Half Moon Over Central Park – New York City, NY – Fujifilm X100VI – Kodak Gold Max 400 Expired
This new Film Simulation Recipe came about after someone shared with me some photographs they captured with a roll of long-expired Kodak Gold Max 400 film. Kodak introduced this color negative emulsion in 1987 under the name Kodacolor VR-G 400. Later, they renamed it GC 400, Gold 400, Ultra Gold 400, Gold Max 400, Max 400, Max Versatility 400, then Ultramax 400, which is still available today. Over the years the emulsion has been updated a few times, but it is still essentially a 1980’s Kodacolor film.
Even though the roll was long-expired, it looked pretty good. Sometimes expired film has a much different aesthetic than a fresh roll, and sometimes it’s only subtly different. In this case, it seemed more muted and grainy than Ultramax 400, and with a little different color cast, but overall not overtly divergent. The photographer did edit the scans a little, which I’m sure affected the outcome. I wasn’t able to perfectly match it, but I feel this was pretty close. I also found some examples of expired Kodak Gold Max 400 film online, and this Recipe seems to similarly match those images fairly well but not perfectly.
What I love about this Kodak Gold Max 400 Expired Recipe is that it has an obvious analog vibe. The pictures captured with it just seem film-like to me. You could probably convince some people that you didn’t use a digital camera. These photographs don’t look like typical camera-made JPEGs.
Sand Trail – White Sands NP, NM – Fujifilm X-T5 – Kodak Gold Max 400 Expired – Photo by Amanda Roesch
This Kodak Gold Max 400 Expired Film Simulation Recipe is compatible with all fifth-generation X-Trans cameras, which, as of this writing, are the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, and X-M5. You can use it on newer GFX cameras, too. I have a couple of photos at the bottom that were captured with a GFX100S II, and it seems pretty close to the X-Trans V rendering.
Film Simulation: Reala Ace Dynamic Range: DR400 Grain Effect: Strong, Large Color Chrome Effect: Strong Color Chrome FX Blue: Strong White Balance: 6700K, +1 Red & +4 Blue Highlight: -1.5 Shadow: +1.5 Color: -2 Sharpness: -2 High ISO NR: -4 Clarity: -3 ISO: Auto, up to ISO 6400 Exposure Compensation: +2/3 to +1 1/3 (typically)
Example photographs, all camera-made JPEGs captured using this Kodak Gold Max 400 Expired Film Simulation Recipe on a Fujifilm X100VI, X-T5 & X-S20:
Oh – New York City, NY – Fujifilm X100VI
Street Portrait – Philadelphia, PA – Fujifilm X100VI
Model Photography – Philadelphia, PA – Fujifilm X100VI
Two Ladies and a Dog – Philadelphia, PA – Fujifilm X100VI
Light on a Dark Building – Philadelphia, PA – Fujifilm X100VI
Pentax Photographer – Philadelphia, PA – Fujifilm X100VI
Bench Corner – Philadelphia, PA – Fujifilm X100VI
Three Story Home – North Bergen, NJ – Fujifilm X100VI
Alien Dunkin’ – Roswell, NM – Fujifilm X-S20 – Photo by Jonathan Roesch
Tractors is dumb – Tularosa, NM – Fujifilm X-S20 – Photo by Jonathan Roesch
Family Boating – Clinton, CT – Fujifilm X100VI
Three Leaves in the Water – Clinton, CT – Fujifilm X100VI
Flag on a Windy Day – Roswell, NM – Fujifilm X-S20 – Photo by Jonathan Roesch
Wood Fence – White Sands NP, NM – Fujifilm X-S20 – Photo by Jonathan Roesch
Christmas Sand – White Sands NP, NM – Fujifilm X-T5 – Photo by Amanda Roesch
Roesch Kids – White Sands NP, NM – Fujifilm X-T5 – Photo by Amanda Roesch
Dry Brush – White Sands NP, NM – Fujifilm X-T5 – Photo by Amanda Roesch
Fujifilm GFX100S II:
Yellow Brush, Pink Sand – White Sands NP, NM – Fujifilm GFX100S II
Brown Leaves – White Sands NP, NM – Fujifilm GFX100S II
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The main reason why I purchased a Fujifilm GFX100S II camera a couple of weeks ago was for XPan photography. For those who don’t know, XPan cameras were a joint venture between Hasselblad and Fujifilm in the late-1990’s through the mid-2000’s, right at the pinnacle of film. XPan models were interchangeable-lens rangefinder cameras that used approximately two frames of 35mm film to capture panoramic pictures in a 65:24 aspect ratio.
You can crop images from any model to the XPan ratio without much trouble, but composing it in-camera is different than doing it after-the-fact because you can better visualize the outcome. Also, I prefer straight-out-of-camera photography over sitting at a computer editing, but that’s just me. All GFX models, including the GFX100S II, have the 65:24 aspect ratio built-in; however, X-series cameras do not (in my opinion, Fujifilm should add the XPan ratio to all of their 40mp cameras via a firmware update). If you are serious about XPan photography and you use Fujifilm cameras, GFX is the preferable route.
Sand Wall – White Sands NP, NM – Fujifilm GFX100S II – Velvia Film
Since the 65:24 aspect ratio cuts out about half of the resolution, having a high-megapixel sensor is important. With that said, you can’t truly appreciate XPan when viewing on a computer or your phone. XPan from a GFX100S II isn’t going to look any more impressive than (for example) an XPan crop from a Fujifilm X-T10. These pictures need to be printed to be appreciated, and that’s my goal. I plan to print a couple of these to see what they look like, and if I create any in the future that are worthy, I hope to make some really large prints that are two-feet tall by five-feet-five-inches wide. For that, the 100mp sensor of the GFX100S II is essential.
All of these photographs, which were captured yesterday and the day before in New Mexico, were made using a Fujifilm GFX100S II camera with a Fujinon 80mm f/1.7 lens. These pictures are camera-made JPEGs using a few different Film Simulation Recipes. Over the coming days and weeks I’ll be testing various Recipes to see what works best on GFX, and I’ll be sure to share the results with you, so stay tuned! In the meantime, I hope that you enjoy these 10 XPan images.
Merry Christmas to you and your family! I hope that you are surrounded by love this holiday, and you create many warm memories …and photographs.
2024 has been an incredible year! It seems a bit surreal. I’ve told the story before, so forgive me for repeating it.
I started Fuji X Weekly in 2017, with the intention of writing one (or more) articles per week. Initially it was a journal or long-term review of the X100F, but it evolved into all things Fujifilm, with an emphasis on JPEG camera settings (Film Simulation Recipes). The website grew organically. In the early days I did literally nothing to promote it—people came by word of mouth, or they stumbled on it via Google. I’m always amazed how people found Fuji X Weekly back then.
Lightning Strikes Antelope Island – Fujifilm X100F – A photo from Day One of Fuji X Weekly
Eventually this website (and apps) became a full-time job, and I was faced with a decision: quit my day-job, or quit Fuji X Weekly. I could no longer do both. Even though I was not earning enough at that time to support my family with Fuji X Weekly profits, after much consideration and prayers, I took a leap of faith, and put in a two-week notice with my employer, leaving my job just before the holiday season, which was quite scary. That was three years ago.
I got a surprise phone call from Fujifilm back in January. They said that they wanted to work with me in 2024, but they didn’t yet know what that would mean exactly. I was super excited, but since people say all sorts of things, I didn’t count on it. I told my wife, “If it happens it happens, and if it doesn’t, that’s ok.”
