I have a box in my closet filled with old photos. Some are from my or my wife’s childhood in the ’80’s and ’90’s. Some are from early in our marriage. Some are of my oldest daughter when she was a baby. Many of these pictures are from point-and-shoot film cameras, like QuickSnap or Kodak FunSaver disposable cameras, which were developed at one-hour photo labs. These express photo labs used to be everywhere, but nowadays they’re pretty rare. I was looking through the photo box recently, reminiscing on old times, and I was captivated by the aesthetic of some of the pictures.
The images that caught my attention were in a few different envelopes, but the commonality is that they were captured with Fujicolor Superia 400 film on a QuickSnap camera, and printed on Fujicolor Chrystal Archive paper at Ritz photo in Tucson, Arizona. During that time, Ritz was the photo store that I most commonly visited, so it makes sense that I’d drop off film for one-hour development while I purchased some rolls for my Pentax K1000 (the “real” camera I had at that time). This Recipe, which I’ve called 1-Hour Photo, is modeled after the aesthetic of those prints—not so much the look from the lens, but the colors and tonality. I suppose a Dispo-lens (or something like that) would further the look. Also, I sometimes used flash on my X100VI.
Dramatic Desert Tree – Buckeye, AZ – Fujifilm X100VI – 1-Hour Photo Recipe
This is a Fuji X Weekly App Early-Access Recipe, which means that it is currently only available to App Patrons; however, in time it will be available to everyone. The Early-Access Recipes have been backlogged, remaining restricted much longer than I want them to be. For example, the Recipe that this one replaces has been on the App for two years now, available only to subscribers. Last year I started a series in hopes to rectify this problem, creating a new Early-Access Recipe with each Film Simulation. I got Provia and Velvia knocked out without too much trouble, then got stuck on Astia for awhile. I’m still working on the Classic Chrome Recipe, but completed Classic Negative first; instead of waiting to release this, I decided to skip Classic Chrome for the moment, and get this one out. If you are a Fuji X Weekly App Patron subscriber, it’s available to you right now.
This 1-Hour Photo Recipe is compatible with all fifth-generation models, which (as of this writing) are the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III models. You can use it on fourth-generation cameras, too; however, it will render slightly different. It’s also compatible with newer GFX models like the GFX100 II, GFX100S II, and GFX100RF.
Example photographs, all camera-made JPEGs using this 1-Hour Photo Film Simulation Recipe on my Fujifilm X100VI, X-E5, and X-T5:
Alleyway at Night – Phoenix, AZ – Fujifilm X-T5
Hotel San Carlos – Phoenix, AZ – Fujifilm X-T5
Tom At Night – Phoenix, AZ – Fujifilm X-T5
3rd St & Van Buren – Phoenix, AZ – Fujifilm X-T5
Diner Lamp – Buckeye, AZ – Fujifilm X100VI
Young Guitarist – Buckeye, AZ – Fujifilm X100VI (Flash On)
Barbie Skates – Buckeye, AZ – Fujifilm X100VI (Flash On)
Done Dining – Avondale, AZ – Fujifilm X-E5
Tom’s Famous X-Pro3 – Avondale, AZ – Fujifilm X-E5
Waffle House Kitchen – Avondale, AZ – Fujifilm X-E5
Lunch is Over – Avondale, AZ – Fujifilm X-E5
Waffle House – Avondale, AZ – Fujifilm X-E5
Federal Express – Buckeye, AZ – Fujifilm X100VI
Backseat Dog – Phoenix, AZ – Fujifilm X-T5
Volkswagen – Phoenix, AZ – Fujifilm X-T5
Bicycle Rider – Buckeye, AZ – Fujifilm X100VI
Mando Skater – Buckeye, AZ – Fujifilm X100VI
Faux Bamboo – Buckeye, AZ – Fujifilm X100VI
Raindrops & Sun – Buckeye, AZ – Fujifilm X100VI
Roadrunner – Buckeye, AZ – Fujifilm X100VI
Dilapidated Roof – Sedona, AZ – Fujifilm X-E5
Pool Reflection – Sedona, AZ – Fujifilm X-E5
Yellow Tree Beneath Rock – Sedona, AZ – Fujifilm X-E5
Row of Yellow Leaves – Sedona, AZ – Fujifilm X-E5
Logs Across Oak Creek – Sedona, AZ – Fujifilm X-E5
Mini Subway – Sedona, AZ – Fujifilm X-E5
Flowing Creek – Sedona, AZ – Fujifilm X-E5
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Cold Morning at the South Rim – Grand Canyon NP, AZ – Fujifilm X100V – Fujicolor C200 v2
The original Fujicolor C200 Film Simulation Recipe is great! This isn’t intended to replace that Recipe—there’s no need to replace it, since it’s excellent—but instead provide an alternative option for those looking for something slightly different. One film can produce many different looks, depending on a host of factors, including how it was shot, developed, and printed or scanned. In this case, a Fuji X Weekly reader wanted a Recipe that more closely matched his particular Fujicolor C200 scans. Oh, and it needed to be compatible with the Fujifilm X100V and X-Pro3, which the original version is not.
Fujifilm introduced Fujicolor C200 in 1990 as a low-budget, consumer-grade color negative film. I’ve shot a few rolls of it over the years, although it was never my go-to option. Fujifilm gave it a small refresh in 2017. Sadly, in late 2021, Fujifilm began selling rebranded Kodak Gold 200 as Fujicolor C200. Even though C200 is a cheap color film, it has a cult-like following, and many people enjoy its aesthetic and choose it over more expensive emulsions.
Bougainvillea Peeking over Wall – Buckeye, AZ – Fujifilm X100V – Fujicolor C200 v2
This Fujicolor C200 v2 Film Simulation Recipe was an App Patron Early-Access Recipe, but it is now available to everyone. With the exception of the X-T3 and X-T30, it is fully compatible with fourth-generation cameras: X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II. You can use it with the GFX100S, too. For fifth-generation models (plus the GFX100 II, GFX100S II, and GFX100RF), simply set Color Chrome FX Blue to Weak instead of Strong.
