An Animation for JVKE

Summer Joy – Buckeye, AZ – Fujifilm X-E5 – Summer Sun Recipe

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).

The backstory is that JVKE is one of my daughter’s favorite musicians. Last year he held a duet contest for one of his hit songs, Her, and Annika Wells won, so they released a new version of the song featuring both of them. Just a few weeks ago, JVKE announced an animation contest for the duet, something he had done previously for the original version of Her (Joy wanted to participate in that one, but just didn’t have the time).

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.

Free Fujifilm Photowalks in Phoenix featuring BewareMyFuji

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).

My 2025 Photography Recap

Golden Appalachian Light – Gatlinburg, TN – Fujifilm X-T5 & 90mm f/2 – Classic Amber

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….

January

Balloons – Goodyear, AZ – Fujifilm GFX100S II & 80mm f/1.7 – Fujicolor PRO 160C Warm
Orange Desert – Phoenix, AZ – Fujifilm X-T4 ES & 35mm f/2 – CitrusChrome 
Tis but a Scratch– Buckeye, AZ – Fujifilm X-T4 ES & 35mm f/2 – Agfa 400S

February

Oak Creek – Sedona, AZ – Fujifilm GFX100S II & 80mm f/1.7 – Nostalgia Negative
Oak Creek – Sedona, AZ – Fujifilm GFX100S II & 80mm f/1.7 – Velvia Film
Ready to Fly – Buckeye, AZ – Fujifilm X-T4 & 90mm f/2 – Fujicolor 100 Gold

March

White Bridge across Pond – Charleston, SC – Fujifilm X-E4 & 27mm f/2.8 – Pacific Blues
Sailer on Sumter – Fort Sumter, SC – Fujifilm GFX100S II & 80mm f/1.7 – Kodak Tri-X 400
Beach Chairs – Folly Beach, SC – Fujifilm X-E4 & 27mm f/2.8 – Velvia Film

April

Church – Litchfield Park, AZ – Fujifilm X-E4 & 27mm f/2.8 – Pacific Blues
Southwind – Litchfield Park, AZ – Fujifilm X-T4 & 90mm f/2 – Kodak Portra do Sol
Rural Water – Buckeye, AZ – Fujifilm GFX100S II & 80mm f/1.7 – FRGMT B&W (originally photographed with Kodachrome 64, but later reprocessed in-camera)

May

Worn Out – Buckeye, AZ – Fujifilm X100VI – Kodak Portra 400 v2
Boulder Theater – Boulder, CO – Fujifilm X100VI – Fujicolor PRO 160C Warm
Flowers & Flatirons – Boulder, CO – Fujifilm X100VI – Kodak Tri-X 400

June

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
Coastal Cove – Elk, CA – Fujifilm X-T5 & 56mm f/1.2 – Kodak Plus-X 125

September

Sky Harbor – Phoenix, AZ – Fujifilm X-E5 & 23mm f/2.8 – Kodak Tri-X 400
SoFi Stadium – Inglewood, CA – Fujifilm X-E5 & 23mm f/2.8 – Kodak Tri-X 400
Flight Watch – Los Angeles, CA – Fujifilm X-E5 & 23mm f/2.8 – Superia Negative

October

Roaring Fork – Great Smoky Mountains NP, TN – Fujifilm X-E5 & 23mm f/2.8 – Vivid Velvia
Corn Crib – Great Smokey Mountain NP, TN – Fujifilm X-T5 & 56mm f/1.2 – Classic Amber
Forest Road 3 – Great Smokey Mountain NP, TN – Fujifilm X-T5 & 56mm f/1.2 – Classic Amber

November

Autumn Trail – Sedona, AZ – Fujifilm X-E5 & 56mm f/1.2 – Kodak Farbwelt 200 Expired
Oak Creek in Monochrome – Sedona, AZ – Fujifilm X-E5 & 56mm f/1.2 – FRGMT B&W
Cheers – Scottsdale, AZ – Fujifilm X-E5 & TTArtisan 35mm f/1.8 – FRGMT B&W

December

Glowing Gold Leaves – Buckeye, AZ – Fujifilm X-E5 & TTArtisan 35mm f/1.8 – Astia Negative
Phoenix Sunset – Phoenix, AZ – Fujifilm X-E5 & TTArtisan 35mm f/1.8 – Astia Negative
Swirly – Phoenix, AZ – Fujifilm X-E5 & TTArtisan 35mm f/1.8 – Astia Negative

My Top 5 Favorite Fujinon Lenses

Which lenses you should buy for your Fujifilm camera is a personal decision. There’s not a single lens that’s for everyone. One person will like one lens, another person will like a different lens. Some people prefer zooms, some people prefer primes. Some prioritize sharpness, some prioritize character. There’s no right or wrong lens, only what you personally appreciate.

I get asked fairly regularly which lenses I recommend. I’m not certain how helpful it is to know which ones I personally like, because we’re all different, and which lenses I like best could be very different from what you’ll like best. With that aside, below you’ll find my five favorite Fujinon lenses for X-series cameras. In addition to those, I also sometime use vintage and third-party lenses, but for the sake of simplicity, I kept this list strictly to Fujinon glass.

The order is widest to most telephoto. I’ll provide some brief commentary about why I like the lens, and when I use it. I will also give them a rank of one-through-five; I really like all of them, so don’t read too much into where I rank them. Let’s dive right in!

Fujinon 23mm f/2.8 R WR

Fujifilm’s latest prime lens offering is the Fujinon 23mm f/2.8 pancake. Paired with the Fujifilm X-E5, it’s the closest you’re likely to get to an interchangeable-lens X100VI. This lens is an excellent performer, and has some good close-focus capabilities (not macro, but cropping a little will get you near-macro). An advantage that APS-C has over full-frame is size and weight, so you’d think that Fujifilm would offer a series of pancake lenses to pair with their smaller cameras; however, for many years your options have been the hard-to-find 27mm f/2.8 and the 18mm f/2, which is barely a pancake and, as one of the older lenses in the lineup, in need of a refresh. So I think it was smart for Fujifilm to release a third option, and I hope that another pancake lens or two are in the works.

While I really like the Fujinon 23mm f/2.8 pancake, I don’t love it quite as much as the 27mm f/2.8 pancake. Clinically speaking, it’s probably the better of the two, but it lacks a little of the soul that makes the 27mm special. I tend to only use it when the 27mm focal length is a bit too tight, or I want to focus a little closer. It’s completely worth owning, but you’re likely to choose either the 23mm or 27mm, and not both, since their focal lengths are fairly similar. I rank the 23mm f/2.8 pancake as my fifth favorite Fujinon lens.

Fujifilm X-E5 + Fujinon 23mm f/2.8 – Astia Negative
Fujifilm X-E5 + Fujinon 23mm f/2.8 – Vivid Velvia
Fujifilm X-E5 + Fujinon 23mm f/2.8 – Kodak Vericolor VPS

Fujinon 27mm f/2.8 R WR

When I preordered the Fujifilm X-E4, I did so as a kit with the (new version) Fujinon 27mm f/2.8 pancake lens. I was hesitant to do so because the maximum aperture of “only” f/2.8 wasn’t impressive, and I was unsure if it was going to be sharp enough. At the time, the Fujinon 35mm f/2 was my favorite lens, and it has a similar focal-length, a larger maximum aperture, and, while not a pancake, is pretty small overall. After getting the 27mm f/2.8, I fell in love with the character and compact size, and it immediately became my favorite lens.

This is my most used lens over the last several years. Even after getting the 23mm f/2.8 pancake, I still use the 27mm more than any other; however, I do use it a little less than I used to. If I could only own one Fujifilm lens, it would probably be this one. I rank the 27mm f/2.8 pancake as my second favorite Fujinon lens.

Fujifilm X-E4 + Fujinon 27mm f/2.8 – Pacific Blues
Fujifilm X-T50 + Fujinon 27mm f/2.8 – Pushed Analog
Fujifilm X-T5 + Fujinon 27mm f/2.8 – 1960 Chrome

Fujinon 35mm f/2 R WR

I purchased the Fujinon 35mm f/2 lens in 2019, as a kit with the X-T30. It immediately became my most-used Fujifilm lens; however, after getting the 27mm pancake, it got relegated to secondary duty. I would only use it in place of the pancake when I needed an extra stop of light. It was barely used for a few years. Then, last year I purchased a full-spectrum infrared Fujifilm X-T4, and the 35mm f/2 lens gained new life. Since it doesn’t have any IR hotspots, it’s a great option for infrared photography. It has practically remained glued to the IR camera, which has been one of my favorites to use.

The Fujinon 35mm f/2 lens is a solid option that exemplifies everything that Fujifilm glass is renown for. It’s a great lens, and I use it often—mostly just for infrared photography nowadays. I rank the 35mm f/2 as my fourth favorite Fujinon lens.

Fujifilm X-T4 ES + Fujinon 35mm f/2 – Aerochrome v2
Fujifilm X-T4 ES + Fujinon 35mm f/2 – Cotton Candy Chrome
Fujifilm X-T4 ES + Fujinon 35mm f/2 – CitrusChrome

Fujinon 56mm f/1.2 R WR

The Fujinon 56mm f/1.2 (new version) lens is extra special. It’s mostly regarded as a portrait lens, but it is good for so much more than that. The extra large maximum aperture makes the lens super useful for low light situations, and the shallow depth-of-field and extra sharp glass gives a medium-format feel to the photographs. The 84mm full-frame equivalent focal-length is a slightly awkward for some subjects and situations, and it can take some time to get used to, but well worth the effort to get comfortable with.

My only gripe with this lens is that it’s not mine. It belongs to my wife, Amanda, but thankfully she lets me borrow it whenever she’s not using it. I don’t have access to it all of the time, but I like to use it whenever the opportunity arises. Because it’s significantly larger and heavier than the previous three lenses, I prefer to use it on my X-T5, but I’ve used it plenty of times on a X-E4 and X-E5, too. I rank the 56mm f/1.2 as my number one favorite Fujinon lens.

Fujifilm X-E5 + Fujinon 56mm f/1.2 – Kodak Farbwelt 200 Expired
Fujifilm X-T5 + Fujinon 56mm f/1.2 – Kodak Plus 125
Fujifilm X-E5 + Fujinon 56mm f/1.2 – FRGMT B&W

Fujinon 90mm f/2 R LM WR

I purchased the Fujinon 90mm f/2 lens second-hand in 2018 for a specific project. Once that project was finished, I had intended to sell it and (hopefully) get most of my money back. But I ended up loving it so much that I kept it. It’s another portrait lens, this one longer at 135mm full-frame equivalent focal-length. Back in the day 135mm was fairly common, but it’s definitely gone out of style over the last 30 or so years. Still, I really love it.

When I want a longer reach and the 56mm f/1.2 isn’t long enough or isn’t available (because my wife is using it), I will use the 90mm f/2. It’s great for landscape photography, especially when the subject is at a distance. Seven years of solid service isn’t bad for second-hand glass; that was money well spent. I rank the 90mm f/2 as my third favorite Fujinon lens.