NAB Photowalk Group 3– New York City, NY – Fujifilm X100VI – Nostalgic Americana
But very quickly things began to happen. First, they asked me to be a part of a film simulation project, which resulted in this webpage. Then they sent me a preproduction Fujifilm X-T50 to try prior to its announcement. I was invited to a Creator’s Retreat in the Catskill Mountains with a number of incredibly talented photographers and videographers, followed by a release event for the X-T50 on a rooftop in Manhattan. Fujifilm then asked me if I’d like to co-lead a series of photowalks over the summer, in Denver, San Diego, Nashville, and Philadelphia. They also asked me to co-lead two photowalks for their Create With Us event in Austin, and three at The NAB Show in New York. That was followed by a couple more photowalks: Ann Arbor, and back to Philadelphia. If someone had told me a year ago that all those things would happen in 2024, I would not have believed them.
I’m extremely grateful and honored that Fujifilm reached out to me, and brought me along for an incredible ride. Fuji X Weekly has been an amazing journey from the beginning, but 2024 was the best year yet. I’ve met hundred and hundreds of wonderful people (some of you reading this), and worked with unbelievably talented creators. Also, in October I launched a protective case for Fujifilm X100-series cameras in collaboration with Evergreen Cases. I don’t yet know what 2025 will bring—it could be even greater than 2024—but for right now, I’m appreciative for where I’m at on this journey. The view is good from right here, right now.
Thank you for being a part of all this! It’s because of you—the greatest community in all of photography—that any of these amazing things happened. You all are why Fuji X Weekly continues to exist. It’s truly an honor to be helpful in some way to your photography. I hope that you are having a very merry Christmas right now!
In a recent interview, Theo Georghiades, general manager of Fujifilm Imaging Solutions UK, told Amateur Photographerthat there is a possibility of a Fujifilm film camera coming in the future. Some have called this a “bombshell revelation”, but is it really?
Theo was asked, “Would Fujifilm ever consider launching a film camera again, especially if it had the retro look of an X100VI?”
He responded, “I’ve been with Fujifilm for 25 years, so have learned to never say never—but I don’t know. There is without doubt a massive resurgence in film as we see from film sales. Go down to the markets around Westminster in London and you can see the popularity of film cameras again. And it’s the same in Japan, as I found on a recent trip. As I say, I’ve learned to never, ever say never! However, any business needs to analyze the prospects for a long-term opportunity over a short-term fad.”
I’m not sure how some have interpreted this to mean Fujifilm is in development of a film camera (outside of Instax), but some have insinuated that. Others are taking a more pragmatic interpretation, that Fujifilm simply hasn’t shut the door on a film camera, which is probably the more accurate analysis.
My guess is that Theo was speaking off-the-cuff, and didn’t mean to make any official statements on this topic. In other words, a large grain of salt should be taken. Perhaps there has been water-cooler talk of the possibility, perhaps not even that. I think he is simply saying that Fujifilm does unexpected things sometimes, so you just never know what they might do in the future, but there are no current plans at this time.
If I were Fujifilm, this is what I would do: rerelease the Fujica Compact Deluxe. They already have the designs. Maybe modernize the light meter, but mostly it should stay the same. I’m sure it would sell well enough to justify manufacturing it. But time is of the essence, so if they want to do this, they should be quick about it. If they hesitate, the market for 35mm film cameras might decrease by the time it hits the shelves. You’ve got to ride the waves while they’re high and before they crash.
Fujifilm currently makes “digital film” cameras, which isn’t the same thing, but in some ways it’s better. In my opinion, the X-series bridges the gap between the positive aspects of both film and digital photography. It’s still apples-to-oranges, and I’m not suggesting otherwise, but there is enough crossover that it’s worth pointing out, and even celebrating. I have no idea whether or not Fujifilm will release a 35mm film camera, but I’m extremely happy with my X-series gear. Still, it would be really cool if they did make a brand-new film camera, so I hope they do.
Flowers & Fruit – Austin, TX – Fujifilm X100VI – Fujicolor Blue
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 10 most-viewed Classic Negative Recipes on the Fuji X Weekly website so far in 2024.
It’s close enough to the end of the year that there is unlikely to be much movement, if any, between now and January 1st, so I thought it would be a good time to begin looking at year-end statistics. When I share the Top 25 most popular Recipes of any given month, the results are pretty predictable: color Recipes dominate, especially those that mimic Kodak film stocks and use Classic Chrome. On the suggestion of a Fuji X Weekly reader, I’m going to share some Top 10 articles for Recipe categories where few are likely to crack the Top 25 overall. I started with B&W, followed that up with Fujicolor, then Eterna Recipes; X-Trans III was next; now we’ll look at Classic Negative based Recipes.
Two Boats – Clinton, CT – Fujifilm X-E4 – Pacific Blues
This list looks similar to Top 10 Fujicolor Recipes because many of those use the Classic Negative film simulation. In my mind, when I decided to do this one, I thought it would be a little more divergent. Since I had pretty much finished putting this together when I realized the similarities, I decided to publish this list anyways. I hope you don’t mind a little redundancy.
Without any further delay, below are the most popular Classic Negative Recipes of 2024!
Top 10 Most Popular Classic Negative Film Simulation Recipes of 2024
This is one of the most popular Recipes (even briefly #1) of 2024, so I wasn’t surprised in the least to see it at the peak of this list. It uses the Classic Negative film simulation and not the Reala Ace film sim, and is for X-Trans V cameras.
Pacific Blues used to be the highest ranked Classic Negative based Recipe until I published Reala Ace. This particular version of Pacific Blues is compatible with X-Trans IV models; you’ll find the X-Trans V version a couple spots further down.
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 is compatible with X-Trans V cameras, and is very new, published in late October.
Fujifilm released a new set of firmware updates, which they had promised would come before the end of the year: one for the X-T5, one for the X-T50, one for the X100VI, one for the X-S20, and one for the GFX100S II. This is simply an autofocus fix for the bug introduced earlier in the year that was partially fixed already, and should be fully fixed now. Unlike the firmware updates last month for the X-H2s, X-H2, and GFX100 II, this one doesn’t include F-Log2 C or some of the other improvements that were given to those cameras, only the AF fix. It’s possible those things might still come in a future firmware update, but I’m not sure.
I haven’t yet updated any of my cameras, because I always like to wait awhile—you never know if there will be some unexpected issue. For example, Sony famously released a firmware update earlier this year that cost their customers $700 to fix. A good rule of thumb is to wait a week or two to see if any issues arise. Most of the time there is not an issue, and I don’t suspect any problems with this one specifically, but since it does happen every once in awhile, it’s prudent to wait at least a few days, and if something major comes up, it should be well known by then.
I’m sure that you’ve read about the AF woes somewhere, or seen a YouTube video or two about it; however, in my opinion it has been largely overblown and misunderstood. Let me explain why.
First, most people weren’t affected. Some were, for sure, but not the majority; however, the large vocal outcry caused a bit of hysteria, which made it seem like a much bigger issue than it actually was—essentially, trolls took over the Fujifilm corner of the internet for awhile. A few different people told me something to the effect of, “I didn’t know my camera was broken until I saw it demonstrated on a YouTube video, and now I’m mad because I paid a lot of money for it.” It didn’t affect them personally and they would have never known without someone telling them, but since they did know, they were pissed. A lot of people got angry over something that had no negative implications for them personally, only the idea that it possibly could.
Second, Fujifilm’s AF can perform very different depending on the specific lenses used and the specific settings programmed, and if you are using lenses and/or settings that are not ideal for the specific situation, you might get less than ideal results. An example of this comes courtesy of Camera Conspiracies, as Kasey discovered that his prior criticisms of Fujifilm’s AF—including the bug—were at least partially user-error by him. I suspect that is true of a lot of the criticisms, but people tend to get offended when you suggest that the gear isn’t the primary problem. Perhaps something can be said of the intuitiveness of the AF system—there’s certainly room for improvement—however, a lot of the blame that was directed at the camera wasn’t fully the camera’s fault, but largely the lens and/or setting choices made by the one using it.