Film Simulation: Classic Negative Dynamic Range: DR100 Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome FX Blue: Strong White Balance: Shade, -2 Red & +1 Blue Highlight: -2 Shadow: -2 Color: +4 Sharpness: -1 High ISO NR: -4 Clarity: -2 ISO: Auto, up to ISO 6400 Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs using this Fujicolor C200 v2 Film Simulation Recipe on my Fujifilm X100V and Fujifilm X-E4:
Main Street – Buckeye, AZ – Fujifilm X-E4
Dim Light & Neon Reflections – Tempe, AZ – Fujifilm X100V
Coffee Shop Christmas Tree – Phoenix, AZ – Fujifilm X100V
Backlit Potted Palm – Buckeye, AZ – Fujifilm X100V
Afternoon Jo – Buckeye, AZ – Fujifilm X100V
Sitting on a Backyard Bench – Buckeye, AZ – Fujifilm X100V
Swinging Seat – Litchfield Park, AZ – Fujifilm X100V
Potted Blossoms – Litchfield Park, AZ – Fujifilm X100V
Artificial Flowers – Litchfield Park, AZ – Fujifilm X100V
AC – Litchfield Park, AZ – Fujifilm X100V
The Grinch that Stole a Golf Cart – Buckeye, AZ – Fujifilm X100V
Autumn Path – Buckeye, AZ – Fujifilm X100V
Autumn Canopy – Buckeye, AZ – Fujifilm X100V
Bird on a Cross – Litchfield Park, AZ – Fujifilm X100V
Icy Morning at the Rim – Grand Canyon NP, AZ – Fujifilm X100V
Canyon Between the Pines – Grand Canyon NP, AZ – Fujifilm X100V
Morning Shadows – Grand Canyon NP, AZ – Fujifilm X100V
Comparison:
Original Fujicolor C200 Film Simulation Recipe (Fujifilm X-E4)
This new Fujicolor C200 v2 Film Simulation Recipe (Fujifilm X-E4)
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I’ve never clicked with zoom lenses. For the last—oh, geez, it’s approaching 30 years now, going back to the film days—I have been using prime lenses almost exclusively. I’ve dabbled with zooms here and there, but invariably they end up collecting dust, and oftentimes eventually sold. I love my primes.
The reasons why I prefer primes over zooms are 1) they’re almost always sharper, 2) they typically have more good character and less bad characteristics, 3) they usually have larger maximum apertures, 4) they’re often smaller, and 5) they force you to remain within the constraints of that focal length. Composer Igor Stravinsky famously stated, “The more constraints one imposes, the more one frees oneself of the chains that shackle the spirit.” Pablo Picasso said, “If you have five elements available, use only four; if you have four elements, use three.” For me, prime lenses help with that; however, it doesn’t mean I’m anti-zoom, only that most of the time I prefer primes. Ideally, I’d purchase two or three primes instead of a single zoom that covers those focal lengths.
Fujifilm has an obvious hole in the prime-lens lineup: long telephoto. There’s the wonderful Fujinon 90mm f/2, which is one of my favorite lenses. The 135mm full-frame equivalent focal-length used to be quite common, but it’s not nearly as popular nowadays. After that there’s the 200mm f/2 and the new 500mm f/5.6, both of which are bulky and expensive (although I’m sure they’re quite excellent). What’s missing are a couple of smaller, more affordable options. Something like a 135mm f/2.8 (or f/3.5) that’s not more than 20% larger and heavier than the 90mm f/2, and not more than $1,500—the smaller, lighter, and less expensive the better. I’d also like to see something around a 330mm (500mm full-frame equivalent) f/4 (or f/4.5) that’s maybe roughly around the same size of the 70-300mm zoom, and under $2,000. But those two lenses don’t exist.
I’m strongly considering purchasing something more telephoto than the 90mm f/2, and the 200mm f/2 and 500mm f/5.6 are not an option. So that leaves me with zooms. I used to own the 100-400mm f/4.5-5.6, and as much as I tried to like it because I spent a lot of money on it, I just couldn’t. It was a disappointment, so I sold it. Last weekend, at a local Fujifilm event, I was able to try out two zooms: Fujinon 70-300mm f/4-5.6 and Fujinon 150-600mm f/5.6-8. I want to briefly talk about those two, and at the end I’ll tell you what I decided.
The first lens that I tried was the 70-300mm f/4-5.6. It’s very lightweight for what it is. I was quite impressed with the image quality and overall performance. At the long end, there’s some obvious vignetting when wide open that seems to improve but not completely disappear as you stop down. I noticed some minor chromatic aberrations in a couple instances. It does seem slightly softer at 300mm than 200mm, but I didn’t use it enough to feel confident in that judgement, and it was still more than sufficiently sharp at 300mm. I feel like this lens isn’t perfect, but it significantly outpaced my expectations for a $950 zoom.
The second lens that I tried was the 150-600mm f/5.6-8. This lens is much larger, heavier, and more expensive than the 70-300mm. I was impressed by the reach. I was able to photograph mountains that were far away. I wasn’t close to downtown, but I was able to photograph it nonetheless. It was definitely more difficult to use than the 70-300mm because oftentimes one doesn’t need 150mm, let alone 600mm. Still, the pictures are beautiful, and the overall sharpness and IQ seems to be just a little better than 70-300mm; however, at the longer end, say beyond 400mm and getting increasingly worse as you reach 600mm, the pictures become softer. Some reasons for this might be 1) atmospheric haze and heatwaves, 2) higher ISOs to compensate for the smaller maximum aperture and faster shutter speeds necessary, and 3) diffraction from the smaller apertures. I liked the image quality from the 70-300mm more at 300mm than the 150-600mm at 600mm; however, the 150-600mm seems to have slightly better IQ at 300mm than the 70-300mm has at 300mm. I also noticed some vignetting at 600mm.
The lens that I decided on is the Fujinon 70-300mm. I’m also planning to purchase the 1.4x TC to occasionally give it just a little more reach when needed. I’ve heard good things about that combination. It seems like it will be more than good enough for what I need it for. If Fujifilm ever made that 135mm f/2.8 and 330mm f/4, I’d prefer that over the zoom. With the options available, the 70-300mm appears to be the best choice for me. It’s surprisingly good, and a bonus is that it’s reasonably affordable.
Ricoh just announced the GR IV Monochrome, a black-and-white-only version of their recent GR IV release. It seems like a really cool camera, except for the price. Because the menu must be customized and the market for it is extremely niche, a premium is expected. The Ricoh GR IV is already a bit overpriced at $1,500 (seems more like a $1,200-$1,300 camera, even when considering inflation and tariffs), so I was pretty shocked to see the $2,200 MSRP for the Monochrome version. Monochrome-only cameras are pretty rare—Leica is the most renown manufacturer of them—so it’s good to see another option, even with the steep cost.
