A couple of years ago I disguised my Fujifilm X-T5 as a Kodak model, programmed with Kodak-inspired Film Simulation Recipes, which I took to the Grand Canyon. I made a YouTube video about the experience. In the video I wondered how the camera industry might look different today had Kodak made retro-styled cameras with built-in Kodak film aesthetics. We will never know, because Kodak never did it. After they filed for bankruptcy, Kodak was split multiple ways, with the digital camera arm going to JK Imaging.
Today’s digital Kodak cameras, which are digicams that look straight out of 2009, are incredibly popular right now. They aren’t made by Kodak, though, because Kodak no longer makes digital cameras. JK Imaging owns the licenses, and uses the Kodak name. Interestingly, an upcoming Kodak branded camera is coming soon that is retro-styled and has Kodak-themed Film Simulations: the C10. Make no mistake, this is still a digicam; however, there is no doubt that the popularity of Fujifilm models like the X100VI are a major inspiration.
Across the Grand Expanse – Grand Canyon, AZ – Fujifilm X-T5 – Kodachrome 64
The Kodak C10 will apparently have Kodachrome, Ektachrome, and Kodacolor profiles. That’s cool, and it makes a lot of sense. This is something JK Imaging should have done years ago. Where I would caution getting too excited is that this isn’t Kodak’s color science. Unlike Fujifilm, JK Imaging isn’t relying on a vast history of film, or using those who actually make the film to help create the digital replications. It would be different if Eastman Kodak was making the C10, but they’re not—it’s just marketing and branding by JK Imaging.
This is not to say that the camera won’t be fun, because it very well might be. I’m certain it will sell like hotcakes. It’s a smart (and overdue) move. But I’d be highly surprised if the three Kodak-named profiles actually accurately replicate the films that they are named after. I also don’t expect the IQ to be particularly impressive. None of that really matters, though, because people will buy it. In all likelihood, the Kodak C10 will be the number one selling camera of 2027, and maybe 2026, too, depending on when it is released.
One of my absolute favorite YouTube channels is simultaneously both incredible and weird. It’s by far the most original camera channel on YouTube, and Fujifilm is often (but far from always) the topic of conversation. Which channel is this? Some of you probably already guessed, but for those who haven’t, it’s GxAce, run by Casey Cavanaugh, and described as, “Your present, as the past, through the lens of the future.”
Casey just teased a new camera called GxPan. Almost no details were included in the initial tease, only a single image of the top plate. But, you can sign up to receive updates by email when Casey is ready to share more information. I signed up as soon as I saw it. You should, too.
I know a lot more about the camera, because I’ve actually held it and even snapped a picture with it. When I was at Fujikina Copenhagen, Casey was there, too, and he showed it to me. I’m not sharing any information, so don’t even ask, but what I can say is that it’s super cool, and I can’t wait to buy it whenever it is released. I’ll definitely talk more about it once Casey provides more information publicly. Until then, you only get a tease.
I have no idea when the GxPan will become available, but whenever it is, it will be worth the wait. There aren’t too many cameras that I really want, but this is definitely one.
I’m writing this article while on a big roadtrip. Specifically, I’m traveling Route 66, photographing the neon signs, abandoned gas stations, old hotels, and whatever else I find interesting. This is a project that I’ve wanted to do for a very long time, and finally the time was right to do it. Even though I’m taking my time exploring The Mother Road, I also haven’t found much time to write. In fact, I’m typing this out on my phone while in my hotel room.
Projects are important for photographers. There is a real benefit to undertaking them. In my opinion, everyone should have at least one photography project that they are working on. Undertaking a project has three main benefits, which I’ll discuss below.
First, it gives your images purpose. You are not just wandering aimlessly with your camera (although that can be both enjoyable and beneficial, too); instead, you have a specific purpose. You have a goal, and your pictures have meaning. It gives you both a subject and a reason.
Second, it forces you to use your camera. It’s easy to just let your gear collect dust, but a project makes it necessary to pick it up and use it. You can’t work towards completing your project if you aren’t actively photographing. The more you use your cameras, the better of a photographer you become.