Third (and this is related to second), some people seem to want AF to automatically focus precisely as they wish it would without any input from the user. It’s like if you put your exposure triangle into full-auto, and then complained that it didn’t choose the specific aperture, shutter speed, or ISO that you wished it had. Autofocus doesn’t necessarily mean that you should set-and-forget it; like with the exposure triangle, a little control can go a long ways. After all, we’re photographers, not merely button pushers. I see people all of the time create wonderful images and videos with the gear that supposedly has sucky AF, and it isn’t a limiting factor for them (proving that it isn’t sucky after all). As Ansel Adams famously stated, “The single most important component of a camera is the twelve inches behind it.”
Fourth, I think some people have unrealistic expectations of how Fujifilm’s AF should perform, ignoring that the Canikony brands have been developing autofocus systems since the 1960’s and ’70’s, have significantly larger R&D budgets for it, and have even prioritized AF over image quality in recent years. Of course theirs is better, but that does not mean Fujifilm’s AF is bad, because it is not—far from it. If you could take any current Fujifilm model back in time 15 years, you’d shock the camera world with seemingly impossible technology. Photography has been around for nearly 200 years, and videography for over 135 years, and not just since the invention of our incredibly capable modern gear. People created amazing photos and videos in the past with their subpar gear (as compared to what is available today), so literally nothing should stop you from doing so with your superior gear. If something is stopping you, it is only you, and you have the power to change that.
Thankfully, Fujifilm’s AF has been fully fixed. Can it be improved? Sure, just like everything else, there is always room for improvement (there is no such thing as a perfect camera). Those who continue to moan about it are either haters, constant complainers, or trolls, or they are experiencing user-error and are blaming the gear instead of themselves. It’s beyond time for all that negativity to end—I’m sick of it, and I know a lot of other people are, too. Let’s get back to enjoying our gear, and creating awesome content with it.
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 10 most-viewed X-Trans III Recipes on the Fuji X Weekly website so far in 2024.
It’s close enough to the end of the year that there is unlikely to be much movement, if any, between now and January 1st, so I thought it would be a good time to begin looking at year-end statistics. When I share the Top 25 most popular Recipes of any given month, the results are pretty predictable: color Recipes dominate, especially those that mimic Kodak film stocks and use Classic Chrome. On the suggestion of a Fuji X Weekly reader, I’m going to share some Top 10 articles for Recipe categories where few are likely to crack the Top 25 overall. I started with B&W, followed that up with Fujicolor, then Eterna Recipes; now we’ll look at X-Trans III compatible Recipes.
Spring Wildflowers & Dead Wood– Buckeye, AZ – Fujifilm X-Pro2 – Provia Slide
These Film Simulation Recipes are compatible with all X-Trans III cameras—Fujifilm X-Pro2, X100F, X-E3, X-T2, X-T20 & X-H1—as well as the X-T3 and X-T30. The majority of people use Recipes on X-Trans IV and V cameras, but X-Trans III isn’t too far behind. Some of these Recipes do routinely crack the Top 25 list, but most of them do not.
Without any further delay, below are the most popular X-Trans III Recipes of 2024!
Top 10 Most Popular X-Trans III Film Simulation Recipes of 2024
This Classic Chrome based Recipe is for the Fujifilm X-T3 and X-T30, but is fully compatible with X-Trans III cameras because Color Chrome Effect is set to Off. This one usually cracks the Top 25.
The very first Film Simulation Recipe on Fuji X Weekly, unsurprisingly uses Classic Chrome as the base. Another Recipe that is commonly in the Top 25 list.
Over the years I have accumulated quite a collection of photography gear. I have cameras and lenses that I rarely—if ever—use. They’re on my shelf collecting dust, or packed away in a box. I’ve been meaning to get rid of some of these items, but I just never seem to get around to it.
The number one reason why I hold onto my old, unused gear is not because I want to keep it, but because I dislike the process of selling. Over the years I have used sites like Craigslist, eBay, Facebook Marketplace, and even Instagram Stories to sell my stuff, but it has rarely been an easy and smooth process. I’ve been ghosted more times than I can count, and even scammed a couple of times. It’s such a headache!
I want to be transparent upfront: MPB is the sponsor of this article. If you don’t know it yet, they are the largest global platform to buy, sell and trade used photo and video gear—each piece checked by hand before being MPB Approved. MPB asked me to create a series of articles sharing my honest opinion about using gear loaned from their platform (you can find the links at the bottom of this article).
A couple of weeks back, they asked me about testing the selling and trading process for myself—and since I’d been putting off selling my old gear to raise funds for a camera I had my eye on, I jumped at the suggestion to try (fingers crossed) an easier way. It is important to note that they didn’t give me any special treatment or pricing. So while I have purchased from MPB a couple of times in the past, this article is about my experience going through the sell and trade process as a normal customer for the first time. Free, fast, and fair is how they describe their instant quote process, so let’s put that to the test.
When you visit the MPB platform, you are presented with a path choice: “Shop” or “Sell/Trade”. When you click “Sell/Trade”, you are prompted to provide information about the gear you’re looking to sell—what exactly is it, and what is the condition it’s in (there’s even a quick guide if you’re not sure how). After that, you just select “Get Instant Quote”, provide some basic information (name, email, and optionally your phone number), and MPB presents you with a tentative offer. All quick, easy, and painless.
For my Fujifilm X-M1, since I was planning to trade, I added the TCL-X100 II lens to the Buying category, selected my desired cosmetic condition, and chose the specific one that I wanted to trade for. When I clicked “Get Instant Quote”, I was presented with a price for the X-M1 that was well above what I had anticipated being offered—I didn’t expect so much! I added some batteries and accessories to the trade, and still had ample cash leftover. The next step was to box up the camera, and ship it for free via FedEx. I should note that trading gear doesn’t increase or decrease the price of whatever you are buying or selling.
A few days later I received an email from MPB that my item was received. The next day another email came stating that my item had been inspected, and my quote updated. They reduced the amount they wanted to pay for it by a little and I could either accept or reject it. I had the option to reject the offer and get my gear returned for free if I wasn’t happy, but I accepted. It was still more than I had anticipated, and there was still cash leftover after the trade. I provided MPB with banking info, and two days later I was paid. Just yesterday, the TCL-X100 II, batteries, and accessories arrived in the mail, and I couldn’t be happier with the whole process.
Next, I went through the same process to sell my Fujinon 100-400mm lens and Canon 5DS R camera; however, the quote for these two items were both less than I had hoped for. I needed them gone fast, so I decided to send them in anyway. When MPB reviewed the lens and camera, they once again adjusted the quote, this time significantly increasing the value of the Canon DSLR. It was still less than I would have liked to have sold them for, but the overall increase made me feel a little better about it. I later learned they use MPB Re.Value—the world’s leading proprietary dynamic pricing engine for used cameragear with millions of data points—to provide real-time prices for buyers and sellers.
I was curious how much of a markup MPB would give my items (after all, they’ve got to earn a profit), so I found them on their website. The X-M1 has a markup of $149, which seems quite reasonable. The Fujinon 100-400mm has a markup of $339, and the Canon EOS 5DS R has a markup of $333, which leans in their favor. You could say that I left money on the table, had I sold these items myself instead of using MPB, but that’s assuming I would have been able to sell them for that price, and that I wouldn’t have had to pay shipping and other fees. Add to that the time and hassle of doing it, plus the risk of being scammed or worse, and I would say that selling to MPB was undoubtedly preferable.
After selling gear through MPB for the first time, I’ve learned that it’s a quick, easy, and painless process. While I would have liked to have received a little more for two of the three items that I sold, overall I am pleased with the outcome, and I will certainly use MPB again in the future.
