Storage Sunset – North Charleston, SC – Fujifilm X-E4 – The Rockwell – Day 1
My kids had their spring break last week, and Amanda and I had decided to travel somewhere with the family while they were off from school. Although we had wanted to do a trip, we hadn’t made a decision regarding where we were going to go until a few weeks ago. The destination was a last minute decision. We had a few different places in mind, but something was holding us back from choosing one of them.
We didn’t throw darts at a map to decide, but a month ago we were not thinking South Carolina at all. Charleston just kind of came up out of nowhere in our consciousness near the beginning of March. Amanda had wanted to visit South Carolina ever since she did a report on the state in elementary school many years ago, but we never talked about going except for “maybe someday” types of comments. I didn’t know much at all about Charleston or South Carolina personally, but as I looked into it a couple of weeks before spring break, I was really intrigued by what I saw—we all were intrigued, I think, not just me. So we purchased some airline tickets, and less than two weeks later we were at 35,000 feet over El Paso en route to Charleston.
Even though spring break was from March 15th through the 23rd, we had some prior plans, so we couldn’t go exactly over the kids’ time off, and had to modify it a little. Thankfully, the schooling is flexible, and there were no issues with that aspect. As a bonus, flights were cheaper leaving Wednesday and returning Tuesday. It all just seemed to work out really well.
I wasn’t intending to write a travel series for this trip. Even when I got back home, my mind was on other things (such as completing and publishing the Universal Negative Recipe set). Now that nearly a week has gone by since returning back to Arizona, and I’ve had some time to sit on it, I decided that I should share our journey, in case some of you are also considering a trip to Charleston. Or maybe—like me—this city is not on your radar; however, you might just become intrigued as you learn more.
Day 1 — Wednesday, March 19th
Playing at the Playground – North Charleston, SC – Fujifilm X-E4 – Cinematic Film
We were very busy the days before the trip. All four kids were in The Sound of Music stage performance for the City of Goodyear. Johanna was Gretl von Trapp, while Joshua was Kurt. Joy was a nun and Jonathan was an Austrian. Some family had traveled from out-of-state to see it, and we were hosting until the day before our departure. We hurriedly completed last-minute errands and packed our bags. We got to bed around midnight. Then the alarm sounded at 2:45 am. It was time to get up so we could make our 6 am flight. Yikes!
This day is kind of a blur. We made it to the airport and through security without any issues, but we were definitely dragging. Once on the plane, we all tried to sleep, and I think we all did. We landed in Houston a few hours later, and changed planes. The connecting flight was in a different terminal, but aside from a lot of walking, it was pretty easy. We were still dragging, though. The flight from Houston to Charleston was fine, and we all tried to sleep a little more. This was a lot easier when I was in my 20’s.
We arrived in South Carolina, got our bags and rental car, and headed to our AirBnB, which was in North Charleston. The house was nice, but it’s proximity to Park Circle (a trendy neighborhood) was overstated on the listing, and maybe that’s why it was more affordable than the others in the area. Anyway, we made ourselves at home, maybe even took a short nap, and then it was dinnertime. At this point, the only thing we had eaten all day were the airplane snacks and some trail mix and granola bars we had brought with us.
After dinner, it was nearing sunset, so we found the park that is at the center of Park Circle, and let the kids run around and play for 30 minutes or so. There was a very nice and extensive playground for them to explore, and I can understand why it’s desirable for those with children to be near this location. I had grabbed my Fujifilm X-E4 with the Fujinon 27mm f/2.8 pancake before leaving the house. It’s such an easy camera to carry around, which makes it perfect for travel. I didn’t do much photography on this day, though. As the sun was disappearing, we were getting bit up by no-see-ums, so we called it good, and headed back to our AirBnB for the night.
Red Pole – North Charleston, SC – Fujifilm X-E4 – RedScale
Palm & Oak – North Charleston, SC – Fujifilm X-E4 – Redscale
Day 2 — Thursday, March 20th
Above the Fence – North Charleston, SC – Fujifilm X-T4 ES – Aerochrome v2
Due to the lack of sleep the day before, we decided to not set any alarms and just get rest—have an easy morning. So we slept in. And we were not yet used to the three-hour time difference, so by the time we got going for the day, the day was nearly half over. I suppose this was a recovery day of sorts.
While it was partly sunny in the late-morning and early-afternoon, it soon turned thick overcast and then poured rain for several hours, clearing out just after sunset. We explored Summerville a little, but the rain kept us mostly indoors. We had seen the forecast, so we didn’t make many plans for this day, figuring it best to wait until the weather was better to accomplish our agenda.
I got in a little photography, but not much. I used my Fujifilm GFX100S II with a Fujinon 80mm f/1.7 lens and my Fujifilm X-T4 ES (infrared) with a Fujinon 35mm f/2 lens around the house before the sun disappeared behind the clouds. After dinner, I grabbed a couple of snaps with my Fujifilm X-E4 and 27mm. Two days in, and the number of photographs I had created thus far could be counted on my fingers. I was a bit disappointed by that, but we were still early into the trip, and hadn’t really seen anything yet—the fun stuff was still upcoming.
Dried Plant Decor – North Charleston, SC – Fujifilm GFX100S II – Fujicolor Film
Library at Last Light – Goodyear, AZ – Fujifilm X100VI – Universal Negative Set – Elite Chrome Recipe
I made a mistake when I published the new Universal Negative set of 14 Recipes yesterday. On the website everything is correct; however, in the Fuji X Weekly App, I mistakenly said that the WB Shift should be -2 Blue when, in fact, it should be -5. So if you programmed this into your camera yesterday and you got the settings from the App (and not the website), your White Balance Shift is wrong. I fixed it in the App—so it is correct now—but for the last 21 hours it was wrong in the App.
I’m very sorry for making this mistake. I know it must be frustrating for those who programmed the wrong WB Shift into their camera, and it is my fault. I apologize for that. I’ll try to be a little more careful in the future to avoid repeating this issue. Sadly, it’s not the first time. Four years ago I made a similar mistake, only I had it wrong on the website and correct in the App, and it took a lot longer to realize the mistake and get it fixed. Hopefully, if it ever happens again, it will be at least four years in the future before it does. Obviously the goal is to learn from my mistake and not let it happen again. Again, I’m very sorry that this happened.
When Fujifilm released the X-T50 last year, it had a new feature: a Film Dial. In my pursuit of figuring out how to use it effectively, I created the Film Dial Recipe set, a group of 14 Recipes that are really just one “Universal Recipe” (set of settings) that work well with any of the 20 film simulations (I grouped all four Acros options together, as well as all four Monochrome; hence 14 Recipes and not 20). This technique makes the X-T50—and now the X-M5, which also has the Film Dial—more versatile than the other X-series cameras for the straight-out-of-camera photographer. At least so I thought.