Third, it allows you to create a consistent and cohesive body of work. A lot of times our pictures can feel disjointed, and that’s because they are. They’re oftentimes standalone. There’s nothing wrong with that, but a group of photos can tell a larger, more meaningful story.
If you aren’t currently undertaking a photography project, I encourage you to start soon. Think about what interests you—what you find fascinating—and begin with that. It doesn’t have to require travel, but (like in my case) maybe it does. It can be short or long term. There’s a lot of different ways to accomplish it, but what’s important is starting your project’s journey. Think about what project you’d be interested in doing, and begin working on it right away.
White Boat at Nyhavn – Copenhagen, Denmark – Fujifilm GFX100RF – Copenhagen Negative
People often ask me why I think Fujifilm Recipes have become so popular. The answer seems obvious: they produce beautiful pictures. That’s certainly part of it, but I don’t think that’s the whole story. After years of creating hundreds of Recipes and talking with photographers from around the world, I’ve come to believe that what we’re really drawn to isn’t just the look, it’s how Film Simulations and Recipes change the experience of photography itself.
Photography has become increasingly complicated over the last few decades. Pick up a vintage film camera and you have three controls: aperture, shutter, and focus. ISO is determined by the film. If you developed your own film, that required learning a skill and access to special equipment; however, if you had a lab do it for you (and photo labs used to be everywhere), that simplified things significantly. Pick up a modern camera, and there are buttons and controls all over the body, and things become even more complex when you dig into the menu. Editing software, which is the modern equivalent of the darkroom, can be overwhelming, with nearly unlimited possibilities for photo manipulation, a skill that’s quite different than operating a camera. That’s all incredible, but it can also be intimidating and exhausting. Sometimes endless choice is less like freedom and more like work. The more complicated cameras and software get, the less enjoyable it can become. But Fujifilm offers an alternative approach, should you wish to use it.
Choosing a Fujifilm Recipe is a little like loading a roll of film into a camera, except that on most Fujifilm models you can have up to seven loaded at any given time, and you’re not limited to 24 or 36 frames—it’s unlimited. Once you’ve set the Recipes, you stop worrying about all the other possibilities, and simply photograph with what’s available to you. Interestingly, limiting your options often feels more freeing than having unlimited choices. It’s one of those wonderful paradoxes: less is more, and fewer options can actually make you more creative. As Pablo Picasso advised, “If you have five elements available, use only four. If you have four elements, use three.”
There is something deeply satisfying about seeing a finished photograph immediately. It’s not too dissimilar to the magic of instant film photography. Ansel Adams coined the term one-step processing to describe this, where the second step—the development step—is no longer required. “The effect of one-step processing on both amateur and professional creative photography has been revolutionary,” Adams stated. When the picture appears in the EVF or LCD and it already looks the way you envisioned, that’s exciting. It makes you want to keep photographing, which creates momentum. Instead of thinking, “I’ll fix it later in post,” you’re thinking, “Let’s make another picture!” That’s a completely different mindset.
Recipes encourage photographers to see differently. For example, if I choose a Recipe with warm colors and soft contrast like Kodak Portra 400 v2, I naturally start looking for scenes that fit it. If I’m using a dramatic B&W Recipe like Agfa Scala, I begin noticing shadows, texture, and shape. What I photograph and how I photograph it change depending on the Recipe I’m using. The camera hasn’t changed, but the way I’m seeing the world has. In other words, Fujifilm Recipes are creative tools that influence the entire photographic process.
Then there’s nostalgia. Whether you shot film for decades or were born long after its heyday, certain colors and tones feel familiar. They remind us of family photo albums, vacation snapshots, old magazines, classic photography books, maybe movies we grew up watching, or even our memories of how something looked and felt. Fujifilm has done something remarkable by bringing those visual memories into the digital age by way of Film Simulations, and Recipes build further on that foundation by recreating classic analog aesthetics.