The benefits of a monochrome-only sensor are more detailed-rich images, higher dynamic range, and better high-ISO performance. Because only half of the “pixels” in a Bayer camera are recording luminosity information (the other half are recording color; for Fujifilm X-Trans, it’s 55% luminosity and 45% color information), the true resolution of the sensor is not achieved. Pictures from black-and-white-only cameras seem sharper, as if they were captured with a higher-resolution camera. Because there is less noise, the cameras are capable of more dynamic range in the shadows, and are notably better at high ISOs. If you are not doing color photography, there is a significant benefit to a monochrome-only camera. You can use traditional color filters for B&W film with these cameras, and really get a film-like experience.
I’ve been advocating for a monochrome-only Fujifilm camera for years now. Most likely it would be an X100-series model, but I would love for it to be an interchangeable-lens camera, like maybe the next X-Pro. There would need to be some modifications to the menu. First, Acros is the only Film Simulation needed. I would like to see the Tone Curve get some new options, like -3 to +6 Highlights and Shadows. Because of the extra dynamic range, DR800 should be added. I think a Push-Process feature would be cool, where contrast and grain are increased (Off, Push 1, Push 2—should be easily accessible via a button or switch). Vignetting might be nice (Off, Weak, Strong). Split toning for Monochromatic Color would be nice, too (basically, choose a color for Highlight and a different color for Shadow). I think a Faded Blacks option would be interesting (Off, Weak, Strong). Increase the top ISO to 25600, and make ISO 51200 and 102400 the extended ISO options. Remove Advanced Filters, White Balance, Color, and Color Chrome Effects. Maybe add light leaks and/or some fun film-strip boarders. Boom, you’re done.
If Fujifilm made such a camera, they would quickly sell every single one. My hope would be that they could do this and keep the premium to no more than $500 more than the regularly version. For example, if Fujifilm made a monochrome-only X100VI, which has an MSRP of $1,800 for the normal version, I would hope that the black-and-white version would be no more than $2,300. People would absolutely pay that price for it—heck, they would probably pay $2,500 or more. Such a camera would certainly be niche, but if Fujifilm made one, it would be awesome, and would make people say wow!
Now that you have the BewareMyVelvia Recipe programmed into your Fujifilm camera, it’s time to make some multiple-exposure photographs using that Recipe. The process I’m discussing here comes from Tom Baumgaertel, a.k.a. bewaremyfuji. This is fairly easy to do, but also quite tricky. You can expect to make a lot of mistakes and have plenty of failures, but, as you get more and more experience, it will begin to make sense, and you’ll get better with it. Pretty soon you’ll begin to achieve striking results. This won’t come naturally to most people, but it’s something that anyone can learn. Just be patient, and don’t give up.
For this technique, you do need a fourth or fifth generation X-series camera, which (as of this writing) are the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III. You can also do this with a GFX100, GFX100S, GFX 50S II, GFX100 II, GFX100S II, and GFX100RF. On most Fujifilm cameras you can do multiple-exposure photography, but only the “newer” cameras (X-Trans IV and V) are capable of this particular technique. I recommend Large image size, and either JPEG or RAW+JPEG (I select L 3:2 Fine+RAW, personally).
Neon Dog – Phoenix, AZ – Fujifilm X-T5 – BewareMyVelvia Recipe – Triple Exposure
Step one is to set up Multi Exposure in the camera. There is some variance in how this is done depending on the model. Many cameras have a Drive button (for example, X100VI, X-E5, GFX100S II, X-S20), and when you press that, a menu appears—simply scroll until you find Multi Exposure. On other cameras (for example, the X-T5), it’s in Shooting Setting subset of the main Menu. If you can’t find it, refer to your camera’s manual. Once you locate Multi Exposure, you are presented with four options: Additive, Average, Comparative Light, and Comparative Dark. Choose Additive. You can use the BewareMyVelvia Recipe with Average, too, but for this exercise you’ll want to use Additive.
The Additive option in Multi Exposure will (as the name implies) add each exposure on top of the others, increasing the brightness. Because of this, it’s very easy to overexpose the image. This is a major piece of caution. Underexposure will be your best friend. I avoid anything brighter than -1 Exposure Compensation, and find myself often using -2 or even -3 sometimes. It’s very easy to add too much exposure, so less is often more.
Once you find something to photograph, compose your image and press the shutter release button. The camera will say: OK Next; ◀︎ Retry; Back Exit. If you are satisfied with your photo and want to layer another image, choose OK. If you are satisfied with your photo but don’t want it to be a multiple-exposure picture (only a single-exposure image), select Back, and the camera will save the photo, and restart the Multi Exposure process. If you are unsatisfied with your picture, arrow to the left and try again (the picture will not be saved).
If you are satisfied and ready to layer the next image, select OK and look for another scene to add to what you’ve already captured. It’s important to carefully consider shadows and highlights, as well as space. Light areas over light areas will look bright and possibly muddy. Dark areas over dark areas will hide details. Placing something bright within a dark area will stand out the most. Since your previous image is superimposed over the current scene, that will help you to align it. Be creative, and experiment with composition and element placement. If you mess it up, simply arrow to the left and retry—you have unlimited redos, as long as you don’t power off the camera. There were instances that I retried an exposure 10 or more times before I was finally satisfied with it.
You can stop at two exposures, or blend as many as nine. Two or three is often enough. I would avoid going beyond five, but feel free to try. The camera will save each individual frame used in the multiple-exposure image, in addition to the multiple-exposure image itself. You can get creative with the exposures, by adding intentional movement or going out of focus with one or more of the shots. Sometimes a subtle splash of color within the negative space can make a major difference. There’s a lot of experimentation that you can do here, so don’t be afraid to try different things.
Another important creative step, which is optional but highly encouraged, is to change the White Balance between exposures. The easiest way to do this is adjust the WB Shift from -9 Red to +9 Red in between the first and second (or second and third) exposures, which I did frequently but not always. This is something that you can go crazy with, so don’t be afraid to try wild ideas. Adjusting the Kelvin value to something cool (like 3200K) or warm (like 9000K) can be fun; however, simply changing the WB Shift is probably enough. I encourage you to experiment with this, but at the very least, try using a -9 Red WB Shift on some exposures and +9 Red on other exposures within the same multiple-exposure image. That tip alone is both mind blowing and mind opening, so be sure to thank Tom for it.
