilm’s plans, and if it’s not, I would encourage them to add it to the plans as quickly as possible. Many of us are eager for an X70 successor. And also for a B&W-only camera (maybe called “Acros Edition”), perhaps in an X100 or X-Pro body.
For those who live in Ann Arbor—as well as the surrounding areas—be sure to join us. Detroit is right there. Toledo and Lansing aren’t too far. Grand Rapids, Cleveland, and Fort Wayne are a pretty far drive, but some people have traveled longer distances than that for the other photowalks—if it’s not too far for you, I’d love to meet you in person. If you think that you can join us, you will need to sign up (click here to register), but it’s quick and easy to do, and best of all FREE!
Afterwards, we will head over to PROCAM—about a 10-minute drive away—for some refreshments. It’s going to be a great time! If you are in the area, this is a don’t-miss opportunity—I hope to see you on Saturday morning!