My latest camera purchased arrived in the mail a few days ago: a Fujifilm GFX100S II. Along with the camera I also got a couple of lenses to go with it: Fujinon GF 80mm f/1.7 and GF 30mm f/3.5. This was, by far, the most money that I’ve ever spent on gear, and it was with some apprehensiveness that I clicked the Proceed with Purchase button. Let me explain why I bought it.
My first GFX experience was with the GFX 50S, which I was able to borrow for a couple of weeks in early 2021. It was a dream-come-true to try, but I was not convinced that it was something I wanted to own. Not only was it pretty far outside of my budget, but it was big, heavy, and slow, and didn’t provide any major advantages to my photography over the X-series. If I was given one I wouldn’t say no, but I wasn’t about to shell out many thousands of dollars for it.
The next GFX experience came earlier this year when Fujifilm invited me to a retreat in the Catskill Mountains of New York. Some photographers, including myself, were loaned preproduction Fujifilm X-T50‘s to try out, and some were loaned preproduction GFX100S II’s. While I didn’t get a chance to use one myself, I did get to see the amazing images that other photographers created with it, including Bryan Minear. I’ll never forget when Bryan and I got completely drenched on an early-morning photo outing in the rain.
A few days later Fujifilm had a rooftop launch party for the GFX100S II and X-T50 in New York City (above Foto Care), and myself and Bryan were enlisted to help. We were placed together at a touch-and-try station for the GF 500mm f/5.6 lens. I didn’t know much about the gear, so I wasn’t particularly helpful. I did get to touch-and-try very briefly, though, but not enough to form any sort of opinions of the gear. I met a number of interesting and talented people, and had an amazing time, so I’m extremely grateful and honored for the opportunity.
Most recently, when Bryan and I cohosted a photowalk in Ann Arbor last month, he let me try out his GFX100S II camera with the Fujinon 80mm f/1.7 lens attached. It was a beast, but also produced amazing images. It was that experience that pushed me over the edge to want one. Prior to this, I would have said that there’s no way I’m buying one, I can’t afford it. Instead, I began looking at what it would take to buy one. I had already began saving for the next camera purchase, so I was already partway along the path, but, you know, GFX is quite expensive.
It might seem like I just suddenly wanted one, like I was smitten with G.A.S., which is partially true. Actually, I’ve been thinking about it for some time now. Specifically, I have had an interest in creating 65:24 XPan panoramas, and the GFX cameras are especially excellent for that. I also want to explore square photographs, and GFX is quite good for that, too. My hope is to make large prints of these images, if I should capture any worthy of being printed.
Above: Me, as photographed by Bryan Minear using a Fujifilm GFX100S II & Fujinon 80mm f/1.7 with the XPan aspect ratio, in Ann Arbor, Michigan.
There’s also the benefit of figuring out which Film Simulation Recipes work best with the camera, and what modifications, if any, need to be considered. I haven’t made much headway with that just yet, but hopefully over the coming weeks I can publish some findings. I’ve had a number of requests for GFX Recipes, but, without any GFX gear, that’s tough to do. I should be able to make some big strides regarding this now that I have a GFX100S II in my hands.
I’m not a big fan of the heft, or the non-tactile controls, but the images are incredible! However, for everyday use, there’s no way that you can tell it’s GFX, and not X-series. In fact, I published a few pictures on Fuji X Weekly that were captured with the GFX100S II, and nobody noticed. You have to crop deeply and/or print very large to really appreciate it, I think. Those who truly “need” GFX are a small group, and I’m not one of them …yet, anyway. I’m making plans where I hope the GFX100S II proves to be a necessity for what I’m creating, so we’ll see if it does.
Above: Vultures circling a desert ridge; photo by Ritchie Roesch with a Fujifilm GFX100S II & Fujinon 80mm f/1.7 with the XPan aspect ratio and Kodachrome 64 Film Simulation Recipe.
I had to sell a couple of items to afford the camera (and to make room on the shelf for it). Even then, it was a stretch to pay for it. I had some trepidation when I ordered it, but I think it might eventually be worthwhile. Now I’ve just got to get it to the places I want to take it to—mostly, National Parks—in order to create the images that I imagine capturing with it.
I’ll try not to bombard you with GFX articles. I plan to keep this website primarily focused on X-series gear, and only sprinkled with with GFX content. But I can’t guarantee that. I might end up absolutely loving the camera, and speaking more about it than I initially intend. Or maybe it will mostly collect dust, as I choose smaller, lighter, more fun gear. Time will tell. But, for this first post, I will share with you some of my first pictures captured with the new camera.
I’ve received a bunch of feedback from Fujifilm photographers over the last few years about one specific thing, and I have never had a good answer to it. But just today I received a note from Fred Miranda with an excellent idea on how Fujifim could possibly fix the issue without too much trouble.
On some X-Trans IV and all X-Trans V cameras, the Custom Settings presets (often called C1-C7) save a lot more than IQ parameters. Focus settings, self timer settings, and even sound settings (and a whole lot more) must be programmed into the Custom Settings. The problem is that if you adjust some parameter because of the situation you are photographing in, the camera will forget this setting and restore whatever is saved into C1-C7 whenever the camera is powered off or goes to sleep.
One example is the focus mode on my Fujifilm X-E4. Since Fujifilm did not include an M/C/S switch, you have to set this within C1-C7. Since I mostly use autofocus lenses, this isn’t typically a problem, but whenever I use a manual focus lens, I need to set it to “M”. Whenever I power the camera Off and then On or change to a different C1-C7 Custom Settings preset, I have to set it back to “M” again. Otherwise, I must reprogram my Custom Settings to be “M” instead of “S” or “C”, and remember to change it back the next time I use an autofocus lens.
Another example is in situations with bright highlights (such as shooting into the sun), I prefer to use DR400 with the Reggie’s Portra Recipe, instead of DR-Auto, which will only choose DR100 or DR200. If I make this change and the camera goes to sleep, when I wake it up, it will be back at DR-Auto, unless I reprogrammed the Custom Settings preset with DR400 (which I’ll have to remember to change back).
There are probably a thousand different examples that I could give, and the specific ones that might annoy you the most might be different than what annoys me, but the larger point is that this is an annoyance for a lot of people. Some learn to “deal with it” (it is what it is) or sometimes they sell their X-Trans V model and return to their older camera. I think it is something that Fujifilm should address, and it might even be an easy fix.
The Custom Settings presets used to not behave this way—in fact, it doesn’t on my X-T30, X-T4 and X100V. C1-C7 used to be just for the IQ settings, which are the Film Simulation Recipe parameters. All the other settings—focus, sound, etc., etc.—were set within the menu. I think this worked well, except that “Base” was confusing (until you realize that it simply means the settings you are currently using). There are advantages and disadvantages to both concepts, so I don’t think simply going back to the old way is the answer. But the new process has some problems, for sure.
Fujifilm’s solution is Auto Update Custom Settings. If you Enable it, when you make a change, the camera will remember that change, and automatically adjust your C1-C7. However, one issue is that if you Enable Auto Update Custom Settings, your C1-C7 will most likely drift out of whack over time, and eventually not resemble what you programmed. This probably works for some, but it isn’t a good option for everyone. I always select Disable.
The proposed solution that Fred Miranda shared with me is a simple firmware update. In the Edit/Save Custom Settings menu, when you select (for example) C1, there are two empty lines: one above Edit/Check, and one below Edit Custom Name. Perhaps at the bottom Fujifilm could add Save IQ Settings Only, with the option to Enable or Disable. It could be default disabled (and, out of the box, the cameras would work the same as they do today), and enabled only if the user wants it to be enabled (what I would choose).
