Month: July 2025

Review: Fujifilm X-E5 — Pancakes & Recipes

Posted on by Ritchie Roesch

Fujifilm recently loaned me an X-E5 to try out for a week or so. I also got to play with one at the B&H BILD Expo last month, so I was already a bit familiar with the camera before it arrived in the mail. Included with the X-E5 was the brand-new Fujinon 23mm f/2.8 pancake lens, so I’ll also be discussing that in this review, too. Let’s dive right in!

The Fujifilm X-E5 is actually the sixth X-E camera. The X-E1, released in 2012, was the very first, and the third X-series model overall, with only the X100 and X-Pro1 predating it. The X-E2 came out only one year later, followed by the nearly identical X-E2s in 2016. A year after that, Fujifilm released the X-E3, which saw the first significant design change (although it was still pretty similar). The X-E4 came out in 2021, which was the most different, with an emphasis on minimalism, compactness, and affordability; however, it was still similar overall. We have another significant design change with the X-E5, yet it still retains the distinctive look of an X-E series model.

With the X-E5, Fujifilm quite noticeably improved the construction quality—for example, the top plate is a single piece of machined aluminum, and the camera seems less plasticky overall. It just feels more sturdy, more premium, more refined than the X-E4. With a pancake lens attached—like the new 23mm f/2.8—the camera closely resembles an X100VI, which was clearly intentional. The X-E5 is essentially an interchangeable-lens X100VI; for those who have asked for such a camera: here it is! The two models aren’t exactly the same, and they each have their advantages and disadvantages, but they’re certainly similar enough to justify the comparison.

I don’t want to dive too deeply into the specs, but some important notes are that the X-E5 has the same 40-megapixel X-Trans V sensor and processor as the X100VI, X-T50, and X-T5. Like those models, the X-E5 also has IBIS. This is a camera capable of capturing high quality photos and videos. Not surprising, the X-E5 is also much more expensive—plus a tad larger and heavier—than its predecessor.

Like the X-T50 and X-M5, the X-E5 has a Film Dial, although it’s implemented a bit differently. Instead of a knob, it’s a wheel on the back, with a little window on the top plate. This is a really cool design; however, there is a downside: it has fewer Film Simulations. The X-T50 and X-M5 have only eight of the 20 Film Sims on the knob, with three customizable slots for your favorites that were left out; the X-E5 has only six Film Simulations, with three customizable slots. The six Film Sims on the dial are Provia, Velvia, Astia, Classic Chrome, Reala Ace, and Acros. Somehow—shockingly and inexplicably—Classic Negative was left out, as was Nostalgic Negative. I know that not all of them could make the cut, but I definitely question why Classic Negative was not included—seems like a sin.

The three customizable slots—called FS1, FS2, and FS3—can be set to any Film Simulation. In addition to that, they can also be customized into Film Simulation Recipes (functionality that should be—and hopefully will be—brought to the X-T50 and X-M5 via a firmware update). This is the very first time that Fujifilm has used the term “Recipe” in a camera—amazing! You can have 11 different Recipes programmed into the X-E5: seven within the C1-C7 Custom Settings presets, one in the IQ Menu set, and three on the Film Dial. The Film Dial also works well with my Universal Negative and Film Dial Recipes, providing extra aesthetic versatility. Only the C1-C7 Recipes can be custom named, so you have to remember what the other four are.

While this is certainly a welcome evolution of this feature, it could be made even better. For example, all of the Film Simulations should have the option for Recipes, and not just FS1/FS2/FS3. One issue with this UI, though, is that Recipes are scattered: some in Custom Settings presets, some on the Film Dial, and one in the IQ Menu. I think, more ideally, you’d find them all in one place. A lot of Fujifilm users would appreciate a Custom Settings Dial instead of a Film Dial, with maybe C1-C9 or C1-C12 (more is better). There are a lot of different ways that this could be addressed, and it’s something that should be addressed for future models. Still, the opportunity to have three extra Recipes programmed into the camera at any one time is quite nice, and I’m thankful for it. This is the main reason why I preordered this camera, even though I own an X-E4 that I really like.

Included with the X-E5 was the new Fujinon XF 23mm f/2.8 R WR pancake. This lens is very similar to the Fujinon 27mm f/2.8 R WR, which happens to be one of my absolute favorite lenses. I’ve been saying for years that Fujifilm should have more pancake lenses in their lineup, since a major selling point of Fujifilm cameras are their compact size and minimal weight. A camera like the X-E5 paired with a handful of tiny pancakes is ideal for traveling. This particular camera and lens combo is especially great for everyday walk-around photography.

The lens is sharp with minimal flaws. It has great close-focus capabilities; it’s not a macro-lens by any means, but with 40mp to crop from, it’s possible to use it for near-macro photography. From a technical point-of-view (and mind you, I didn’t do any serious testing), it’s pretty darn good for what it is, a marvel of engineering; from an artistic point-of-view, it seems to lack a little of the magic (a.k.a. character) that the 27mm f/2.8 and 23mm f/2 lenses are known for. Like the 27mm, it isn’t the quietest Fujinon lens. If you are trying to decide between the 23mm f/2.8 and the 27mm f/2.8, that’s going to be a tough call—personally, I like the 27mm just a bit more; however, the close-focus capabilities of the 23mm is certainly a significant plus. If you are trying to decide between the 23mm f/2.8 and 23mm f/2, that’s also going to be difficult, and your decision might come down to just how small is small enough for you. If you are buying the Fujifilm X-E5, it seems like an easy choice to get it bundled with the 23mm f/2.8, since it’s only $200 more when the lens itself is $500—if you have no intentions of keeping it, just turn around and sell it for $450, which makes the camera more affordable.

Ants & Funyun – Tucson, AZ – Fujifilm X-E5 & 23mm f/2.8 – Kodachrome 64

Getting back to the X-E5, the camera has a couple of really cool features, but you can only use one of them, and not both. The first, which is borrowed from the GFX100RF, is called Surround View Mode. It allows you to see outside of the frame when using an aspect ratio other than 3:2, giving a faux optical viewfinder experience (sort of). This is particularly nice when using the 1:1 aspect ratio. The XPan ratio would have been a great addition, but (sadly) it’s still missing on X-series models. The second feature is called Classic Display Mode, which turns the EVF into a really cool retro 1980’s-inspired display. I like both, but I couldn’t figure out how to activate the Classic Display Mode for some time—eventually I asked a Fujifilm tech rep for help. As it turns out, if Surround View Mode is activated, even when using the 3:2 aspect ratio, Classic Display Mode is disabled (and vice versa). Fujifilm: I suggest that Surround View Mode be automatically disabled when in the 3:2 aspect ratio, so that Classic Display Mode can be used; when changing aspect ratios to anything other than 3:2, if Surround View is activated, it would automatically disable Classic Display. This way, you don’t have to jump through hoops to use both of these cool new features.

While the X-E4 saw a lot of buttons removed in the name of minimalism, Fujifilm gave them to the X-E5 in spades. Just the new front control lever alone allows for five customizable functions. The inclusion of the rear command wheel and M/C/S switch means that you shouldn’t be short of camera controls, no matter how many functions you need quick access to. Those who disliked the direction of the X-E4 should especially appreciate its successor.

Neighborhood Fireworks – Buckeye, AZ – Fujifilm X-E5 & 23mm f/2.8 – Kodak Vericolor VPS

What else can I tell you about the Fujifilm X-E5? It isn’t weather-sealed (although it seems to have some level of weather resistance—I wouldn’t put it under a faucet, though). It uses the “old” NP-W126S battery. I expected that, as those things would have increased the size, weight, and cost even more. The X-E5 is definitely more premium than previous X-E cameras. I had suggested that Fujifilm prioritize size, weight, and cost by keeping it nearly the same as the X-E4; however, my opinion was clearly in the minority. Most people asked for an interchangeable-lens X100VI, and the X-E5 is as close to that as you’re likely ever going to get. It’s a very nice camera.

It comes with a “nice” price tag, too. In America, it’s $1,700 for the body-only, and $1,900 when bundled with the new 23mm pancake lens. That’s pretty shocking, especially when it’s double the price of the X-E4; however, keep in mind that inflation and tariffs have impacted the price in addition to the more expensive components that Fujifilm used in the camera. Interestingly enough, the X-E1 was $999 in 2012, which is about $1,400 in today’s dollars; add to that tariffs, and you’ve pretty much got the X-E5 price tag, never mind the 40mp sensor, IBIS, and better build quality. While it seems expensive, it is not an entry-level model. And with Fujifilm raising the price (in America) of the X100VI to $1,800, the X-T50 to $1,600, the X-T5 to $1,900, the MSRP of the X-E5 makes a little more sense. I do think it’s worthwhile to buy at $1,700, which is why I have it preordered bundled with the 23mm f/2.8 lens.