As it turns out, this technique can be used on any Fujifilm camera, simply by assigning one of the customizable knobs, wheels, rings, or buttons to activate the film simulation menu. The X-S10 and X-S20 have an unmarked knob on top that are factory-default set for this purpose. On other cameras, the rear command dial (R-Dial in the Fn settings menu) can be set to activate the film simulation menu. On my Fujifilm X100VI, I programmed the Control Ring to adjust the film simulation. On one hand the Film Dial is preferable: you can see what the film simulation is set to just by looking at the camera, it can be adjusted with the camera powered off, and it won’t reset when the camera is powered on. On the other hand, the non-Film Dial cameras are preferable: you have quick access to all 20 film simulations, and not limited by the 12 slots found on the Film Dial. There are advantages and disadvantages to both, and I prefer the Film Dial personally. But the light bulb moment for me was realizing that the Film Dial Recipe can be used on many cameras, and not just those with the Film Dial—I use it regularly on several different models, including my X100VI, X-T5, and GFX100S II.
Fujifilm’s film simulations are good straight-out-of-the-box, but with some parameter adjustments, they can become great. To get the most out of the various film simulations, you need to make changes to the factory-default settings (a.k.a. use Film Simulation Recipes). However, the Film Dial becomes problematic when you do this because rarely do multiple film simulations look good with the same Recipe settings. Sometimes they do, such as with Kodak Portra 400 v2, Vintage Vibes, and Ferrania Solaris FG 400, which require the same exact settings (note: set Color Chrome FX Blue to Off on X-Trans V), but use three different film simulations: Classic Chrome, Classic Negative, and Eterna Bleach Bypass. Most of the time, however, whenever you use a different film sim than what the Recipe calls for, the results are less than spectacular, such as when Omar Gonzalez accidentally used Classic Chrome instead of Classic Negative with the Agfa Vista 100 Recipe. Creating a “Universal Recipe” like the Film Dial Recipe is not an easy task.
Not content with having just one “Universal Recipe”, I set out to create another. I’ve been working on this one for more than three months now, and I’m excited to share it with you. It can be used in conjunction with the Film Dial on the X-T50 and X-M5; however, it can also be used on any fifth-generation X-Trans camera or even the latest GFX models. I created this Recipe on my Fujifilm X100VI, and all of the photos below were made using that camera. Also, if you don’t want to use it as a “Universal Recipe” but you like the results of just one of them—such as Classic Negative (a.k.a. “Fujicolor Superia 200”) below—simply use that one standalone. Or pick your favorite three and use it in conjunction with the Film Simulation Bracket feature.
I wanted this new universal option, which I’m calling Universal Negative, to be different than the Film Dial Recipe set. I didn’t want to merely repackage a small adjustment to it; I wanted something significantly divergent, and maybe a tad more film-like. Hopefully that’s what I accomplished here. My plan is to have both this Universal Negative Recipe set and the Film Dial Recipe set programmed into at least one of my cameras (right now it’s my X100VI), which really just opens up the opportunity to achieve various looks in-camera. It’s kind of like having C1-C35, instead of just C1-C7. While this is intended for fifth-generation models (currently: X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, and X-M5), it can also be used on X-Trans IV (except the X-T3 and X-T30); however, blue will render slightly less deeply on Classic Chrome, Classic Negative, Eterna, and Eterna Bleach Bypass, and some film sims won’t be available.
Film Simulation: Any (See Below) Dynamic Range: DR400 Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome FX Blue: Strong White Balance: 4000K, 0 Red & -5 Blue Highlight: 0 Shadow: -2 Color: -2 Sharpness: -2 High ISO NR: -4 Clarity: 0 ISO: Auto, up to ISO 6400 Exposure Compensation: -1/3 to +2/3 (typically)
Additionally, for Acros and Monochrome, set Monochromatic Color to WC 0 & MG 0 (a.k.a. Off). Also, Color will be disabled for Acros, Monochrome, and Sepia. For Eterna and Acros, ISO can be up to ISO 12800.
Provia/STD — “Universal Provia”
This “Universal Provia” Recipe doesn’t much resemble real Provia film, but that doesn’t mean it doesn’t produce an appealing aesthetic. It is true-to-life with a slight analog vibe, perhaps reminiscent of a Fujicolor Crystal Archive print. It’s kind of a Goldilocks Recipe—not too vibrant or muted, not too contrasty or flat, not too warm or cool. For best results, use in sunny daylight; however, it can do well in shade, indoor natural light, and even blue-hour with artificial light.
Velvia/Vivid — “Velvia 100F”
Velvia was the go-to film for vibrant landscape photography. If you wanted the colors to pop, Velvia 50 slide film is what you’d want to use. There were multiple versions of Velvia, and Velvia 100F (not to be confused with Velvia 100) was the least saturated of them all. This “Velvia 100F” Recipe isn’t strictly modeled after the emulsion, but it is in the ballpark, and close enough to name this after the film. This is an excellent option for colorful pictures that are not over-the-top vibrant. Great for sunny daylight landscapes, golden hour, sunrise/sunset, and even some nighttime situations.
Astia/Soft — “Indoor Astia”
This “Indoor Astia” Recipe is my favorite of all these for indoor natural light photography. It’s also good for sunny daylight, dreary overcast, and nighttime pictures. While this Recipe is more similar to actual Astia 100F film than the film simulation is when set to the factory default settings, it’s not necessarily a good match for the emulsion.
Classic Chrome — “Elite Chrome”
Elite Chrome was Kodak’s consumer-grade version of Ektachrome color slide film, produced in the late-1990’s and early-2000’s. While this “Elite Chrome” Recipe wasn’t modeled after the emulsion, surprisingly it does resemble Elite Chrome 100 film to a degree. For best results, use in sunny daylight; however, it does do well in overcast and blue hour light.
Reala Ace — “Retro Negative”
Reala Ace is Fujifilm’s newest film simulation. It’s purportedly based on Reala film, but it’s not a very close replication of that emulsion, which is in the Superia line, and more similar to Classic Negative. Instead, Reala Ace is nearer to the Fujicolor PRO 160 line, and shares similarities with PRO Neg. Std and PRO Neg. Hi. Reala Ace probably should have been named PRO Neg. C, since it is most similar to Fujicolor PRO 160C film. Of the three “PRO Neg.” film sims, Reala Ace is my personal favorite. This “Retro Negative” Recipe is reminiscent of color negative film from the 1980’s and ’90’s, and might even remind you of some photos printed in magazines from that time frame. I found it is quite excellent for golden hour and blue hour photography; however, it’s good for a lot of different subjects and situations, including rainy days, natural light indoors, and portrait photography.
PRO Neg. Hi — “Fuji Negative”
This “Fuji Negative” Recipe is generally similar to various Fujicolor negative films, without mimicking any one specifically. This is probably my favorite of this group for overcast light, but it also does well in sunny daylight and blue hour.
PRO Neg. Std — “Pulled Negative”
Pulling film means to overexpose a little, then reduce the development time to compensate. The results are lower contrast photos with less pop. You could consider this “Pulled Negative” Recipe a one-stop pulled version of the “Fuji Negative” Recipe above. This Recipe is one of the best of this group for artificial light situations, such as nighttime and indoors.
Classic Negative — “Fujicolor Superia 200”
This “Fujicolor Superia 200” Recipe is probably my favorite of this group. Inadvertently, it’s reminiscent of Fujicolor Superia 200 color negative film, which was introduced in 1998 and discontinued in 2017. I especially like this Recipe for indoor natural and artificial light situations; however, it’s good for many subjects and light scenarios.