If you Enable Save IQ Settings Only, then all of the other options—AF/MF, Shooting Settings, Wrench, etc.—are greyed out when you program your C1-C7, as you won’t be able to set those within C1-C7. Whatever you have programmed into the Menu when no C1-C7 is selected (a.k.a. “None Selected” or, in the Q-Menu, “A/S/M/P”), is what those settings will be. Basically, it would make your C1-C7 function like it used to, and only be IQ (Recipe) settings.
What’s cool about this is that not only would it give you the choice, but it would give you the choice for each Custom Preset. You could Enable some, and Disable others. It gives you a lot more flexibility with how C1-C7 operates (make it work best for you). This seems like a fairly simple firmware update to create, so it shouldn’t require a lot of resources to implement. An easy fix, as they say, that should make everyone happy.
Now I don’t know if it would work with the PASM models, like the X-H2s, X-H2, X-S20, X-S10, or X-M5. The concept might need to be modified or completely nixed for those cameras, I’m not sure (I don’t own any, personally). But for the X-E4, X-T30 II, X-T5, X100VI, and X-T50, it should work like a charm. The X-T5, X-T50, and X100VI might be a good starting point. And it should definitely be implemented in future cameras—there’s plenty of time to bring this to whatever is in the pipeline.
I want to thank Fred for sharing this idea with me. I hope that Fujifilm reads this, and, if they do, takes it into consideration. This would improve the experience for many on the newer models, and I think it will prove itself worthwhile in the long run.
Back in April, Pergear announced a new lens: Pergear 25mm f/1.7. This is a compact lens that’s not quite pancake, but not far from it either. It’s a little larger than the Fujinon 27mm f/2.8, and a little smaller than the Fujinon 23mm f/2. I appreciate small gear, so I got this diminutive lens specifically to pair with my Fujifilm X-E4. The Pergear 25mm f/1.7 looks really good on the X-E4; it’s an aesthetic match to the retro-styled Fujifilm models, with the right amount of vintage-like charm. The 25mm focal-length is 37.5mm full-frame-equivalent, which is good for everyday walk-around photography.
It is a manual-focus lens, which means there’s no auto-focus capabilities. I learned photography on manual lenses, so I don’t mind them personally; however, if you don’t have much experience manually focusing, it will likely take you a little practice to feel comfortable with it. The focus ring is smooth on this lens. The minimum focus distance is about eight inches, which isn’t bad. The lens has 7 Elements in 5 Groups, and 10 blades. The filter thread size is 37mm. Also, there’s no communication with the camera.
The aperture ring has clicks, and steps in full stops—there are no intermediate apertures, such as f/3.5 or f/5, which is a bit unusual (although a long time ago this wasn’t odd at all). The maximum aperture is a bright f/1.7, but skips f/2 and goes straight for f/2.8. The minimum aperture is f/22; however, due to diffraction, f/22 should probably be avoided. The aperture ring has a good amount of stiffness, and the clicks obvious, meaning that you won’t accidentally change the aperture, and you can mentally keep track of the aperture adjustments without having to take your eye off the EVF.
The Pergear 25mm f/1.7 is a very different lens depending on the aperture. When wide open at f/1.7, center sharpness is sufficient but not impressive, and the corners are soft with some vignetting. It’s also prone to a hazy flare if there is a bright light source in front of you. This can give a cinematic or even atmospheric effect sometimes, and can be used creatively. Things improve notably as you stop down. By f/5.6 the technical flaws that are obvious at f/1.7 are nearly gone, and this lens can hold its own pretty well against many others. In other words, for a clinically clean lens, you will want to be in the f/5.6 to f/8 range, but for more interesting character, you’ll want to increase the aperture. Also, you can get some nice sunstars at f/11 and especially f/16. I feel like there is enough of a difference in outcome at f/1.7, f/2.8-f/4, f/5.6-f/8, and f/11-f/16, that you could almost compartmentalize those apertures for specific situations and desired picture aesthetics.
This lens retails for only $75, which is quite affordable. It seems well built and robust. There’s a lot to like about the Pergear 25mm f/1.7 lens, and it’s easy to overlook the shortcomings because it is so inexpensive. I’m very happy with it, personally, and plan to use it regularly on my Fujifilm X-E4.
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11th Avenue – New York City, NY – Fujifilm X100VI – SantaColor
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 10 most-viewed Eterna Recipes on the Fuji X Weekly website so far in 2024.
It’s close enough to the end of the year that there is unlikely to be much movement, if any, between now and January 1st, so I thought it would be a good time to begin looking at year-end statistics. When I share the Top 25 most popular Recipes of any given month, the results are pretty predictable: color Recipes dominate, especially those that mimic Kodak film stocks and use Classic Chrome. On the suggestion of a Fuji X Weekly reader, I’m going to share some Top 10 articles for Recipe categories where few are likely to crack the Top 25 overall. I started with B&W, followed that up with Fujicolor; now we’ll look at Recipes that use the Eterna film simulation.
Inspired by yesterday’s SOOC Live broadcast (if you missed it, you can watch it now), I decided that Eterna needed to be included in this project. In my opinion, it’s probably the most under appreciated film sim of them all. Perhaps that’s my fault, as I probably could have done more to demonstrate just how good it is. There’s a good chance that some of you have never even used an Eterna-based Recipe—if not, perhaps now is a good time.
I had a very good hunch that the X-Trans V version of CineStill 800T would rank #1, because it’s been routinely in the Top 25 ever since I published it in April. Beyond that, I was really unsure how this list would look. I expected both SantaColor and Cinematic Film to crack the Top 10, but to my surprise neither did. I count 30 Eterna-based Recipes in the Fuji X Weekly App, so obviously some had to be left out.
Without any further delay, below are the most popular Eterna Recipes of 2024!
Top 10 Most Popular Eterna Film Simulation Recipes of 2024
This is an adaptation of the X-Trans IV version (which you’ll find a little further down) for use on X-Trans V cameras. Like the film it is named after, this Recipe is specifically intended for nighttime photography.
This is one of my favorite Eterna-based Recipes. It’s an adaptation of the X-T3/X-T30 version (which you’ll find a little further down) for use on “newer” X-Trans IV models.
Vintage Color is an artist’s Recipe. It either works very well or not especially well, and should be used thoughtfully. It’s for X-Trans IV cameras; on X-Trans V, set Color Chrome FX Blue to Weak.
This Recipe can produce interesting results in the right light, but is definitely not for everyday use. I’m surprised to see it rank so high. It’s for use on X-Trans IV cameras; on X-Trans V, set Color Chrome FX Blue to Weak.
The season finale of SOOC Live is just two days away! Join Nathalie Boucry and myself on December 12th at 9:00 AM Pacific Time (noon Eastern), as we finish off Season 4 with what will surely be an epic broadcast. This one will be especially fun, so you’ll want to tune in if you’re able. Since these shows are interactive, your participation makes them better. I hope to see you this Thursday!
For those who don’t know, SOOC Liveis a (sometimes) monthly live YouTube broadcast where Nathalie Boucry and I discuss Film Simulation Recipes, give tips and tricks for achieving the results you want straight-out-of-camera, talk Fujifilm news, and answer your questions. Basically, we’re trying to help you master your camera, with a focus on simplifying your photographic workflow. This is a community event, helping each other along our photographic journeys.
Below is the upcoming show, so you can easily find it on Thursday (here is the direct link, in case you need it):
Manhattan from Pulaski Bridge – Fujifilm X-T50 – PRO Negative 160C
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 10 most-viewed Fujicolor Recipes on the Fuji X Weekly website so far in 2024.
It’s close enough to the end of the year that there is unlikely to be much movement, if any, between now and January 1st, so I thought it would be a good time to begin looking at year-end statistics. When I share the Top 25 most popular Recipes of any given month, the results are pretty predictable: color Recipes dominate, especially those that mimic Kodak film stocks and use Classic Chrome. On the suggestion of a Fuji X Weekly reader, I’m going to share some Top 10 articles for Recipe categories where few are likely to crack the Top 25 overall. I started with B&W; now we’ll look at Fujicolor-related Recipes.