Mission San Xavier del Bac – Tucson, AZ – Fujifilm X-E5 & 23mm f/2.8 – Kodak Vericolor VPS

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

Fujifilm X-E5 in black:
B&H, Moment, Nuzira
Fujifilm X-E5 in silver:
B&H, Moment, Nuzira

Example photographs, all camera-made JPEGs (with various Recipes) captured using a Fujifilm X-E5 & Fujinon 23mm f/2.8 lens:

Apparently, Fujifilm Price Increases are Coming Very Soon

Posted on by Ritchie Roesch

According to Fujirumors, Fujifilm is likely to raise the price by about 10% on most of their cameras and lenses beginning August 1st, which is Friday. It’s unclear if this is worldwide or just in America, but my suspicion is that it will just be in America, and is related to the tariffs. I also highly doubt that the X half and X-E5 will be affected, because the increase was already built into their MSRP.

Every major camera maker has either already increased their prices, or has announced that they will be soon—or both (already raised prices, but further price increases are forthcoming). While the X half and X-E5 were on the leading edge of the increase (and both were criticized for it), Fujifilm has largely delayed price increases on everything else. My guess is, with the Japan trade deal finalized, Fujifilm has something stable to determine what the increase should be, so that’s why it’s been delayed until now. I also suspect that Fujifilm will try to manufacture more of their U.S.-bound units in Japan instead of China, something they’ve already begun doing.

It’s also possible that this will be the first in a series of price increases. If Fujifilm were to raise the cost by (say) 20% all at once, that could scare off potential customers; however, by increasing it by “only” 10% now and another 10% later (perhaps on January 1st), it allows customers to acclimate more gradually to the higher prices. It’s like the frog in boiling water thing. Hopefully, though, this will be the one-and-only increase; if it is worldwide and not limited to America, I think that could possibly be an indication of it being only a one-time thing. It’s all just speculation at this point, and time will eventually tell—until then, take it all with a very large grain of salt.

Of course some will say that this is just Fujifilm being greedy or that Fujifilm has lost the plot and is out-of-touch with their customers. That’s all nonsense, spoken largely by trolls and click-bait content creators. Every camera maker is dealing with this same issue right now, and they are all raising their prices (RED is the only camera made in America as far as I’m aware, but I’m not sure how long that will last since they’ve been purchased by Nikon). I said back when the X half was announced that it was a foreshadowing of future price increases. When everyone complained about the cost, I said in time it would seem pretty normal, once the MSRP of everything else goes up. Now they’re going up. My suspicion is that we’re still five or six months out from all the dust settling, and it’s even possible that the X half and X-E5 could see a small price reduction at some point (since they were announced when there was a lot more uncertainty), who knows?

All of that is to say, if you’ve been eyeing a certain camera or lens, you might want to get your order in now and not wait until the price goes up later this week. If you delay, you may have to pay about 10% more. This is probably just for those in America, although I’m not 100% sure, and worldwide price increases are certainly a possibility, albeit a fairly slim possibility in my estimation.

Autofocus and an Upside-Down U

Posted on by Ritchie Roesch

Captured with a Fujifilm X-M1 camera & Fujinon 90mm f/2 lens

Fujifilm’s autofocus will never be as good as Canon, Sony, or Nikon’s, and that’s ok. I’ve explained this before a couple of times, so forgive me for repeating myself. There are some highly unrealistic expectations that need to be put to rest, which I hope this article accomplishes.

There are a lot of comments floating around the internet along the lines of, “Fujifilm’s autofocus sucks.” And, “Fujifilm needs class leading autofocus like Sony and Canon.” And, “If Fujifilm doesn’t address AF on the next generation, I’m leaving.” And many other similar sentiments. But these comments are out of touch with reality. Let me explain why Fujifilm’s autofocus will never be as good as the Canikony brands, and why it doesn’t matter.

There are three reasons why Fujifilm’s AF isn’t as good as the three big brands. First, those companies have been making autofocus systems for much longer. Sony (through Konica and Minolta) have been making AF since the 1970’s—they were the first (via Konica), and the first to have what was considered a “good” AF system (via Minolta). Canon and Nikon have been developing AF since the 1980’s. Since they had such a big head start, it is only logical that they’re further along. Second, the Canikony brands have more R&D funds to commit to autofocus development and improvements. They have larger teams with larger budgets, and it’s probably easier for them to attract the most experienced talent. Last but not least—and this was pointed out by PetaPixel—the big three have put most of their effort over the last handful of years into AF, and have largely ignored image quality improvements; in some cases, autofocus was prioritized to the detriment of image quality. That is a path I would highly discourage Fujifilm from pursuing, personally.

Fujifilm X-T30 & Fujinon 90mm f/2 — Fujichrome Sensia 100

While Canon, Sony, and Nikon have put a lot of their eggs in the AF basket, we’ve long surpassed the point of diminishing returns—the Inverted U Curve, for those who have read Malcolm Gladwell’s David & Goliath (a book I definitely recommend). How good does AF really need to be? At what point is it good enough for almost everyone? I think we passed that point years ago. For almost the entire history of photography and videography, there was no autofocus. It was manual focus only. Yet today’s photos and videos aren’t necessarily better than they were then (in some ways, they might be subjectively worse). If we compare Minolta’s first “good” AF to the AF of any camera made in the last 25 years, it’s clearly not as good as even the worst examples you could find. In other words, we’re really spoiled today with incredible gear. Fujifilm’s so-called “sucky” AF is better than the best AF from 15 years ago, maybe even 10. Were we incapable of creating good photos and videos then? Are photos and videos captured today using the latest Canikony cameras better than anything previously? Of course not! Some people seem to think that photography has only been around for a few years.

It was never about the gear, it has always been about the one using the gear. Yes, some tools make it a bit easier to achieve your desired results, but if you really want a certain result, you can do it no matter your camera. You might have to try a little harder, you might have to learn a new skill, or you might have to practice a skill you’ve gotten rusty at, but you can still do it. My guess, though, is that for 98% of people, Fujifilm’s AF is more than good enough just as it is, as was Canikony’s five or ten or even 15 years ago. So does it actually matter that Fujifilm’s autofocus isn’t as good as the three big brands? It might matter to some, but it shouldn’t matter to the vast majority. If you can’t get the job done with the gear you have, the problem isn’t the gear; however, that’s a bitter pill that people don’t want to swallow. Nobody wants to hear that they’re the problem, but without introspection there’s no opportunity for growth.

With all of that said, Fujifilm has done an amazing job creating and improving the autofocus on their cameras, all things considered (aside from that infamous firmware bug last year). With a smaller budget and smaller team (and with a lot less time), they’re not terribly far behind Nikon. I’m sure they will continue to make strides, and—who knows—with AI they might have some breakthroughs that would be difficult otherwise, and which might level the playing field a bit. For most people, these improvements will have little-to-no practical benefit because the AF is already more than sufficient—we’re near the top of the upside-down U. Seriously, how good does it need to be? It’s been more than good enough for me since X-Trans III, and even the older models are decent in daylight situations. Only in extreme cases do the Canikony brands have a clear advantage, yet even those situations aren’t insurmountable if the one behind the camera doesn’t allow them to be. While I’m sure Fujifilm’s autofocus will continue to improve, the difference it will make for most people is very small. Yes, we’re rooting for Fujifilm to be at the head-of-the-pack in every aspect of camera-making, but it’s important to keep expectations realistic, or else we’ll inevitable be disappointed, which will lead to unnecessary resentment—something that’s easy to spot all over the internet.

People are talking about Fujifilm Recipes

Posted on by Ritchie Roesch

Right now, people are talking about Fujifilm Recipes. Thanks to models like the new Fujifilm X-E5, which is the first camera to use the term “Recipe” inside the menu, more and more people are discovering the joys of Film Simulation Recipes. Interestingly enough, not only are camera-made JPEGs no longer stigmatized, they’re actually “in” right now—they’re cool.