First Exposure, BewareMyVelvia Recipe, -2 Exposure Comp
Second Exposure, BewareMyVelvia Recipe, -2 Exposure Comp
Third Exposure, BewareMyVelvia Recipe with +9 Red WB Shift, -2 Exposure Comp
Triple exposure photograph, cropped slightly
The example above shows how this works. All three exposures are dark, but when combined together they’re much brighter (that’s how Additive Multi Exposure works). Also, the three frames on their own are nothing spectacular, but when combined together, it’s actually kind of interesting. Had I not adjusted the WB Shift in between the second and third exposure, the picture would have been boring—I know this because that’s what I initially did; however, I redid the third exposure, making sure to adjust the WB Shift from -9 Red to +9 Red. Sometimes multiple-exposures work well without that WB Shift adjustment (see the BewareMyVelvia Recipe examples in Part 1), but oftentimes that WB Shift adjustment is what makes the photo pop.
Below is another triple exposure image example. This time, I adjusted the WB Shift in between the first and second exposure, and then switched it back in between the second and third. I also used a slow shutter speed and intentional movement (while purposefully out of focus) for the third exposure. Oftentimes I use a blurry exposure within my multiple-exposure images.
First Exposure, BewareMyVelvia Recipe, -2 1/3 Exposure Comp(it looks kind of like a double-exposure already because it was shot through glass with reflections)
Second Exposure, BewareMyVelvia Recipe with +9 Red WB Shift, -2 1/3 Exposure Comp
Third Exposure, BewareMyVelvia Recipe, -3 Exposure Comp, 1/8 Shutter
The conclusion is that, when you do multiple-exposure photography, the whole is greater than the parts. Two or three or more uninteresting frames can become something extraordinary when combined together in a thoughtful way. You’ll have the most success with this technique as the sun is going down and into the night. It’s more difficult to get good results during the day, but it’s not impossible, so be sure to try it once you’ve had a chance to practice at night.
Using the BewareMyVelvia Recipe for multiple-exposure photography was extremely enjoyable. It was really invigorating and inspiring! I had so much fun photographing with Tom, and I’m really looking forward to the next opportunity, whenever that happens. I want to give a big thank you to Tom Baumgaertel for allowing me to share his Recipe and technique—if you appreciate it, too, be sure to let him know in the comments! Below you’ll find a few more multiple-exposure example pictures.
Billboard – Phoenix, AZ – Fujifilm X-T5 – Triple Exposure
DOE – Phoenix, AZ – Fujifilm X-T5 – Triple Exposure
Never be Invisible – Phoenix, AZ – Fujifilm X-T5 – BewareMyVelvia Recipe – Triple Exposure
I first met Tom Baumgaertel, a.k.a. bewaremyfuji, in 2024 at a Fujifilm creator’s retreat in New York. In the time since, we’ve been a part of a few other Fujifilm events, including leading a photowalk together in San Diego. We’ve kept in touch, and even met up for some street photography in L.A. once. Tom just drove out to Arizona this last weekend to lead two photowalks in Phoenix. We’ve wanted to do some sort of collaboration for awhile now, but it just wasn’t the right timing; however, we were able to get this project sorted out while Tom was out here.
Let’s get to some important notes right off the top. First, this is a two-part article—you’re reading Part 1 right now. You’ll find a Film Simulation Recipe below that Tom created and uses for his iconic multiple-exposure images, but Part 2 will explain how to use it to actually make multiple-exposure photographs. Second, this Recipe is intended as the ground floor. You are highly encouraged to experiment with it, modify it, and make it your own. Tom doesn’t strictly stick to it, but makes changes sometimes depending on the exact situation. His Recipe has evolved over time, and will likely continue to evolve. You are not only welcomed to make changes to it, but it is recommended that you do, as you practice more and more with multiple-exposure photography, so that it reflects your style and matches your specific photographic situations. All of the pictures in this article were made with the Recipe as-is, unmodified.
Lime City – Phoenix, AZ – Fujifilm X-T5 – BewareMyVelvia Recipe
You will notice that most of the example pictures are not multiple-exposures, but single-exposure images. This Recipe, which I’ve named BewareMyVelvia in honor of Tom’s social media handle, was created for and is intended for multiple-exposure photos; however, it works well for regular pictures, too. You don’t have to use it for its intended purpose. I saved most of the multiple-exposure images for Part 2, and that’s where you’ll find more example pictures.
Tom’s Recipe reminds me a lot of cross-processed Fujichrome Velvia 50, a low-ISO slide film made by Fujifilm. Cross-processing is developing film in chemistry other than what it’s supposed to be developed with. It can mean a lot of different things, but most commonly it’s E6 slide film developed in C41 negative film chemistry. Results can vary greatly, but Velvia 50 becomes more grainy and contrasty, with a strong color cast that is often yellow or green. I’ve included some examples of actual cross-processed Fujichrome Velvia 50 below, which I photographed way back in 2014.
Above: Fujichrome Velvia 50 35mm film that’s been cross-processed.
If you are after that cross-processed look, one modification that you might consider is increasing Grain to Strong/Large—or, at the very least, using higher ISOs (like 3200 or 6400), which can make the picture appear more grainy (see Abstract Reflections in the example images). Tom sets Grain to Off; personally, I like the texture of film grain, so I set it to Weak/Small. It’s completely up to you, though. Also, Tom prefers more Noise Reduction than I do, so he sets High ISO NR to 0; I set it to -4 because I want less of it. Again, feel free to choose whatever you want.
This Recipe is intended for night photography. Most commonly (but not exclusively), Tom begins shooting as the sun is going down, continues through “blue hour”, and goes well into the night. But you can use it in sunny daylight, too. There are many examples in this article of daytime use, such as the picture below. In my short experience with this Recipe, I find that it oftentimes works best for multiple-exposures near or after sunset, and it oftentimes works best for single-exposure images during daylight.
If you have a fourth or fifth generation X-series camera, which (as of this writing) are the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III, I invite you to give this Recipe a try today. You can also use it on the GFX100, GFX100S, GFX100 II, GFX100S II, and GFX100RF (for the GFX50S II, I recommend increasing Shadow by +0.5). Regarding typical exposure compensation, for multiple-exposure images, you’re likely to be more in the -1 to -3 range, but we’ll talk about that in Part 2.