Joshua Tree Hotel – Kingman, AZ – Fujifilm GFX100RF – Agfa Ultra 100 v2
There’s one final aspect that’s worth mentioning: community. I think there’s an especially deep desire right now for personal connections; while it may seem odd that camera settings would bring people together, they do. Real life connections have been made because of the Recipe community. In my experience, this is the kindest group in all of photography, chocked full of super nice people who are eager to help. In a sense, community is the recipe.
Photographers love Fujifilm’s Film Simulations and Recipes because they make photography accessible, enjoyable, less time consuming, and for how it changes the photographic process. They encourage us to spend less time behind a computer and more time behind the camera (and maybe even with other photographers). They remind us that creativity often flourishes within limitations, not despite them. And perhaps most importantly, they help us focus on what drew many of us to photography in the first place: the simple joy of making pictures.
Red Boat in Nyhavn Canal– Copenhagen, Denmark – Fujifilm GFX100RF – Avalon Ace
I just spent an absurd amount of money on a new camera: the Fujifilm GFX100RF. I’m writing this article to myself as much as I’m writing this to you, because it is so easy to believe that new gear will have a larger impact on photographic outcomes than it likely will. New cameras with the latest tech and highest specs will have some impact on our photos for sure, but probably a very small one. The next camera purchase is highly unlikely to unlock better pictures. Camera companies certainly want us to think so, and every new release promises improved autofocus, faster processors, or more megapixels. Those things are nice to have, but they’re rarely the reason one photograph is memorable while another is forgotten. The biggest improvements occur because of what happens twelve inches behind the camera, and has very little to do with the gear in your hands. So let’s take a look at three easy-to-learn habits that will actually improve our photography, and will have a much more meaningful impact than any new gear purchase.
The first habit is to slow down. Digital cameras have made it incredibly easy to fire off dozens or perhaps even hundreds of frames in a matter of minutes. While sometimes you’ve got to be extremely quick to get the shot, most of the time that’s not true. Often the better approach is to pause before pressing the shutter. Take a look around the edges of the frame. Notice distractions in the background. Move around a little. Anticipate the decisive moment rather than snap 15 frames hoping that one will just so happen to catch it. With Fujifilm cameras, I use the Clarity pause to slow myself down, and that’s often not enough. I have to constantly remind myself to be in less of a hurry and to be more in the moment.
Second, you’ve got to go back to get the good ones, as photographer Chuck Abbott advised in the September 1955 issue of Arizona Highways magazine. Specifically he was asked how he was able to create such wonderful pictures, and his answer had nothing to do with gear. Instead, he suggested returning to the same subject or location again and again and again, photographing it at a different time, in a different light, or in a different season. Been there, done that is a terrible maxim for photographers. Return as often as practical to the same place and try, try again. Even if you have pictures from that subject or location that you’re quite happy with, go back with your camera and make another attempt.
Of course, you should always carry a camera, no matter where you go, which is the third habit. Sometimes photographic opportunities happen when you least expect it, and if you don’t have a camera, you’ll completely miss it. Additionally, when you carry a camera, you look at the world a bit different (at least I do). You don’t just see for the sake of sight; instead, you see the world around you with photographic vision. When you see the world this way, it helps to train you to find the photographic opportunities, even in seemingly mundane locations.
New cameras are exciting, and I certainly enjoy them as much as anyone, but they won’t make you a better photographer. Lasting improvements don’t come in a product box, they come from within. Slowing down, paying attention to light and form, making intentional creative choices, returning to familiar places, carrying your camera consistently, and things like that are what will improve your photography. New gear is nice, but it’s not what really matters. Creating good habits is the best thing that you can do to improve your photography, which will outlast any camera purchase.
Ever since Fujifilm announced the GFX100RF back in April of last year, I’ve been saving up to purchase one. The desire for such a camera dates back 25+ years ago to my analog days, when I really wanted to shoot medium-format film. Cameras like the Contax 645, Pentax 645, and Fujica GS645 were all high on my list, but always just out of reach. In fact, in my early 20’s I sold my beloved Canon AE-1 with the intentions of using the profits (along with some other cash I had) to finally jump into medium-format photography; however, some unexpected car repairs sucked all that money up instead, and it never happened.