Yesterday, DPReview posted an article by Mitchell Clark entitled Why the Fujifilm X-E5 turned me into a film recipes fan. The article specifically mentions two Fuji X Weekly Recipes: Ilford HP5 Plus 400 that Anders Lindborg created and 1976 Kodak that I created. Interestingly, it’s written from the perspective of someone who’s always dismissed camera-made JPEGs and Recipes. But, after trying some while preparing for an upcoming Fujifilm X-E5 review, not only did the author have a change of heart, but it also affected how he thought about the scene he was photographing (in a positive way). This article makes it ok for those who have never tried Recipes to do so, and explains that you might not realize what you’re missing out on.

Next is from the New York Times—the New York Times!! The article, which was published just today, is entitled No One Needs a $5,000 Point-and-Shoot. But Man Oh Man, Do We Want This One. by Ben Keough, and is found in the Wirecutter (“Games and Hobbies”) section. Specifically, it’s a review of the Fujifilm GFX100RF.

“Photos look great right out of the camera,” Ben wrote. “Strange as it may sound to seasoned photo nerds, I went into my trip with the GFX100RF with the intention of shooting JPEGs—essentially using this $5,000 camera the way my parents documented family vacations with their film point-and-shoots. And guess what? It worked spectacularly well.” He went on to specifically mention my Kodachrome 64 and Kodak Portra 400 v2 Recipes.

Above, clockwise from top-left: Kodachrome 64, Kodak Portra 400 v2, 1976 Kodak, and Ilford HP5 Plus 400 Recipes

Of course, it’s not just large photography sites or major newspapers that are talking about Fujifilm Recipes. I’ve had the privilege of visiting many camera stores recently, from the small but up-and-coming Nuzira that’s local to me in Arizona, to B&H in Manhattan, and a whole bunch of others in-between. I was even interviewed recently by Mike’s Camera. No matter the store, the story is the same: people are interested in Recipes, and they’re being talked about by both customers and employees. As one sales representative told me at a major store, “Half of my sales of Fujifilm cameras are a direct result of your App.”

I didn’t make Film Simulation Recipes to sell cameras, but nonetheless it has become a major selling point, and now even an official feature. I made Recipes to help people—including myself—more quickly and easily achieve desired picture aesthetics, in a way that’s often more fun and authentic. It’s simply a way to help others, and be a positive part of the photography continuum. As I wrote last week: Shoot more, edit less, and let your camera become your darkroom. 

The Firmware Update You Might Want to Avoid

Posted on by Ritchie Roesch

Fujifilm just released some firmware updates today for a bunch of cameras. We need to talk about this right now, because there are reasons why you may not want to update your camera.

The specific models with firmware updates are Fujifilm X-T5, X100VI, X-T50, X-S20, X-M5, GFX100RF, and the X half. For all of these updates, “Wireless communication security is enhanced while camera is connecting with a smartphone application or external device wirelessly.” Extra security is good, although I’m not too worried about the wireless communication security of my camera, personally. But, then we find out that if you do this update (aside from the X half, which is a different story), your camera will no longer work with the Cam Remote app, and it won’t work with any of the Instax Share SP printers, either. This update removes some functionality from the cameras, and doesn’t add anything other than a more secure connection.

I never update to the latest firmware right away. It’s always a good idea to wait a few days, if not a few weeks, just in case there’s some bug. It’s happened before with Fujifilm cameras—most famously the autofocus bug last year—but also with other brands (including Canon just last week), and even non-camera products; it’s not a Fujifilm issue, but a tech issue in general. If there is a bug in the firmware, let someone else discover it first. You can save yourself a major headache sometimes just by waiting. The X half update is probably fine (just make sure you also update the X half App), but I’d still wait a few days just in case.

223 – Savannah, GA – Fujifilm X half

The problem is that this particular firmware might shy you away from updating your camera ever again. For example, I don’t use the XApp; instead, I use the old Cam Remote app. Why? First, the XApp is only compatible with the newer cameras, and since I have older models, I have to use the Cam Remote app for those—I’d rather have just one app for all of my Fujifilm models, for the sake of simplicity and consistency. Second, I’ve figured out how to make the Cam Remote app work quite well for me. I know that it’s rated very low in the app store, but once I figured out how to get it to consistently connect to my cameras without trouble, it’s become easily four stars in my book. If it ain’t broke, don’t fix it; since it’s working really well for me right now, I’m not going to update my cameras, which will force me to use the XApp. Now if Fujifilm updated the XApp so that older cameras could connect to it, that’s a different story entirely. Fujifilm: if you really want everyone to migrate to the new app, make it compatible with more cameras.

You may or may not feel similarly about the Cam Remote app. Maybe—like me—you still use it, even though it’s not the latest. Maybe you don’t have any older models, the XApp works great for you, and you hated the Cam Remote app anyway when you did use it a couple years ago. But, perhaps, you do connect to an Instax Share SP printer sometimes, and maybe that’s a reason not to update the firmware. Honestly, instead of taking away compatibility with Instax, Fujifilm should add it to all the cameras. There’s no good reason why you cannot print on an Instax Link directly, and it’s a shame that you cannot on most models. Now, if you update the firmware, you can’t print directly on a Share SP, either.

This security firmware update takes away functionality, so you may want to consider avoiding it if you use the Cam Remote app or print to Instax Share SP printers. Maybe you are concerned about how secure the wireless communication is on your camera, and the improved network security level is worthwhile to you. In that case, I’d still wait a few days, but then update. Since I’m not all that concerned about it personally, I’m not updating my cameras, except for the X half probably this weekend.

Retro Color — FXW App Patron Early-Access Recipe for Fujifilm X-Trans V

Posted on by Ritchie Roesch

Savannah Central 7069 – Savannah, GA – Fujifilm X100VI – Retro Color

When Fujifilm released the X half last month, it included some brand-new filters, including Light Leak, Expired Film, Halation, and many more. One of my personal favorites is called Retro. Fujifilm doesn’t say exactly what the Retro Filter is supposed to resemble, but it’s an obvious vintage aesthetic. It reminds me a bit of Ormond Gigli’s color work of the late 1960’s and early 1970’s, although I’m sure the similarities are coincidental. I do think the filter was inspired by 1960’s era Ektachrome, especially when push-processed, something Kodak began offering in 1968.

The one and only X-series camera that has the Retro Filter is the X half. You won’t find it on the X100VI or X-E5 or any other model; however, it is on Instax Evo cameras. This filter, plus a number of others on the X half, were inherited from the Instax department. In my opinion, Fujifilm should add the Retro and Expired Film Filters to the Advanced Filters section of X-series cameras. Light Leak and Halation should be added as JPEG options that can be applied to Film Simulation Recipes. I hope they do.

Above: Retro Filter on the Fujifilm X half

While the Retro Filter on the X half was the initial inspiration for this new Recipe, I leaned more heavily into a different (yet similar) picture aesthetic that I really like: the Retro Style Smart Filter on my Samsung ST76 digicam. This little pocket point-and-shoot is from 2012, and it’s not particularly great, but I really like the Retro Style Smart Filter on it, which is pretty much the only reason why I use that old digicam. The filter is intended to produce a vintage ’60’s and ’70’s look, although (again) the specifics aren’t identified. While it has some similarities to the Retro Filter on the X half, it is notably divergent—a bit softer, less bold, and more subtle (yet still pronounced). To me, it looks more like prints from that era, more so than push-processed slides.

I did consider both of these picture aesthetics when created this Retro Color Film Simulation Recipe, but I spent more time comparing my X100VI and X-E5 photos to the Samsung ST76 than the X half. That was the vibe that I wanted to emulate, more so than the X half images. I think this Recipe nails the look in certain situations, and is pretty close (but not perfectly matched) in others. I’m pretty satisfied with the end result.

Above: Retro Style Smart Filter on a Samsung ST76

You might ask why I replicated the Retro look from a cheap digicam over the Retro look from the X half. Initially, I was attempting to replicate the X half aesthetic, but I encountered some difficulties early in that process. If I kept at it, perhaps those things could have been overcome. My hope is that Fujifilm brings the Retro Filter to X-series cameras, which might make the Recipe obsolete if I made it. Aside from that, while the Retro aesthetic from the Samsung ST76 and Fujifilm X half both have their positive and unique characteristics, overall I prefer Samsung’s version, as Fujifilm’s can be a little too strong sometimes for my tastes. I like both, and they’re both somewhat similar, but the one that I like best is what I ended up mimicking.

