Ritchie Roesch

“Really Crap & Lazy Advice” — Ignore the Gatekeepers

*Red Boat in Nyhavn Canal* – Copenhagen, Denmark – Fujifilm GFX100RF – Avalon Ace

Last night I was scrolling Instagram when I saw a Reel that bothered me a bit. Maybe you saw it, too. It wasn’t from anyone I follow, just something the algorithm thought I would like. I would have much preferred to have been shown content from those I follow, but Meta kind of sucks and instead gives me things that I don’t really care for. The video in question was insulting, so I thought I would address it.

Specifically, the person in the video, who has a somewhat large following, doesn’t like that a lot of people within the Fujifilm world don’t edit their photos. “I don’t have a problem with Fujifilm cameras,” the video starts out. “My problem is with the brand and people telling you that you shouldn’t edit your photos, that you should skip Lightroom and editing, and that you should only do straight out of camera. I think that is really, really, really crap and lazy advice.” It goes on from there, and only gets worse. At the end he reveals that this is why he’s moving to Leica. Apparently he thinks that Fujifilm shouldn’t point out to their customers that their camera-made JPEGs are pretty darn good, and he doesn’t seem to like the Fujifilm community in-general and doesn’t want to be associated with such people. Perhaps not enough Fujifilm photographers were buying his preset packs?

First, I don’t think anyone is saying (or, if they are, it’s very, very, very few) that you can’t edit your photos, only that you don’t have to if you don’t want to. There are a thousand ways to do photography, and no one way is better than another. It’s only what works for you personally. If that’s shooting RAW and editing in Lightroom, great. If that’s unedited straight-out-of-camera JPEGs, cool. If that’s film photography, awesome. For a lot of people it can be a combination of things, just depending. There is no right or wrong way to do photography, and anyone who tells you otherwise is gatekeeping and should be ignored.

*Misty Saguaro* – Buckeye, AZ – Fujifilm X-T5 – Pacific Blues

Fujifilm Recipes can be used in a surprising number of ways, not just for unedited straight-out-of-camera photography. Personally, aside from cropping/straightening and maybe a small exposure adjustment sometimes, I don’t edit my photos. I used to, until I realized that the straight-out-of-camera JPEGs could be made to look like my edited RAW images. That discovery literally changed my life (no hyperbole). Before that, I edited so many photos it’s not even funny. Personally, I don’t enjoy editing, and I’ve found it unnecessary for my photography. But that’s just me. Other people (like my wife) will sometimes edit the JPEGs, which have a fair amount of latitude for manipulation, in Capture One. Other people use the JPEGs sometimes and the RAWs other times, just depending on the picture and what they will use it for. There are some who are strictly RAW-only and still use Recipes because it helps them to better pre-visualize in the field how the edited photos will look, and it gives them a head start in the editing process. One person will sometimes layer the out-of-camera JPEG over the edited RAW image, and blend them together. It’s all about what works for you—not what other people are doing—and there are a plethora of possible paths, all of them legitimate.

Going back to the video, the implication is simple: if you don’t edit your photos and you tell others that they don’t have to, you are “really, really, really” crappy and lazy. That’s complete nonsense and just bullsh*t. A completely awful and insulting take. Someone who edits RAW photos is not inherently any better or worse than someone who doesn’t, and their pictures aren’t inherently better or worse, either. Even Ansel Adams used Polaroids and wrote a whole book about it. Was he being lazy? Was he giving crappy advice when he wrote a whole chapter on the benefits of one-step photography (skipping the development stage)? Was he a bad photographer because he didn’t always use the darkroom? Of course not! Nobody would argue that, but that’s essentially the argument of the video.

*Fire, Truck* – Lordsburg, NM – Fujifilm GFX100S II – 1970’s Summer

Photography is deeply personal, and many people—the gatekeepers—tie their identity to how “skilled” they think they are. When someone else succeeds with a different method—shooting JPEGs, iPhone photography, etc.—it threatens the fragile belief that their way is the only legitimate path. It’s a defensive shield: If you do it differently and are successful, then my choices—and hence myself—might be less special. Gatekeeping is a way of preserving a hierarchy that does not naturally exists. I’m a real photographer because I do it this way, and you’re not because you don’t. It’s a game of king-of-the-hill, except nobody else is playing. And it’s just dumb.