Now that I’m older, I’m not all that interested in medium-format film photography. I’m very happy with the image quality and aesthetics from my Fujifilm cameras (an understatement, if there ever was one), and the smaller size of the gear is much more ideal for me. Still, the larger sensor and higher resolution from GFX cameras does open some doors. For example, I’ve discovered that I really enjoy the XPan aspect ratio—while the 40mp X-series can be good for that (I wish that Fujifilm offered the crop in-camera), the 100mp GFX sensor is better, and the aspect ratio is available on GFX models. I purchased a GFX100S II back in 2024 with the purpose of making panoramas, but I found it’s harder to travel with that camera due to its bulk. Amanda likes it for portrait photography, so it has found a place in our house, but it’s not really serving my original purpose for it.
Enter the GFX100RF. It’s the smallest and lightest digital medium-format camera and lens combo, about the size and weight of an X-Pro3 with a “Fujicron” lens, roughly speaking. It’s definitely not pocketable, but it’s very small for medium-format. Of all the GFX cameras, this is the one that’s most easily portable. It’s also the most affordable, when considering that the lens is built-in. Of course, some will say that’s not really medium-format, but more of a super-full-frame; however, in my opinion, that’s splitting hairs. Call it what you want, the image quality speaks for itself.
The camera seems to be misunderstood by some, and I think it’s because so many compared it to the X100VI in the initial hype. The GFX100RF is not a medium-format X100VI; instead, it’s a medium-format X70. That’s not entirely 1:1, but it is much more accurate than saying it’s like the X100-series. While it doesn’t make sense for the GFX naming system, if Fujifilm had called it the GFX70RF, it likely would have cleared up the confusion. This is one of only two GFX cameras with the traditional tactile controls (the long discontinued GFX 50R is the other), and I much prefer this setup over the PASM design of the GFX100S II. In my opinion, Fujifilm should make a GFX100R, a successor to the 50R.
Approaching Haboob at Sunset – Buckeye, AZ – Fujifilm GFX100RF – Vivid Velvia
Earlier this year someone loaned me their GFX100RF for a couple of months. I cannot overstate how kind and generous that was! Seriously, who does that?! I’m incredibly thankful and appreciative. I very much enjoyed the extended test drive, and it only solidified my desire to own one someday. I continued to save, and finally was able to purchase one 15 months after it was announced. I went with the silver version because of course I did—I love the silver cameras! I captured my first image with it yesterday. As I was programming the C1-C7, I got a weather alert on my phone stating that a dust storm was approaching my location—and right at sunset! I grabbed the camera, headed to an overlook, and snapped my first photograph, which is above. I’m sure it won’t win any awards, but definitely not bad for the very first picture.
I’m working on a project that the GFX100RF is perfect for. I’ve done a little work on it already, but the bulk of it starts next week. I can’t wait to share it with you when the time is right (probably in the fall), so stay tuned! In the meantime, below are some pictures I captured using the borrowed GFX100RF. If Fujifilm made a version of the GFX100RF with a different focal-length, I would love that personally. I know that some would like an even wider lens; for me, something closer to a nifty-fifty would be perfect. Until that happens (which might be never), I’ll enjoy this camera for what it is, and not worry about what it’s not.
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
This Classic Retro Recipe began as an accident. The Fujifilm X-E5 has a Film Dial, but Classic Negative was excluded as a default option; however, you can set it (or any other Film Sim that was left off) to FS1-FS3, which is what I did. The X-E5 also has the option to program Recipes into FS1-FS3, and you can toggle the Recipes on and off. I was shooting with the Film Dial Recipe set, so I turned off the three Recipes set to FS1-FS3 (only the Film Simulation would change and not the other settings). Later, I was using the Agfa Scala Recipe, which was set to my C1-C7, but decided that I wanted to use the Classic Negative Recipe that I had programmed into FS1; however, I forgot to turn the Recipe that was programmed into FS1 back on, so the camera simply changed Acros to Classic Negative without adjusting the other parameters of the Agfa Scala Recipe. I captured a couple of images, then realized my mistake.