Film Simulation: Velvia Dynamic Range: DR200 Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome FX Blue: Strong White Balance: 6590K, -9 Red & 0 Blue Highlight: +2 Shadow: +2 Color: +4 Sharpness: +1 High ISO NR: -4 Clarity: 0 ISO: Auto, up to ISO 6400 Exposure Compensation: 0 to +2/3 (typically)
Example photos, all camera-made JPEGs using this BewareMyVelvia Film Simulation Recipe on my Fujifilm X-T5:
Jaywalk – Phoenix, AZ – Fujifilm X-T5
Empty Parking Lot – Phoenix, AZ – Fujifilm X-T5
Downtown Police – Phoenix, AZ – Fujifilm X-T5
Tom at Night – Phoenix, AZ – Fujifilm X-T5 – Triple Exposure
Bar – Phoenix, AZ – Fujifilm X-T5 – Triple Exposure
Electric Train – Phoenix, AZ – Fujifilm X-T5 – Triple Exposure
Squares – Phoenix, AZ – Fujifilm X-T5
Window Reflection Abstract – Phoenix, AZ – Fujifilm X-T5
Walking Reflection – Phoenix, AZ – Fujifilm X-T5
Composing on the Rear Screen – Phoenix, AZ – Fujifilm X-T5
Just Have Fun – Buckeye, AZ – Fujifilm X-T5
Stripes – Phoenix, AZ – Fujifilm X-T5
Abstract Reflections – Phoenix, AZ – Fujifilm X-T5
Urban Patios – Phoenix, AZ – Fujifilm X-T5
Unit – Phoenix, AZ – Fujifilm X-T5
Electric Towers – Phoenix, AZ – Fujifilm X-T5
Broken Saguaro – Phoenix, AZ – Fujifilm X-T5
Saguaro Behind Yellow Blossoms – Phoenix, AZ – Fujifilm X-T5
Abstract Palm Tree Reflections – Phoenix, AZ – Fujifilm X-T5
Tiny Hiker, Large Rocks – Phoenix, AZ – Fujifilm X-T5
Oasis – Phoenix, AZ – Fujifilm X-T5
Tom’s Silhouette – Phoenix, AZ – Fujifilm X-T5
Lime Mountains – Phoenix, AZ – Fujifilm X-T5
Southwest – Phoenix, AZ – Fujifilm X-T5
Sky Harbor Tower – Phoenix, AZ – Fujifilm X-T5
Urban Power Lines – Phoenix, AZ – Fujifilm X-T5
Uptown Sunset – Phoenix, AZ – Fujifilm X-T5
Tower Against the Yellow Light – Phoenix, AZ – Fujifilm X-T5
Last Light Over the Smoky Mountain – Phoenix, AZ – Fujifilm X-T5
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There’s something I’ve noticed, and I want to talk about it. I’ve already discusses this at length multiple times, but this is a slightly different take on it, so I hope you’ll forgive me for bringing it up again. I hate talking about it because it will invariably offend someone, but I think it’s important to bring some clarity to this. What is the subject? Autofocus, of course.
Fujifilm has been much maligned over the last few years—especially the last two—for their autofocus, with many on the internet using words like “trash” and “sucks” and other adjectives along those lines. There’s been an excessive amount of negativity. Of course it’s hyperbole; however, there is a small kernel of truth. So let’s discuss it.
For the first handful of years of this blog, autofocus wasn’t a major topic within the community. I think everyone recognized that X-Trans II and earlier models had some low-light difficulties, but otherwise the AF was sufficient for most people and circumstances, and most everyone seemed ok with that. Then, in late-2022, something seemed to shift, and I noticed a significant increase in AF complaints. The discontentment grew much larger around the spring of 2024 when Fujifilm released a firmware update with an autofocus bug—it took six to eight months for them to get that resolved.
What I noticed all the way back in late 2022 is that when the complainer mentioned their camera, it was almost always an X-H2 or X-H2s. Throughout most of 2023, whenever someone made the complaint, I would ask them which camera they own, and it was almost always an X-H2 or X-H2s (you could bet on it). Even today, when you look at the comments where people complain about the AF, they usually admit that they have an X-H2 or X-H2s, typically along the lines of: “If Fujifilm doesn’t have Sony-level AF on their next camera, I’m selling my X-H2s and switching brands!” Probably 75% of the complaints come from those with an X-H2 or X-H2s, while the X-T5 is in a very distant third place. Once you notice this, you cannot unsee it.
Fujifilm X-T30 & Fujinon 90mm f/2
The X-H2s has Fujifilm’s best and fastest autofocus, while the X-H2 has the second best and the X-T5 has the third best. So why do the majority of the complaints come from those with the best autofocus? Shouldn’t most of the complaints come from those with an X-T30 or X-E4 or a lower-tier camera like that?
One explanation might be that those who use the X-H2, X-H2s, and X-T5 are more likely to do types of photography that stress the AF capabilities. That’s a valid point, and I’m sure there is truth to it. These particular models are more likely to be purchased by those doing bird or sports photography, videography, and things like that. What it doesn’t explain are all those who have much success with those same models doing those same types of activities. How is one person doing great with it and for another it “just sucks”? Or how about all those who are doing it with gear that has inferior AF? It just doesn’t make sense, so I don’t believe this holds much weight as an explanation, but it does hold some weight, at least a little.
What I have steadfastly maintained for the last two years is that Fujifilm’s AF isn’t as good as the Canikony brands, but it’s plenty good enough as long as the one behind the camera is good enough. Of course nobody wants to hear that they’re the problem, so they don’t listen to this; instead, they get offended, and disregard the obvious truth. If the person claiming that Fujifilm’s autofocus is bad wants it to work well for them, they have it within their power to make it so. I 100% believe that the camera is capable, and the photographer has the ability to learn and grow and become capable, too. As Ansel Adams famously said, “The single most important component of a camera is the twelve inches behind it.” But, it’s so much easier and more satisfying to blame the gear, so that’s what most people do.
Those who insist that Fujifilm’s autofocus must become “class leading” or “as good as Sony’s” have unrealistic expectations. Fujifilm’s AF will never catch up to their’s, or Canon’s or Nikon’s (perhaps AI levels the playing field a bit… maybe). Why? Because all of those companies have been making autofocus since the 1980’s or earlier. They all have much larger R&D budgets than Fujifilm, and are more likely to attract the best engineering talent. Those companies have also ignored image quality improvements and focused (pun intended) almost solely on AF over the last handful of years (as reported by PetaPixel), and even to the detriment of IQ in some cases. So, yeah, they’re ahead of the curve; however, they’re at the peak of an inverted U curve, and each improvement means less and less and less in any practical sense.
Fujifilm X100VI
Fujifilm’s AF is more than good enough for most photographers and situations, and anyone who says otherwise isn’t being honest. But there is definitely some room for improvements, and I’m sure there will be improvements in the near future. I’m certain that Fujifilm is working hard right now at this very moment to get the most out of their autofocus. So why all the negativity, then?