Fujifilm X-T5 + Fujinon 90mm f/2 – Classic Amber
Fujifilm X-T5 + Fujinon 90mm f/2 – Eterna Summer
Fujifilm X-E4 & Fujinon 90mm f/2 – Ferrania Solaris FG 400

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

Fujinon 23mm f/2.8 in black:
Amazon, B&H
Fujinon 23mm f/2.8 in silver:
Amazon, B&H
Fujinon 27mm f/2.8:
AmazonB&HMoment
Fujinon 35mm f/2 in black:
AmazonB&HMomentNuzira
Fujinon 35mm f/2 in silver:
AmazonB&HMomentNuzira
Fujinon 56mm f/1.2 R WR:
AmazonB&HNuzira
Fujinon 90mm f/2:
AmazonB&HMoment

Grading Fujifilm Releases in 2025

I’m going to rate Fujifilm’s class of 2025 gear releases. I’ve never done something like this before. I’ve seen plenty of other people do end-of-the-year camera gear grading, which I sometimes agree with and sometimes don’t. Since 2025 is nearly over, I thought I’d try my hand at grading all the cameras and lenses that Fujifilm’s released over the last 12 months.

Specifically, there were five cameras—two GFX and three X-series (one is only sort-of X-series)—and three lenses, one of which is a GFX cinema lens. That’s eight items in total. For the sake of this article, I’m excluding Instax. Let’s dive in!

Cameras

Fujifilm released five cameras in 2025: three X-series and two GFX models. We’ll grade each camera individually, then each series as a whole, and finally grade all of the cameras as a group.

First up is the Fujifilm GFX100RF. This is a medium-format fixed-lens compact camera, and best thought of as the GFX equivalent of the Fujifilm X70. It’s the smallest, lightest, and cheapest medium format camera-lens combo from any brand. It’s the only retro-styled GFX camera currently being made, and only the second ever (the long-discontinued GFX 50R is the other). This camera is high on my bucket list, and I hope to someday purchase it, but at $5,600 it’s well outside of my current budget.

Common complaints about the GFX100RF are that 1) it lacks IBIS, 2) it has a maximum aperture of “only” f/4, and 3) it’s not fully weather-sealed (an adapter and filter are required to fully seal it). I’m perfectly ok with point three—it’s no problem for the X100-series, and it shouldn’t be seen as an issue for the GFX100RF. As far as points one and two, Fujifilm has said that the camera would need to be significantly larger and heavier to accommodate either of those, and especially both. Interestingly enough, the medium-format camera-lens combo that’s closest in size and weight to the GFX100RF (the Hasselblad 907X plus CFV 100C back with the 28mm lens) also lacks IBIS and has a maximum aperture of f/4 (but is much, much more expensive than the GFX). Fujifilm could certainly make a larger, heavier, and more expensive camera that’s similar in concept (just like they made both an X70 and an X100T), and I hope they someday do. Anyway, the GFX100RF deserves a very high grade, so I give it an A+.

Next is the Fujifilm X half, which is currently the smallest X-series camera; however, it’s not X-Trans. It’s a compact fixed-lens model with a vertically mounted 1″ sensor. Sitting in-between an Instax Evo and the X-M5, it’s intended to deliver an analog-like experience in a simple package. The designers took inspiration from half-frame 35mm cameras. The X half is a ton of fun, and great for snapshots of family vacations and things like that. I enjoy using it, and so does my wife.

Common complaints are that 1) it’s too expensive for what it is, 2) it has some flaws like the lack of a proper flash or hotshoe, and 3) it’s a gimmicky concept. I agree with point one, as the camera should be around $650-$700 in my opinion. I also agree with point two, and I hope those are addressed in a future iteration. As far as point three, I think it’s not really intended for the majority of people who typically buy X-series gear. Fujifilm had in mind a bridge between Instax and the X-series, a pathway for Instax customers to move up (remember, Instax is much larger than the X-series and GFX combined). From what I’ve seen, it seems to be successful in this regard, so, even though the usual crowd might bemoan it, the camera is largely a hit with those whom it was made for. I grade the X half a B-.

Third is the Fujifilm X-E5, which is the closest you’re likely to get to an interchangeable-lens X100VI. This camera is a much different model than its predecessor. The X-E4 was a minimalist low-budget model, serving as Fujifilm’s smallest, lightest, and cheapest camera with an EVF. Inexplicably, Fujifilm discontinued it when it was in high-demand, with months-long waitlists. The X-E5 is the long awaited successor; however, Fujifilm gave it many notable upgrades, and the camera is no longer minimalist or entry-level.

Common complaints are that 1) it’s so much more expensive than the X-E4 and 2) the EVF should have received an upgrade. For point one, the X-E4 was the cheapest (both in price and quality) of any X-E series model, while the X-E5 is the most premium iteration, so it stands to reason that it would be significantly more expensive. I agree with point two; however, it’s not a major issue whatsoever in practical use, only a minor point. My biggest complaint is that Classic Negative was left off the Film Dial, which is inexcusable. The X-E5 is one of my favorite cameras, and I give it an A.

Fourth is the GFX Eterna 55 cinema camera. I’ve seen it in person, I’ve talked to a couple of people who have personally used it. From what I understand, it’s not perfect, but it will likely be highly appreciated by certain segments of the professional cinema crowd. At some point in the coming few years, a major motion picture will be recorded using the Eterna 55, I’m certain. It’s Fujifilm’s most expensive model, but it’s reasonably priced for the segment that it’s in. I give the Eterna 55 an A-.

Last but not least is the Fujifilm X-T30 III, a mild refresh to the X-T30 II, which was a mild refresh to the Fujifilm X-T30, released in early 2019. It fills an important role in the X-series lineup, which is an affordable interchangeable-lens model with an EVF. While it doesn’t have all the bells-and-whistles of the more expensive models, it is very capable, and is the overall best value within the X-series. Fujifilm will sell a whole lot of X-T30 III cameras. I grade it a B+.

Now, to the overall grades, beginning with the X-series. To recap, I gave the X half a B-, the X-E5 an A, and the X-T30 III a B+, which puts the overall grade for the 2025 X-series releases as a B+. Now, to GFX. To recap, I gave the GFX100RF an A+ and the Eterna 55 an A-, which puts the overall grade as an A. That puts the total grade for both the X and GFX lines combined at an A-.

Lenses

Fujifilm only released three lenses in 2025: two X-series and one GFX. I’m not going to spend nearly as much time on this as I did the cameras. I’m going to grade each lens, and then give one overall grade for all the lenses.

First is the Fujinon 23mm f/2.8 pancake. I’ve long advocated for more pancake lenses for the X-series. The 27mm f/2.8 is one of my favorites, while the 18mm f/2 is barely a pancake, and is need of a refresh. The 23mm f/2.8 pancake has been long requested, adds a solid third pancake option for the X-series, and is a great performer; however, the 23mm focal-length is now a bit crowded with several options. That’s really the only complaint, if there is one. I grade this lens an A-.

Next up is the Fujinon XC 13-33mm f/3.5-5.6 kit zoom. I prefer primes, personally. This lens is the smallest X-series zoom, and the closest Fujifilm has to a pancake zoom, but I’m not excited about it in the least. I’m sure it’s good, and some people will really love it. I give it a C.

Lastly, we have the GF 32-90mm cinema lens. If I’m not mistaken, this is the first and currently only GFX lens offered by Fujifilm specifically for filmmaking. Unsurprisingly, this is the most expensive lens for GFX cameras. I don’t know much about it, but the little I have heard has been very positive. This rating is more of a shot in the dark, but I’ll give it an A.

To recap, I gave the Fujinon 23mm f/2.8 pancake an A-, the Fujinon XC 13-33mm zoom a C, and the GF 32-90mm cinema lens an A. Between the three, the overall grade is B+.

Conclusion

It’s also important to consider if the gear that Fujifilm released is the gear they should have released. Did they do enough? Did they introduce the wrong things? We should take that into consideration.

The largest hole is the very-long-overdue X-Pro3 successor, which probably should have come in 2023 or 2024; it’s the end of 2025, and we haven’t seen it yet. My guess is that it will arrive next year, probably within a few months, but that’s only a guess. I get that they might wait for it to be extra special, and perhaps it will be well worth the wait, but I do think some points need to be deducted for its continued absence. Fujifilm should make this camera their top priority for 2026.

The lens lineup has matured over the years, so it makes sense that they might release fewer and fewer new options each year, but there are still a few holes that I’d like to see them fill. Between X and GFX, four or five new or updated lenses each year is probably a better number than just three. I’m a big fan of one of their 2025 lenses, but overall it was a ho-hum year for glass, mostly because the class was so small.

I gave the cameras an A- and the lenses a B+. When factoring in the lack of an X-Pro and the small number of lenses introduced, overall I have to give Fujifilm a grade of B for the gear they released in 2025. Do you agree or disagree? What grade would you give Fujifilm for their class of 2025 gear? Let me know in the comments!

Astia Negative — A Fuji X Weekly App Patron Early-Access Recipe

Glowing Gold Leaves – Buckeye, AZ – Fujifilm X-E5 – Astia Negative

Nearly a year ago, at the beginning of 2025, I began a Recipe series with the intention of clearing up the backlog of Early-Access Recipes that have only been available to Fuji X Weekly App Patrons for years. I never intended for Early-Access Recipes to be unavailable to non-subscribers for so long, so I devised a plan to make one new Early-Access Recipe using each Film Simulation to expedite the process. I had hoped to get through most of the Film Simulations in 2025; while Provia and Velvia came together without too much trouble, I got stuck on Astia.

I started working on this Recipe early in the summer. My inspiration was some Provia 100F slides that I captured 20 years ago. Unfortunately, I got frustrated because, while I could get pretty close sometimes, most of the time it was off just enough that I considered my attempts as failures. It seemed like it was possible, but I always came up just short. So I shelved it for a few months, and didn’t try again until autumn. I gave myself a little more grace this time, deciding that it didn’t necessarily need to be accurate, only good. If the pictures captured using this Recipe looked nice, I should be satisfied with it. That’s how this Astia Negative Recipe evolved.

Phoenix Sunset – Phoenix, AZ – Fujifilm X-E5 – Astia Negative

Interestingly, just a few days ago, Dan Allen shared with me some pictures he had captured with Kodak’s new Kodacolor 100 35mm film. He told me that he got some “weird results” from the scans, which he tried to fix with post-processing. The images he shared with me had a striking resemblance to this Recipe. Not a 100% match by any means, but surprisingly similar nonetheless. Perhaps this could be thought of as a Recipe for the new Kodacolor 100 film that had unexpected results from scanning and were corrected in-post. Or it’s just a nice looking Recipe that occasionally has some resemblance to Fujichrome Provia 100F, but most often doesn’t.

What you can expect is a contrasty and colorful daylight-balanced aesthetic that leans slightly towards blue. It’s bold but not over-the-top. It tends to work best in slightly-warm low-contrast light, but it can look great in a variety of situations. While Astia tends to be a good option for portrait photography, this particular Recipe probably isn’t your best bet for that. For landscapes, it can be quite excellent.

Amber Leaves – Sedona, AZ – Fujifilm X-E5 – Astia Negative

This Astia Negative Recipe is compatible with 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 cameras (in other words, all X-Trans IV and V cameras except for the X-T3 and X-T30). You can also use it on the GFX100, GFX100S, GFX100 II, GFX100S II, GFX100RF, and the GFX Eterna 55; for the GFX 50S II, I recommend increasing Shadow by +0.5. This is a Fuji X Weekly App Patron Early-Access Recipe, which means that it’s available today on the App to subscribers.