When I was reviewing the photos, I saw those couple of images where I made the mistake, and I kind of liked them. It wasn’t quite right, but I saw the potential. I fiddled with the settings, then made some more adjustments, and later refined it a little more. You’ll noticed where the Agfa Scala influence is, but a lot of the settings ended up with a change, and the final Recipe is notably divergent from where I started. It’s not modeled after any film, but it reminds me a little of Kodak Ektachrome 400 from the 1980’s (perhaps slides that have faded a bit), or maybe FPP RetroChrome 400, which was expired surplus Ektachrome made for government use, later sold to the general public. I don’t think this is spot on accurate for either, but it seems to be in the very general ballpark for both.
The trick with the Classic Retro Recipe is underexposure. It’s very easy to clip the highlights (which you want to avoid doing), but aside from that, the underexposure is an important part of the aesthetic. For most pictures, you should be in the negative territory on the Exposure Compensation Dial. Classic Retro is compatible with all fifth-generation Fujifilm models, which are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III cameras. You can also use it on the latest GFX models, like the GFX100 II, GFX100S II, GFX100RF. For fourth-generation cameras with Classic Negative, you can use this Recipe, too; however, it will render slightly differently (but try it anyway!).
Film Simulation: Classic Negative Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome FX Blue: Strong White Balance: Daylight, 0 Red & -3 Blue Dynamic Range: DR400 Highlight: +4 Shadow: -2 Color: -1 Sharpness: -2 High ISO NR: -4 Clarity: +2 ISO: Auto, up to ISO 6400 Exposure Compensation: -2/3 to -1 (typically)
Example photographs, all camera-made JPEGs using this Classic Retro Film Simulation Recipe on my Fujifilm X-E5:
Southwest Airlines – Phoenix, AZ – Fujifilm X-E5
Sky Tram – Phoenix, AZ – Fujifilm X-E5
Vines on a Train Bridge – Austin, TX – Fujifilm X-E5
Cesar Chavez St – Austin, TX – Fujifilm X-E5
Downtown and Colorado River – Austin, TX – Fujifilm X-E5
Clouds Over Train Bridge – Austin, TX – Fujifilm X-E5
City Art – Austin, TX – Fujifilm X-E5
Urban Flower Blooms – Austin, TX – Fujifilm X-E5
Power Plant – Austin, TX – Fujifilm X-E5
Double Decker Cars – Austin, TX – Fujifilm X-E5
Greyhound Bus – San Antonio, TX – Fujifilm X-E5
Four Flags – San Antonio, TX – Fujifilm X-E5
Brick Building with Broken Glass – San Antonio, TX – Fujifilm X-E5
Majestic Theater – San Antonio, TX – Fujifilm X-E5
Aztec – San Antonio, TX – Fujifilm X-E5
River Boat – San Antonio, TX – Fujifilm X-E5
Stairway – San Antonio, TX – Fujifilm X-E5
Large Leaves – San Antonio, TX – Fujifilm X-E5
Leaves by the Water – San Antonio, TX – Fujifilm X-E5
Amaranth Blooms – San Antonio, TX – Fujifilm X-E5
Find this Film Simulation Recipe and over 400 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
Let’s talk travel photography! I have two upcoming classes and photowalks this month: Austin on July 8th and Oklahoma City on July 25th. These will be centered around gear selection, tips, and Recipes for your summer outings. If you live in Texas or Oklahoma, I hope that you can make it to one of these two events.
The Austin class and photowalk will be at Precision Camera & Video, located at 2438 W. Anderson Lane, on Wednesday, July 8th. The class will begin at 5 pm, afterwards—about 6:30 pm—we will head over to the Austin Public Library to walk around downtown with our cameras. The fee is $5, and you do need to register (click here). It’s going to be a great time of learning, community, and photography. This is only two days away, but it’s not too late to join!