This Recipe produces an aesthetic reminiscent of some photo prints from the 1960’s and ’70’s, maybe captured using Ektachrome X or Ektachrome 200. I did find a few examples of Ektachrome prints from the 1970’s (for example, this one), which aren’t terribly dissimilar, and maybe sit halfway in-between the Retro Color Film Simulation Recipe and the X half‘s Retro Filter. As with anything in film photography, there are a lot of variables that can significantly affect the outcome. I would say that it is the “general aesthetic” that the Recipe recreates more so than a specific film or process.

Triton – Tonopah, AZ – Fujifilm X100VI – Retro Color

This Retro Color Recipe looks great on sunny days, and can be especially nice during golden hour. Try both a slight underexposure and overexposure—the results are notably different, and you might prefer one over the other. It produces a certain look with overcast sky, which you could either love or hate (most people probably won’t like it). I would avoid this for nighttime situations, but early blue hour is fine. This Recipe wouldn’t be my first choice for portrait photography, although situationally specific, it might be ok for that. If you appreciate a warm, vintage aesthetic, give the Retro Color Recipe a try, as you might really like it.

This is a Patron Early-Access Recipe. If you are a Fuji X Weekly App Patron, you have access to it right now. If not, no worries, as it will eventually be made available to everyone, once it is replaced by a new Early-Access Recipe. It 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, X-M5, and X-E5. It can also be used on the latest GFX models, including the GFX100 II, GFX100S II and GFX100RF.

Example photographs, all camera-made JPEGs using this Retro Color Film Simulation Recipe on a Fujifilm X100VI and X-E5:

7 Eleven – Phoenix, AZ – Fujifilm X100VI
Dusty Steering Wheel – Buckeye, AZ – Fujifilm X-E5
Sparkless Plug – Buckeye, AZ – Fujifilm X-E5
Eye Closed – Buckeye, AZ – Fujifilm X-E5
Inspection – Arlington National Cemetery, VA – Fujifilm X100VI
The Porter Machine – Savannah, GA – Fujifilm X100VI
2715 – Savannah, GA – Fujifilm X100VI
Mission Arch – Tucson, AZ – Fujifilm X-E5
Storm over Mission San Xavier – Tucson, AZ – Fujifilm X-E5
Treasury Department – Washington, DC – Fujifilm X100VI
Big Flag – Phoenix, AZ – Fujifilm X100VI
Bashas on Main Street – Buckeye, AZ – Fujifilm X-E5
Vacancy at the Motor Hotel – Buckeye, AZ – Fujifilm X-E5
Afternoon Palm – Buckeye, AZ – Fujifilm X-E5
Craftsman – Buckeye, AZ – Fujifilm X-E5
Bougainvillea Sunset – Buckeye, AZ – Fujifilm X-E5
Tire Pile – Waddell, AZ – Fujifilm X-E5
Fireplace – Scottsdale, AZ – Fujifilm X100VI
Fading Sunset – Somewhere over Arizona (I think) – Fujifilm X100VI

Find this Film Simulation Recipe and 400 more in the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Pro Neg — Fujifilm X-T3 & X-T30 (+ X-Trans III) Film Simulation Recipe

Posted on by Ritchie Roesch

Small Clouds Above the Roof – Buckeye, AZ – Fujifilm X-T30 – Pro Neg Recipe

I worked on this Film Simulation Recipe for some time. It wen’t through a lot of iterations, with small tweaks here and there over a few month period, before I landed on the final settings. The idea was to create a generic Kodak-ish color negative film aesthetic, perhaps something similar to ColorPlus 200 or Pro Image 100. While I did look at both of those emulsions a number of times during the development of this Recipe, I didn’t set out to strictly emulate either of them. I think there can be similarities at times to both of those film stocks, but generally speaking this Recipe isn’t a replication of either—or any—film. I hope that makes sense. I do think it does a good job at producing a generic color negative film aesthetic that is by-and-large Kodak-esque, with occasional similarities to both ColorPlus 200 and Pro Image 100.

Pro Neg was a Fuji X Weekly App Patron Early-Access Recipe. The Fuji X Weekly App is free, yet becoming a Fuji X Weekly Patron unlocks the best App experience! One benefit of being a Patron is you get early access to some new Film Simulation Recipes. These Early-Access Recipes will eventually become available free to everyone in time. This one was just replaced by another, so now it’s available to everyone. Patrons help support Fuji X Weekly and, really, without them there would be no App. So I want to give a special “thank you” to all of the Patrons!

Beautiful Bougainvillea Blooms – Buckeye, AZ – Fujifilm X-T30 – Pro Neg Recipe

This Pro Neg Film Simulation Recipe is compatible with the Fujifilm X-T3 & X-T30, plus all X-Trans III cameras, which are the X-Pro2, X100F, X-E3, X-T2, X-T20, and X-H1. For newer cameras, you’ll have to decide on a Grain size (Small or Large), set Color Chrome FX Blue to Off, and Clarity to 0. This Recipe is also compatible with the GFX100; it can be used on “older” GFX models (50R and 50S), but will render slightly differently (try it anyway).

Film Simulation: PRO Neg. Hi
Dynamic Range: DR400
Grain Effect: Weak
Color Chrome Effect: Off/NA
White Balance: 9100K, -7 Red & +7 Blue
Highlight: +1
Shadow: +1
Color: +1
Sharpness: -1
High ISO NR: -4
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs captured using this Pro Neg Film Simulation Recipe on my Fujifilm X-T30:

Empty Schoolyard – Buckeye, AZ – Fujifilm X-T30
Backyard Wall View – Buckeye, AZ – Fujifilm X-T30
Hidden Triangle – Buckeye, AZ – Fujifilm X-T30
Gila River Hat – Buckeye, AZ – Fujifilm X-T30
Tree by Field 4 – Buckeye, AZ – Fujifilm X-T30
Bougainvillea Petals – Buckeye, AZ – Fujifilm X-T30
Little Cloud Between the Trees – Buckeye, AZ – Fujifilm X-T30
Twin Palms – Buckeye, AZ – Fujifilm X-T30
Palm Behind Bougainvillea Blossoms – Buckeye, AZ – Fujifilm X-T30
Suburban Colors – Buckeye, AZ – Fujifilm X-T30
Bougainvillea in the Sky – Buckeye, AZ – Fujifilm X-T30
Basketball Hoop at Dusk – Buckeye, AZ – Fujifilm X-T30
Hoop & Tree – Buckeye, AZ – Fujifilm X-T30
Court Cycle – Buckeye, AZ – Fujifilm X-T30
Dusk Saguaro – Buckeye, AZ – Fujifilm X-T30
One Fallen, One Standing – Buckeye, AZ – Fujifilm X-T30
Window Reflection – Buckeye, AZ – Fujifilm X-T30
Yellow Trumpet – Buckeye, AZ – Fujifilm X-T30
Backyard Rose Blossom – Buckeye, AZ – Fujifilm X-T30
Backlit Bud – Buckeye, AZ – Fujifilm X-T30

My Sony RX1R III Opinions

Posted on by Ritchie Roesch

Sony surprised the photographic world with the announcement of the RX1R III, a full-frame fixed-lens compact camera. It’s a followup to the RX1R II, which was released 10 years ago. I wasn’t intending to write about it, but a couple people asked for my opinions, so I thought I’d chime in. If you’re interested to know what I think, read on.

Whenever I write these types of articles, invariably someone will get upset. If I criticize any aspect of any camera that’s not Fujifilm, people will say that I’m a hater. If I don’t criticize Fujifilm cameras enough, I’m accused of being a fanboy (meant negatively; I consider it positive). For some people—and they’re found all over the internet but very rarely in real life—I (and other Fujifilm bloggers) must speak only positively about other brands, but at least 50% negative about Fujifilm, or else the opinions expressed are to be disregarded as rubbish. It’s weird. So I think it’s important for me to state right up front where I’m coming from, and if your perspective is similar to mine, maybe you’ll appreciate this article; if not, take all of this with a very large grain of salt, and don’t let it bother you. I like retro-styled cameras (preferably with traditional exposure controls and not PASM) that are compact and lightweight, and that produce excellent straight-out-of-camera pictures that have an analog-like look to them and don’t need to be edited. Fujifilm cameras are by far my favorite, but I have used (and occasionally still use) other brands, including Sony (among others).

Above: Sony a7 IV and the FL “Film Look” profile

To begin with, I think it was smart for Sony to make this camera. It will sell quite well. I have no doubts that this camera will be a hit, and will be a money-maker for them. The specific questions I received about the RX1R III were: how will it impact Fujifilm? Will people leave Fujifilm for this model? Will it affect the sales of the X100VI and GFX100RF? I want to avoid getting into the spec sheet, or criticisms of the rear LCD or things like that—plenty of other people have already discussed those things at length. I’m going to focus more on answering the questions that I was asked.