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

Hollow Face – Sedona, AZ – Fujifilm X-E5
Golden Tree in Red Canyon – Sedona, AZ – Fujifilm X-E5
Oak Leaves – Sedona, AZ – Fujifilm X-E5
Bright Yellow Leaves – Sedona, AZ – Fujifilm X-E5
Window to Nowhere – Sedona, AZ – Fujifilm X-E5
Road through Dark Forest – Great Smoky Mountains NP, TN – Fujifilm X-E5
Tennessee Mountains – Gatlinburg, TN – Fujifilm X-E5
Old Shed – Gatlinburg, TN – Fujifilm X-E5
Just Around the Bend – Great Smoky Mountains NP, TN – Fujifilm X-E5
Vintage Car – Gatlinburg, TN – Fujifilm X-E5
Vibrant Autumn Trees – Gatlinburg, TN – Fujifilm X-E5
Bougainvillea Blossoms over Roof – Buckeye, AZ – Fujifilm X100VI
Sky Tram – Gatlinburg, TN – Fujifilm X-E5
Purple Patina – Buckeye, AZ – Fujifilm X100VI
Rosy Santa – Buckeye, AZ – Fujifilm X-E5
Sunshine Smile – Gatlinburg, TN – Fujifilm X-E5
Swirly – Phoenix, AZ – Fujifilm X-E5
Medieval Mist – Scottsdale, AZ – Fujifilm X100VI
Flying Horse – Scottsdale, AZ – Fujifilm X100VI
Orchestra – Phoenix, AZ – Fujifilm X-E5
Look at this Meme – Surprise, AZ – Fujifilm X100VI
Happy Holidays – Buckeye, AZ – Fujifilm X100VI

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

Expired Kodak Vision2 250D — A Film Simulation Recipe for Fujifilm X-Trans IV & X-Trans V Cameras

Dry Fountain Evening – Buckeye, AZ – Fujifilm X-E4 – Expired Kodak Vision2 250D

A Fuji X Weekly reader shared with me some scans of expired Kodak Vision2 250D motion picture film that he shot on a Canon camera and had developed using the ECN-2 process. The pictures were very interesting, and I thought it would be fun to recreate the aesthetic for my Fujifilm cameras. I don’t feel that this Recipe is a 100% perfect match, but it’s pretty darn close, and definitely has the right vibe.

Kodak made Vision2 250D, a daylight-balanced color negative motion picture film, from 1997 to 2005. It was replaced by the very similar Vision3 250D. I have two Film Simulation Recipes for Kodak Vision3 250D (here and here), which renders noticeably different than this Expired Kodak Vision2 250D Recipe. I doubt this will be anyone’s go-to option for everyday use, but it is a fun Recipe to use occasionally, especially if you like warm pictures. Some people enjoy purposely using expired film, and this Recipe—plus a handful of others, like Kodak Farbwelt 200 Expired, Kodak Gold Max 400 Expired, Expired Velvia, etc., etc.—allows you to replicate the experience with your Fujifilm camera.

Neighborhood Bougainvillea – Buckeye, AZ – Fujifilm X-T5 – Expired Kodak Vision2 250D

For “newer” fourth-generation cameras—specifically, the X-T4, X-S10, X-E4, and X-T30 II—set Color Chrome FX Blue to Weak; for fifth-generation cameras, which are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III, set Color Chrome FX Blue to Off. Those with newer GFX models can use this Recipe, too. The Tone Curve options (Highlight and Shadow) are not included below because this Recipe uses D-Range Priority, which disables the Tone Curve plus Dynamic Range. Fuji X Weekly App Patron subscribers have had access to this Recipe for two years now, but it’s been replaced by a different Early-Access Recipe, so it’s now available to everyone.

Film Simulation: Eterna Bleach Bypass
D-Range Priority: DR-P Auto
Grain Effect: Weak, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Off (X-Trans V); Weak (X-Trans IV)
White Balance: 8700K, -4 Red & -3 Blue
Color: -2
Sharpness: -2

High ISO NR: -4
Clarity: -2
ISO: Auto, up to ISO 6400
Exposure Compensation: -1/3 to +2/3 (typically)

Example photographs, all camera-made JPEGs using this Expired Kodak Vision2 250D Film Simulation Recipe on my Fujifilm X-E4 and Fujifilm X-T5:

X-Trans IV

Sun Below the Trees and Above a Building – Buckeye, AZ – Fujifilm X-E4
Waterless Fountain Detail – Buckeye, AZ – Fujifilm X-E4
Fountain Corrosion – Buckeye, AZ – Fujifilm X-E4
Reflection & Leaves – Buckeye, AZ – Fujifilm X-E4
Architectural Abstract – Buckeye, AZ – Fujifilm X-E4
Four Trumpets – Buckeye, AZ – Fujifilm X-E4
Sunlight through Tree Leaves – Buckeye, AZ – Fujifilm X-E4
End of the Road – Buckeye, AZ – Fujifilm X-E4
Cactus Moon – Buckeye, AZ – Fujifilm X-E4

X-Trans V

Fresh Blooms, Fading Blooms – Buckeye, AZ – Fujifilm X-T5
Electric Wheels – Buckeye, AZ – Fujifilm X-T5
Empty Pathway, Empty Chairs – Buckeye, AZ – Fujifilm X-T5
Indoor Joy – Buckeye, AZ – Fujifilm X-T5
Concrete Shapes – Buckeye, AZ – Fujifilm X-T5
Sun-Kissed Shrub Leaves – Buckeye, AZ – Fujifilm X-T5
Garden Wall – Buckeye, AZ – Fujifilm X-T5
Stucco & Spanish Tiles – Buckeye, AZ – Fujifilm X-T5
CVS Pharmacy – Buckeye, AZ – Fujifilm X-T5
Sunlit Bulb – Buckeye, AZ – Fujifilm X-T5
Red Vans – Buckeye, AZ – Fujifilm X-T5
Watering Pot – Buckeye, AZ – Fujifilm X-T5
Backyard Girl – Buckeye, AZ – Fujifilm X-T5
Happy Boy – Buckeye, AZ – Fujifilm X-T5
Bougainvillea & Blurry Tree – Buckeye, AZ – Fujifilm X-T5
Pink Oleander Blossoms – Buckeye, AZ – Fujifilm X-T5
Cactus Spikes – Buckeye, AZ – Fujifilm X-T5
Curious Dog – Buckeye, AZ – Fujifilm X-T5
Enjoying the Outdoors – Buckeye, AZ – Fujifilm X-T5
Sunstar through Leaves – Buckeye, AZ – Fujifilm X-T5
Arizona Sunset & Saguaro – Buckeye, AZ – Fujifilm X-T5

Find this Film Simulation Recipe and 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.

Top 25 Most Popular Film Simulation Recipes of 2025

Golden Appalachian Light – Gatlinburg, TN – Fujifilm X-T5 – Classic Amber

I get asked fairly regularly which Film Simulation Recipes are the most popular. For me, this is a fascinating topic, but it’s definitely hard to know definitively. While I get a glimpse on social media, my best gauge is the Fuji X Weekly website statistics; specifically, which Recipe articles are viewed the most. I don’t collect any data on the Fuji X Weekly App, so that’s no help—although, if I did, it would likely offer the most accurate picture; however, it would still be impossible to know which Recipes people programmed into their Fujifilm cameras, or how often they used each. Perhaps a survey would be particularly useful, yet even it has its limitations. While certainly a flawed method, page-view website statics offer the best glimpse at which Film Simulation Recipes are the most popular, so that’s what I’m using for this article. These are simply the Top 25 most-viewed Recipes on the Fuji X Weekly website in 2025.

It’s been awhile since I did one of these articles—the last time was sixth months ago. There’s always some movement from month-to-month, but overall it’s pretty predictable. Taking a six-month view offers more clear picture than a 30-day snapshot. That’s why I waited until the end of the year before doing another. Even though it’s not December 31st, there’s unlikely to be any movement over the next two weeks, so it’s safe to conclude the order.

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

Twenty four of the Recipes below were also in the Top 25 at the mid-point of 2025; twenty of them were in the Top 25 of 2024. The order did change a little, but otherwise it’s the usual suspects. Those Recipes with Kodak brand names in the title—Kodachrome, Portra, Gold, Tri-X, etc., etc.—are typically the most popular. Classic Chrome is the king of film simulations, as the majority of the most-viewed Recipes are based on that film simulation. Classic Negative and Reala Ace are battling for a distant second and third place. Acros, Eterna, and Nostalgic Neg. are neck-in-neck-in-neck for the fourth, fifth, and sixth positions.

Without any further delay, below are the most popular Recipes of 2025!

Top 25 Most Popular Film Simulation Recipes of 2025

#1:

Reggie’s Portra, which uses Classic Chrome, is now the number one top Film Simulation Recipe on Fuji X Weekly! It’s always been popular, but interest in this Recipe has soared this year. Last year it was in third place, pretty far behind first. In 2025, it edged out the long-time reigning champion. Reggie Ballesteros created it in 2022 by modifying my Kodak Portra 400 Recipe to better suit his style and needs. Of the various Portra Recipes, this is the most versatile, and the most popular for portrait photography. Reggie’s Portra is compatible with X-Trans IV and X-Trans V cameras.

#2:

A Classic Chrome based Recipe for X-Trans IV cameras that was the long-time most popular Film Simulation Recipe for Fujifilm cameras on this website. It’s one of my personal favorites, and, really, a lot of people’s favorites. It moved down one position since 2024.

#3:

A Wes Anderson inspired Recipe based on Classic Chrome for X-Trans IV and X-Trans V cameras. It moved up one position since last year.

#4:

This is the X-Trans V version of Kodak Gold 200; the X-Trans III/IV version is found later in the list. The Kodak Gold 200 Recipes uses Classic Chrome. Ranked #15 last year, it has moved up quite significantly.

#5:

This is the X-Trans V version of Kodak Portra 400 v2; the X-Trans IV version is found below. This is one of my personal favorites. It uses Classic Chrome. This Recipe climbed two positions since last year.

#6:

A Classic Chrome based Recipe for X-Trans IV cameras that was the long-time #2 most-popular Recipe on Fuji X Weekly, including in 2024.

#7:

The Kodak Tri-X 400 Recipe, created by Anders Lindborg, is the long-time most popular B&W Recipe on Fuji X Weekly. It’s based on the Acros film simulation, and has compatibility with X-Trans III, X-Trans IV, and X-Trans V models. This is one of my absolute top-favorite Recipes. In 2024 it was ranked 10th.

#8:

A Classic Chrome based Recipe for X-Trans IV and X-Trans V cameras. It climbed one position since last year.

#9:

This is the X-Trans V version of Kodachrome 64. I use this Recipe quite often. It moved up four positions since last year.

#10:

This is an Eterna-based Recipe for X-Trans V cameras; however, it’s simply an adaptation of the X-Trans IV version that has been around awhile. This is the first Recipe in this list that doesn’t use Classic Chrome. In 2024 it was ranked 24, so it’s moved up quite a bit.

#11:

Pacific Blues is currently the most popular Classic Negative Recipe. This particular version is compatible with X-Trans IV models, but there’s also an X-Trans V version a little further down the list. This is another of my personal favorite Recipes. It fell three positions since last year.

#12:

It’s probably unfair to include this Recipe in the list because it’s not one, but 14 Recipes. Its inclusion is a little unfair, but here it is. It’s intended to be used with the Film Dial, or with any X-Trans V camera by mapping Film Simulation to customizable button. I have no way of knowing which of the 14 are the most used. This Recipe was published in 2025.