Boats & Bridge – New York City, NY – Fujifilm X100VI – PRO Negative 160C
By Fujicolor, I mean Recipes that are (generally speaking) intended to mimic Fujicolor film stocks, or are named after a Fujifilm emulsions. I did this category last year, actually, and it was quite fascinating. Interestingly, the rankings have change pretty significantly year-over-year; however, I’m not too surprised by the results. I knew that Reala Ace would be Number One, Fujicolor Super HG v2 would be second, and PRO Negative 160C would be third. Beyond that, I wasn’t sure, and a couple inclusions (and exclusions) were a tad surprising.
Without any further delay, below are the most popular Fujicolor Recipes of 2024!
Top 10 Most Popular Fujicolor Film Simulation Recipes of 2024
This is one of the most popular Recipes (even briefly #1) of 2024, so I wasn’t surprised in the least to see it at the peak of this list. It uses the Classic Negative film simulation (and not the Real Ace film sim), and is for X-Trans V cameras.
A Classic Negative based Recipe that’s compatible with X-Trans V cameras (there’s also an X-Trans IV version). Month-to-month, this one typically ranks between 20th and 30th.
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 is compatible with X-Trans V cameras. It’s very new—published in late October—so its inclusion (and high ranking) is pretty shocking.
Last year, this Recipe was #1 on this list. It’s an older one that uses PRO Neg. Std, and is compatible with X-Trans III models, plus the X-T3 and X-T30.
This is the X-Trans V version of this Recipe (the X-Trans IV version is a little further down). It uses the Classic Negative film simulation. Last year it was ranked #10.
This Recipe uses Classic Negative and is for X-Trans IV models; however, there is an X-Trans V version that didn’t make this list. Last year, this Recipe was ranked #4.
Round Window – Pismo Beach, CA – Fujifilm X100V – Kodak Tri-X 400
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 10 most-viewed B&W Recipes on the Fuji X Weekly website so far in 2024.
It’s close enough to the end of the year that there is unlikely to be much movement, if any, between now and January 1st, so I thought it would be a good time to begin looking at year-end statistics. When I share the Top 25 most popular Recipes of any given month, the results are pretty predictable: color Recipes dominate, especially those that mimic Kodak film stocks and use Classic Chrome. On the suggestion of a Fuji X Weekly reader, I’m going to share some Top 10 articles for Recipe categories where few are likely to crack the Top 25 overall. I’m starting with black-and-white, and we’ll see where this all goes from here.
I knew that Kodak Tri-X 400 would be Number One. It’s far-and-away the most popular black-and-white Film Simulation Recipe for Fujifilm cameras, and is in the Top 15 overall. Second place is a distant second, and not close to cracking the Top 25. I really didn’t know how the others would rank, and I was quite surprised by some of them. Four of these use the Acros film simulation (I thought more would), and six use the Monochrome film simulation.
Without any further delay, below are the most popular B&W Recipes of 2024!
Top 10 Most Popular B&W Film Simulation Recipes of 2024
This is the long-time most popular B&W Recipe on Fuji X Weekly. It’s based on the Acros film simulation, and has compatibility with X-Trans III, X-Trans IV, and X-Trans V models.
This is the highest ranked Recipe that uses the Monochrome film simulation. It is compatible with X-Trans IV (except the X-T3/X-T30) and X-Trans V cameras.
Based on Acros, this was one of the very first Film Simulation Recipes published on Fuji X Weekly. It is compatible with X-Trans III cameras, plus the X-T3 and X-T30.
Another Monochrome-based Recipe, this one is compatible with the X-T3 and X-T30; for use on X-Trans III, simply ignore the settings that your camera doesn’t have.
Last but certainly not least is Kodak T-Max 400, which also uses the Monochrome film simulation. It has compatibility with X-Trans III, X-Trans IV, and X-Trans V models.
Cotton Candy Tree – Buckeye, AZ – Fujifilm X-T4 ES – Cotton Candy Chrome Recipe
This is a super fun Film Simulation Recipe for Fujifilm full spectrum cameras, like the Fujifilm X-T4 ES, which turns trees a soft pink. It’s not for “normal” cameras; you must have a full spectrum X-Trans IV or X-Trans V model, which requires an expensive and invasive procedure from a third-party vendor like LifePixel, Kolari Vision, or Spenser’s Camera. Otherwise, the Fujifilm X-T4 ES (“Extended Spectrum”) is a full spectrum camera (is sensitive to light outside the visible gamut) briefly offered by Fujifilm to the general public. As of this writing, 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—you can’t order it from the internet.
I’m pretty new to infrared photography, and I’m still learning and experimenting. Larry Adams, a Fuji X Weekly regular, kindly mailed to me a few filters to try out, and one of those—a QB2 blue filter—was used for this Cotton Candy Chrome Recipe. I’m not certain which brand the filter is (it doesn’t say), but here are some that I found online: JTSF, PMP, Nantong, Shanghai Longway, Tangsinuo. This is a fairly uncommon filter and that’s why none of the name brands make it, but it is used by some in the IR world. I have no idea which brand might be best. The other filters I used for this Recipe are Hoya G(XO) Yellow-Green filter and Tiffen Yellow 2 #8 filter. I don’t know if the order matters, but I have the Yellow filter closest to the lens, the Yellow-Green filter in the middle, and the QB2 furthest from the lens.
Union Pacific 1579 – Buckeye, AZ – Fujifilm X-T4 ES – Cotton Candy Chrome Recipe
Filters: Tiffen Yellow 2 #8, Hoya G(XO) Yellow-Green & QB2 Blue Film Simulation: Classic Negative Dynamic Range: DR200 Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome FX Blue: Off White Balance: Fluorescent 1, -9 Red & +6 Blue Highlight: -1.5 Shadow: -1.5 Color: +4 Sharpness: 0 High ISO NR: -4 Clarity: -2 ISO: Auto, up to ISO 6400 Exposure Compensation: 0 to +1/3 (typically)
Example photographs, all camera-made JPEGs captured using this Cotton Candy Chrome Film Simulation Recipe on my Fujifilm X-T4 ES:
Hazy Tree – Buckeye, AZ – Fujifilm X-T4 ES
Bougainvillea Branch – Buckeye, AZ – Fujifilm X-T4 ES
Closed Canopy – Buckeye, AZ – Fujifilm X-T4 ES
Mocha House, Candy Trees – Buckeye, AZ – Fujifilm X-T4 ES
Yellow Jacket – Buckeye, AZ – Fujifilm X-T4 ES
Shopping Cart – Buckeye, AZ – Fujifilm X-T4 ES
Curved Wall – Buckeye, AZ – Fujifilm X-T4 ES
Jackson – Buckeye, AZ – Fujifilm X-T4 ES
CVS/pharmacy – Buckeye, AZ – Fujifilm X-T4 ES
Mid Morning – Buckeye, AZ – Fujifilm X-T4 ES
Grain Hopper – Buckeye, AZ – Fujifilm X-T4 ES
Fruit Basket – Buckeye, AZ – Fujifilm X-T4 ES
Crocodile Trail – Goodyear, AZ – Fujifilm X-T4 ES
Library Night – Goodyear, AZ – Fujifilm X-T4 ES
Holiday Lights 1 – Goodyear, AZ – Fujifilm X-T4 ES
Holiday Lights 2 – Goodyear, AZ – Fujifilm X-T4 ES
Red Fountain – Goodyear, AZ – Fujifilm X-T4 ES
Civic Center – Goodyear, AZ – Fujifilm X-T4 ES
Swirl Abstract – Goodyear, AZ – Fujifilm X-T4 ES
Falling Starflake – Goodyear, AZ – Fujifilm X-T4 ES
Back in May, Teiichi Goto, Fujifilm President and CEO, in response to a question about their inventory situation and plan, stated, “The most important point is how much brand strength to create and how to maintain it. Therefore, it would be quite unfortunate to manufacture too much and lower the price. What Fujifilm has been trying to do for a long time is finally coming true now. We intend to drive the entire imaging business, including Instax, while concentrating on building brand strength and not reducing the value of the properties purchased by our customers.” When asked if the current inventory situation is normal, Mr. Goto replied, “Yes.”