I don’t think the RX1R III is a direct competitor to the Fujifilm X100VI, but the success of the X100VI certainly influenced Sony to make this camera. And there are enough similarities on paper that one might think they’re competition; however, simply looking at the cameras, it’s obvious they’re significantly divergent in philosophy and design, not to mention price. In my estimation, not many X100VI customers will be lured away by the RX1R III, and not many RX1R III customers will be lured away by the X100VI (probably more will be attracted to the X100VI simply due to cost). I can imagine that some photographers will even have both cameras, although that’s likely going to be a pretty small number. People on YouTube will make the comparison, I’m sure, but overall I don’t see these two models as major competitors.

The RX1R III will more directly compete with the GFX100RF, even though their focal lengths are different. Do you want the bigger, heavier GFX100RF with a larger, higher-resolution sensor and wider but slower lens, or the smaller, lighter RX1R III with a tighter focal length and larger f-stop? Do you want the traditional tactile controls of the Fujifilm, or the PASM and slightly more minimalistic approach of the Sony? Do you want Fujifilm’s renown colors and JPEG engine, or Sony’s better AF and video output? Do you want a striking retro-styled camera, or a more discrete design (to put it nicely)? Do you want to pay $5,100 for the RX1R III, or $4,900 for the GFX100RF? Both have their pluses and minuses, so it really comes down to personal preferences. I’d choose the GFX100RF (and I hope to someday when my budget allows), but that’s just me, and I can see this being a tough choice for some.

Above: Sony a7 IV and the FL “Film Look” profile

Of course, the Sony RX1R III is also competing against the Leica Q3 and Q3 43. I don’t see this camera taking people out of the Leica camp, but it could certainly convince some not to get into it. I can see this as a Leica alternative for those who can’t quite afford to buy a Leica. Mostly, though, the RX1R III is simply a fixed-lens camera for those who are already in the Sony ecosystem. It’s a pocketable-ish camera that’s great for everyday carry or travel due to its compact size, when you don’t want to lug around something like the Sony a7 IV.

I’m not against Sony or the RX1R III. It’s a camera that you’re likely going to shoot RAW with and not JPEG, although Sony has made some notable strides in that department. Most of Sony’s JPEG profiles are so-so, but FL (“Film Look”) is pretty good—kind of similar to the Negative Film effect on the Ricoh GR III and GR IIIx. Apparently there are now three FL options: the original one that’s now called FL1, a more subdued and vintage-looking one called FL2, and a more vibrant and contrasty option called FL3. While these can be customized into Recipes (if someone made them), and Sony does offer interesting customizations like Fade, there’s no faux grain, which is a bit of a bummer. Also, you cannot reprocess the RAW files in-camera, should you need to boost or reduce exposure or apply a different look altogether. From my experience, Sony’s JPEGs can be a bit prone to banding, especially in clear blue sky situations. Fujifilm is a long ways ahead of Sony in regards to camera-made JPEGs, which is one reason why I’m not personally interested in the RX1R III.

I don’t have strong positive or negative opinions about Sony’s new camera. If I was offered one to try, I certainly wouldn’t say no (I doubt that will happen, though). I’m saving up for the GFX100RF, which I’m sure I would like better; however, if I were in the market for a Sony camera, the RX1R III is the only one that I’d consider purchasing right now, and I do think I’d enjoy it, especially with the three FL profiles set to the 1, 2, & 3 positions on the top dial. And that’s my two pennies, for anyone who might be interested.

My Five Favorite Fujifilm Film Simulations

Posted on by Ritchie Roesch

Fujifilm’s Film Simulations are not mere digital filters. Harnessing more than 70 years of knowledge and experience making photographic and cinematic films, Fujifilm set out to infuse their X and GFX cameras with an analog soul. With a combination of complex elements, these Film Simulations provide a wide variety of looks inspired by film or darkroom techniques. There are 20 different Film Simulations on the latest models, and it can be overwhelming to know where to begin. I like some more than others, but which are best is personal—my preferences might be different than yours. For me, five Film Simulations have emerged as iconic, and are my personal favorites. There are others that didn’t make this cut that I also appreciate and use regularly. Each Film Simulation has its moment when it works really well.

My five favorites are Acros, Classic Chrome, Classic Negative, Nostalgic Neg., and Reala Ace. We’ll take a look at each of them. I will also recommend a few Film Simulation Recipes, selected for those who want to experience the full power of Fujifilm’s renown JPEG engine. Recipes use the various JPEG parameters made available by Fujifilm to customize the aesthetic of the Film Simulations, producing a variety of looks that are often based off of classic film stocks.

Acros – The Soul of Black & White

Top: Fujifilm GFX100S II & Kodak Tri-X 400; Bottom Left: Fujifilm X-T5 & Kodak T-Max P3200; Bottom Right: Fujifilm X100F & Agfa Scala

Acros is Fujifilm’s crowning achievement in monochrome photography. This Film Simulation replicates the tonal response and grain structure of real panchromatic film. It features smooth gradation, deep blacks, and beautiful highlight roll-off. Acros is unique because Grain is applied algorithmically and varies depending on ISO and exposure, giving it an organic analog-like feel. Fujifilm offers three filter variants: Acros+R (simulates the use of a red filter), Acros+Ye (simulations the use of a yellow filter), and Acros+G (simulates the use of a green filter), further mimicking the tonal rendering of black-and-white film.

This Film Simulation shines in genres where texture and tone are essential, especially street photography, portraits, documentary, and minimalism. Acros is ideal when you want to eliminate the distraction of color and focus purely on light and form. When paired with the right Recipe, it can evoke the gritty spirit of classic film stocks like Tri-X, or deliver a softer tonality for quieter moments. The Acros Recipes below are some of my personal favorites.

Kodak Tri-X 400
Kodak T-Max P3200
Agfa Scala

Classic Chrome – A Kodak Aesthetic

Top: GFX100S II & Kodachrome 64; Bottom Left: Fujifilm X100VI & Kodak Portra 400 v2; Bottom Right: Fujifilm X-T4 & Reggie’s Portra

Classic Chrome was modeled after classic photojournalism photographs, and produces a documentary-style look. The reference pictures were emulsions like Kodachrome and Ektachrome. While Fujifilm will never say Kodak, Classic Chrome has a distinctive Kodak-like color palette. With a slightly lower saturation and stronger contrast than many other Film Simulations, it can be used for a bold-yet-somehow-subdued look.

Classic Chrome is great for many genres. It can be adapted for landscapes, portraits, travel, street and urban scenes, or storytelling photography. It’s the most popular Film Simulation for those who use Recipes, and the most iconic Recipes use Classic Chrome as their foundation. Below are the most popular Film Simulation Recipes—not only that use this Film Sim., but out of all Recipes.

Kodachrome 64
Reggie’s Portra
Kodak Portra 400 v2

Classic Negative – Fujicolor Superia Film

Top: Fujifilm X100VI & Fujicolor Superia 800; Bottom Left: Fujifilm X-E4 & Pacific Blues; Bottom Right: Fujifilm X100V & Fujicolor Reala 100

Classic Negative is based on Fujicolor Superia, a line of consumer films known for rich colors and its 4th layer technology, which provided versatility in a variety light situations. It’s a bold Film Simulation with a unique ability: the way it renders is dependent on the brightness of the picture, behaving somewhat similar to the film when overexposed or underexposed—delivering complex, sometimes unpredictable color shifts. Greens can appear silvery, reds can pop or fade depending on the lighting, and skin tones have a nostalgic rendering. The results are reminiscent of pictures found in many photo albums from the 1990’s and early 2000’s.

Classic Negative is especially well suited for snapshots of daily life and family vacations—really, any subject where you want a stylized, analog-inspired aesthetic. It exaggerates contrast in a way that feels emotionally driven, almost like how memory transforms color and mood. It’s one of the most fun Film Simulations to experiment with, and the Recipes built on it often have strong personalities.

Pacific Blues
Fujicolor Superia 800
Fujicolor Reala 100

Nostalgic Neg. – Classic Americana

Top: Fujifilm X-E5 & Kodak Vericolor VPS; Bottom Left: Fujifilm GFX100S II & 1970’s Summer; Bottom Right: Fujifilm X-T50 & Nostalgic Americana

Introduced with the GFX100S and later made available in fifth-generation X-Trans V cameras, Nostalgic Neg. was designed to mimic the aesthetic of New American Color prints from the 1970’s. It was inspired by the works of William Eggleston, Stephen Shore, Joel Sternfeld and Richard Misrach, among others. Like Classic Chrome, Nostalgic Neg. has a strong Kodak-like rendering, albeit from a different era. Nostalgic Neg. gives the feeling of looking through an old photo album filled with warm memories, especially prints from the ’60’s and ’70’s.