Nostalgic Neg. – “Americana Film”
Nostalgic Neg. is the second most recent addition to the film simulation lineup, and is modeled after American New Color images from the 1970’s. The Nostalgic Neg. film simulation has a strong Kodak aesthetic, particularly photographic prints from five decades ago. This is the warmest film sim, which means that this “Americana Film” Recipe is the warmest of this group. It’s great for portraits or any situation where you want a retro rendering.
Eterna/Cinema — “Eterna Film”
This “Eterna Film” Recipe is the second lowest saturated and least contrasty of all the color options in this series. It has a lovely soft cinematic quality that is especially great for taming high-contrast scenes; however, it has a limited use-case where it does well. I had trouble finding scenarios where it was the most appropriate option for the situation, but occasionally I did.
Eterna Bleach Bypass — “Chrome City”
Eterna Bleach Bypass has the lowest saturation and highest contrast of all of the film simulations. Bleach bypass is a development technique where the bleach step is reduced or eliminated, resulting in a high-contrast, low-saturation image that almost appears like a B&W picture over a color picture. It can be used in still photography, but is more commonly found in motion pictures (think Saving Private Ryan). This “Chrome City” Recipe is reminiscent of LomoChrome Metropolis film, which is an emulsion by Lomography that mimics the aesthetic of the bleach bypass technique. The results from this Recipe can be spectacular, and it’s one of my favorites from this group; however, it’s definitely not for every subject or situation.
Fujifilm introduced Neopan Acros black-and-white negative film back in 1952. Neopan Acros came in four versions: ISO 100, ISO 400, ISO 1600, plus an ISO 400 version for C41 development that was actually repackaged Ilford XP2 Super 400. Neopan Acros was briefly discontinued in 2018, and reintroduced in 2019 as Neopan Acros 100 II. Curiously, the new version is actually manufactured by Harman (the parent company of Ilford), although it behaves quite similarly to the original.
Typically, I prefer contrasty black-and-white pictures; however, this “Acros Negative” Recipe is fairly low-contrast. It has to be used thoughtfully, or else the pictures will look slightly muddy. The Acros filter options (+Y, +R, +G) are your friend, and this Recipe thrives on high-contrast scenes. In the right situations, the results can be wonderful. For grainer pictures, use higher ISOs, as the Acros film sim has built-in Grain that increases with the ISO. If I could only pick one Acros option for the “Acros Negative” Recipe, I’d go with Acros+R.
The Monochrome film simulation is simply Provia with the color turned off. It was the standard B&W film sim until the introduction of Acros on X-Trans III. Generally speaking, I like Acros much more than Monochrome, as Acros has more of an analog feel to it; however, Monochrome does have a slightly harsher tonality, so there are times that the Monochrome film simulation could be preferable, and you might choose this “B&W Negative” Recipe. Similar to the “Acros Negative” Recipe above, this one thrives in high contrast light, and the filter options (+Y, +R, +G) are your friends.
Sepia — “B&W Sepia”
Last and least is Sepia. This film simulation has been around for a long time, but very few use it. If Fujifilm discontinued it, most probably wouldn’t even notice. Sepia is a darkroom technique where you bathe B&W prints in a chemical for archival and artistic purposes. Most commonly, Sepia baths are quick, and the toning subtle; however, the prints can be left in longer, resulting in a pronounced reddish/brown tone (this film simulation replicates that), which was popular a hundred or more years ago. For a more subtle effect, simply use either “Acros Negative” or “Monochrome Negative” with Monochromatic Color set to WC +2 MG -2. Most likely you’ll skip this one, but if you’re looking for something different, maybe give it a try.
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This is a one-year photo-a-day project called 52 Weeks of Photography. Even though it is a year-long undertaking, I’m taking it one week at a time, because it’s a little easier to manage many small blocks than one large chunk. This is the 13th week, so the 13th set of seven images, which means that I’m 25% finished. Wow, time flies!
The reason why I’m doing this 365 Day project is because I noticed some gaps in-between my images last year. I didn’t pick up my cameras daily. On several occasions, four or five days passed by without a single picture created. Twice in 2024, I skipped a whole week. I want to rectify this, and get back into the habit of daily photography. I also want to elevate the quality of my craft in 2025, and am hoping that this will help.
Sailer on Sumter – Charleston, SC – Fujifilm GFX100S II & 80mm f/1.7 – Kodak Tri-X 400
The plan is to capture a year’s worth of notable images, either personally or artistically. Ansel Adams famously stated, “Twelve significant photographs in any one year is a good crop.” It’s important to keep expectations realistic, but I’m also trying to avoid thoughtless snapshots just to fulfill the day’s requirement. I want to push myself to be better, and hopefully that will happen. Not every photo will be great—in fact, most won’t—but I hope they are all at least decent enough to be shared without embarrassment. And maybe when the whole project is complete, there will be 12 significant pictures (out of the 365) that I’m particularly proud of.
Because it was my kids’ spring break, I spent the majority of this week in Charleston, South Carolina, which is an incredible city! I had no idea. It wasn’t on my radar, but I’m so glad that we visited. I’ll probably publish a series of articles that better details the trip, for those who might be interested. Anyway, when you travel, photographing every day is easy, so I had no problems completing this week’s assignment.
Without further ado, below are the 13th set of seven pictures from this 52 Weeks of Photography project.
Tuesday, March 18th, 2025
Sunshine on Bougainvillea – Buckeye, AZ – Fujifilm X70 – Pro Film
Wednesday, March 19th, 2025
Storage Sunset – North Charleston, SC – Fujifilm X-E4 & 27mm f/2.8 – The Rockwell
Thursday, March 20th, 2025
Above the Fence – North Charleston, SC – Fujifilm X-T4 ES & 35mm f/2 – Aerochrome v2
White Bridge across Pond – Charleston, SC – Fujifilm X-E4 & Fujinon 27mm – Pacific Blues
It’s better to invest your money in photographic experiences rather than new camera gear. Consider where you could go with the money that the new camera or lens will cost, and how much fun you might have wherever “there” is. I’m not saying never buy new gear, only that there’s no need to get every new thing that comes out, or right away when it is announced. While I have on occasion regretted a certain gear purchase, I’ve never once regretted traveling somewhere for photography.
A few days ago Fujifilm announced the GFX100RF, which I would love to own. Because it is so small and lightweight, I think it’s actually an ideal camera for a photographic project I started late last year, which will take place over a long period of time. This entails large panoramic prints of (hopefully) amazing landscapes, so you can probably understand how this particular camera might seem ideal. In anticipation of the announcement, and the excitement of announcement day, I had a lot of G.A.S. (“Gear Acquisition Syndrome”) and F.O.M.O. (“Fear of Missing Out”). After all, this is something that I really want, and arguably need.
Three Beach Umbrellas – Folly Beach, SC – Fujifilm X-E4 & Fujinon 27mm – Pacific Blues
Knowing that this camera was on the horizon, and knowing that I would have G.A.S. and F.O.M.O., I could have stretched the budget and put in my preorder purchase last week. Technically, I had the money. You see, my wife and I had been planning to take a trip over the kids’ spring break, and we wanted to take the family to someplace we’d never been. When things were becoming a bit more clear what the upcoming camera was going to be, we had a discussion about making the trip shorter and more local so that I could buy the new GFX. We hadn’t purchased any airline tickets yet or made hotel reservations, so it would have been easy. Instead, we decided to hold off on the gear, and use the money to fly to Charleston, South Carolina instead. We just arrived back in Arizona yesterday.