#13:

This Recipe uses the Reala Ace film simulation, which means that it is compatible with X-Trans V cameras. It wasn’t in the Top 25 last year; it’s position remains unchanged since June.

#14:

This version of Kodak Portra 400, which uses Classic Chrome and is compatible with X-Trans IV cameras, was once commonly the third most popular Film Simulation Recipe on Fuji X Weekly. While it doesn’t rank nearly as high as it once did, it’s still quite popular. Last year it was ranked #6, so it has fallen quite significantly over the last year.

#15:

The Film Dial Recipe, which is for X-Trans V cameras with a Film Dial, is another one that’s a bit unfair to include since it is actually 14 Recipes. I have no idea which of them are the most used. This is another personal favorite. It climbed three spots since 2024.

#16:

Another Classic Chrome based Recipe, for use on X-Trans III models, plus the X-T3/X-T30. This one fell two positions since last year.

#17:

This is currently the highest-ranked Recipe that uses the Nostalgic Neg. film simulation (not including Universal Negative or the Film Dial Recipe sets). It’s compatible with X-Trans V cameras. It fell one spot since June; it was unranked in 2024.

#18:

Reala Ace, which is for X-Trans V cameras, predates the Reala Ace film simulation, and is based on Classic Negative. This is also a personal favorite Recipe. In 2024 it was ranked #5, so it has fallen a lot over the last year.

#19:

This Recipe is reminiscent of scanned Kodachrome 64 slides, and is compatible with X-Trans IV cameras. It’s another Recipe that uses the Classic Chrome film simulation. It fell five spots since 2024.

#20:

This Recipe, which was created by Nathalie Boucry, uses the Reala Ace film simulation, which means it is compatible with X-Trans V cameras. It didn’t crack the Top 25 in 2024; it’s position remains unchanged since June.

#21:

This is the X-Trans V version of the Pacific Blues Recipe. Last year it was unranked; it’s climbed four spots since the mid point of this year. This is another personal favorite Recipe.

#22:

This Recipe uses Classic Chrome and is compatible with both X-Trans IV and X-Trans V models. Interestingly enough, Fujifilm has displayed two of my images (one was displayed twice) at events, and both were created using this Classic Color Recipe. It’s position remains unchanged since last year.

#23:

Vintage Kodachrome, which is based on Classic Chrome, is one of the older Film Simulation Recipes on Fuji X Weekly (it was the fifth one published), and is compatible with X-Trans III cameras. It was ranked #11 in 2024, so it’s fallen quite significantly. Just a couple of months ago I stated that this was the most pivotal Recipe.

#24:

This was the first Recipe I published that uses the new Reala Ace film simulation. It’s fallen three spots since last year.

#25:

A Classic Negative based Recipe co-created by Thomas Schwab that’s compatible with X-Trans V cameras (there’s also an X-Trans IV version). It was ranked #18 last year.

Find these Film Simulation Recipes and many more on the Fuji X Weekly App!

Vanilla Ice Cream with Sprinkles — Pal2Tech Explains Film Sims & Recipes

Ice Cream Trailer – Farmington, UT – Fujifilm X-T30 – Kodak Vision3 250D

What a fun surprise to watch the latest Pal2Tech YouTube video! For those that don’t know, Pal2Tech is one of the top Fujifilm-centric YouTubers, and for a very good reason: he’s awesome at explaining complex things in an easy-to-understand way (and often in an entertaining way). His library of videos is a treasure trove of information. I always recommend his channel to those new to Fujifilm. Even if you are seasoned in the X-series system, there’s a lot that you can learn. And beyond that, some of his “other” content is really cool, like the OJ Simpson video. If you’ve never watched his stuff, be sure to visit his channel today.

In his most recent upload, Pal2Tech discusses Film Simulations and Recipes. I’m not going to spoil it, you’ll just have to watch the video, which I’ve included below. For those looking for the Film Simulation Recipe specifically mentioned in the video, click here. Dish yourself a bowl of vanilla ice cream, grab a spoon, and enjoy the video.

Fuji X Weekly App Update: Introducing Categories!!

There’s a brand-new Fuji X Weekly App update that I’m really excited to share with you. The main headline is a new feature called Categories, which can be interacted with in two different ways. The goal of Categories is to help you find Film Simulation Recipes for the specific situation that you are photographing in. This update is beneficial for both Patrons and non-Patrons.

The first way to interact with Categories is if you choose a Recipe—any Recipe, it doesn’t matter which one—and scroll towards the bottom just above Notes, you’ll find a Category Tag or maybe a handful of them (the amount varies from Recipe-to-Recipe). This tells you that the particular Recipe you selected has been identified as good for those specific situations and/or aesthetics. Now, tap on a Category Tag and it opens Discover Recipes, except instead of showing you all of the photos in the entire App to browse through, it shows only those that share that tag. This can help you to find Recipes based on image aesthetic. Each time you tap on a Category Tag, the order of the photos is reshuffled. For Patron subscribers, Category Tags can be used in conjunction with Filter by Sensor or Filter by Camera.

The second way to interact with Categories is only available to Patron subscribers. If you tap Filter, you’ll see By Category has been added to the list of options. You can choose one or more Categories—as many as you like, but the more you choose the fewer results you’ll get. You can Filter By Cameras (say X100VI), Film Simulation (say Classic Negative), White Balance (say Auto, Auto Ambience Priority and Auto White Priority), and Categories (say Film-Like and Street), and you’ll get a few results that match your request quite well. You can get real specific. If you are looking for (let’s say) a Film-Like Recipe that’s good for Portraits on Cloudy days for your X-Pro3, you can find that.

This is such a fun new way to interact with Film Simulation Recipes, and I anticipate that it will be extremely helpful to those who don’t know which Recipes to try. I’m really excited to introduce Categories to you because of all that, and also because so much work went into it. I didn’t keep careful tabs on the exact number of hours spent on this project, but it was a lot! The task of categorizing the various Recipes (over 400!) was pretty daunting on its own. I’m sure that it’s not perfect, and some might disagree with a certain Recipe’s inclusion or exclusion from a specific Category, but overall I think it turned out quite well. I really hope that some of you will find it to be a useful feature.

***Update: We were able to get the bug identified, fixed, and the app update submitted and approved by Apple in record time. On your iPhone, if the Fuji X Weekly App crashes immediately, make sure that you update to version 1.12.1 (and not 1.12.0) or update the iOS to the latest version (either option will fix it). I’m sorry for any trouble that this may have caused anyone.***

The Fuji X Weekly App is available to download for free from the Apple App Store and the Google Play Store! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly. If your device didn’t update automatically, be sure to update it now.

Why New Cameras Might Seem Boring

PetaPixel published an article entitled If You Think ‘Cameras Have Gotten Boring’ You’re Looking at Photography All Wrong, and I’m not so much interested in talking about that article in particular as I am of the idea of why new cameras might seem boring. There are probably a thousand different ways to look at it, and they’re likely all legitimate—I’m not suggesting that my explanation is better, it’s simply my thoughts and opinions. You might agree or disagree, and that’s perfectly ok. So, why do new cameras seem boring to some people?

I read a book last year, entitled David and Goliath: Underdogs, Misfits, and the Art of Battling Giants by Malcolm Gladwell, that was quite fascinating. I’m not a mathematician by any stretch, and I’m certainly not a statistician. For those who haven’t read the book, Malcolm talks a lot about the inverted-U curve (that is to say, an upside-down U). There’s a common pattern found everywhere (that’s often ignored) where something goes up a little, then up steeply before it begins to flattens out as it nears the peak, followed by a slow decline, then a steep decline. Can you picture the upside-down U?

Above: A short excerpt from Malcolm Gladwell’s David and Goliath from Amazon’s website. Seriously, read the book if you haven’t yet done so.

Let’s take a topic like autofocus, which a lot of people talk about in the Fujifilm world, but much less so outside of that. Photographers who use Sony cameras, for example, don’t discuss AF, except to occasionally remind everyone else just how good it is. In the PetaPixel article, the author states, “Sony managed to… improve processing for better autofocus….” Do Sony photographers care? If their AF is already super-duper awesome amazing, does it matter that it just got a hair better? I’m sure that 99%+ of Sony users wouldn’t be able to distinguish a difference, and only a tiny fraction of a percent of users would note that it makes a real, practical difference to their photography. While the improved processing for better autofocus may have been a substantial technical feat, for most people who use the gear, it’s inclusion or exclusion doesn’t matter in the least.

The reason why it doesn’t matter is that autofocus on Sony cameras (and some other brands) is near the peak of the inverted-U curve. Each improvement has less-and-less-and-less of a practical benefit to the users, who already find it more than good enough for each and every situation. In some circumstances, AF was prioritized to the detriment of image quality. If autofocus is already amazingly incredible beyond what you even need, any improvements will seem boring. They’re more gee-whiz than anything else. It’s like the famous line from The Incredibles, spoken by the villain: “And when everyone’s super, no one will be.”

Captured using a Fujifilm X-M1

With Fujifilm, there is some room for improvement. Fujifilm’s AF isn’t trash like some have hyperbolically said, but it isn’t peak like Sony’s. Fujifilm’s AF is more than good enough for most photographers; however, it is occasionally less than ideal for some situations. If Fujifilm “managed to improve processing for better autofocus” just like Sony did, it would not be perceived as boring because Fujifilm is not at the peak of the inverted-U. The improvements would make a real, practical difference to a larger percentage of the users. But, with each improvement, they inch closer to the peak, and eventually they’ll reach it (a bet some will still complain, though).

I think digital photography technology is near the peak of inverted-U curves in most categories. This means it’s an amazing time to be a photographer. We should have a deep appreciation for just how fortunate we are to have access to the gear we have. At the same time, camera advancements are easy to take for granted. An improvement that a team of experts worked tirelessly on for years might seem ho-hum, because the usefulness of it is minor for a small percentage of people, and is otherwise unnoticeable. That’s just the way it is at the peak.

Camera-made JPEG from Sony A7 IV

New cameras aren’t boring because they’re boring; they’re boring because they’re so good they do everything we need them to and more. They’re so good that our expectations have become incredibly high, making it more difficult to wow us. And, when you’re at the peak of an inverted-U, it’s easy to step a little beyond it. Take a step forward, and you take a step down. For instance, Sony’s new Dual Gain Output technology increases the dynamic range at low ISO when using the mechanical shutter, but can give a lower dynamic range when using the electronic shutter than cameras without this technology—a step forward, but also a small step down.

I’m not picking on Sony, they were just the primary subject of the PetaPixel article. Actually, I’m pointing out that they’ve managed to get to the peak of inverted-U curves almost across the board, which is an amazing feat. It puts them in a tough position where advancements seem boring to their customers. Some areas where they’re not at or near the peak of the curve are JPEG output, color science, and stylish camera body design. If they make improvements in those areas, they’re less likely to be perceived as boring. For Fujifilm, they’re near the peak in those areas, but not in some others. In my opinion, camera manufacturers should self-identify where they are on various inverted-U curves, and put more efforts where they’re not at or near the peak, and less effort where they’ve already achieved greatness.