This Film Simulation excels in storytelling, and is especially great for travel and documentary photography. Nostalgic Neg. is an emotional Film Simulation, and Recipes built on it often lean into the sentimental, creating photos that feel more like visual poetry than true-to-life renderings.

1970’s Summer
Nostalgic Americana
Kodak Vericolor VPS

Reala Ace – Negative for a New Era

Top: Fujifilm X100VI & Fujicolor PRO 160C Warm; Bottom Left: Fujifilm X-E5 & Summer Sun; Bottom Right: Fujifilm X-T50 & Pushed Analog

Reala Ace is the newest Film Simulation in Fujifilm’s lineup. It blends natural color fidelity with enhanced contrast and shadow depth, aiming to strike a balance between documentary realism and artistic expression. The tones are clean and accurate, but never sterile—just enough pop to give photographs life without looking overly processed. It’s most similar to PRO Neg. Std, but isn’t exactly like it, either, with an obvious nod to Fujicolor PRO 160C color negative film.

Reala Ace is an excellent choice for all-purpose photography—whether you’re shooting travel, street, portraits, or landscapes. It can be adapted to a wide range of subjects, lighting, and moods. As a base for Recipes, it can be made to produce a variety of different looks. It’s not surprising to me that Reala Ace is becoming a go-to Film Simulation for many photographers.

Fujicolor PRO 160C Warm
Pushed Analog
Summer Sun

These five Film Simulations—Acros, Classic Chrome, Classic Negative, Nostalgic Neg., and Reala Ace—represent the heart of Fujifilm’s JPEG magic. Each offers a unique way to see the world. They allow you to create finished straight-out-of-camera photographs that look great and don’t need to be edited, especially when combined with Film Simulation Recipes. Film Simulations and Recipes are tools of expression, just like film stocks. Shoot more, edit less, and let your camera become your darkroom. Wow, I need to use that last sentence as a tagline or something.

Fujifilm should begin to make fewer X100VI cameras

Posted on by Ritchie Roesch

Fujifilm has already produced and delivered more copies of the X100VI than any other previous X100-series model. There are more X100VI’s in the hands of photographers right now than X100V, or X100F, or X100T, etc.. That’s truly amazing, since the X100VI was released only about a year-and-a-half ago, while the other models had production runs closer to four years.

The reason why Fujifilm has made so many copies of this camera is because of the unprecedented historic demand for it. By far, there were more preorders for the X100VI than any other camera by any manufacturer ever. No camera in the history of cameras has had so much interest at announcement. And, if the demand doesn’t relent anytime soon, it could possibly lead to the X100VI becoming the most-sold camera of all time (not including cellphones), which would be a highly improbable achievement. I don’t think that will happen—not even close—because surely the demand isn’t that strong. At some point, it will certainly back off to a more “normal” level, right?

There are still people lamenting that they can’t get their hands on a Fujifilm X100VI. They’d like to buy one, but can’t find it in stock anywhere. As soon as a camera store lists it in-stock, which doesn’t happen often, within hours or even minutes, they’re sold out again. So it might be easy to believe that the demand hasn’t relented. But that’s mostly just in America, and it seems to be partially related to the tariffs. Worldwide, the X100VI has been becoming easier and easier to find. It’s still out of stock at a lot of places, but overall, it’s not terribly hard to get one if you want one. People are reporting walking into their local camera store and finding a few copies on the shelf. So internationally—and depending on where exactly—the situation is a bit better than here at home.

What makes me think that supply and demand are equalizing is that there are used copies available for a reasonable price, like at B&H. Scalping continues on sites like eBay, but it’s not nearly as bad as it was last year. Things are slowly returning to normal. And this is where Fujifilm needs to be very, very careful, a situation that I’ve been predicting for more than a year.

With the X100VI, Fujifilm doubled the production numbers of the X100V from the get-go, from 7,500 units per month to 15,000. At one point last year they said that they wanted to double production again, making it four times that of the X100V, but later stated that that simply wasn’t possible. My best guess is that it is somewhere around three times more than the X100V right now, which would put it at about 22,000 copies per month, or about 265,000 units per year (these numbers are just guesses). The historically “normal” demand for an X100-series camera is 90,000 per year.

At some point, demand for the X100VI will drop. Once the majority of those who want one get one, Fujifilm will sell a lot fewer of them. If the market gets oversaturated, the value will decrease, and Fujifilm will be forced to reduce the price. Those selling them used will have to drop their price, too. This is a situation that Fujifilm really wants to avoid, as it would reduce brand strength. It would be a Lean Production failure if Fujifilm produced more X100VI’s than there are customers wanting to buy them. Fujifilm must proceed with caution.

The mistake of overproduction would be very easy. Since it takes many months from securing parts and scheduling manufacturing to delivering an assembled camera to a store, the demand must be forecasted in advance, probably at least six months. If Fujifilm is making 22,000 units per month, and the total international demand right now is 130,000, in six months Fujifilm would have overproduced 2,000 copies. That’s probably not a big deal, as they’ll surely sell those cameras; however, if they’ve still got 132,000 cameras in the process somewhere, to be manufactured over the following six months, that’s a massive and possibly devastating problem. That’s something that could sink the whole camera division.

I’m just little ol’ me sitting in my office trying to stay cool from the brutal Arizona sun, but even I can see early signs that supply and demand are equalling out. That should be a huge caution flag for Fujifilm. They should strongly consider scaling back production. Perhaps drop it back to 15,000 units monthly ASAP, and work towards “only” 7,500 units monthly by 12 months from now. Obviously Fujifilm wants to capitalize on this lightning-in-a-jar situation as much as possible, and they’d love to sell a quarter-million-plus copies per year without hardly any promotion—what a dream circumstance! But they should also listen to that nagging feeling that this won’t last forever, because it won’t.

I wouldn’t doubt if the X100VI sold twice as many units as the X100V or any other prior X100-series camera by the time its production run has ended. It might even sell four times as many. At some point, though, all the people who want one will have one. Aside from that, trends change quickly. All it takes is some shift in market dynamics or some other camera to catch the attention of social media influencers for the X100VI to be yesterday’s news. Overproduction is a real problem that Fujifilm is well acquainted with and desperately wants to avoid, and no other X-series camera has had a higher risk of overproduction than the X100VI. Fujifilm should ask themselves if now is the time to scale back, because it would be very easy to overshoot this, something that they’d certainly regret doing.

Photoessay: Abandoned Amusement Park on the Outer Banks

Posted on by Ritchie Roesch

Corkscrew Dilapidation – Rodanthe, NC – Fujifilm GFX100S II – Fujicolor PRO 160C Warm

Last month I found myself photographing a place long forgotten by tourists but not yet erased by time—a crumbling waterpark nestled in the shifting sands of North Carolina’s Outer Banks. The abandoned Waterfall Action Park in Rodanthe sits on both sides of Highway 12, surrounded by the haunting beauty of the barrier island landscape: sea oats swaying in the wind, dunes rolling like waves, and the ceaseless rhythm of the Atlantic just beyond the horizon. This park is a decaying relic of the past, slowly being reclaimed by time and nature. With my Fujifilm GFX100S II camera and Fujinon 80mm f/1.7 lens, I set out to capture not just the decay, but the story of a place where summer joy once echoed through salty humid air.

Waterfall Action Park opened in the late 1980s during a time when beach tourism in the Outer Banks was booming. Situated right off the main road, it became a beloved summer destination for both locals and tourists. The park featured two massive water slides, go-karts, bumper boats, miniature golf, a small pool, and even a bungee-jumping tower. There was no admission fee—just pay for the attractions you wanted to experience. It wasn’t fancy, but it was fun. For many, it was the highlight of summer trips to Hatteras Island. At least that’s what the internet says, as this was my first time to the area.

Time, tides, and hurricanes spare nothing on the Outer Banks. By 2010, the park had closed, apparently due to declining popularity. Hurricane Irene in 2011 and later Sandy in 2012 inflicted heavy damage—the slides collapsed, the buildings buckled, and nature began its slow reclamation. Without repairs or investment, the park was left to rot, and it quickly became an eerie shell of its former self. It wasn’t just closed—it had become a ghost town, surrounded by the wild beauty of Hatteras Island.