It’s taken awhile for me to come to this conclusion, but I’m pretty sure the AF issue (outside of that one firmware bug that has long been resolved) has little to do with the actual technical capabilities of the camera, and more to do with the intuitiveness of it. The Canikony brands tend to assume that their users just want the camera to work great straight out of the box (ironically, many of these same people insist that they must have full control over a RAW file…). They assume their users don’t want to—and most likely won’t—dig deeply into the menu to customize their experience. On the other hand, Fujifilm (for better or worse) expects that their customers will dig deeply into their camera’s menu and customize the experience. Fujifilm’s cameras aren’t intended to give you peak performance straight out of the box—you must set it up yourself for your preferences and needs. That’s the biggest difference. I know this because I own a Sony a7 IV, and its AF isn’t all that much different than my X-T5; however, I have the X-T5 customized for my photography, and that’s why it does so well for me. Camera Conspiracies had a similar epiphany, and now no longer believes that Fujifilm’s AF is junk.
In my opinion, the reason why the X-H2 and X-H2s receives the most autofocus complaints (despite having the best AF) is because these two cameras were specifically intended to attract Canikony photographers. Since these photographers are not used to the philosophy difference, they don’t realize that they need to customize their camera to the extent necessary to achieve their desired results; even if they become aware, they are likely unsure how to do it. Thankfully, there are plenty of resources. Pal2Tech has several excellent videos (here, here, here, here, and here), and is a great channel in-general. Walter Lyle’s video is pretty good, too. That’s just the tip of the iceberg, you can find tons of help if you look for it.
So, if you’re struggling with Fujifilm’s autofocus, my advice is to spend some time figuring out how to best customize the settings for your needs, and perhaps look for some techniques that might help you overcome the obstacle. Aside from that, the Fujifilm community is always eager to help. Don’t be afraid to talk with other X-Series photographers, and ask how they’re achieving success. Find some local Fujifilm events, and speak with a Fujifilm representative—if they’re unsure how to help, they certainly know who can. This doesn’t have to be a problem, and it only is a problem if you allow it to be one.
A question that I get asked a lot is whether or not a certain Fujifilm camera model is X-Trans IV or X-Trans V. Mostly, this is about the X-S20, X-M5, and X-T30 III, but not exclusively. In the months that followed each of those three releases, I would get a lot of questions along the lines of, “I see that you list the X-S20 as X-Trans V but it has an X-Trans IV sensor, so which is it?”
For the most part, Fujifilm generations have been defined by the sensor. There were certainly some exceptions, but those were rare enough that you could say (for example) X-Trans III and everyone would know what you’re talking about, and there was no confusion. With the latest generation, though, it’s a little more muddy, because the X-S20, X-M5, and X-T30 III cameras have an X-Trans IV sensor paired with the X-Processor 5. So are they X-Trans IV or X-Trans V? Yes, they are.
Because of this confusion, I started saying “fourth-generation” as a synonym to X-Trans IV and “fifth-generation” as a synonym to X-Trans V. Even though the X-S20, X-M5, and X-T30 III cameras have an X-Trans IV sensor, they are fifth-generation models, and not fourth. That simple change in language clears it up significantly. However, I’m not going to edit years and years of articles to reflect this change (that would be quite the task!), so the confusion still lingers.
Whether or not those three cameras are fourth-generation or fifth-generation only matters for Film Simulation Recipes, and not much else. Does someone with the X-T30 III use X-Trans IV Recipes or X-Trans V Recipes? I think it’s perfectly fine to say either will work; however, the most correct answer is X-Trans V. Why? Because the X-T30 III, despite the sensor, has the JPEG options and JPEG rendering of fifth-generation models, and not fourth. The difference in how the X-T30 III will render a picture compared to the X-T30 II when using the same Film Simulation is very minor; the largest difference is how deeply blue is rendered on Classic Chrome, Classic Negative, Eterna, and Eterna Bleach Bypass, which you might not care about or even notice. So the short answer is to use X-Trans V Recipes on the X-S20, X-M5, and X-T30 III; however, you’re perfectly fine to use X-Trans IV Recipes if you want. If the X-Trans IV Recipe uses one of those four Film Simulations, I recommend dropping Color Chrome FX Blue by one (Weak instead of Strong; Off instead of Weak).
Fourth-generation Fujifilm cameras are the X-T3, X-T30, X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II. While the X-T3 and X-T30 are technically fourth-generation, they are (unfortunately) on an island by themselves when it comes to Recipes, having more in common with third-generation models than their fellow fourth-generation cameras that came afterwards. Fifth-generation models are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III. It’s possible that Fujifilm could release another fifth-generation camera, but I believe that the X-T30 III is the last one, and the sixth-generation will arrive sometime later this year.
Adorama has a crazy good deal on the black Fujifilm X-T5 bundled with the 16-80mm f/4 lens. Not only is it $100 off (that’s Fujifilm’s discount), but they’ll throw in a free black Fujifilm X half (that’s Adorama’s discount)! Wow.
Of course, the X-T5 is great. I just used it last night for some cool multiple-exposure pictures. I definitely recommend the camera. I’ve never used the 16-80mm (I’m just not much of a zoom lens guy), but I’ve heard good things about it. And I really like the X half as a fun camera for everyday snapshots and family vacations. Altogether, that’s $2,400 for what would have cost you $3,350 just two months ago.
I don’t know why Adorama created this bundle sale, but my assumption is that they have an overstock of black X-T5 with the 16-80mm kits, plus they have too many black X half cameras sitting around. Creating this super bundle clears some of the excess stock for both. I don’t know if that’s the reason, but it seems like it must be.
I wouldn’t read too much into what any of this “means” other than one camera store has an extra supply of the black version of two different cameras. Maybe we can conclude that silver Fujifilm models tend to sell better than their all-black counterparts, but even that is speculation at best. In any event, if you’ve been thinking about getting a Fujifilm X-T5 bundled with the 16-80mm lens and have had the X half on your radar, this seems like a great opportunity for you. Or, if you’re not already using X-series gear and have been considering taking a plunge into the Fujifilm world, this might be your time. Get it before it’s gone, because this sale will probably end soon.
Last night I had the great opportunity to photograph with the one-and-only Tom Baumgaertel, better known as bewaremyfuji on Instagram. We’ll be doing a photowalk later today and tomorrow, but yesterday we were able to get out with our cameras for some night street photography. Tom is very kind, and he shared with me some of his tips and tricks for his unique multiple-exposure technique, and I was able to practice that a little. Tom pretty much invented this fascinating approach, which can lead to some incredible photos. Best of all, it’s done in-camera, and not with software.