Review: Viltrox Conversion Lenses for Fujifilm X100VI

Viltrox just released two conversion lenses for Fujifilm X100-series cameras: WCL-X100VI and TCL-X100VI. These lenses are very similar to Fujifilm’s own conversion lenses for the X100-series, the WCL-X100 II and TCL-X100 II, and if you don’t look closely, you might not notice the differences, as they seem nearly identical. How does the Viltrox version stack up? Should you even consider these for your Fujifilm X100VI? If so, which should you get, Viltrox or Fujinon?

I need to tell you upfront that Viltrox sent me the two lenses to try out. They didn’t give any expectations other than, “We look forward to your impression of the lenses.” This review serves as that. It’s my honest feedback to Viltrox, while also hopefully being helpful to those considering these lenses for their X100VI or other X100-series camera.

There are two conversion lenses—Viltrox WCL-X100VI and TCL-X100VI—and I want to talk about them individually, but also as a set. We’ll begin with the wide-converter, then the teleconverter, and finish up by discussing the two together. Let’s dive right in!

Viltrox WCL-X100VI

The Viltrox WCL-X100VI is a wide conversion lens that’s nearly identical to the Fujinon WCL-X100 II. It has an 0.8x magnification, which, when screwed onto the end of the X100VI’s lens, changes the focal-length from 35mm to 28mm (full-frame equivalents; 23mm to 19mm in APS-C terms). It makes the camera a little more wide-angle, which can be useful when the native focal-length is just a little too tight for the circumstance.

On X100-series cameras, there is a hidden thread for a filter/hood adapter, which reveals itself when a ring on the end of the lens is unscrewed. Both of the conversion lenses attach to this thread, simply by screwing onto it. The WCL-X100VI is threaded to accept 49mm filters. Oh, and the camera automatically recognizes that you attached the lens, just like the Fujinon WCL-X100 II.

Sun Peek, Bougainvillea Peak – Buckeye, AZ – Fujifilm X100VI + Viltrox WCL – Pacific Blues

From my measurements, the Viltrox version is just a hair smaller than the Fujinon, and weighs just slightly less (very minimally on both accounts). Using the TCL adds some size and weight to the camera, but, for the WCL-X100VI, this isn’t a major deal, because the lens is pretty small. The added bulk and heft is a small price for the extra versatility.

As for both the build and image quality, the lens seems to be on par with the Fujinon option. There’s a little difference in how the lens flares, but otherwise it seems to render images pretty much identically. A lot of times when you buy a third-party version of a lens, it’s less expensive, but it’s pretty obvious why, as it feels cheaper and/or has image quality flaws. With the Viltrox conversion lenses, there does not seem to be any reduction in quality. You’re not giving up anything to save a little money. In the case of the WCL-X100VI, it’s not a little money, but a significant chunk of change! The Viltrox WCL-X100VI has an MSRP of $159; the Fujinon WCL-X100 II is a lot more expensive at $399. For a lot less than half the cost, you basically get the same exact thing.

Viltox TCL-X100VI

The Viltrox TCL-X100VI is a tele conversion lens that’s nearly identical to the Fujinon TCL-X100 II. It has a 1.4x magnification, which, when screwed onto the end of the X100VI’s lens, changes the focal-length from 35mm to 50mm (full-frame equivalents; 23mm to 33mm in APS-C terms). It makes the camera a “standard” focal-length, which can be useful when the native focal-length is just a little too wide for the circumstance.

Like the WCL, the TCL-X100VI attaches to the camera by screwing onto the hidden filter/hood adapter thread. It accepts 67mm filters. Also like the WCL, the camera recognizes when you attach the lens, just like it does for the Fujinon TCL-X100 II.

Sun-Kissed Bougainvillea – Buckeye, AZ – Fujifilm X100VI + Viltrox TCL – Pacific Blues

From my measurements, the Viltrox version is just barely a hair smaller than the Fujinon; however, the weight difference is notable, with the Viltrox coming in at about 25% heavier, or 0.1 pounds more, than the Fujinon. For both brands, the TCL is larger and heavier than the WCL, which makes it a little less practical for carrying around. Even so, I really like 50mm (full-frame equivalent), so I tend to use the TCL more than the WCL, personally.

Just like the WCL-X100VI, for both the build and image quality, the TCL-X100VI seems to be right on par with the Fujinon option. There’s a little difference in how the lens flares, but otherwise it seems to render images pretty much identically. You’re not giving up anything to save a little money. The Viltrox TCL-X100VI has an MSRP of $189; the Fujinon TCL-X100 II is a lot more expensive at $399. For less than half the cost, you basically get the same exact thing.

Both Lenses

Last year, I travelled to Austin, Texas, and the only camera I took was a Fujifilm X100VI with the Fujinon WCL-X100 II and TCL-X100 II conversion lenses. It allowed me to travel light but still have some focal-length versatility. An X100-series camera with the two conversion lenses is a compact and powerful three-lens kit. But, for the Fujinon, those two additional lenses will run you $798, which is a lot of money; however, with Viltrox, you can do it for only $348, which is a bargain. If you own an X100-series camera, you should buy these two lenses. Despite having “X100VI” in the name, the conversion lenses will work on any X100-series model, not just the latest iteration.

When you combine the conversion lenses with the built-in digital teleconverter, you get even more focal-length versatility: 28mm, 35mm, 50mm, 70mm, and 100mm (full-frame equivalents). On the X100VI, to get 70mm requires both the TCL and the digital teleconverter, and you go from 40mp to 20mp (which is still plenty of resolution); to get to 100mm, you’ll get a 10mp file, which is fine for social media use, but it’s not ideal for photos you intend to print much larger than 8″x12″. You can also skip the digital teleconverter and simply crop after-the-fact and accomplish the same thing.

Fujifilm X100VI + Viltrox WCL-X100VI – 28mm
Fujifilm X100VI – 35mm
Fujifilm X100VI + Viltrox TCL-X100VI – 50mm
Fujifilm X100VI + Viltrox TCL-X100VI + Digital Teleconverter (1.4x) – 70mm
Fujifilm X100VI + Viltrox TCL-X100VI + Digital Teleconverter (2x) – 100mm

A three lens kit for your X100VI, which requires only two additional lenses, is nice to have, but it does kind of defeat the purpose of the camera, which is a compact one-camera-one-lens philosophy. I wish that Fujifilm made a wide-angle and nifty-fifty alternative versions of the X100VI (like Sigma did with the DP camera series), so that you could choose the focal length that fits you best. Since they don’t, if you want to adjust the focal length yourself, it does require adding some extra bulk.

What works for me is to keep the conversion lenses in my pockets, and simply screw one onto the camera whenever I need it. With two front pockets in my jeans or shorts, I can have the WCL in one pocket and the TCL in the other. Viltrox includes a little bag in the box that helps to protect the lens when doing this. I’m able to use the X100VI as a fixed-lens 35mm (full-frame equivalent) camera most of the time, but go wider or more telephoto whenever I need to. When you want to travel light, this is quite ideal.

Fountain at Dusk – Buckeye, AZ – Fujifilm X100VI + Viltrox TCL-X100VI – Summer of ’59

To save a little weight, choose the Fujinon TCL over the Viltrox TCL. The Fujinon TCL-X100 II is large and already heavy enough; the Viltrox TCL-X100VI adds a noticeable amount of additional weight. Unfortunately, a second-hand Fujinon TCL-X100 II costs more than the Viltrox version brand-new. If you don’t mind spending an extra $50 or so and getting a used model, the most ideal scenario is to purchase the Viltrox WCL-X100VI and the Fujinon TCL-X100 II. Or, just save a few bucks and don’t worry about 0.1 pounds, and get both Viltrox options.

Both lenses come in silver and black. If you have a silver X100-series camera, you’ll probably want the silver lenses; if you have a black X100-series camera, you’ll probably want the black lenses. I definitely do recommend the Viltrox conversion lenses. I was quite surprised at both the build and image quality, especially considering the price. You won’t break the bank, so get one. Or get both.

Above, clockwise from top-left: Fujifilm X100VI + Viltrox WCL-X100VI + Kodachrome 64; Fujifilm X100VI + Viltrox TCL-X100VI + Classic Amber; Fujifilm X100VI + Viltrox TCL-X100VI + Summer of ’59; Fujifilm X100VI + Viltrox WCL-X100VI + FRGMT B&W; Fujifilm X100VI + Viltrox WCL-X100VI + FRGMT B&W; Fujifilm X100VI + Viltrox WCL-X100VI + Superia Negative; Fujifilm X100VI + Viltrox TCL-X100VI + Summer of ’59; Fujifilm X100VI + Viltrox TCL-X100VI + Summer of ’59; Fujifilm X100VI + Viltrox TCL-X100VI + Superia Negative.

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

Fujifilm X100VI in black:
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Fujifilm X100VI in silver:
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Viltrox WCL-X100VI in black:
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Viltrox WCL-X100VI in silver:
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Viltrox TCL-X100VI in black:
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Viltrox TCL-X100VI in silver:
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Kodak Farbwelt 200 Expired — A Fujifilm Film Simulation Recipe for X-Trans V Cameras

Orange Rocks – Sedona, AZ – Fujifilm GFX100S II – Kodak Farbwelt 200 Expired

This Kodak Farbwelt 200 Expired Film Simulation Recipe comes courtesy of Thomas Schwab, who has created or co-created a number of excellent Film Simulation Recipes. Thomas told me that he loaded a roll of Kodak Farbwelt 200 that expired in 2004 into his Olympus Mju. After finishing the roll, he took it to a local lab, where he had it developed and printed (not scanned). He then developed this Recipe using X RAW Studio, comparing the results to the prints. “Some are very close,” he said, “others are a little off.” Either way, the results are excellent. Personally, I really love the aesthetic. Thank you, Thomas, for creating and sharing this Recipe!

I didn’t know what Kodak Farbwelt 200 was, I had to research it. Unfortunately, there’s not a lot of concrete information. Farbwelt apparently means color world, so a film like ColorPlus might seem like an obvious answer, but from what I could find, it seems that the answer is no, Farbwelt 200 is not ColorPlus 200. It likely is Gold 200, rebranded for the German market, sold mostly (but not exclusively) in Germany. It might be a slightly retooled version of Gold 200 specifically for that region, or it might be straight-up Gold 200, simply rebranded. Kodak released Farbwelt 200 in 2000 and discontinued it in 2012 or 2013. There was also an ISO 100, 400, and even 800 version of Kodak Farbwelt.

Autumn Trail – Sedona, AZ – Fujifilm X-E5 – Kodak Farbwelt 200 Expired

The Kodak Farbwelt 200 Expired Recipe looks lovely, with soft warm tones. It’s like a memory of summertime. It reminds me a little of the 1970’s Summer Recipe, which is one of my favorites. It’s compatible with fifth-generation models, which are the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III. It’s also compatible with the latest GFX cameras: GFX100 II, GFX100S II, and GFX100RF. For fourth-generation cameras, you can use this Recipe, but it will render slightly different (just a little), which you might like, so don’t be afraid to give it a try. One note I want to highlight: a little underexposure will help to keep the highlights in check.