I had no idea just how cool and photogenic Charleston is. It was not a city on my radar. My wife had wanted to visit for quite awhile (since she did a research project on South Carolina in school many years ago), so we purchased airline tickets and found accommodations. We spent the money that we could have used to buy a new camera on an epic cross-country trip. It was amazing! I have zero regrets. It is quite obviously better to invest in experiences than new gear, and I’m quite happy that we chose to travel.
With that said, I feel even more strongly that the Fujifilm GFX100RF is a camera that I will eventually buy. It was such a pain to haul my GFX100S II, plus 80mm f/1.7 and 30mm f/3.5 lenses, through airport terminals and across town as we explored the city. My Fujifilm X-E4 with the 27mm f/2.8 pancake lens was a much better option for travel photography because it is so compact and lightweight. Unfortunately, that camera isn’t going to cut it for my panoramic project, but for general travel photography, it is quite excellent. I only wish there were a couple more pancake lenses available for it. My Fujifilm X100VI would have been great, too; however, I left it at home this time because I had just used it extensively over the last couple of months for a different project, so I wanted to give it a little rest.
Of course, I also brought along my Fujifilm X-T4 ES full-spectrum infrared camera. Of all the cameras I currently own, this is the one I’m having the most fun with right now. I’ve been considering making a book someday with the photos created using the Aerochrome v2 Recipe, but I have a long ways to go before I have a sufficient number of good images worthy of being published in a book. Without taking this camera on various travel experiences, such a book would be unlikely, or at least much less interesting.
Speaking of photographic experiences, I will be co-leading a photowalk with Ryan Faer and Lucas White in downtown Phoenix, Arizona, on Friday, April 4th, in partnership with Nuzira. The exact time and meetup location is TBD, but we will be photographing at the First Friday Art Walk, so that should give you an idea of the location and time (we will probably meet about 6 PM). If you live in the Phoenix area and want an excuse to get out with your camera, be sure to join us! Don’t forget to sign up (click here).
While you are signing up for that photowalk, consider joining Nuzira and my friend Christopher Berry on Saturday, April 5th, for a portrait lighting class at the Nuzira store in Scottsdale. If you have an interest in studio lighting or portrait photography, this is a class you’ll want to attend. The sign up form is on the same page as the photowalk.
Fujifilm just announced this morning the brand-new GFX100RF, the first ever fixed-lens compact digital medium-format camera. This new camera uses the same 100mp sensor found in the GFX100 II and GFX100S II, and has a built-in 35mm (28mm full-frame-equivalent, or 18mm APS-C-equivalent) f/4 lens. All for only $4,899! There are several things that make this new camera special—plus a couple that don’t—so let’s dive right in.
The Fujifilm GFX100RF is the most portable digital medium-format camera ever made. It’s the most lightweight digital medium-format camera/lens combination, and it’s the smallest GFX. It’s probably the smallest medium-format, but it depends on how exactly you define smallest. The Hasselblad 907X (plus CFV 100C back) with the 28mm f/4 lens was previously considered the smallest and lightest, and while it might arguably be the “smallest” (it is less wide, but deeper), it is no longer the lightest. For portability, the GFX100RF is the best option in medium-format, making it a compelling camera for travel or even everyday carry.
A few months ago I purchased my first GFX camera, the GFX100S II, with the specific purpose of creating XPan panoramic images that I want to print large. One problem with GFX in general is the size and heft of the gear, which do not lend themselves well for lugging all over the place. Of course, Ansel Adams and the great photographers of the past would laugh at that. While I much prefer smaller gear for travel, I “need” to bring my GFX100S II for the XPan pictures. The 40mp sensor in my X-series cameras produces plenty of resolution for the XPan crop, but it is not quite enough for how large I hope to print. The GFX100RF would be perfect for this, except that I just dropped a ton of money on a GFX camera and a couple lenses back in December.
Which brings me to point number two: the GFX100RF is the cheapest way to get into digital medium-format photography, aside from buying used. If you’ve wanted to get into digital medium-format but have been priced out, this new camera might be for you. It wasn’t even a decade ago that it would cost you at least $10,000 for just the camera body, and thousands more for a lens. Now the entry fee is only $5,000, and that includes the lens! Most people, though, don’t need so much resolution, and medium-format is far more of a luxury than a need.
Another unfortunate aspect of the GFX system is the lack of retro-styled cameras with the traditional tactile controls that Fujifilm is known for. This not only makes the cameras stylish, but also fun, and (IMHO) more functional. The long-discontinued GFX50R is the only other option, so this type of design is long-overdue. Thankfully, Fujifilm is bringing it back to GFX! I bet if this camera does well, there will be more retro-styled models in the future—perhaps a GFX100R.
The GFX100RF has a couple of unique features. One is an aspect ratio knob, which also includes a couple of new aspect ratios not typical found on Fujifilm cameras. Now you can choose between 4:3, 5:4, 1:1, 3:2, 7:6, 65:24, 17:6, and 16:9, and you can switch between those without digging through the menu. Another is a digital teleconverter, with a wheel that shuffles through the options: 45mm, 63mm, and 80mm (I’m not sure if those crops are GFX focal-length measurements or full-frame). Also, interestingly, the GFX100RF uses the same 49mm filter thread size as the X100-series. I can’t say this with 100% confidence, but I’m pretty sure the WCL-X100 and TCL-X100 will work on the new camera (this is mere speculation), which is absolutely amazing if they do; however, I doubt that they are officially supported, and they may not cover the entire frame. Oh, and the GFX100RF is the first GFX model with a leaf shutter, which is especially useful for high speed flash sync.
Now onto a couple of negatives. I’ve covered these before (here and here), so I’ll try to make this quick. I think the camera will be well-received and well-loved, and these two issues will prove to be relatively minor in the long run.
First is the lack of IBIS. An expensive camera lacking IBIS in 2025 is a shocker for some. There are photographers who consider it an essential feature, and won’t buy a camera without it. I’m not in that camp personally. This isn’t a video-centric model, and it has a wide-angle lens, so it doesn’t really need IBIS. Sure, it would be nice to have, but it would have made the camera larger, heavier, and more expensive (at least a little). Two of the biggest selling points (portability and price) would have taken a bit of a hit. I’m sure Fujifilm debated extensively internally if it should have it or not, and ultimately they chose to exclude IBIS for the reasons I just stated. I would have been happy with or without stabilization, as it’s just not a big deal on a camera like this; however, those who do believe it is an essentially feature will likely pass.
Second is the maximum aperture of only f/4, which is not particularly impressive. While f/4 is common on medium-format, it’s not especially bright, which will make the camera less practical after the sun goes down or in dimly lit indoor situations. Generally speaking, shallow depth-of-field isn’t a major focus of wide-angle lens photography, but for those wondering, f/4 on GFX has a similar depth-of-field as f/2 on the X-series. The GFX100RF is more of an “f/8 and be there” camera, so I don’t think the small maximum aperture will be a problem for most people and situations.