A lot of people interpreted that to mean that Fujifilm is purposefully causing market shortages. But they’re wrong, and I’m growing a bit tired of seeing this myth perpetuated over and over. I addressed it once, back in July, making a strong case that Fujifilm is not purposefully creating market shortages, but is simply getting better at “Lean” production. Unfortunately, based on what I keep seeing online, I think it needs to be said again, so here we go.
First, you have to understand that Mr. Goto spoke those words in Japanese, and they were later translated into English. Translating isn’t as easy as Google makes it seem. These two languages are very different. Fujifilm, for a number of years, translated “Daylight” White Balance as “Fine” in English. It’s as much an art as it is a science, and it is quite easy to get wrong, even subtly—small misinterpretations can cause big misunderstandings. This article that I’m typing right now might not fully translate well into Japanese, and could perhaps be misunderstood in that language. With that perspective, I think it’s important to read Mr. Goto’s words with a bit of grace and with a grain of salt.
In order for someone to come to the conclusion that Mr. Goto’s intended communication was “purposefully create market shortages” one must have zero grace for translation errors, plus make a mental pretzel, because nowhere is that sentiment overtly stated, only vaguely implied. If you squint your eyes just right, it’s right there in-between the lines. Yet people go around stating it as fact. It’s not fact, it’s simply a misunderstanding.
Which brings me to the second point. You cannot understand what Fujifilm said without a basic understanding of the Lean Business Philosophy. If you don’t have that understanding, your local library or book store has an excellent selection on this topic, I’m sure. Just as a teaser, you can read this Harvard Business Review article, which gives a very brief synopsis of what the Lean strategy is. Like a lot of Japanese companies, Fujifilm operates under this philosophy, so understanding it will provide you with the context in which to best understand Mr. Goto’s words.
I have read a book or two on the topic. My interpretation of Teiichi Goto’s statement is this: – “Brand strength” = not overproducing, which devalues the products. – “Maintaining brand strength” = better forecasting future market trends, so as to not overproduce. – Overproducing is bad for both Fujifilm and Fujifilm’s customers. – Fujifilm has always strived to not overproduce products, but not very successfully; however, they’re getting better at it. – Getting better at not overproducing is a driving force for Fujifilm.
Now you might think, what’s so bad about overproducing? In the Lean Business Philosophy, overproducing—and overbuying, which is related—is a sin. It’s bad. It’s better to buy one too few parts than one too many. It’s better to produce one too few products than one too many. Overproducing and overbuying means you now have warehousing issues, which cause all sorts of headaches across multiple departments. In order to deal with that, the company will often sell the products at a nice discount in order to get it out of the warehouse. This is bad for the company, because they are likely taking a loss, and it’s bad for the consumer because it reduces the resell value of the product they spent a bunch of money on. Those looking for a bargain might desire overproduction, but the discounts come at a price.
In a perfect world, every company would manufacture just the right amount of every product, so that the demand would be perfectly met, and there would never be any over or under production. But, we don’t live in a perfect world. Demand is difficult to predict, and it is being predicted months and months in advance. It takes quite some time to secure all of the parts from various suppliers, assemble those parts into cameras, and get them onto store shelves. The camera that just came in stock at your local camera store likely began six months ago or more, as Fujifilm approached the various vendors to get the necessary parts to build it, and schedule the manufacturing to get it assembled. They predicted back in the summer that you would be buying the camera in December, and built it based on that prediction. If it was possible to make the exact number of a copies of all of their products to perfectly meet the demand, I’m 100% convinced that Fujifilm would do it. But, like The Price is Right, they don’t want to do that at the expense of going over (especially way over), which is the same as losing.
Fujifilm has guessed wrong many times in the past. Some cameras that were overproduced are the X-E3, X-H1, and X-T4. Those aren’t the only ones, but those are some recent examples. Fujifilm had to sell them at a discount, which reduced their resell value for those who purchased them new. It’s a lose-lose. So they’re working hard to not repeat that. It might mean the camera you want hasn’t been sitting on the shelf at your local camera store collecting dust as it is waiting to be sold, but that’s not a bad thing when you think about it.
But what about the never-available Fujifilm X100VI? That’s an extreme case. It’s not everyday that a camera goes viral, and no camera has ever gone as viral as the X100VI. It holds the record as the most preordered camera in the history of cameras, and the most in-demand camera of 2024, and probably ever. Nobody could have anticipated that, but people think they should have, and, despite manufacturing the X100VI at four-times the rate of the X100V, people accuse Fujifilm of purposefully producing too few in order to artificially inflate demand.
Let’s say that Fujifilm decided to increase production of the X100VI to 60,000 units per month (basically, doubling current numbers). It would take them months to acquire all the parts and get assembly scheduled, meaning that Fujifilm would be predicting that the global demand for the X100VI would be at least 60,000 units per month next summer. But let’s say the market flips between now and then, and demand for the X100VI plummets to only 10,000 units per month (which, incidentally, is closer to what the demand was for the X100V). Because Fujifilm has set into motion six months of 60,000 units, they will have over-manufactured 250,000 copies before the end of next year, a shocking number! Fujifilm has the tough position of trying to keep up with shifting demands while being careful not to overproduce, and predicting all of it months in advance.
Let’s cut Fujifilm a little slack, and have a bit of grace, as they navigate changing market conditions. I don’t envy them, as I’m sure it’s not easy. If Fujifilm is getting better at the Lean strategy, I think that’s good, and not something they should be criticized for. I’m all for maintaining brand strength, because it’s good for all of us.
Manhattan Skyline from Central Park – New York City, NY – Fujifilm X100VI – Texas Sun Recipe
This new Film Simulation Recipe—called Texas Sun—comes courtesy of Jay Ybarra (Instagram, X). I met Jay earlier this year in Denver, and also in Austin at Fujifilm’s Create With Us event. He’s a great guy, and it was an honor to team up with him this last summer. Both a talented photographer and videographer, there’s a pretty good chance you’ve seen some of his work before (even if you didn’t realize it), and I’m sure you will again.
Jay first shared this Recipe in a Reel that was published on Fujifilm’s Instagram page. We had previously discussed doing some sort of collaboration, so when I saw it I reached out to Jay and asked if I could publish his Recipe on Fuji X Weekly and in the App. He was kind to agree, and provided a little backstory not included in the Reel, plus a few pictures for the article. Thank you, Jay, for creating this Recipe and allowing me to share it!
Metallic Dalmatian – New York City, NY – Fujifilm X100VI – Texas Sun Recipe
For Texas Sun, Jay wanted something Portra-like, but with increased vibrancy. A warm and colorful aesthetic, with a Kodak color negative film vibe. He found that this Recipe does well in many situations, but especially in backlit sunlight. It also works well with a flash. It’s great for breathing life into boring midday light, and also for sunset and blue-hour situations.
There is one unique aspect of this Recipe: the 6500K White Balance is a starting point. Depending on the light, you might find it to be too warm, and you may need to adjust it down until you get the results you want. Perhaps you’ll use 6500K for one image, 6300K for another, and 6100K for another, if the higher Kelvin numbers are a tad too warm for the specific light situation you are photographing in. I’m more of a set-it-and-forget-it person, so I left it at 6500K for all of my pictures, and didn’t adjust it down.