Film Simulation: Classic Chrome
Dynamic Range: DR100
Grain Effect: Strong, Large
Color Chrome Effect: Weak
Color Chrome FX Blue: Strong
White Balance: 7500K, +1 Red & -4 Blue
Highlight: -2
Shadow: -2
Color: -3
Sharpness: -4

High ISO NR: -4
Clarity: -4
ISO: Auto, up to ISO 6400
Exposure Compensation: 0 to -1 1/3 (typically)

Example photographs, all camera-made JPEGs using this Kodak Farbwelt 200 Expired Film Simulation Recipe on a Fujifilm X-E5, X-T5, X100VI, X-S20, and GFX100S II:

Chainlink Gate – San Francisco, CA – Fujifilm X-S20 – Photo by Jon Roesch
Golden Gate – San Francisco, CA – Fujifilm X-S20 – Photo by Jon Roesch
Evening along the California Coast – Elk, CA – Fujifilm GFX100S II
Rocks over Sedona – Sedona, AZ – Fujifilm GFX100S II
Sedona Panoramic – Sedona, AZ – Fujifilm GFX100S II
Yellow Tree in Oak Creek Canyon – Sedona, AZ – Fujifilm X-E5
Flower, Fence – Sedona, AZ – Fujifilm X-E5
Dressed Western – Buckeye, AZ – Fujifilm X-T5 – Photo by Amanda Roesch
Saguaro in the Desert – Buckeye, AZ – Fujifilm X100VI
Rural Irrigation – Buckeye, AZ – Fujifilm GFX100S II
Sunlit Fountain – Buckeye, AZ – Fujifilm X100VI
Stand In – Phoenix, AZ – Fujifilm X-T5 – Photo by Amanda Roesch
Sunset over Canon Photographer – Buckeye, AZ – Fujifilm X100VI
Meeting Santa – Buckeye, AZ – Fujifilm X100VI
Suburban Sunset – Buckeye, AZ – Fujifilm GFX100S II
Christmas Train – Scottsdale, AZ – Fujifilm X-E5

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

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

Fujifilm X-T5 in black:
AmazonB&HMomentNuzira
Fujifilm X-T5 in silver:
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Fujifilm X100VI in black:
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Fujifilm X100VI in silver:
AmazonB&HMomentNuzira
Fujifilm X-E5 in black:
AmazonB&HMomentNuzira
Fujifilm X-E5 in silver:
AmazonB&HMomentNuzira
Fujifilm X-S20:
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Fujifilm GFX100S II:
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Report: Film Era Dial not coming to the X-Series (at least not yet)

Two or three weeks ago, Fujirumors reported that Fujifilm is working on a Film Era Dial that will be found on some upcoming camera. I made the false assumption that it must be the upcoming X-Pro, which is most likely the next X-series camera to be released (although it might not be), possibly early next year. I’m glad that I used words like “guess” and “suspect” and clarified that “I have absolutely zero inside information” because apparently my guess and suspicions were completely wrong. The camera that Fujifilm is going to put this new feature on, according to Fujirumors, is not an X-series model, but an Instax Evo camera.

Some of you just sighed with relief. You don’t want a Film Era Dial or even a Film Dial. Personally, I like the Film Dial. It’s not perfect, but Fujifilm has been working to improve it (and hopefully will continue to do so). I think the Film Era Dial could be a really cool concept if it’s done right. They could screw it all up and make it really cheesy, or they could do a great job with it and it becomes a beloved feature (or anything in-between). For now, it’s apparently not coming to the X-series, only to an Instax Evo model. Maybe it will be on the next X half, which is kind of a cross between Instax Evo and the X-series. It could someday find its way to the X-series, but apparently not yet. I’m probably in the minority of people who are a bit disappointed to hear this news.

The Best Fujifilm Camera to Gift this Year

At this time of year, I typically get asked which Fujifilm cameras are the best to gift to someone. It’s usually like, “I want to give my spouse a new camera, but I don’t know which one.” Or, “This will be my kid’s first real camera.” Or, “He has everything, so I’m really unsure.” The future recipient of the gift is usually a spouse, child, parent, or close friend. Sometimes they’re very experienced photographers, sometimes they’re complete novices. Budgets can also vary wildly.

It’s difficult to give good advice, since every situation is different, but I do make an attempt to give what I hope is helpful suggestions. For example, last year I published Your Gift Guide for Affordable Fujifilm Gear, which was intended to help those looking for secondhand options that are fairly affordable but still excellent. That article is just as valid this year as last, so you might still find it useful.

For 2025, I have one suggestion that I think will apply to almost everyone. No matter if you are buying for your spouse, child, parent, or friend. No matter if they are a seasoned photographer or brand-new. No matter if they have everything already or no camera equipment at all. This is something that I know most would love to receive. And it’s on sale right now.

Above: Various pictures captured with the Fujifilm X half

The gear that I recommend as a gift is the Fujifilm X half. This is a super fun pocket point-and-shoot that makes unique photos instantly. It’s easy enough that anyone—even a young child—can use it, so no worries if the recipient is a novice; it’s enjoyable enough that even those with high-end expensive gear will choose to use it occasionally. I own this camera, and both my wife and I appreciate it. No matter who you are, this is a camera that people will love to find underneath the Christmas tree.

The Fujifilm X half is perfect for travel snapshots, family events, and documenting everyday moments. It’s small and lightweight, so it’s easy to have with you. It’s simply to use. It delivers film-like results, and can even give a film-like shooting experience. It’s a very unique camera that’s so much fun to use. Last summer the X half was my most-used camera while on a long RV roadtrip up the east coast.

The primary criticism of the camera has been the price, which is a bit high for what it is. I said in my review that the camera should be $650-$700, and not $850. Well, right now and until December 28th, the Fujifilm X half is $200 off in America, which places it at a more affordable and reasonable $650. That’s almost 25% off! So, if you’re seeking out a Fujifilm camera to gift someone, the X half is my top recommendation for 2025.

Above: Various pictures captured with the Fujifilm X half

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

Fujifilm X half in black:
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Fujifilm X half in silver:
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Fujifilm X half in charcoal:
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FRGMT B&W — A Fujifilm Film Simulation Recipe by Hiroshi Fujiwara

Oak Creek in Monochrome – Sedona, AZ – Fujifilm X-E5 – FRGMT B&W

A couple of weeks ago Fujifilm announced the GFX100RF Fragment Edition, a limited-edition version of the GFX100RF, which will only be available in Japan. The camera was modified by fashion designer, producer, and artist Hiroshi Fujiwara, the founder of Fragment. Interestingly, it comes preloaded with a Film Simulation Recipe by Hiroshi called FRGMT B&W, which is in the Film Simulation menu in lieu of the Monochrome Film Simulation. This is the first official Fujifilm Recipe, and the first (as far as I’m aware) by Hiroshi Fujiwara. Fujifilm published the details of this Recipe within the GFX100RF Fragment Edition announcement, which means that anyone can use it, and not just those in Japan who purchase the limited-edition camera.

When I saw this, I knew that some of you would want to try the FRGMT B&W Recipe, so I shared it. I wasn’t going to make it an “official” Fuji X Weekly Recipe or include it in the Fuji X Weekly App unless I had permission to do so from those involved. I reached out to Fujifilm and asked for permission, but I knew it was a long shot. My request was forwarded up the chain all the way to Japan. I didn’t think the odds were very good, but, perhaps as a Christmas miracle, the answer came back pretty quickly. To my shock, yes, I do have permission, both from Fujifilm and from Fragment, to publish this Recipe. Wow!

Cheers – Scottsdale, AZ – Fujifilm X-E5 – FRGMT B&W

It’s such an honor to get this permission, not only because it’s the first Recipe included in any of Fujifilm’s cameras, but also because it was created by Hiroshi Fujiwara. For those unaware, that’s a really big deal. Hiroshi has collaborated with Eric Clapton twice. He appeared on the big screen in Lost in Translation. If someone like Pharrell Williams created a Film Simulation Recipe and then gave me permission to include it on this website and in the Fuji X Weekly App, that would be fairly equivalent to this (obviously, there is only one Hiroshi Fujiwara).

The FRGMT B&W Recipe produces a contrasty and grainy black-and-white aesthetic. It reminds me of Ilford Delta 400 pushed one stop. I didn’t study or research that; it’s more of a “memory color” (as Fujifilm puts it) of using Ilford Delta 400 and push-processing it 25 years ago or so. I don’t believe this Recipe was intended to resemble any specific film or process, but if you were to ask me what film this Recipe most closely mimics, it’s Ilford Delta 400 pushed one stop. Again, that’s not based on research, but just what I remember from way back in my film days.

Shadow Shapes – Sedona, AZ – Fujifilm GFX100S II – FRGMT B&W

With the exception of the X-T3 and X-T30, this FRGMT B&W Recipe is compatible with all of the fourth and fifth generation models: 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. It’s also compatible with the GFX100S, GFX100 II, GFX100S II, and GFX100RF. Because this Recipe uses Clarity set to something other than 0, there is a short storing pause after capturing a photo, with a similar delay as advancing to the next frame on a film camera. I want to give a big shoutout to both Fujifilm and Fragment for allowing me to publish this, and also to Hiroshi Fujiwara for creating it. Thank you!

Film Simulation: Acros (including +Ye, +R, or +G)
Monochromatic Color (Toning): WC 0 & MG 0 (Off)
Dynamic Range: DR-Auto
Grain Effect: Strong, Large
Color Chrome Effect: Off
Color Chrome FX Blue: Off
White Balance: Auto, 0 Red & 0 Blue
Highlight: +4
Shadow: +2
Sharpness: -4

High ISO NR: -4
Clarity: +5
ISO: Auto, up to ISO 12800
Exposure Compensation: 0 to +2/3 (typically) — Hiroshi says +1/3

Example photographs, all camera-made JPEGs captured using this FRGMT B&W Film Simulation Recipe on a Fujifilm X-E5, X-T5 and GFX100S II:

Notice – Gatlinburg, TN – Fujifilm X-E5
Regular – Gatlinburg, TN – Fujifilm X-E5
Abandoned Gas Pumps – Gatlinburg, TN – Fujifilm X-E5
Mercedes-Benz – Sedona, AZ – Fujifilm X-E5
Broken Shelving – Sedona, AZ – Fujifilm X-E5
West Fork – Sedona, AZ – Fujifilm X-E5
Fujifilm Photographer – Sedona, AZ – Fujifilm X-E5
Monochrome Leaves – Sedona, AZ – Fujifilm X-E5
Flowing Creek – Sedona, AZ – Fujifilm X-E5
Lost Creek, Found – Buckeye, AZ – Fujifilm GFX100S II
Creek in the Desert – Buckeye, AZ – Fujifilm GFX100S II
Rural Water – Buckeye, AZ – Fujifilm GFX100S II
Supai – Sedona, AZ – Fujifilm GFX100S II
Rocks in the Sky – Sedona, AZ – Fujifilm GFX100S II
Pirate – Sedona, AZ – Fujifilm GFX100S II
Classic Design – Buckeye, AZ – Fujifilm GFX100S II
The Man in Black & White – Phoenix, AZ – Fujifilm X-T5 – by Amanda Roesch
Tall Bank, Empty Lot – Phoenix, AZ – Fujifilm X-T5

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.

Reggie’s Portra in X-Trans V Cameras

A Girl and Her Horse – Litchfield Park, AZ – Fujifilm X-T4 – Reggie’s Portra

It’s been interesting to watch Reggie’s Portra Recipe grow in popularity over the years. It was created by Reggie Ballesteros (websiteYouTubeInstagram), and I published it in the summer of 2022 with his permission. I’m not sure where it ranked in 2022, but it didn’t crack the Top 10. In 2023 it was the 9th most popular. It climbed to #3 in 2024. This year, Reggie’s Portra is the number one most popular Film Simulation Recipe on Fuji X Weekly, just edging out Kodachrome 64, which was the long-time reigning champion.