I’m very much still learning, and nowhere near as talented as Tom is. His photography is on another level. I don’t want to necessarily copy him, either, only be inspired by him. Anyway, the pictures below are my best multiple-exposure from last night. I’m hoping to make a more detailed how-to article with the settings and such in the future, so that you, too, can do something similar. In the meantime, I hope that you enjoy the images.
2nd Ave Garage – Phoenix, AZ – Fujifilm X-T5
Never be Invisible – Phoenix, AZ – Fujifilm X-T5
Tattoo Tracks – Phoenix, AZ – Fujifilm X-T5
Renaissance – Phoenix, AZ – Fujifilm X-T5
Bar – Phoenix, AZ – Fujifilm X-T5
Stroh’s – Phoenix, AZ – Fujifilm X-T5Pool – Phoenix, AZ – Fujifilm X-T5
***Edit/Update: Apparently, the Instax Mini Evo Cinema can indeed print Instax prints. It wasn’t stated or shown in the announcement, but you can see it clearly in this promotional video.***
Fujifilm just announced the Instax Evo Cinema camera, which will be released in Japan on January 30th. I assume that it will become available worldwide at some point, but that information isn’t included in the announcement. In fact, a lot was left out. Let’s talk about it.
I guess first thing’s first: I don’t write a lot about Instax on this blog, despite it being a bigger business than X and GFX combined. I do mention it here-and-there. Dan Allen‘s fascinating project shooting Instax film on a 100+ year old camera was one of my favorite Instax-related articles. The Instax camera that Fujifilm just announced is quite interesting, so I thought it worthwhile to write about.
The Instax Mini Evo Cinema is a digital camera, and not film (I’m pretty sure of this, but it wasn’t explicitly stated in the announcement). This isn’t the first all-digital Instax—there’s the weird Instax Pal; the Fujifilm X half, which is half X-series and half Instax, could also be considered one, but Fujifilm classifies it as X-series and not Instax. Although not mentioned in the announcement, the Mini Evo Cinema has a vertically-mounted sensor, which makes it the second camera to have one (the X half being the other).
According to Matthew Allard, the Mini Evo Cinema has a 5MP 1/5″ sensor and a 28mm full-frame-equivalent f/2 lens. Since the entirety of the sensor is not used, it apparently becomes 35mm full-frame equivalent. I believe it is the same sensor and lens from the Instax Mini Evo. The maximum resolution for video is 2.5K (1080 x 1440), but I don’t expect the IQ will look good on a large screen TV—it’s probably more intended for social media (Reels and TikTok) than anything else. Of the 5mp sensor, 4.9mp are used for still images, which is plenty of resolution for Instax Mini prints and Instagram, but not much else. You do need an Instax Mini printer to make Instax prints, as the camera itself cannot make them (from what I can tell).
So, this new camera is essentially an Instax Mini Evo, but with a vertically-mounted sensor, and in a shape inspired by the Fujica Single-8 8mm camera from the 1960’s. While it is for both stills and video, the Instax Mini Evo Cinema is a video-centric camera, and the first video-centric Instax. One interesting limitation is that clips cannot exceed 15 seconds; using the new app that’s specifically for this camera, individual clips can be combined into one larger clip that is limited to 30 seconds.
Back in November I speculated that a “Film Era Dial” would be coming to the X-series (probably the next X-Pro); however, it was later reported as coming to an Instax camera instead. Well, the Mini Evo Cinema is that camera. It has an Eras Dial, which allows you to select a decade that you want the picture or video aesthetic to resemble, anywhere from the 1930’s to the 2020’s. I’m not sure exactly what each era will look like, but overall I like the general concept. I think it’s cool. Interestingly enough, Fujifilm says, “Audio is also processed with the Eras Dial effects, adding distinctive sound characteristics, while certain effects even play nostalgic sounds—such as the whir of film reels—during shooting, creating an immersive experience that feels like stepping back in time.” Unfortunately, no video examples were included in the announcement.
The reason why this camera is coming to Japan only (at least initially) is, in my opinion, due to the massive success of the X half in that country. Outside of Japan, the X half has done alright for the most part, but in Japan it’s been a major hit, and was the 5th best-selling digital camera in the country in 2025, outselling even the X100VI. The Instax Mini Evo Cinema is likely to be another sales success in Japan, while worldwide it might be received less enthusiastically. Letting it become trendy in Japan first might help it when it’s later released elsewhere.
Fujifilm didn’t specify the MSRP. My guess is that it will be around $250-$300, maybe a little less. It seems like a camera that could be a lot of fun, just as long as expectations aren’t too high. I think younger people, like Gen Z and Gen A, will be especially interested in it. An Instax-less Instax video camera with a vertically-mounted sensor was not anything I expected to wake up to this morning, but it makes a lot of sense as a fun toy. It would make an excellent birthday or Christmas gift for the kids, so I’m pretty excited for this one, although it’s unlikely that I’ll ever use one myself.
Someone asked for a direct comparison of the six Recipes from the article. That wasn’t really the intention of the post, but I understand why that could be helpful. I’ve had requests for years to photograph the same scene with each Recipe so that direct comparisons can be made (maybe something like the DPReview Studio Shot Comparison Tool, except with Recipes). That would be a daunting task to say the least, but I get why people might want that. Personally, I prefer to see how things work “in real life” in a variety of situations, and I don’t find test charts or static studio scenes to be particularly useful (or at least they tend to miss the most important things). I wanted to fulfill the request for a direct comparison for these six Recipes, so I reprocessed in-camera two exposures using each of the six Recipes. You’ll find those images below.
Ektachrome E100
Kodachrome 64
Kodak Ultramax 400
Kodak Gold 200
Kodak Portra 800 v3
Summer of ’59
Ektachrome E100
Kodachrome 64
Kodak Ultramax 400
Kodak Gold 200
Kodak Portra 800 v3
Summer of ’59
Interestingly enough, for my personal tastes, the Recipe that I liked best in the first set was one of my least favorites in the second set, and the Recipe that I liked least best in the first set was one of my favorites in the second set. The lighting and subject can make all of the difference. I don’t think a single Recipe exists that’s perfect for every subject and situation (obviously, some are more versatile than others), and that’s why most Fujifilm cameras have seven Custom Settings presets. With seven Recipes available at any given time, you are much more likely to have an excellent option for whatever you encounter. In the right light and for the right subject, each of these six could be a good choice; however, there are likely scenarios where each of these Recipes would not be good, some more than others.