That’s my analysis of the new camera. I think many will order it for its portability, price, and style. It’s not a camera that most people need, but I bet it will be highly desired. I want one! I kind of wish I had waited to jump into GFX, because if I hadn’t purchased a GFX100S II a few months ago I would have ordered the GFX100RF today. Instead, I will have to save up and wait. Oh, well. Whenever the opportunity comes to buy the camera, I’m certain that I will be thrilled with it. I’m sure those who have already preordered the camera will love it when it arrives next month.
You can preorder the Fujifilm GFX100RF today. I’ve heard there has already been a lot of preorders, so don’t be surprised if there is a bit of a wait before your order ships. The camera will officially be released and ship on April 24th.
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
Fujifilm GFX100RF in black: Amazon, B&H Fujifilm GFX100RF in silver: Amazon, B&H
This is a one-year photo-a-day project called 52 Weeks of Photography. Even though it is a year-long undertaking, I’m taking it one week at a time, because it’s a little easier to manage many small blocks than one large chunk. This is the 12th week, so the 12th set of seven images.
The reason why I’m doing this 365 Day project is because I noticed some gaps in-between my images last year. I didn’t pick up my cameras daily. On several occasions, four or five days passed by without a single picture created. Twice in 2024, I skipped a whole week. I want to rectify this, and get back into the habit of daily photography. I also want to elevate the quality of my craft in 2025, and am hoping that this will help.
Not Gursky – Goodyear, AZ – Fujifilm X100VI – Upcoming Recipe
The plan is to capture a year’s worth of notable images, either personally or artistically. Ansel Adams famously stated, “Twelve significant photographs in any one year is a good crop.” It’s important to keep expectations realistic, but I’m also trying to avoid thoughtless snapshots just to fulfill the day’s requirement. I want to push myself to be better, and hopefully that will happen. Not every photo will be great—in fact, most won’t—but I hope they are all at least decent enough to be shared without embarrassment. And maybe when the whole project is complete, there will be 12 significant pictures (out of the 365) that I’m particularly proud of.
I did not finish the big Film Simulation Recipe project that last week I told you I was hoping to finish and share. I’m really close, so hopefully soon. I’m pretty sure I have all of the pictures that I need for it, I just have to finish writing it up and putting it together. We’re only a couple days away from the X Summit, and it probably won’t get published before then.
Without further ado, below are the 12th set of seven pictures from this 52 Weeks of Photography project.
Tuesday, March 11th, 2025
Parking Lot Sunset – Goodyear, AZ – Fujifilm X100VI – Upcoming Recipe
Wednesday, March 12th, 2025
Ducks – Buckeye, AZ – Fujifilm X100VI – Upcoming Recipe
Thursday, March 13th, 2025
Walk This Way – Goodyear, AZ – Fujifilm X100VI – Upcoming Recipe
Friday, March 14th, 2025
Blood Moon– Buckeye, AZ – Fujifilm GFX100S II & 80mm f/1.7 – The Rockwell
Saturday, March 15th, 2025
Pavilion Abstract– Goodyear, AZ – Fujifilm GFX100S II & 80mm f/1.7 – Triple Exposure – Reggie’s Portra except with Reala Ace, and with a WB Shift adjustments between exposures
Sunday, March 16th, 2025
Girl on the Stairs – Buckeye, AZ – Fujifilm X100VI – Upcoming Recipe
Fujifilm cameras are special. With 20 Film Simulations (on the latest models) that are crafted using Fujifilm’s vast experience with analog film, and the ability to fine-tune them into Recipes, you can achieve incredible straight-out-of-camera results. I’ve published nearly 400 Film Simulation Recipes, most of which are modeled after the aesthetics of classic film stocks. Some Recipes get all the attention, particularly those that are Classic Chrome-based, like Kodachrome 64 and Kodak Portra 400 v2. In this article, I’m going to suggest some lesser-used gems.
If you’re looking for something new to try—maybe one that is less commonly used—these five underrated Film Simulation Recipes deserve a spot in your camera’s Custom Settings. Give them a try, and you might just find your next go-to look!
Camera Conversation – Philadelphia, PA – Fujifilm X-T5 – Fujifilm Negative – by Amanda Roesch
Fujifilm has a long history of producing amazing film stocks, and this Fujifilm Negative Recipe is inspired by their color negative films of the past, particularly Fujicolor PRO 160NS. With soft contrast, balanced colors, and a subtle vintage warmth, it creates a beautiful everyday look. Whether you’re shooting portraits, street photography, landscapes, or travel, Fujifilm Negative delivers a timeless feel that works in a variety of lighting conditions. Since this Recipe uses the new Reala Ace film sim, it is only compatible with fifth-generation X-series cameras, plus the newest GFX models.
Saguaro & Abandoned Building – Vulture City, AZ – Fujifilm X-T5 – Kodak Ektachrome E100VS v1
If you love vibrant colors, the Kodak Ektachrome E100VS v1 Recipe is a fantastic choice. With an aesthetic similar to the slide film of the same name, which was one of my favorites 20 or 25 years ago, this Recipe produces deep blues, rich reds, and strong contrast that make images pop with its bold colors (thanks to the Velvia film sim that it uses). It’s perfect for colorful urban scenes, sunsets, landscapes, and travel photography. Since it uses Auto White Balance, it’s quite versatile; however, just like the film, it’s not a good choice for portrait photography. This Recipe is compatible with X-Trans IV (except the X-T3/X-T30) and X-Trans V cameras, plus newer GFX models.
The Eterna Film Simulation is often associated with soft, low-contrast tones, but the Eterna Summer Recipe adds warmth, vibrancy, and contrast. Sunlit scenes have a dreamy, vintage, and almost cinematic feel, with soft shadows and bright highlights. It’s especially great for roadtrips, urban scenes, portraits, and hot summer afternoons when you want to capture the golden essence of the season. For best results, use in sunny daylight situations. This Recipe is compatible with “newer” X-Trans IV cameras, all X-Trans V, and many GFX models.
City of Grace Tower – Phoenix, AZ – Fujifilm X-T5 – CineStill 400D v2
The CineStill 400D v2 Recipe is inspired by CineStill 400D film, which is known for its cinematic feel and warm tones. This Recipe produces soft highlights, slightly punchy colors, and a dream-like quality, making it a good choice for both daytime and blue-hour photography. CineStill 400D v2 uses the Astia Film Simulation, and is great for landscapes and street photography, especially during golden-hour. This Recipe is compatible with X-Trans IV (except the X-T3/X-T30) and X-Trans V cameras, plus the 100mp GFX models.
Fall at Boulder Lake – Clinton, CT – Fujifilm X-T5 – Kodak Negative
The Kodak Negative Recipe, which is reminiscent of some vibrant negative film stocks by Kodak, is quite versatile, thanks to the use of Auto White Balance. It has the right amount of warmth, saturation, and contrast for many subjects and situations. Because it uses the Nostalgic Neg. Film Simulation, it has a vintage feel that is easy to appreciate. This Recipe is only compatible with the fifth-generation X-series cameras, plus the newest GFX models.