Distillery – Nashville, TN – Fujifilm X100VI – Texas Sun Recipe – Photo by Jonathan Roesch
This Recipe is for fifth-generation Fujifilm X-Trans cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, and X-M5. You can also use it on some X-Trans IV models—Fujifilm X-T4, X-S10, X-E4, and X-T30 II—by setting Color Chrome FX Blue to Strong instead of Weak. You can use it on newer GFX models, too; however, it will likely render slightly differently (try it anyway).
Film Simulation: Classic Chrome Dynamic Range: DR200 Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome FX Blue: Weak White Balance: 6500K, +2 Red & -6 Blue Highlight: -2 Shadow: -0.5 Color:+4 Sharpness: -2 High ISO NR: -4 Clarity: 0 ISO: Auto, up to ISO 6400 Exposure Compensation: +2/3 to +1 (typically)
Example photographs, all camera-made JPEGs captured using this Texas Sun Film Simulation Recipe:
Beware – Bisbee, AZ – Fujifilm X100VI
Full Service – Bisbee, AZ – Fujifilm X100VI
Classic Steering Wheel – Bisbee, AZ – Fujifilm X100VI
Fujifilm X-H2s – Photo by Jay Ybarra
Fujifilm X-H2s – Photo by Jay Ybarra
Fujifilm X-H2s – Photo by Jay Ybarra
West Chelsea – New York City, NY – Fujifilm X100VI
Rise – New York City, NY – Fujifilm X100VI
Urban Alley – New York City, NY – Fujifilm X100VI
You like Jazz? – New York City, NY – Fujifilm X100VI
Find this Film Simulation Recipe and over 350 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
Purple Founders – Buckeye, AZ – Fujifilm X-T4 ES – PurpleChrome Recipe
One of the top three films that I’ve had requests to make a Film Simulation Recipe for is LomoChrome Purple, a unique color negative film released in 2013 (and updated at least once since) that has some infrared characteristics despite not being an infrared emulsion. On regular Fujifilm cameras, it’s not possibly to emulate the film straight-out-of-camera (it would require some extensive editing), but how about on a full-spectrum infrared model? Well, it’s still not quite possible (as far as I’ve so far discovered) to accurately mimic it, but you can get in the general neighborhood.
To be clear, this PurpleChrome Recipe is IR, which means that it’s for full-spectrum infrared cameras like the Fujifilm X-T4 ES, and not “normal” cameras. You must have a full-spectrum X-Trans IV or X-Trans V model, which requires an expensive and invasive procedure from a third-party vendor; otherwise, the X-T4 ES (“Extended Spectrum”) is a full-spectrum camera briefly offered by Fujifilm (it’s very difficult to find, but in my opinion totally worth owning)—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—you can’t order it from the internet.
Purple Tree – Buckeye, AZ – Fujifilm X-T4 ES – PurpleChrome Recipe
PurpleChrome is not my favorite infrared Recipe, but it can be fun for unique results. In the “right” situations it can be a convincing LomoChrome Purple facsimile, but much of the time it is divergent enough that it’s not going to fool anyone familiar with the film. It’s surprisingly decent sometimes for nighttime or indoor photography, but it’s great for turning vegetation false-color purple (for best results, use in sunny daylight situations). This Recipe requires two filters: Hoya G(XO) Yellow-Green filter and Tiffen Yellow 2 #8 filter. I don’t know if the order matters, but I have the Yellow filter closest to the lens, and the Yellow-Green filter furthest.
Filters: Hoya G(XO) Yellow-Green & Tiffen Yellow 2 #8 Film Simulation: Velvia Dynamic Range: DR200 Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome FX Blue: Strong White Balance: 4500K, -7 Red & +9 Blue Highlight: -0.5 Shadow: +4 Color: +4 Sharpness: 0 High ISO NR: -4 Clarity: 0 ISO: Auto, up to ISO 6400 Exposure Compensation: +2/3 to +1 (typically)
Example photographs, all camera-made JPEGs captured using this PurpleChrome Film Simulation Recipe on my Fujifilm X-T4 ES:
CVS Nights – Buckeye, AZ – Fujifilm X-T4 ES
Butter – Buckeye, AZ – Fujifilm X-T4 ES
Performance – Buckeye, AZ – Fujifilm X-T4 ES
Two Lemons – Buckeye, AZ – Fujifilm X-T4 ES
Fake Succulent on a Shelf – Buckeye, AZ – Fujifilm X-T4 ES
Infrared Bougainvillea – Buckeye, AZ – Fujifilm X-T4 ES
Pink Bougainvillea – Buckeye, AZ – Fujifilm X-T4 ES
V Tree – Buckeye, AZ – Fujifilm X-T4 ES
Purple Bougainvillea – Buckeye, AZ – Fujifilm X-T4 ES
Purple Leaves – Buckeye, AZ – Fujifilm X-T4 ES
Purple Palm – Buckeye, AZ – Fujifilm X-T4 ES
House & Purple Trees – Buckeye, AZ – Fujifilm X-T4 ES
Patriotic Horse – Litchfield Park, AZ – Fujifilm X-T4 ES
Crossroads – Litchfield Park, AZ – Fujifilm X-T4 ES
Don Bell Photographing – Philadelphia, PA – Fujifilm X100VI – Kodak Portra 400 v2
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 (November 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. It’s unusual for Kodachrome 64 to not be in the #1 position, and this marks the second month in a row (and third time this year) that it isn’t. Beyond that, there aren’t many surprises.
Two Boats – Clinton, CT – Fujifilm X-E4 – Pacific Blues
Those Recipes with Kodak brand names in the title—Kodachrome, Portra, Gold, Tri-X, 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 Reala Ace—the first time that has ever happened.
Without any further delay, below are the most popular Recipes of last month!
Top 25 Most Popular Film Simulation Recipes of November 2024
This is a new Recipe published on October 31st. It uses the Reala Ace film simulation as the base, which means it is compatible with X-Trans V cameras. I’m not surprised to see it make this list, but I’m pretty surprised that it is at the very top.
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; surprisingly, this is the second month in a row that it is ranked #2.
Reggie’s Portra, a popular Classic Chrome based Recipe for X-Trans IV cameras, usually ranks high. It’s position, along with the next three below, remain unchanged. This is the most versatile of the Portra Recipes, and the most popular for portrait photography.
Reala Ace is back in the Top 10! This was one of the most popular Recipes (even once #1), but then it fell down the list over the summer. It uses the Classic Negative film simulation (and not the Real Ace film sim), and is for X-Trans V cameras.
It is probably unfair to include the Film Dial Recipes in this list because it is not one Recipe, but 14. When it showed up in the Top 25, I was faced with the choice to 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. In October it was ranked #10.
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 was #16 last month.
This version of Kodak Portra 400, which is compatible with X-Trans IV cameras, was commonly the third most popular Film Simulation Recipe on Fuji X Weekly for a long time; however, now it is more typically found in the 10-15 range. Last month is was ranked #14.
For awhile this was the highest ranked Classic Negative based Recipe, but lately is has been 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 rose one spot since last month.
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 #9.
This is the long-time most popular B&W Recipe on Fuji X Weekly. It’s based on the Acros film simulation, and has compatibility with X-Trans III, X-Trans IV, and X-Trans V models. It fell one spot.
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 is compatible with X-Trans V cameras. Last month it was ranked all the way at the very top.
A Classic Negative based Recipe that’s compatible with X-Trans V cameras (there’s also an X-Trans IV version). This one typically either just makes the Top 25 or just misses it, and last month it just missed.
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 October.
This Recipe doesn’t usually crack the Top 25. Interestingly, is is the only one in this list that uses the Nostalgic Neg. film simulation (aside from Nostalgic Film in the Film Dial set).