I’ve been told I’m doing much harm to photography because I don’t edit my photos and I tell other people that they don’t have to, either, if they don’t want. That’s crazy! You do photography however you want to do it, and worry less about what others are doing. If you want to shoot Leicas, edit RAW files, and sell Lightroom presets, by all means do so. If you want to spend less time at a computer and more time out creating photographs, Fujifilm might just be the brand for you. Whatever way you want to do photography, go ahead and do it that way, and don’t let the gatekeepers tell you that you are less-than for it. In the end, nobody really cares how you made the photograph, they only care that you made it.

7 Must-Try Recipes for the Fujifilm X-T3 & X-T30

Posted on 1 Day Ago by Ritchie Roesch

Part 1: 5th-Gen, Part 2: 4th-Gen

This is Part 3 of what will be a five-part series exploring Fujifilm Recipes for each generation of cameras. Beginning with the latest models, we will work our way back towards the older cameras. For each article, I will suggest seven Recipes to try. This is intended for those new to the whole Recipe thing, who haven’t tried them before (or perhaps only a few Recipes so far). The intention is to provide you with a list of seven that you can program into your C1-C7 Custom Setting presets.

The list below, which are the seven Recipes for Part 3, is specifically for the Fujifilm X-T3 and X-T30 cameras, the first two X-Trans IV cameras, which are in a category of their own. If you have one of those two cameras, these are the correct Recipes for you. This is far from an exhaustive list of fourth-generation Recipes, it’s only seven really good ones to get you started. Something to note is that with the X-T3 & X-T30, you cannot save a White Balance Shift within C1-C7; however, the camera will remember one WB Shift per WB type. With that in mind, each of these use a different WB type so that you don’t have to remember to adjust the WB Shift when going from one Custom Setting preset to another. If you are unsure which Fujifilm Recipes to begin with, these are ones that I highly recommend.

Kodak Portra 400 v2

Kodak Portra 400 v2 does well anytime the sun is out, but especially for “golden hour” near sunrise and sunset. As the name suggests, it’s a good option for portrait photography, but it’s excellent for many other genres, too. This Recipe uses the Daylight White Balance.

Classic Kodak

While Classic Kodak can be used anytime the sun is out, it is a great options for middle-of-the-day situations. This Recipe uses the Shade White Balance.

Kodak Ultramax

I like to have at least one Recipe programmed into my camera that’s highly versatile and can be used no matter the situation. One of my personal favorites is Kodak Ultramax, which uses Auto White Balance.

Kodak Vision3 250D

Although each of the first four Recipes have a Kodak-negative-like look, Kodak Vision3 250D produces a notably divergent aesthetic than the three above. This Recipe uses the Fluorescent 1 White Balance.

Fujichrome Sensia 100

Fujichrome Sensia 100 offers a notably different look than the options above. It’s one of my favorite Recipes for sunrise and sunset colors when the sky is pink and purple, but is good for a lot of other situations, too. It uses the Fluorescent 2 White Balance.

Jeff Davenport Night

If it’s between dusk and dawn, especially if there are city lights, Jeff Davenport Night is the recipe to use on your X-T3 and X-T30 cameras. Period. It uses a Kelvin White Balance.

Analog Monochrome

Filling out the last slot was tricky because most of the White Balance types have already been used. There are basically three options: choose an X-Trans III Recipe—which are fully compatible with the X-T3 and X-T30—that uses a different WB type (that’s what I’ve done here, as Analog Monochrome utilizes Incandescent); use an Auto WB Recipe—perhaps Ilford Delta Push Process—and disregard the WB Shift, and accept the results for what they are (which will be nearly the same, but not exactly the same); or use a Daylight WB Recipe—perhaps Kodak Tri-X 400—and substitute Daylight with Underwater, which is similar enough that you’re unlikely to notice the difference.

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Review: Viltrox AF 75mm F/1.8 EVO Lens

Posted on 3 Days Ago by Ritchie Roesch

Viltrox recently sent me a lens to try out: their brand-new AF 75mm f/1.8 EVO. This a portrait lens with a somewhat large maximum aperture. As a third-party (non-Fujinon) option, how good is it? Where does it fit within Fujifilm’s lineup? Is it worthwhile to buy? Those are the questions I will try to answer in this review.