Pool Remnant – Rodanthe, NC – Fujifilm GFX100S II – Kodak Tri-X 400

While the park property is fenced, much of it is visible from the roadway—there’s no need to trespass. In several instances I used the fence as a compositional element. While the GFX100S II allows plenty of room for significant cropping, I rarely needed it, as the 80mm lens offered plenty of reach for most pictures at this location. The main challenge was the harsh late-morning light, which was not ideal, but perhaps contributed to the mood of neglect. The Film Simulation Recipes I used were Fujicolor PRO 160C Warm, Velvia Film, Superia Negative (all three of which are Film Dial Recipes), and Kodak Tri-X 400.

Places like this are part of the invisible history of the Outer Banks. Tourists come for lighthouses, kite flying, and sandy beaches. Quiet corners where the past lingers are easy to miss. The Waterfall Action Park may be gone from brochures and maps, but it lives on in the echoes of summer, as well as in the photographs that I brought home. Sometimes the soul of a place isn’t found in its peak moments, but in what’s left behind. Occasionally the most interesting pictures aren’t of epic landscapes or dramatic street scenes, but of broken waterslides on an overgrown lot in a forgotten corner of the Atlantic coast.

Arrow – Rodanthe, NC – Fujifilm GFX100S II – Kodak Tri-X 400
Curved Road – Rodanthe, NC – Fujifilm GFX100S II – Kodak Tri-X 400
Chainlink Tire – Rodanthe, NC – Fujifilm GFX100S II – Superia Negative
Shed – Rodanthe, NC – Fujifilm GFX100S II – Fujicolor PRO 160C Warm
Ticket Booth – Rodanthe, NC – Fujifilm GFX100S II – Fujicolor PRO 160C Warm
Broken Waterslide 1 – Rodanthe, NC – Fujifilm GFX100S II – Fujicolor PRO 160C Warm
Broken Waterslide 2 – Rodanthe, NC – Fujifilm GFX100S II – Fujicolor PRO 160C Warm
Broken Waterslide 3 – Rodanthe, NC – Fujifilm GFX100S II – Fujicolor PRO 160C Warm
Vine Pole – Rodanthe, NC – Fujifilm GFX100S II – Fujicolor PRO 160C Warm
Don’t Take the Stairs – Rodanthe, NC – Fujifilm GFX100S II – Kodak Tri-X 400
Light Pole – Rodanthe, NC – Fujifilm GFX100S II – Kodak Tri-X 400
Pro Trac – Rodanthe, NC – Fujifilm GFX100S II – Kodak Tri-X 400
Buckled Boards – Rodanthe, NC – Fujifilm GFX100S II – Kodak Tri-X 400
Platform – Rodanthe, NC – Fujifilm GFX100S II – Fujicolor PRO 160C Warm
Parking Lot Sign – Rodanthe, NC – Fujifilm GFX100S II – Velvia Film
Shallow Pool – Rodanthe, NC – Fujifilm GFX100S II – Fujicolor PRO 160C Warm
Pond Remnant – Rodanthe, NC – Fujifilm GFX100S II – Velvia Film
Mini Golf Remnant – Rodanthe, NC – Fujifilm GFX100S II – Velvia Film

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

Fujifilm GFX100S II:
Amazon, B&H, Nuzira
Fujinon GF 80mm f/1.7:
Amazon, B&H, Nuzira

The Totally Unexpected Camera Coming in 2025… was Completely Expected

Posted on by Ritchie Roesch

Fujirumors posted an article today entitled BREAKING: This Totally Unexpected Fujifilm Camera is Coming in 2025 – And I Know You Won’t Believe Me. I believe it and even expected it, because I’ve been saying it for over a year. If you regularly read Fuji X Weekly, you probably believe it, too, and might even have expected it yourself. I can’t tell you how many times I’ve predicted it over the last 14 months—probably a good handful. For some (including myself), this is not a surprise in the least.

In the third paragraph of my Fujifilm X-T50 review (published on May 16, 2024), I stated, “The X-T50 is not the successor to the X-T30 II, but a whole new (yet highly similar) line. Fujifilm plans to sell the X-T30 II alongside the X-T50, similarly to what they did with the X-T3 and X-T4 a few years back. This also means that there is a potential future successor to the X-T30 II, perhaps called the X-T30 III or X-T40; I don’t know that for sure, but I think it is a fair assumption. The main thing for you to know is that the X-T50 is not a replacement for any previous model, but a whole new camera.”

Just two months ago, in my article entitled My Hopes for the Fujifilm X-E5 (published on May 21st), I concluded with this: “My prediction, which is merely a guess and nothing more, is that an X-T30 III (an X-T30 II but with X-Processor 5) will be announced in the fall….” It looks like that guess was pretty much correct.

For those still scratching their heads, Fujirumors just leaked that the X-T30 II’s successor (which isn’t the X-T50) is coming sometime in 2025. And this is taking the Fujifilm community by surprise. Many people apparently assumed that the X-T50 was the X-T30 II’s successor, even though Fujifilm said from the get-go that it wasn’t. Fuji X Weekly might have been the only website that predicted the X-T30 III (or maybe they’ll call it X-T40, but I doubt it). I don’t have any inside information, I only took Fujifilm at their word, and followed the sequence of past releases to predict this outcome. It just made sense to me.

So what will the Fujifilm X-T30 III look like? I think it will be exactly the same as the X-T30 and X-T30 II (which was mostly just a firmware update to the X-T30), except with the X-Processor 5. In other words, it will have Nostalgic Neg. and Reala Ace, but otherwise will be pretty much identical to the X-T30 II. Some are predicting an X-T50 but with the 26mp sensor instead of 40mp, but I don’t think so, personally. There will be a price increase, because of inflation (and, in America, the tariffs). The X-T30 II was $900 in 2021, which is $1,070 today, so don’t be surprised if the X-T30 III is about $1,050-$1,100 USD for the body-only outside of America, and $1,300-$1,400 in the US due to tariffs. That’s just the new normal, I think.

The question that some will certainly ask is why does this camera need to exist. The X-M5 is the new entry-level model. The X-S20 is the hybrid PASM model underneath the X-H2/X-H2s. The X-E5 has been upgraded to a mid-tier camera. The X-T50 is also a mid-tier model. Where does the X-T30 III fit into that? I believe that it will be the lowest-tier non-PASM camera, underneath the X-T50 and X-T5. This line has been historically successful for Fujifilm. It offers a more affordable option for those who want an EVF. But… I think it will also be an indication of what’s to come very soon with the other models (aside from the X-E5 and X half): price increases (at least in America, maybe not worldwide). Other brands have already announced higher prices, and Fujifilm will be doing so soon, too, in my opinion.

Of course, I’ve been wrong about plenty of things before. For every one thing that I’ve predicted correct, I’ve predicted two or three completely incorrect. That’s the trouble with guessing the future (ask Robert Zemeckis). I cannot say with any level of certainty what the X-T30 II’s successor will be like, so my predictions should be taken with a large grain of salt. But the fact is that the X-T30 II’s successor is coming soon, and I’m not surprised by it.

Are the Fujifilm X-M5 and X-S20 X-Trans IV or V? Yes.

Posted on by Ritchie Roesch

Coastal Arches – Charleston, SC – Fujifilm X-S20 – Kodacolor VR 200 – Photo by Jonathan Roesch

I’ve received a lot of questions lately about the Fujifilm X-M5 and X-S20. Specifically, people want to know what generation these two cameras fall under, and which Film Simulation Recipes they should use on their model. I’m not sure why this question has been asked so much lately, but there has definitely been a noticeable spike. Let’s get right into the answer, which is simple and complicated.

Both the X-M5 and X-S20 feature the same 26-megapixel X-Trans IV sensor found in the previous-generation models, such as the X-Pro3, X100V, X-T4, and X-T30 II. So it might seem obvious: they must be fourth-generation cameras, right? Not quite. Despite the sensor, both the X-M5 and X-S20 have the new X-Processor 5, the same as the X-T5, X100VI, X-H2, and X-T50, among others. In other words, these two cameras have a foot in both the X-Trans IV and X-Trans V worlds.