The Oklahoma City class and photowalk will be at Bedford Camera & Video, located at 3110 N. May Ave, on Saturday, July 25th. The class will begin at 4 PM, afterwards—about 6:00 pm—we will head over to Scissortail Park to walk around with our cameras. This event is free; however, if you plan to come, you do need to register (click here). It’s going to be a great time of learning, community, and photography. This is only about two-and-a-half weeks away, and will arrive quickly. If you are in the Oklahoma City area, be sure to join us—I hope to see you there!
Those are the only classes and photowalks currently scheduled. Events like these are always a lot of fun, and it’s so great to meet you and talk gear and photography with you. If you are in the vicinity of Austin or Oklahoma City, be sure to come out. These types of events are highly collaborative, and it takes a lot of people to pull them off, including representatives from Fujifilm and the camera stores—I want to give a big “thank you” to everyone involved. And I hope to see some of you real soon in Texas and Oklahoma!
I have an upcoming project, and as part of that I want to create some Troy Paiva inspired night photos. If you don’t know what I’m talking about, Troy creates nighttime photos of abandoned buildings, cars, airplanes, etc., illuminated by colored lights and the full moon (check out his Instagram). For this project, I want to do something similar for some of the pictures. I don’t have very much experience with this type of photography, so I need some practice before attempting the important images.
Some critical parts for this project arrived yesterday, namely lights and a Fujinon 23mm f/1.4 lens*. I’m not sure yet if the 23mm f/1.4 is the lens that I want to use, but I think it might be. We’ll see. Fujifilm let me borrow it, so I can try it out before deciding. More important than the lens are the lights, which are cheap Neewer mini portable LED lights I found on Amazon for $27 each. I purchased two. All of this arrived in the mail yesterday, so as soon as the sun went down and the (nearly) full moon came up, I grabbed my trusty tripod, set up the camera, and took some test shots.
Because I parked on a dirt lot, it stirred up the dust. I had no intentions of having the car lights on, but it looked cool, so I tried a handful of exposures with the car lights. I set one LED light to red (actually, I thought it was a rusty orange color) and the other to green (I thought it was teal), placing the red light in the backseat and the green in the front. The Recipe I used was Vivid Velvia, but I modified it slightly, setting Color to +3 instead of +4 and Highlight and Shadow both to -2. I tried a few different angles. Then I moved the lights from inside the truck to underneath, placing them behind the passenger-side wheels. After a handful of shots I moved them back inside.
I quickly realized that two lights weren’t enough for what I wanted to achieve. More ideally I needed four, so I ordered some more once I got home. But, not to be defeated, I made a double-exposure picture using the multiple exposure feature in the camera, moving the lights in-between the shots. At the time, I was a little afraid that the Vivid Velvia images were a little too punchy, so I switched to an experimental Recipe I’ve been working on (not sure yet if it will get published); however, in retrospect, I think I should have stuck with what I had been using.
Overall, the experiment was a failure in that I didn’t quite achieve what I was hoping to achieve; however, it was a success in that I learned some important lessons. It’s a step closer to the goal. For certain, I need more practice. That’s the point of this article: if at first you don’t succeed, try, try again. Don’t expect that your idea will work on the first try, and don’t get discouraged when it doesn’t. Learn from what went right and what went wrong. Go back out on another occasion and try again. With enough practice, eventually you’ll get it. I will practice a few more times before beginning the project.
Below are a couple more pictures I made last night. The image at the top of this article is my favorite, and the closest to what I want to create (although it’s definitely not quite right). The double-exposure at the bottom is another that’s along the lines of what I’m looking for. I’ll keep trying, and eventually get it right. I can’t wait for that to happen, and I’ll be thrilled when it does.
*Edit: I mistakenly said the lens was the Fujinon 18mm f/1.4 when it was the Fujinon 23mm f/1.4. Guess that’s what happens when I write an article before my first cup of coffee after just six hours sleep. Won’t do that again. My apologies, and I hope it doesn’t cause any confusion or problems.