The first question I had is: what does EVO mean? Apparently, it is short for “Evolution of Essentials” and designates Viltrox’s mid-tier lineup. They call their low-budget line AIR and the top-end PRO. So the 75mm f/1.8 fits in the middle. It’s probably most equivalent to Fujifilm’s “Fujicron” f/2 series, as far as build and image quality goes, which is good company to be in.

Fujifilm has a pretty mature lens lineup with high quality glass and without a lot of holes; however, there are indeed some holes. The middle ground is pretty crowded, but at the ultra-wide and telephoto ends, there is a little lack of coverage. After the Fujinon 56mm f/1.2, there are two macro’s—the aging 60mm f/2.4 (in need of a refresh) and the excellent but expensive 80mm f/2.8—and then the 90mm f/2. The 56mm f/1.2 and 90mm f/2 are a couple of my favorite lenses, and are great options, but there should be something in-between that’s fast and affordable (and not a macro). That’s where we find the Viltrox AF 75mm f/1.8 EVO.

A 75mm (112mm full-frame equivalent) lens isn’t just good for portrait photography, but for a lot of other things, too. Anytime you want to isolate the subject or compress the scene, this is a good focal-length choice. It can be used in street, travel, landscapes, events, still-life, and more. It’s a very useful focal length to have available for a variety of subjects and situations, but Fujifilm doesn’t offer it.

*Withering Cactus Flower* – Surprise, AZ – Fujifilm X-E5 & Viltrox 75mm – Vivid Velvia

The image quality from the Viltrox 75mm f/1.8 is fantastic. It has excellent sharpness edge-to-edge and very little distortion. When wide open, there is a very small drop in overall sharpness and some minor vignetting (nothing to be concerned about); however, stopping down just a little improves it, with optimal image quality around f/4 and f/5.6. Bokeh, which is the quality of the out of focus areas of the picture, is very pleasing. I was impressed with the photographs that this lens produces, and found very little to complain about. Well done, Viltrox!

Personally, I like lens flare, but not everyone does. The Viltrox lens controls flare very well. If the sun or a bright light is just out of frame, you can get some hazy “veiling” flare. Sunstars aren’t half bad when using small apertures. If you don’t like lens flare or if you do like sunstars, this lens is pretty good. Below are two examples of sunstars and one example of flare with this lens.

Autofocus was quiet, quick, and accurate. The focus ring is smooth, making manual focus pleasant. Close focus is mediocre, at “only” 29 inches (maybe a reason why those two macro lenses might be preferable). The aperture ring—yea, it has an aperture ring!—has nice clicks, with one-third intermediate stops in-between the full stops. It takes 58mm filters. Build quality seems quite good, perhaps a tad plasticky, if there’s anything negative to say about it. It has some level of weather sealing, although I did not put that too the test. The lens weighs only 11.8 ounces, which is just slightly more than the old kit Fujinon 18-55mm f/2.8-4 zoom, and pretty lightweight for a telephoto. It’s a little smaller than both the Fujinon 56mm f/1.2 and Fujinon 90mm f/2, making it a good in-between option that will fit a little easier into your camera bag.

Perhaps the number one selling point for the Viltrox AF 75mm f/1.8 EVO is the price, at only $330. For that low amount, it’s very easy to recommend. This isn’t a “good for the money” situation, though: the lens is good, the affordable price is a bonus. If you are in the market for a lens in-between Fujifilm’s 56mm and 90mm options, and you don’t want or need a macro, this is one to strongly consider. Also, maybe you own and love both the 56mm and 90mm, but want something that’s close enough to both yet is a little easier to travel with, this might be it. I think the Viltrox AF 75mm f/1.8 EVO is a really good lens, and it fills a void in the Fujinon lineup quite nicely. I’m very happy with it, and you probably would be, too.