A few days ago, Reggie posted a video on YouTube explaining what changes, if any, he has made to the Recipe for use in 2025. When it was made, Reggie’s Portra was for X-Trans IV cameras, but now we’re well into the fifth-generation. So what adjustments did he make? I’ve included the video below, so that you can watch it for yourself.

Not trying to give away the answer, but the short of it is that Reggie doesn’t adjust anything. He uses the same exact Reggie’s Portra settings on fifth-generation models as he did on fourth-generation X-series cameras. He doesn’t make any adjustments whatsoever. The only change is the diffusion filter that he often uses.

On the Fuji X Weekly App, I’ve only included Reggie’s Portra as compatible with X-Trans IV models, specifically the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II (as well as the GFX100S). I didn’t include fifth-generation cameras (X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III, as well as GFX100 II, GFX100S II, and GFX100RF) because, on those cameras, there are some aesthetic differences—the largest being how deeply the color blue is rendered on certain film simulations, including Classic Chrome. It’s quite similar, but not identical; however, there is a simple fix to get them to be more similar: reduce Color Chrome FX Blue by one.

Jon Dressed Up – Buckeye, AZ – Fujifilm X-T4 – Reggie’s Portra – by Amanda Roesch

The difference between Color Chrome FX Blue Weak and Off is pretty subtle. If you’re not comparing photos side-by-side, you probably won’t even notice (even when directly comparing, you still might not see the difference immediately). It’s honestly not a big deal, but, if you’re trying to get Reggie’s Portra to most closely match the X-Trans IV results on a fifth-generation camera, then adjusting Color Chrome FX Blue from Weak to Off will do that. This is an adjustment that I make personally, and one that I recommend; however, there’s nothing wrong with not making that small change. Feel free to set Color Chrome FX Blue to Weak (as called for in the Recipe and as Reggie himself does it) or Off (as I do) on the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III cameras, as well as the GFX100 II, GFX100S II, and GFX100RF. Either way works.

People have asked me why I haven’t updated Reggie’s Portra in the App for X-Trans V cameras, and the answer is simple: it’s not my Recipe to make a change to. It belongs to Reggie Ballesteros, and I certainly didn’t want to step on his toes by modifying it. Now that he has clarified how he uses it on fifth-generation cameras, I have updated the App to reflect that. It now shows in the Fuji X Weekly App as compatible with the latest cameras. It won’t render exactly the same as on X-Trans IV, but pretty similar—not enough of a difference to be concerned about (only very subtly divergent). I want to close this out by giving a shoutout to Reggie. His Recipe is great—both my wife and I use it ourselves. It’s a real honor to have it available to you on Fuji X Weekly. If you’ve never tried it, well, it’s almost a right of passage at this point, so be sure to program it into your camera today.

Dodge – Boulder, CO – Fujifilm X100VI – Reggie’s Portra

Fujifilm Photographers are the Best

Fujifilm Photowalk – Ann Arbor, MI – Fujifilm X-T50 – Fujicolor PRO 160C Warm – by Dave Geffin

There’s a temptation in the photography world to paint Fujifilm photographers as a single, uniform type—a caricature built from assumptions about retro dials, film simulations, or a supposed obsession with nostalgia. They’ll say that Fujifilm photographers dress a certain way, with a particular look or style. Even though they’re not “real photographers” (they are only pretending for TikTok or Instagram fame), they’re a pretentious bunch, with a subtle smugness—an air of superiority simply from the gear they own. But anyone who has spent even a moment around the Fujifilm community knows how wildly inaccurate that is. Fujifilm photographers aren’t a stereotype—they’re a vibrant, diverse group of caring creatives who share a love of making meaningful images, each in their own unique way. Anyone who perpetuates the obviously false caricature has never spent any amount of time around Fujifilm photographers. Most likely, they’ve never met one in real life.

One beautiful thing about the Fujifilm community is how kind and helpful its members tend to be. Whether you’re new to photography or a seasoned professional, there’s always someone willing to share a tip, explain a setting, or offer thoughtful encouragement. Spend even just a few minutes with these photographers, and you’ll see it: generosity, enthusiasm, and a genuine desire to lift one another up. There’s a shared excitement about creating something special.

Above: Photographs from various Fujifilm photowalks and events across America.

No two Fujifilm photographers look alike—not in personality, style, workflow, or creative goals. Some are brand-new to photography with their first “real” camera; some are seasoned and successful professionals. Some are street photographers, some are portrait photographers, some are landscape photographers, etc., etc.. Some shoot straight-out-of-camera JPEGs using Film Simulation Recipes; others shoot RAW. Some do both, depending on the circumstance. Some use Recipes even though they are strictly RAW photographers because they found one similar to their own style, which helps them to pre-visualize the final result while in the field. Some only use Fujifilm gear; some use many different brands. Some are strictly digital; some mostly use film, and only occasionally digital. There’s no right or wrong way to do photography, only what works best for each individual person. Fujifilm photographers are united by their passion for photography, not by any single behavior, camera setting, style, or picture aesthetic.

That diversity is one of Fujifilm’s greatest strengths. Their cameras invite experimentation—color, tone, mood—and they meet people where they are. They don’t demand a specific style; they encourage discovery. The Film Dial, for example, encourages you to try something other than Provia/STD. One person might like a particular Film Simulation Recipe for cityscape photography, while another might find it perfect for snapshots of their kids. The same settings can lead to completely different results because the photographer matters more than the settings. The tool supports the artist’s vision. Fujifilm cameras are artist tools, and there are a variety of options for diverse customers.

Above: Photographs from various Fujifilm photowalks across America using my Fujifilm X-T4 ES infrared camera.

When people try to reduce Fujifilm photographers to a single stereotype, it misses the real heart of the community. Fujifilm users aren’t defined by any cartoonish characterizations. They’re defined by curiosity, creativity, and kindness, which is what makes them special. It’s what some other brands are trying hard to corporately foster within their own communities; with Fujifilm, it’s just natural, it’s organic. The Fujifilm community cannot be summarized by a caricature because it’s too broad, too generous, and too diverse. That’s something to celebrate. Photography is richer when everyone is welcomed, and when every photographer feels free to create in the way that’s most meaningful to them. If anything, the Fujifilm community has been shunning the pesky gatekeepers—those who say that “real photographers” must do photography a certain way, and other paths are less legitimate—and are more open to new ideas or unorthodox methods. That’s a good thing.

Over the last two years I’ve met hundreds and hundreds of you—probably thousands—at various photowalks and Fujifilm events across the country, from San Diego to New York City and many places in-between. I wanted to include in this article a lot of pictures from those events (captured by my wife, Amanda, and I), to demonstrate who the community is (hint: it’s you!). Do these photos resemble the caricature that is too often portrayed across the internet? I’m sure that most stereotypes have an once of truth to them, but they’re broad strokes that are often misrepresentations of the broader group. In the case of the Fujifilm community, it’s easy to see just from these photographs that anyone and everyone is welcomed, and broad strokes don’t come anywhere close to telling the real story of who these people are. The one broad stroke that seems to apply is this: the Fujifilm community is the best in all of photography. And it’s a real honor to be a part of it with you.

Above: Photographs from various Fujifilm photowalks and events across America.

The most stolen from photographer in history?

I might be the most stolen from photographer in the history of the world. This might seem like a strange claim, but it’s potentially true. It might not be true, but it certainly could be, so let’s dig into it. To clarify, I’m not claiming to be the victim of the most egregious thefts. I’m not claiming that the monetary value is anywhere near the most. Specifically, what I’m wondering is if I’ve had more photographs stolen than anyone else. In other words, am I the most stolen from photographer by total number of photographs stolen? I think it’s also important to clarify what “stolen” means: unauthorized use or reproduction of my pictures that violate my copyright. As the photographer, I own the rights to my pictures, and if someone uses them without permission outside of “fair use” circumstances, that’s theft. Maybe they’re attempting to earn money, or maybe they’re attempting to gain notoriety, but they’re doing it with my photos and not their own.

I think there are a couple of unique circumstances that make this claim possibly plausible. First, I publish more pictures than most photographers. Because I make hundreds of Film Simulation Recipes, and those Recipes require a lot of sample images (at least 15, and up to 50, per Recipe), I share far more than most. That might be to my disadvantage, because, while the majority of photographers only post their best work, I show you a lot of mediocre pictures along with the good ones; if I only showed my portfolio-quality images, you might think that I’m more talented than my so-so pictures seem to indicate. Second, one theft can be many photos—not just tens of photos, not just hundreds of photos, but thousands of them.

The most egregious example is when someone hacked the Fuji X Weekly App and made a clone of it, which they uploaded to the app store, and made money on until it was (thankfully) removed for copyright violations. I sure hope none of you fell victim to that, and I’m really sorry if you did. The Fuji X Weekly App had about 350 Recipes on it at that time (now there are over 400), and with five pictures per Recipe, that’s about 1,750 copyright violations just in that one circumstance alone. But that’s not the only circumstance, not even close.

Above left: My photo, entitled Morning Mist, captured using my Fujicolor 100 Gold Recipe; Above right: that same photo and Recipe in an app that isn’t mine used without permission.

Aside from some other apps that have my photos in them without permission, there are tons and tons of websites. Today, I did a reverse Google search on 30 of my photos, and 16 of them had at least one circumstance of theft. I don’t know how many pictures are on fujixweekly.com—I estimate that it’s over 10,000—if half of those have been stolen somewhere and are being used illegally across the internet, that’s a massive amount. Some photos have multiple examples of theft just from one image (I counted eight on one of those 16 pictures).

This isn’t anything new. I remember about 12 years ago reading my small town local newspaper, and being shocked to find one of my pictures being used in an advertisement. Over the years I’ve seen several of my photos on the front banner of corporate websites. I’ve tracked down hundreds of thefts and requested they take down my photos, but it’s only a tiny dent in the overall problem. This could be a full-time job, except that it doesn’t earn any money—in fact, it can be quite expensive, especially if attorneys have to get involved. I would quickly go broke if I pursued all the theft.

I think some of it is innocent enough. For example, someone is excited to share their favorite Film Simulation Recipe, so they do—only, instead of using their own photos captured with the Recipe, they use mine, and perhaps “forget” to even give me credit (which wouldn’t make it any less illegal, but perhaps more understandable). Some circumstances are fair use, especially if it’s only one or two picture and I’m given credit and linked back to. There’s definitely instances where the unauthorized use of my picture isn’t theft, and there are examples of it being grey areas, where it could be argued either way. But I’m not talking about that, I’m specifically talking about indisputable examples of blatant theft. Like right now, a large number of my pictures can be printed on t-shirts; I didn’t give permission for that, and I won’t receive a penny of profit should someone order one of those shirts.

Above left: My photo captured about 25 years ago on Kodachrome 64 film; Above right: that same photo can be printed on a t-shirt, without permission or compensation.

Unfortunately, some people think that if they can download a picture from the internet, it’s theirs to freely use. If it’s on the internet, it’s finder’s keeper. Legally that’s not true, but it is true in a practical sense. Who’s going to stop them? I would like to, but that’s a really tough hill to climb. It’s rare that they’re caught, and even if they are, it can very difficult to do anything about it, especially depending on the country where the theft happens in. It’s very easy for them to get away with it.