Final Thoughts
Rock Rings – Saguaro National Park, AZ – Fujifilm X-T5 – Eterna Summer
These five underrated Film Simulation Recipes are waiting to be discovered! Whether you’re after a nostalgic analog look, a punchy slide film aesthetic, or a dreamy cinematic feel, there’s something here for your next photographic adventure. The best way to find out which Recipes are your favorites is to get out and try them—so load one of these Recipes into your Fujifilm camera and see what magic you can create!
Find these Film Simulation Recipes and many more in the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
This is a one-year photo-a-day project called 52 Weeks of Photography. Even though it is a year-long undertaking, I’m taking it one week at a time, because it’s a little easier to manage many small blocks than one large chunk. This is the 11th week, so the 11th set of seven images.
The reason why I’m doing this 365 Day project is because I noticed some gaps in-between my images last year. I didn’t pick up my cameras daily. On several occasions, four or five days passed by without a single picture created. Twice in 2024, I skipped a whole week. I want to rectify this, and get back into the habit of daily photography. I also want to elevate the quality of my craft in 2025, and am hoping that this will help.
Raindrops on a Pond – Peoria, AZ – Fujifilm X100VI – Upcoming Recipe
The plan is to capture a year’s worth of notable images, either personally or artistically. Ansel Adams famously stated, “Twelve significant photographs in any one year is a good crop.” It’s important to keep expectations realistic, but I’m also trying to avoid thoughtless snapshots just to fulfill the day’s requirement. I want to push myself to be better, and hopefully that will happen. Not every photo will be great—in fact, most won’t—but I hope they are all at least decent enough to be shared without embarrassment. And maybe when the whole project is complete, there will be 12 significant pictures (out of the 365) that I’m particularly proud of.
Another week is in the books. I like several of the photographs that I created during this week (although none are likely to make any sort of portfolio), but—overall—there are a lot of mediocre images. I’m working on a big project that I’m trying to wrap up, and in order to get over the finish line, I seemed to have I chosen quantity over quality on some days. I’m really hoping to be done with that project by the end of the week, so stay tuned—I’m excited to share it with you!
Below are the 11th set of seven pictures from this 52 Weeks of Photography project.
Tuesday, March 4th, 2025
Trafficade – Goodyear, AZ – Fujifilm X100VI – Upcoming Recipe
Wednesday, March 5th, 2025
Big Tabs – Buckeye, AZ – Fujifilm X100VI – Upcoming Recipe
Thursday, March 6th, 2025
Happily Waiting to Leave – Buckeye, AZ – Fujifilm X100VI – Upcoming Recipe
Friday, March 7th, 2025
Dreary Day at Rio Vista Park– Peoria, AZ – Fujifilm X100VI – Upcoming Recipe
Saturday, March 8th, 2025
Main Market– Buckeye, AZ – Fujifilm X100VI – Upcoming Recipe
Sunday, March 9th, 2025
Red Trees, Teal Sky– Buckeye, AZ – Fujifilm X-T4 ES & 35mm f/2 – Aerochrome v2
While at the CP+ Show in Japan, PetaPixel interviewed Yuji Igarashi, who is the General Manager of the Professional Imaging Group, Imaging Solutions Division, of the Fujifilm Corporation. He said some interesting things regarding the Fujifilm X100VI production situation. Now, it’s important to take it with a grain of salt. Sometimes people will harshly judge an interpretation of what someone said in a different language, lacking grace for interpretation errors and dialect and cultural differences. Keeping that in mind, let’s get into it.
“We’ve more than doubled our production compared to the previous model,” Yuji Igarashi stated. “But on top of that, we are also still increasing production. Now we can produce higher than [15,000 units per month] and we have been, but it’s not like we can produce double that [amount again].”
Not much new there. Fujifilm told us from the outset that they had doubled production from the previous model, from 7,500 units per month to 15,000. We also already knew that for a year now they have been trying to increase production further. Fujifilm told PetaPixel that they have been unable to accomplish 30,000 units per month, but they are definitely beyond 15,000.
“We’ve been doing what we can to increase our production for the X100VI,” Yuji explained, “but the processes are quite complicated—especially for pieces like the top plate. To make these sharp edges, it goes through many processes. So, this type of camera is not so suited for ramping up production.” In other words, they’re doing all that they can, but there are significant challenges that prevent them from churning out even more cameras.
“In one year since we launched this product,” Yuji continued, “compared to the previous models which took us to sell three or four years, we’ve already shipped an equivalent amount.” This was shocking to me. Fujifilm is stating that—even with the manufacturing limitations—they have already built and delivered as many X100VI’s, which was released just one year ago, as the previous iteration over nearly a four year period. Just as many people have an X100VI in their hands as have an X100V, yet it only took Fujifilm one year to do that for the new camera vs four years for the X100V. And it’s a similar situation for the X100F and the previous versions.
This completely shreds the (quite stupid) theory that Fujifilm is purposefully creating shortages in order to manipulate the market. The unprecedented demand of the X100VI was and is real. No camera has been as in-demand as the X100VI ever. In all of history, no model from any brand received more preorders than the X100VI, it’s not even close. Despite building a ton of copies, Fujifilm has not yet met the initial demand, but they’re getting close. “So I know people are quite frustrated when they say it’s still not available,” Yuji said. “I think one issue is that the first-day orders were so big when it was announced, that’s why people say they’ve been waiting for eight, or 10 months, which we totally understand is so frustrating. So until we clear that, some people will still continue to say, ‘We’ve been waiting for 10 months.'”
Now you might say that the math isn’t mathing. If Fujifilm hasn’t been able to quadruple production, how could they possibly build as many units in one year as they did over nearly four? First, Fujifilm produced a bunch of copies in the months prior to the camera’s announcement, in anticipation of strong initial demand. Also, the X100V was effected by the pandemic parts shortage, which for a time limited the number of copies they could manufacture. If Fujifilm managed to make (say) 300,000 units, that would likely be close to the total number of X100V’s manufactured in total. And that 300K guesstimate might be in the ballpark. We know that 180,000 were manufactured at a minimum post launch, and 60,000 might have been manufactured prior to launch. If Fujifilm has been able to increase production by 6,000 units on average over the last 10 months, then you’d have 300K. While that’s a lot of cameras, apparently there were around 500,000 day-one preorders in China alone, so the initial demand has still not been met a whole year later.
Thankfully, slowly but surely Fujifilm is catching up. Here and there the X100VI has been seen in-stock at camera stores, particularly the black version. If you want to buy one, the wait isn’t nearly as long now. You might still have to be patient for a month or maybe a few, but the 10-month-long waits are in the past. It’s a good time to get your order in if you’ve been waiting. Or, if you’ve been hoping to find it at a local camera store, they might just have one right now—maybe.
The challenge for Fujifilm is to tread carefully on production numbers. If they suddenly find that the demand has been met, and they’re building over 20,000 units per month, they could end up overproducing a lot of copies. Since it takes months from the time parts are ordered until finished cameras are delivered, if the market suddenly shifts, it’s possible that Fujifilm could manufacture a hundred thousand copies more than are needed and can be sold. That amount of overproduction would be a tough blow to the bottom line, and possible could cripple the camera division. As wait times dwindle, Fujifilm should strongly considered reducing the number of units that they manufacture monthly. At some point, 15,000 copies each month will be much too much. Hopefully that is a long ways off, but it will arrive eventually, and it will need to be handled quite carefully when it approaches.