Red Boat in Nyhavn Canal – Copenhagen, Denmark – Fujifilm GFX100RF – Avalon Ace
Last night I was scrolling Instagram when I saw a Reel that bothered me a bit. Maybe you saw it, too. It wasn’t from anyone I follow, just something the algorithm thought I would like. I would have much preferred to have been shown content from those I follow, but Meta kind of sucks and instead gives me things that I don’t really care for. The video in question was insulting, so I thought I would address it.
Specifically, the person in the video, who has a somewhat large following, doesn’t like that a lot of people within the Fujifilm world don’t edit their photos. “I don’t have a problem with Fujifilm cameras,” the video starts out. “My problem is with the brand and people telling you that you shouldn’t edit your photos, that you should skip Lightroom and editing, and that you should only do straight out of camera. I think that is really, really, really crap and lazy advice.” It goes on from there, and only gets worse. At the end he reveals that this is why he’s moving to Leica. Apparently he thinks that Fujifilm shouldn’t point out to their customers that their camera-made JPEGs are pretty darn good, and he doesn’t seem to like the Fujifilm community in-general and doesn’t want to be associated with such people. Perhaps not enough Fujifilm photographers were buying his preset packs?
First, I don’t think anyone is saying (or, if they are, it’s very, very, very few) that you can’t edit your photos, only that you don’t have to if you don’t want to. There are a thousand ways to do photography, and no one way is better than another. It’s only what works for you personally. If that’s shooting RAW and editing in Lightroom, great. If that’s unedited straight-out-of-camera JPEGs, cool. If that’s film photography, awesome. For a lot of people it can be a combination of things, just depending. There is no right or wrong way to do photography, and anyone who tells you otherwise is gatekeeping and should be ignored.
Misty Saguaro – Buckeye, AZ – Fujifilm X-T5 – Pacific Blues
Fujifilm Recipes can be used in a surprising number of ways, not just for unedited straight-out-of-camera photography. Personally, aside from cropping/straightening and maybe a small exposure adjustment sometimes, I don’t edit my photos. I used to, until I realized that the straight-out-of-camera JPEGs could be made to look like my edited RAW images. That discovery literally changed my life (no hyperbole). Before that, I edited so many photos it’s not even funny. Personally, I don’t enjoy editing, and I’ve found it unnecessary for my photography. But that’s just me. Other people (like my wife) will sometimes edit the JPEGs, which have a fair amount of latitude for manipulation, in Capture One. Other people use the JPEGs sometimes and the RAWs other times, just depending on the picture and what they will use it for. There are some who are strictly RAW-only and still use Recipes because it helps them to better pre-visualize in the field how the edited photos will look, and it gives them a head start in the editing process. One person will sometimes layer the out-of-camera JPEG over the edited RAW image, and blend them together. It’s all about what works for you—not what other people are doing—and there are a plethora of possible paths, all of them legitimate.
Going back to the video, the implication is simple: if you don’t edit your photos and you tell others that they don’t have to, you are “really, really, really” crappy and lazy. That’s complete nonsense and just bullsh*t. A completely awful and insulting take. Someone who edits RAW photos is not inherently any better or worse than someone who doesn’t, and their pictures aren’t inherently better or worse, either. Even Ansel Adams used Polaroids and wrote a whole book about it. Was he being lazy? Was he giving crappy advice when he wrote a whole chapter on the benefits of one-step photography (skipping the development stage)? Was he a bad photographer because he didn’t always use the darkroom? Of course not! Nobody would argue that, but that’s essentially the argument of the video.
Photography is deeply personal, and many people—the gatekeepers—tie their identity to how “skilled” they think they are. When someone else succeeds with a different method—shooting JPEGs, iPhone photography, etc.—it threatens the fragile belief that their way is the only legitimate path. It’s a defensive shield: If you do it differently and are successful, then my choices—and hence myself—might be less special. Gatekeeping is a way of preserving a hierarchy that does not naturally exists. I’m a real photographer because I do it this way, and you’re not because you don’t. It’s a game of king-of-the-hill, except nobody else is playing. And it’s just dumb.