I posted a video to YouTube once, and it recognized a song in the background that was playing on the radio. I was flagged with a copyright violation, and I had to either silence that section of the video, or else I couldn’t monetize it (this is back when I was monetized on YouTube). Why can’t something like that exist for other art mediums? The technology obviously exists… I was able to reverse-search my photos, but that’s a slow and tedious manual process. Why can’t it be continuously running in the background, with copyright violation notices sent to the offending website owners automatically? I understand that such a service does exist for a fee, but it requires you to manually identify which photos are yours so that it can search for them, and it isn’t always accurate. It would take a long time for me show them all of my pictures, because there are so many. Again, this would be a full time job that doesn’t pay anything.

So far we’re just talking about my pictures. I’ve had entire articles ripped off many times. I’ve seen people post a Recipe that they “created” (sometimes claiming to have spent hours making it), and gladly accepting the praise for how good it is, except that all they did was copy-and-paste it from my website. The argument will be: “Well, sometimes great minds think alike, and it’s only by happenstance that they’re identical.” This ignores that there are 1,418,895,421,643,700 possible JPEG setting combinations (Recipes) on the latest Fujifilm models. That means every person in the world who owns a Fujifilm camera can have their own unique Recipes in each of their C1-C7 Custom Settings presets, and it would still not come anywhere close to exhausting all of the potential Recipes for Fujifilm cameras. ChatGPT says that the odds of two people independently creating the same exact Recipe are about 1-in-4-billion (that’s accounting for how common and uncommon certain settings are). If I were to make four billion Recipes and someone else were to make four billion, one would likely be identical (I’ve only made a little more than 400, not 4 billion). That’s not to say it’s impossible; however, it is extraordinarily unlikely (to put it mildly)—yet I’ve seen it probably close to a hundred times now, which is mathematically impossible. This is plagiarism, which is a type of theft: intellectual theft. We can go back to the guy who hacked my app and created a clone app with over 300 of my Recipes. Or we can look at other apps that use my Recipes without permission or even give credit. That’s a lot of theft, although plagiarism and not pictures.

Above left: My photo, entitled Evening at a Pond, captured using my Kodachrome 64 Recipe; Above right: that same photo and many more of my pictures posted by someone without permission or credit.

For this article, though, I mostly want to focus on the theft of my photos. If only 2,000 of my pictures have ever been stolen (which is the base minimum, it’s probably a lot more), AI says, “That is a huge number, far beyond what most photographers ever experience. For most photographers, the number of confirmed stolen photos is usually single digits to low dozens over a career. Photographers with big online presences sometimes report dozens, maybe a few hundred images, being misused. But that’s typically the ceiling—and even those numbers are considered very high. From a copyright-lawyer perspective, for 2,000+ confirmed infringements, that volume of theft would be considered: ‘Severe, widespread infringement.’ Most photographers will go their entire lives without reaching even 20 verified infringements, let alone 200… let alone 2,000.”

It could certainly be a lot more than 2,000—it could be as high as 10,000! I would have to dig deeply and spend probably months and months tracking it all down, while ignoring everything else in life. When I asked ChatGPT about that amount of image theft, it replied, “It’s extreme, near-unprecedented, and would put that photographer in the top fraction of a fraction of a percent of most-stolen photographers on Earth. Most photographers with decades of work will never have 10,000 confirmed distinct images stolen—even if they are famous.” I don’t know if it has reached that “extreme, near-unprecedented” level yet, but it’s got to be somewhat close, especially if the “grey area” instances are included, where it may or may not be a copyright infringement, just depending on who you ask.

Potentially being the most stolen from photographer in the world means something. If my photos weren’t worth stealing, they wouldn’t be stolen. Same for the Recipes. I never expected this website to grow as large as it has. I never thought I’d be asked to lead photowalks across the country, or give presentations on photography, or be a speaker at camera events. Just recently a Japanese camera company (who wishes to remain anonymous) asked what my most ideal compact camera would be like, and even paid me for my opinions. If having the “most stolen from” trophy is the price to pay for that, it was worth that price. Obviously, most ideally, I would like the thefts to stop. It does real harm. Some people are making money off of my photos right now, which I’ll never see. We are all people, and we need to act kindly to each other. The “golden rule” that I tell my children constantly is to treat others as you want to be treated. If you don’t want people to steal your work, don’t steal theirs. The truth is that most of the theft happens because some people can’t or won’t create their own stuff, so instead they take it from those who can and do. Sadly, this is just a reality of our current world, and there’s not much anyone can do about it.

10 Fujifilm Recipes for a 1980’s Aesthetic

Red Barn – Ronks, PA – Fujifilm GFX100S II – Kodachrome 64

Last week I published 10 Fujifilm Recipes for a 1970’s Aesthetic, which I think a number of you appreciated. It seemed to be an especially well-liked article. Thomas H commented, “This theme of a collection using the look of films from a certain era or decade is very inspirational. Somehow for me this approach unlocks the mood of film looks in a more ‘accessible’ way by showing the style of a decade rather than as before showing lots of different looks that are possible with a particular sensor generation.” Well, let’s do it again!

This time we’re going to look at the 1980’s. It will require as to hop into our DeLorean, put Huey Lewis in the tape deck, and hit 88 miles per hour. I was born in 1980—great Scott!—so I have a lot of memories of the decade, especially the latter half, but I was not a photographer yet—not for awhile. I only have family photo albums, vintage magazines, and internet archives to guide the way.

Outatime – Buckeye, AZ – Fujifilm X-T5 – Kodak Royal Gold 400

You’ll notice that the majority of the Recipes below use Classic Chrome, and that’s because Classic Chrome is intended to replicate documentary photography found in photojournalism publications in the ’80’s and ’90’s. Fujifilm looked very closely at Kodachrome and Ektachrome photographs. Because of this, Classic Chrome has a distinct Kodak palette. Kodak dominated film sales during the 1980’s, so it makes sense that this film simulation would dominate Recipes intended to mimic the look of that era.

There’s a lot of Film Simulation Recipes that could potentially give an ’80’s look. The list below is not intended to be comprehensive, nor is it intended to be the “best 10” or a ranking of Recipes. It’s simply 10 that I believe will give you a 1980’s aesthetic, if that’s something you’re looking for.

Kodachrome 64

Across the Grand Expanse – Grand Canyon, AZ – Fujifilm X-T5 – Kodachrome 64

Kodachrome 64 was the iconic film of the 1980’s. It’s the third (and final) era of Kodachrome, introduced in the mid-1970’s and discontinued in 2009. That means it’s just as much a 1970’s, 1990’s, and 2000’s look as it is a 1980’s; however, it would be wrong to exclude it from this era, in my opinion, so that’s why it’s here. I shot many rolls of Kodachrome 64 in the late-1990’s and early-2000’s. It was a very sad day when Kodak announced its discontinuation. The Recipe linked above is specifically for fifth-generation X-Trans and the latest GFX, there’s also a version for X-Trans IV, the X-T3/X-T30, and X-Trans II.

Urban Dreams

Protect our Wildlife – San Simeon, CA – Fujifilm X100V – Urban Dreams

This one might initially seem odd because 1) the Recipe has a weird name and 2) it’s not specifically intended as a 1980’s look. So why is it here? Urban Dreams produces a look somewhat similar to Kodachrome 200, a high-ISO version of Kodachrome introduced in 1986 and discontinued in 2006. It was never as popular as Kodachrome 64 or even Kodachrome 25, but it was certainly a well-used film during the latter half of the 1980’s.

Kodacolor

Jon’s ’80’s Era – Buckeye, AZ – Fujifilm X-T30 – Kodacolor

Probably the most obvious 1980’s Film Simulation Recipe is Kodacolor. Kodak used the Kodacolor name for many different emulsions beginning in 1942 and continuing to today. While not nearly as recognizable as Kodachrome or Tri-X, it’s just as historic, if not more so. In the 1970’s and 1980’s, Kodacolor was the most popular line of color films in the world. Kodacolor II (early in the decade) and Kodacolor VR (beginning in 1982) were common in the 1980’s. This Recipe is reminiscent of Kodacolor VR. The Kodacolor Recipe is for X-Trans III cameras plus the X-T3 and X-T30, but there’s also a version for X-Trans II.

Kodacolor VR

Ken Rockwell at the Coast – Morro Bay, CA – Fujifilm X-E4 – Kodacolor VR

This is similar to the Kodacolor Recipe above, but more resembles Kodacolor VR that’s expired or has been improperly handled.

Kodacolor VR 200

Toyota – Buckeye, AZ – Fujifilm GFX100S II – Kodacolor VR 200

This Recipe, which was created by Thomas Schwab, resembles faded prints captured with Kodacolor VR 200 film. Kodak introduced Kodacolor VR 200 in 1982 and discontinued it in 1986, when it was replaced by Kodacolor VR Plus 200, which was only slightly different.

Kodak Gold 200

Field of Gold – Flagstaff, AZ – Fujifilm X-T5 – Kodak Gold 200

Kodak introduced Gold in 1986 as Kodacolor VR-G. They changed the name to Kodacolor Gold in 1988, and it wasn’t until the 1990’s that they dropped the “Kodacolor” name from the packaging. Kodak still makes Gold 200, but the emulsion has been updated many times since 1986. While this Recipe isn’t intended to replicate “Kodacolor VR-G” or “Kodacolor Gold” specifically, it nonetheless produces an aesthetic that can be convincing as a late-1980’s look.

1981 Kodak

Founders – Buckeye, AZ – Fujifilm X-T5 – 1981 Kodak

The 1981 Kodak Recipe was modeled after some old family pictures found in a photo box. These prints were made in July of 1981—a date stamped on the back—and printed on Kodak paper. The other technical details are unknown, but most likely they were captured with a cheap point-and-shoot of some sort with Kodacolor II film. Due to age and improper storage, the prints are faded, with a pronounced warm cast, and colors overall less vibrant than they once were.

Emulsion ’86

Don’t Climb on the Bikes – Oceanside, CA – Fujifilm X-T5 – Emulsion ’86

This Recipe produces a picture aesthetic that is reminiscent of photos of Expo ’86, a World’s Fair that was in Vancouver, Canada (interestingly, that was the last World’s Fair in North America). I actually went to it, but only remember a little because I was six-years-old. For some reason, the floating McDonald’s is what I remember the most.

Fujicolor Super HG

Beached Ship – Fort Stevens SP, OR – Fujifilm X-E4 – Fujicolor Super HG

Fujifilm introduced Fujicolor Super HG in 1986, and discontinued the film in the 1990’s. This Recipe was invented by Thomas Schwab, and it does an excellent job at replicating the look of Fujicolor film from that era.

Kodak T-Max 100

Power, Lines – Nashville, TN – Fujifilm X100VI – Kodak T-Max 100 Hard Tone – Photo by Jon Roesch

I didn’t include any B&W films in the 1970’s article, which was a massive oversight on my part. Not wanting to make that same mistake, I made sure to include one in this list. Actually this is two Recipes, both made by Dan Allen: Kodak T-Max 100 Hard Tone and Kodak T-Max 100 Soft Tone. Kodak introduced T-Max in 1986, and it was immediately a huge hit. The film is still manufactured today, so it could just as easily be a 1990’s, 2000’s, 2010’s or 2020’s aesthetic.

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