In just 10 days—on March 20th—Fujifilm will announce a new product, purportedly a fixed-lens GFX camera, in Prague. This X Summit takes place at 11:00 AM local in the Czech Republic, which is 2:00 AM Pacific Time and 5:00 AM Eastern Time in the United States. I won’t be awake for that. By the time I brew my first cup of coffee, the camera will have been long announced, and preorders already open. If you want to get this camera right away, my recommendation is to set your alarm clock.
Since most Americans will be fast asleep when the announcement happens, Fujifilm North America is having their own party, which they’re calling an X Summit Experience, in Las Vegas at the WPPI Expo. This will be at 10:30 AM Pacific Time on the 20th. If you are in the Las Vegas area, I’m sure it will be worthwhile to stop by—just be sure to register.
Fujifilm did something similar to this with the launch of the X-T50 and GFX100S II. The X Summit for that was in Australia, which was the middle of the night for most of America. So they had an X Summit Experience on a Manhattan rooftop later in the day to celebrate the announcements. I was invited to be a part of that, and it was a ton of fun. So definitely, if you are in Vegas on the 20th, be sure to go. Unfortunately, I won’t be there for this one.
It’s possible that more than one thing will be announced at this X Summit. Four products—two cameras and two lenses—were unveiled at the Sydney X Summit in 2024; however, since nothing has leaked, I would be surprised if anything else was officially announced. But, I do suspect there could be some extras, such as a future product tease, and/or more info on the upcoming GFX Eterna cinema camera. I won’t catch it live, but will probably watch it on YouTube later in the day.
Fujifilm has the best JPEG output in the camera industry, in my opinion. That’s not to say the others are garbage, because some brands are pretty good (Ricoh, for example); however, they are not all equal, and—in my view—Fujifilm is at the very top when it comes to straight-out-of-camera photography. Leaning into their long history of making analog film, they’ve crafted Film Simulations and various JPEG options (which together make Film Simulation Recipes) that achieve authentic aesthetics that don’t require editing.
Over the years Fujifilm has added many new Film Simulations and JPEG settings so that photographers can get a wider variety of looks straight-out-of-camera. Nostalgic Negative and Reala Ace are found on the latest generation of models. Eterna Bleach Bypass and .5 Highlight and Shadow adjustments were introduced with the Fujifilm X-T4. Classic Negative, Grain size, Color Chrome FX Blue, and Clarity were first found on the X-Pro3. So what should Fujifilm introduce next? What new Film Simulations and JPEG settings should be added to future cameras?
Fujifilm X100V & Pop Color Advanced Filter
There are a number of Film Simulations that Fujifilm could make. Probably the easiest would be Fortia, which would simply require moving Pop Color from Advanced Filters to the Film Simulation set. Another easy option would be a new B&W Film Simulation (maybe called Neopan) that would essentially be a higher contrast and grainer version of Acros. A Film Simulations that I believe would be a big hit is one modeled Fujicolor PRO 400H that turns pastel when overexposed, like the film was famous for. Another option that I would like to see is Cross Process, modeled after Velvia 50 developed in C41 chemistry. A fifth potential future Film Simulation is Instax, mimicking instant film.
As for JPEG settings, one option might be Split-Tone, where a certain color cast could be selected for the shadows, and a different color cast could be selected for the highlights (for example, blue for the shadows, yellow for the highlights). This could be available for both color and B&W images. Another one might be Faded Blacks, where deep shadows are rendered lighter. A third potential option could be vignette. For those last two, it could simply be Off, Weak, or Strong. To demonstrate what Faded Black and Vignette might look like, I edited some pictures using the Photos App in my iPhone, simply setting the Black Point to -50 and Vignette to +10, which might be similar to Faded Black Strong and Vignette Weak, if such settings existed. You can see the before and after below:
Now it’s your turn! What would you like the next Film Simulation to be? Should Pop Color be moved from Advanced Filters to the Film Simulation set? What new JPEG option would you prefer be introduced next? Do you like the idea of Faded Blacks and/or Vignette? Let me know in the comments!
This is a one-year photo-a-day project called 52 Weeks of Photography. Even though it is a year-long undertaking, I’m taking it one week at a time, because it’s a little easier to manage many small blocks than one large chunk. This is the 10th week, so the 10th set of seven images. I can’t believe that I’m nearly 1/5th finished!
The reason why I’m doing this 365 Day project is because I noticed some gaps in-between my images last year. I didn’t pick up my cameras daily. On several occasions, four or five days passed by without a single picture created. Twice in 2024, I skipped a whole week. I want to rectify this, and get back into the habit of daily photography. I also want to elevate the quality of my craft in 2025, and am hoping that this will help.
Ford Falcon – Buckeye, AZ – Fujifilm X100VI – Upcoming Recipe
The plan is to capture a year’s worth of notable images, either personally or artistically. Ansel Adams famously stated, “Twelve significant photographs in any one year is a good crop.” It’s important to keep expectations realistic, but I’m also trying to avoid thoughtless snapshots just to fulfill the day’s requirement. I want to push myself to be better, and hopefully that will happen. Not every photo will be great—in fact, most won’t—but I hope they are all at least decent enough to be shared without embarrassment. And maybe when the whole project is complete, there will be 12 significant pictures (out of the 365) that I’m particularly proud of.
A lot of personal things came up this week. There were a couple of time that I thought I was going to fail. Somehow I managed to photograph each day, and I think it is because of the habits formed during the first nine weeks—if the same obstacles had presented themselves earlier in the project, I’m confident that I wouldn’t have completed it. Because those habits had cemented themselves already, it helped tremendously. Life happens, so I built into this project two days that can be missed. At some point I know that I’ll need to use those, but I’d rather save them for later if possible, and thankfully it was possible.
Below are the 10th set of seven pictures from this 52 Weeks of Photography project.
I said something in my Is $5,000 A Bargain or Bust? article that caught a couple people’s attention. In regards to the upcoming fixed-lens GFX camera, I stated, “I really hope for conversion lenses—both wide and telephoto—like the X100-series has. I highly doubt that the WCL-X100 and TCL-X100 will work on it (although it would blow my mind if they somehow did), but something similar should be made for the GFX100RF.” I received two messages from people wanting to further discuss the idea that the wide and telephoto conversion lenses for X100-series cameras might be compatible with the upcoming medium-format model.
Just to be clear from the top, I’m highly skeptical that the WCL-X100 and TCL-X100 will be officially compatible with the GFX100RF. It’s possible that they might be, but that seems like improbable engineering. I don’t think Fujifilm designed the lens on the new camera to be compatible with those two conversion lenses. More likely—if there are conversion lenses—new ones will be designed specifically for the GFX camera. But…
There’s a strong likelihood that you could actually use those two conversion lenses if you want to. Now, the camera is unlikely to account for and fix the distortion (unless the engineers programmed it to). There’s a good chance that the conversion lenses won’t cover the whole frame, or—if it does—there could be strong vignetting and soft corners. But maybe it won’t be as bad as you might think. For example, Pentax Auto-110 lenses, which are tiny, cover the APS-C sensor. The Helios 44-2 lens, which is for 35mm cameras, fully covers the GFX sensor. So there is a possibility that the WCL-X100 and TCL-X100 conversion lenses will cover most or maybe even all of the GFX sensor.