I’ve been told I’m doing much harm to photography because I don’t edit my photos and I tell other people that they don’t have to, either, if they don’t want. That’s crazy! You do photography however you want to do it, and worry less about what others are doing. If you want to shoot Leicas, edit RAW files, and sell Lightroom presets, by all means do so. If you want to spend less time at a computer and more time out creating photographs, Fujifilm might just be the brand for you. Whatever way you want to do photography, go ahead and do it that way, and don’t let the gatekeepers tell you that you are less-than for it. In the end, nobody really cares how you made the photograph, they only care that you made it.
This is Part 3 of what will be a five-part series exploring Fujifilm Recipes for each generation of cameras. Beginning with the latest models, we will work our way back towards the older cameras. For each article, I will suggest seven Recipes to try. This is intended for those new to the whole Recipe thing, who haven’t tried them before (or perhaps only a few Recipes so far). The intention is to provide you with a list of seven that you can program into your C1-C7 Custom Setting presets.
The list below, which are the seven Recipes for Part 3, is specifically for the Fujifilm X-T3 and X-T30 cameras, the first two X-Trans IV cameras, which are in a category of their own. If you have one of those two cameras, these are the correct Recipes for you. This is far from an exhaustive list of fourth-generation Recipes, it’s only seven really good ones to get you started. Something to note is that with the X-T3 & X-T30, you cannot save a White Balance Shift within C1-C7; however, the camera will remember one WB Shift per WB type. With that in mind, each of these use a different WB type so that you don’t have to remember to adjust the WB Shift when going from one Custom Setting preset to another. If you are unsure which Fujifilm Recipes to begin with, these are ones that I highly recommend.
Window to the City – Salt Lake City, UT – Fujifilm X-T30 – Kodak Portra 400 v2
Kodak Portra 400 v2 does well anytime the sun is out, but especially for “golden hour” near sunrise and sunset. As the name suggests, it’s a good option for portrait photography, but it’s excellent for many other genres, too. This Recipe uses the Daylight White Balance.
While Classic Kodak can be used anytime the sun is out, it is a great options for middle-of-the-day situations. This Recipe uses the Shade White Balance.
Street Lamp Sunset – Farmington, UT – Fujifilm X-T30 – Kodak Ultramax
I like to have at least one Recipe programmed into my camera that’s highly versatile and can be used no matter the situation. One of my personal favorites is Kodak Ultramax, which uses Auto White Balance.
Although each of the first four Recipes have a Kodak-negative-like look, Kodak Vision3 250D produces a notably divergent aesthetic than the three above. This Recipe uses the Fluorescent 1 White Balance.
Fujichrome Sensia 100 offers a notably different look than the options above. It’s one of my favorite Recipes for sunrise and sunset colors when the sky is pink and purple, but is good for a lot of other situations, too. It uses the Fluorescent 2 White Balance.
Wet Glass Bokeh – Salt Lake City, UT – Fujifilm X-T30 – Jeff Davenport Night
If it’s between dusk and dawn, especially if there are city lights, Jeff Davenport Night is the recipe to use on your X-T3 and X-T30 cameras. Period. It uses a Kelvin White Balance.
Minolta SRT303b – Farmington, UT – Fujifilm X-H1 – Analog Monochrome
Filling out the last slot was tricky because most of the White Balance types have already been used. There are basically three options: choose an X-Trans III Recipe—which are fully compatible with the X-T3 and X-T30—that uses a different WB type (that’s what I’ve done here, as Analog Monochrome utilizes Incandescent); use an Auto WB Recipe—perhaps Ilford Delta Push Process—and disregard the WB Shift, and accept the results for what they are (which will be nearly the same, but not exactly the same); or use a Daylight WB Recipe—perhaps Kodak Tri-X 400—and substitute Daylight with Underwater, which is similar enough that you’re unlikely to notice the difference.
Find these Film Simulation Recipes and many more on the Fuji X Weekly App!Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