While sensor generation typically defines the era of Fujifilm cameras, it’s not just about the sensor itself—it’s also about the image processor, the firmware, and the JPEG engine. The X-Processor 5 brings with it some new Film Simulations, and a slightly divergent rendering (namely, the color blue on Classic Chrome, Classic Negative, Eterna, and Eterna Bleach Bypass). Even though the sensor on the X-M5 and X-S20 are from the prior generation, the JPEG options and rendering are more in line with the latest generation.

Flowering Tree – Buckeye, AZ – Fujifilm X-S20 – Summer Sun – Photo by Jonathan Roesch

The most appropriate Film Simulation Recipes for the X-M5 and X-S20 are X-Trans V and not X-Trans IV. Recipes designed for X-Trans IV that use Classic Chrome, Classic Negative, Eterna, and Eterna Bleach Bypass might not look quite right, and will need a Color Chrome FX Blue adjustment. If the X-Trans IV Recipe (that uses one of those four Film Sims) calls for Color Chrome FX Blue set to Strong, use Weak instead; if it calls for Weak, use Off instead. With that simple adjustment, those X-Trans IV Recipes are fully compatible with the X-M5 and X-S20, as are all X-Trans IV (except those intended for the X-T3/X-T30) that aren’t based on those four Film Simulations.

While it’s a bit convoluted, the answers aren’t terribly complicated. Even though the X-M5 and X-S20 are a bit both X-Trans IV & V, they are indeed fifth-generation models. The Recipes that are most appropriate for these two cameras are the ones intended for X-Trans V cameras, like the X-H2s, X-T5, X100VI, etc., etc., but some X-Trans IV Recipes—those that don’t use Classic Chrome, Classic Negative, Eterna, and Eterna Bleach Bypass—are also fully compatible, and some are made compatible simply by reducing Color Chrome FX Blue down by one. Clear as mud? I hope this makes sense for those wondering which Recipes to use on their camera.

Kodak Vericolor VPS — Fujifilm X-E5 (X-Trans V) Film Simulation Recipe

Posted on by Ritchie Roesch

Mission San Xavier del Bac – Tucson, AZ – Fujifilm X-E5 – Kodak Vericolor VPS

Kodak introduced Vericolor color negative film in 1974. It was their professional emulsion for portrait, wedding, and studio photography, and was designed to work well with flashes. Vericolor was a predecessor of Portra, intended to produce pleasing skin tones. There were a handful of different versions produced in the 1970’s and 1980’s, and the line was discontinued in the late-1990’s with the introduction of Portra.

While this Film Simulation Recipe is called Kodak Vericolor VPS, which was an ISO 160 version released in 1979, I think it’s actually more similar to Vericolor II, released in 1977. I had a difficult time finding examples to model this after, and a couple of old photography magazines were my best source. This Recipe definitely has the right vibe for late-1970’s Vericolor, particularly printed pictures from the film. I found it to be quite versatile—excellent for sunny daylight, golden hour, overcast, natural light indoors, and even certain nighttime situations. This could definitely be the go-to Recipe for some of you, especially if you appreciate a late-1970’s or early ’80’s aesthetic.

Manitou & Pike’s Peak – Manitou Springs, CO – Fujifilm X-E5 – Kodak Vericolor VPS

Because this Kodak Vericolor VPS Recipe uses the Nostalgic Neg. film simulation, it is only compatible with fifth-generation X-Trans cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, and X-E5. It’s also compatible with the latest GFX models: GFX100 II, GFX100S II, and GFX100RF.

Film Simulation: Nostalgic Neg.
Dynamic Range: DR400
Grain Effect: Strong, Large
Color Chrome Effect: Strong
Color Chrome FX Blue: Strong
White Balance: 4500K, +2 Red & -5 Blue
Highlight: -1
Shadow: +2
Color: +3
Sharpness: -1
High ISO NR: -4
Clarity: -2
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs captured using this Kodak Vericolor VPS Film Simulation Recipe on a Fujifilm X-E5:

Pick Here – Manitou Springs, CO – Fujifilm X-E5
Tree Ghost – Manitou Springs, CO – Fujifilm X-E5
North Pole – Manitou Springs, CO – Fujifilm X-E5
Alleyway Photography – Manitou Springs, CO – Fujifilm X-E5
Handheld Camera – Manitou Springs, CO – Fujifilm X-E5
Fujifilm Photographer – Manitou Springs, CO – Fujifilm X-E5
Mission – Tucson, AZ – Fujifilm X-E5
Pikes Peak Inn – Manitou Springs, CO – Fujifilm X-E5
Gas Tanks – Buckeye, AZ – Fujifilm X-E5
Suburban Home – Buckeye, AZ – Fujifilm X-E5
Yellow Bougainvillea Blossoms – Buckeye, AZ – Fujifilm X-E5
Potted Leaves – Buckeye, AZ – Fujifilm X-E5
Cactus & Wall – Tucson, AZ – Fujifilm X-E5
Sunlit Leaves – Buckeye, AZ – Fujifilm X-E5
Odadiuc – Buckeye, AZ – Fujifilm X-E5
Indoor Flag – Buckeye, AZ – Fujifilm X-E5
Superguard – Waddell, AZ – Fujifilm X-E5
Moon over Sedona – Sedona, AZ – Fujifilm X-E5
In-N-Out – Surprise, AZ – Fujifilm X-E5
Neighborhood Fireworks – Buckeye, AZ – Fujifilm X-E5

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

Fujifilm X-E5 in black:
B&H, Nuzira
Fujifilm X-E5 in silver:
B&H, Nuzira

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A New Kodak Moment — And Fujifilm Should Follow

Posted on by Ritchie Roesch

A Kodak Moment – Antelope Island SP, UT – Fujifilm X-T20

Yesterday, the New York Times published a story entitled The Kodak Brand Gets a Second Life. In South Korea, there are over 120 Kodak Apparel stores that sell shirts, hats, sunglasses, handbags, luggage, and more with the Kodak logo on them. Kodak Apparel isn’t a part of Eastman Kodak, but a different company called Highlight Brands that simply licenses the name from Kodak. While Kodak Apparel is currently huge in South Korea, it hasn’t quite caught on worldwide… yet.

The New York Times suggests that this is a part of an international trend that’s being dubbed newtro, a combination of new and retro. Newtro describes something that is brand-new but seems to be or nods to something that’s vintage. Many Fujifilm cameras, like the X-E5, X100VI, X-T5, X-T50, X-M5, and X half, fall into this category. The X-Pro would, too, if they were currently making one.

Digital Kodak Retina Camera

What’s old is cool again. While antiques and vintage things are “in” right now, so are things that just seem to be retro or pay homage to that. It shouldn’t be surprising that Kodak clothes are extremely trendy in South Korea. What is surprising is that companies like Kodak and Fujifilm aren’t doing more to capitalize on the newtro movement. Yes, Fujifilm is certainly benefiting from it when it comes to camera sales, but they could be doing so much more.

People want to sport their favorite brands. As my kids would say, they want their fit to be fire. I would wear a Kodak Film shirt, and carry Kodachrome duffle bag. These things need to become available everywhere, and not just in South Korea. While Fujifilm does have a merch store, it’s pretty small with only a handful of options, and most if it isn’t newtro. Even if they have no interest in becoming an apparel brand, Fujifilm could license out their logo—especially their old emblems and trademarks—for other companies to use. I don’t know if they realize just how big this could be.

Fujifilm Drip – NYC, NY – Fujifilm X-T50 – Pacific Blues

Shirts, sweaters, jackets, and things like that are obvious options that both Kodak and Fujifilm should sell (or license to a third-party to sell). But camera accessories—straps, bags, etc.—should not be overlooked. For Kodak, why not license to a camera brand? There could be a Leica M11 Kodak collectors edition, with some red and yellow trim, for example. Or—shockingly—a Kodak edition of a Fujifilm camera, something like my faux Kodak Retina.

Fujifilm’s recommitment to retro-styled bodies comes at an opportune time. With the historic demand of the X100VI, which has already outsold any previous X100-series camera, Fujifilm is working overtime on production—this camera has been a massive hit. Just this year Fujifilm released the GFX100RF, X half, and X-E5. Newtro doesn’t just apply to physical products, though. Fujifilm’s Film Simulations (and, of course, Recipes) are a big part of the appeal. Think of them as newtro aesthetics. They’re not quite film but a big nod to the retro look that film has produced for a very long time. Fujifilm has a massive leg-up on this compared to their competition, and it is an under appreciated aspect of their success. I think, though, that we’re seeing just the tip of the iceberg, and there’s a huge untapped potential. Kodak and Fujifilm both have big opportunities, and they could learn from each other how to fully capitalize on it.