If they don’t, that may not be a big deal. Using a different aspect ratio will likely crop out whatever isn’t covered. If the conversion lenses cover almost all of frame, then the 3:2 ratio might be all you need. If the coverage isn’t quite that good, 16:9, 65:24, and 1:1 should do the trick. Or, with 100mp to work with, a simple crop should do—I could see using the teleconverter lens in conjunction with the in-camera digital teleconverter, which would crop out whatever isn’t covered.
The real question is if the adapter ring on the GFX100RF will be the same size as the X100-series. My guess is no. Most likely it will be larger on the GFX—I think that’s a pretty safe assumption. In the unlikely case that it is the same size, you’d be able to just screw on the conversion lenses just like you would on the X100VI. Much more likely, you would need a step-down ring to attach the conversion lenses. This would have (at least) two side effects: less coverage of the sensor, and more close-focusing capabilities—maybe even macro—like using an extension tube.
My hope is that Fujifilm releases conversion lenses for the upcoming GFX100RF. If they don’t, or if they do but they’re unaffordable or difficult to find in stock, then adapting the WCL-X100 and TCL-X100 should be possible; however, it may not be ideal. There will certainly be some vignetting and soft corners, and they probably will not cover 100% of the GFX sensor, among other potential issues. But, technically speaking, it should work. If I do purchase the upcoming camera at some point in the future, I’ll be sure to test it out and report back to you what I discover.
Fujifilm is renown in the photography world for blending modern technology with vintage styling, delivering an experience similar to classic film cameras with colors inspired by analog looks. While newer models often steal the spotlight, some older Fujifilm cameras remain hidden gems—overlooked, yet still highly capable. These cameras seem to pair especially well with my Film Simulation Recipes for straight-out-of-camera photos that don’t require editing. If you’re looking for a capable, budget-friendly camera that embraces the magic of Fujifilm’s film simulations, consider these four hidden treasures.
Fujifilm X-T1: The Classic Workhorse
Released in 2014, the Fujifilm X-T1 was a game-changer for the X-series. It introduced the rugged, SLR-style design with dedicated dials that many Fujifilm photographers love. With a 16mp X-Trans II sensor, the X-T1 may not have all the latest film simulations and JPEG options, or stats that impress compared to the latest models, but don’t let that fool you—it still produces fantastic images in 2025.
This was one of the first cameras with Classic Chrome, which is the long-time most popular film simulation for those who use Recipes. Kodachrome II, Kodachrome 64, Classic Kodak Chrome, and Kodacolor are a few of the Classic Chrome Recipes that work beautifully on the X-T1, producing a vintage film-like aesthetic straight-out-of-camera. The Fujifilm X-T1 is an excellent introduction to the Fujifilm experience without breaking the bank, and it’s easy to recommend as someone’s first interchangeable-lens model to learn photography on.
Fujifilm X-T1 & Kodak Portra 160 Recipe
Fujifilm X-T1 & Kodak Portra 160 Recipe
Fujifilm X-T1 & Ektachrome 100SW Recipe
Fujifilm X-Pro2: The Soul of Film Photography
The Fujifilm X-Pro2 is a dream camera for photographers who love the rangefinder experience. Introduced in 2016, it was the first Fujifilm camera with the 24mp X-Trans III sensor and the first to feature Acros, one of my favorite film simulations. This camera was a notable step forward in emulating film-like results thanks to added JPEG options like faux grain. Of the three X-Pro iterations, the X-Pro2 is my personal favorite.
This camera is a fantastic choice for those who want an analog-like shooting experience. With its optical/electronic hybrid viewfinder and vintage aesthetics, it feels like using an old film camera. Recipes like Vintage Kodachrome, Kodachrome II, Kodak Gold 200, and Acros Push Process (to name a few) look great on the X-Pro2. This camera is especially great for manual vintage lenses, which makes the experience even more retro.
Fujifilm X-Pro2 & Kodachrome II Recipe
Fujifilm X-Pro2 & Provia Slide Recipe
Fujifilm X-Pro2 & Acros Recipe
Fujifilm X-T20: The Compact Powerhouse
When I met Omar Gonzalez on a Manhattan rooftop last year, he seemingly wasn’t carrying a camera. So I asked him if he brought one with him, and, if so, which one? He smiled, and pulled out of his sweater pocket a Fujifilm X-T20. He then told me that the X-T20 is his everyday casual camera for just walking around with. That should speak volumes. He also mentioned that the C1-C7 Custom Setting Presets were filled with Fuji X Weekly Recipes.
With the same X-Trans III sensor as the X-Pro2 and X-T2, the Fujifilm X-T20 offers exceptional image quality in a more compact, lightweight body—ideal for street photographers, travelers, and creatives on the go. Despite its size, the X-T20 retains the essential dials that make Fujifilm cameras so enjoyable to use. Recipes like Provia Slide, Everyday Astia, Agfa Optima, and Agfa Scala produce stunning yet nostalgic images on this camera. The X-T20 is an excellent choice for photographers who want a mix of convenience, quality, and affordability.
Fujifilm X-T20 & Kodachrome II Recipe
Fujifilm X-T20 & Velvia Recipe
Fujifilm X-T20 & Fujicolor Pro 400H Recipe
Fujifilm X30: The Forgotten Compact
The Fujifilm X30 might just be the most underrated Fujifilm camera. This fixed-lens compact camera from 2014 features a 2/3-inch 12mp X-Trans II sensor and a 28-112mm (full-frame-equivalent) f/2.0-2.8 lens that has a lot of character. It’s small size is ideal for everyday carry, yet it is quite versatile thanks to the zoom lens.
The pictures from this camera are amazing, with a ton of character—I especially love the lens flare. The photos are instant memories, and that’s the selling point of the X30, as the spec sheet is not especially impressive, and the camera seems a bit outdated in 2025. Recipes like Pro Film, Lomography Color 100, CineStill 800T, and Monochrome Red are excellent options. The X30 is an everyday-carry camera—just grab it while heading out the door on ordinary outings.
Fujifilm X30 & Kodachrome 64 Recipe
Fujifilm X30 & Pro Film Recipe
Fujifilm X30 & CineStill 800T Recipe
Conclusion
While the latest Fujifilm cameras have more features and film simulations, these four underrated models remain exceptional tools for photographers who appreciate the magic of film simulations and Recipes. Each one offers a unique experience: the rugged reliability of the X-T1, the rangefinder soul of the X-Pro2, the compact power of the X-T20, and the travel-friendly versatility of the X30.
When paired with the right Film Simulation Recipes, these cameras prove that you don’t need the newest gear to get great results. If you’re looking for a Fujifilm camera that delivers timeless images and an engaging shooting experience, don’t overlook these hidden gems. You might just discover your new favorite camera.
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