The two Recipes in this article that are the most similar to each other are Kodachrome 64 and Kodak Ultramax 400. In sunny daylight, they can produce a difficult-to-distinguish (but not 100% identical) aesthetic; however, they differ more in other light situations, and are easier to tell apart. The one that’s the most divergent is Ektachrome E100. Kodak Portra 800 v3 and Summer of ’59 are the most warm, with Kodak Gold 200 not terribly far behind. Which of these six is your favorite? Let me know in the comments!
One of the cool new features of the Fuji X Weekly App is Categories. There are a couple of ways to interact with and use Categories, one of which is only available to Patron subscribers, which is what we’re discussing in this article. For App Patrons, if you select Filter you can Filter By Category, in addition to all the other Filter options. This can really help you to hone in on Film Simulation Recipes for your specific situation and desired aesthetic. Let me illustrate.
Let’s say that you have a fifth-generation X-Trans camera, like the X100VI, X-T5, X-E5, etc., and you want a film-like aesthetic for Americana pictures that’s good for both landscape and street photography, you can find that. Simply Filter By your camera or sensor generation, and choose those Categories: Americana, Film-like, Landscapes, and Street. You can select as many or as few as you’d like—the more Categories you choose, the fewer results you’ll get. While you may not see a lot of options, the Film Simulation Recipes you do see will match your request pretty well. Let’s take a look at the results.
Across the Grand Expanse – Grand Canyon, AZ – Fujifilm X-T5 – Kodachrome 64
If there’s one film-like Recipe for Americana photography that’s good for both landscape and street photography, it’s Kodachrome 64. The film that this Recipe is based on is, of course, iconic. There are also versions for other cameras: X-Trans IV, X-T3/X-T30, and X-Trans II.
All Way Stop – Phoenix, AZ – Fujifilm X100VI – Summer of ’59
Summer of ’59 is currently a Fuji X Weekly App Patron Early-Access Recipe. Those that can Filter By Category can also view and use this Recipe; for everyone else, it will eventually become available once it has been replaced by a new Early-Access Recipe.
Ektachrome E100 is another App Patron Early-Access Recipe. It’s the most different of the six in this article. Like the previous one, this is currently only available to Patron subscribers, but it will eventually be available to everyone.
If you don’t have the Fuji X Weekly App on your phone, download it for free today—it’s available in both the Google Play Store and Apple App Store. It’s intended to be a useful free tool; however, becoming a Patron subscriber unlocks the best experience, and supports Fuji X Weekly.
This article isn’t Fujifilm related, or even photography related, so let me apologize right up front. My oldest daughter, Joy, is an aspiring animator and artist. If you’ve followed Fuji X Weekly for years, you’ve watched her grow. She’ll be going to college this year, in the fall. A few of her photographs have been published on this website. While not directly related to the typical topics of this website, this is connected, so I hope that you don’t mind.
Above-left: Joy was nine-years-old when Fuji X Weekly launched (Fujifilm X100F Acros Recipe); Above-right: Joy on her 18th birthday (Fujifilm X-E5 FRGMT B&W Recipe).
With a lot of encouragement, plus the benefit of the Christmas school break, she was able to create a short animation for the song. Specifically, the contest was for the verse with Annika. Joy wanted to give the song new meaning through her animation, and I think she accomplished that in such an emotional and touching way. I don’t know the chances of her winning, but I think she did a wonderful job, and, as a proud dad, I wanted to share it with you. I’ve included the video, which is on Instagram, below (you can also find it on YouTube). Please watch it if you have a minute, and if you liked it, give it some love. I think she would really appreciate the encouragement.
I’m not sure when the contest winner will be announced. If she does happen to get selected, I’ll be sure to let you know—I’m certain that there are a number of quality entries, though. Just the fact that she put in the effort and completed the project already makes her a winner in my eyes. A 45-second animation requires a heck-of-a-lot of individual frames, each that she drew. I know that hours and hours and hours of work went into this. It’s something that she can look back on and be proud of, whether she is chosen or not. I know I’ve already said this, but I’m quite proud.
Nuzira is hosting free photowalks with Tom Baumgaertel, better known as bewaremyfuji on Instagram, this coming Friday and Saturday in Phoenix, Arizona. It’s a two-day event that you won’t want to miss! Lucas at Nuzira pulled some strings to make this happen, and it’s a real privilege to have Tom come out and teach us his incredible multiple-exposure techniques.
Tom is a friend of mine. We first met two years ago at a Fujifilm event in New York, and we’ve met up a few times since. Last year we co-lead a photowalk together in San Diego, which was unforgettable. He’s an incredibly talented photographer who basically invented a new technique that produces striking results. He’s also just a really great person. Photographing with him will be an experience that you won’t soon forget, whether you have any interest in double-exposures or not. If you are even slightly curious about multiple-exposure photography, this is something you need to attend.
If you are in Arizona and have some time to spare on Friday, January 9th, and/or Saturday, January 10th, be sure to come. You do need to register (click here), but the event is completely free. I hope to see you there!
Above: Various photos of Tom Baumgaertel.
Above: Some of my multiple-exposure images (not nearly as good as Tom’s).
It’s New Year’s Eve, the very last day—the very last few hours—of 2025. Very, very soon it will be 2026. For the last article of the year, I thought I’d simply share some of my favorite photographs of 2025, choosing three from each month. Some months were more prolific than others—for a few, it was difficult to narrow it down to just three; for other months, it was challenging to find three that I could classify as a favorite. There were certain days where I made more good photographs than I did over the course of several months. That’s just the way it goes.
I hope you all had a very merry holiday season. I wish you much luck and success in 2026! Now, to the photographs….
Pool Remnant – Rodanthe, NC – Fujifilm GFX100S II & 80mm f/1.7 – Kodak Tri-X 400
Low Clouds Over Manhattan – New York City, NY – Fujifilm X100VI – Kodak Tri-X 400
Red Barn – Ronks, PA – Fujifilm GFX100S II & 80mm f/1.7 – Kodachrome 64
July
All Way Stop – Phoenix, AZ – Fujifilm X100VI – Summer of ’59
Rocks in the Sky – Sedona, AZ – Fujifilm GFX100S II & 80mm f/1.7 – FRGMT B&W (originally photographed with Summer Sun, but later reprocessed in-camera)
Shadow Shapes – Sedona, AZ – Fujifilm GFX100S II & 80mm f/1.7 – FRGMT B&W (originally photographed with Summer Sun, but later reprocessed in-camera)
August
Corndog – San Francisco, CA – Fujifilm X100VI – 1970’s Summer
Pacific Vista – Elk, CA – Fujifilm X-T4 ES & 35mm f/2 – Aerochrome v2