*Two Ducks on a Boat Ramp* – Goodyear, AZ – Fujifilm X-E5 & Viltrox 75mm – Provia Positive

*Flower Pot by a Lake* – Goodyear, AZ – Fujifilm X-E5 & Viltrox 75mm – Provia Positive

*Three Palm Trunks* – Goodyear, AZ – Fujifilm X-E5 & Viltrox 75mm – Pacific Blues

*Vines Climbing a Palm* – Goodyear, AZ – Fujifilm X-E5 & Viltrox 75mm – Reggie’s Superia

*Waiting on a Bench* – Phoenix, Arizona – Fujifilm X-E5 & Viltrox 75mm – 1-Hour Photo

*Chloe* – Surprise, AZ – Fujifilm X-E5 & Viltrox 75mm – Reggie’s Superia

*Circles & Stripes* – Surprise, AZ – Fujifilm X-E5 & Viltrox 75mm – Kodak Tri-X 400

*Prickless Cactus* – Surprise, AZ – Fujifilm X-E5 & Viltrox 75mm – Kodak Tri-X 400

*Withered Cactus Bloom* – Surprise, AZ – Fujifilm X-E5 & Viltrox 75mm – Reggie’s Superia

*Cholla in the Rocks* – Buckeye, AZ – Fujifilm X-E5 & Viltrox 75mm – Pacific Blues

*Shaded Saguaro* – Buckeye, AZ – Fujifilm X-E5 & Viltrox 75mm – Pacific Blues

*Evening in the Desert* – Buckeye, AZ – Fujifilm X-E5 & Viltrox 75mm – 1970’s Summer

*Arizona Sunset* – Buckeye, AZ – Fujifilm X-E5 & Viltrox 75mm – Avalon Ace

*Electric Sunset* – Buckeye, AZ – Fujifilm X-E5 & Viltrox 75mm – Provia Positive

*Joyful Smile* – Buckeye, AZ – Fujifilm X-E5 & Viltrox 75mm – Kodak Film

*Party Soda* – Buckeye, AZ – Fujifilm X-E5 & Viltrox 75mm – Kodak Film

*Sunset Moon* – Buckeye, AZ – Fujifilm X-E5 & Viltrox 75mm – Provia Positive

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

Fujifilm X-E5 in black:
Amazon, B&H, Moment, Nuzira
Fujifilm X-E5 in silver:
Amazon, B&H, Moment, Nuzira
Viltrox AF 75mm f/1.8 EVO:
Amazon, B&H

How Fujifilm Could Easily Make an XPan Camera

Posted on 3 Days Ago by Ritchie Roesch

*Canal at Sunset* – Copenhagen, Denmark – Fujifilm GFX100RF – Copenhagen Negative – XPan

Over the weekend, PetaPixel published an article encouraging Fujifilm to make a digital XPan camera. Their idea was to make an X100VI-like camera with two 40mp sensors side-by-side, for 80mp 65:24 (XPan) aspect ratio pictures. If Fujifilm ever did that, I would buy it no questions asked. Within the first minute of the preorder opening, I’d purchase it. That would be a dream camera. But this isn’t Fujifilm’s only—or maybe even best—option, should they desire to pursue a digital XPan camera.

For those who don’t know, XPan was a collaborative project by Hasselblad and Fujifilm beginning back in the late 1990’s. The cameras used two frames of 35mm film to make a panoramic picture. While only moderately successful at the time, the cameras are now much beloved with a cult-like following. A digital version would certainly be niche, but it would also become iconic very quickly.

*Clearing Clouds* – Buckeye, AZ – Fujifilm X-T5 – CineStill 400D v1 – XPan crop

First, Fujifilm doesn’t necessarily need to make a dedicated XPan camera. The GFX cameras already have the XPan aspect ratio, and you could use the GFX100RF as an XPan-like camera, producing 50mp panoramic pictures. This is probably the closest you can get right now with Fujifilm, and it really is close-enough. Someone let me use their GFX100RF, and I loved using it for XPan pictures. Fujifilm could (and should!) add the XPan ratio to all of their 40mp cameras, which would produce 22mp panoramic pictures. There’s no good reason why I can’t make in-camera XPan pictures with my X100VI, X-T5, or X-E5, and I would if I could (unfortunately, it has to be cropped after-the-fact using software).

The Hasselblad and Fujifilm XPan cameras were interchangeable-lens models, so for a truly accurate XPan experience you need an interchangeable-lens camera. I would be surprised if Fujifilm ever made an interchangeable-lens XPan camera, but if they did, one option would be to use GF lenses. Perhaps make a version of the next X-Pro with a wide sensor and GF mount. More likely, in order to do a wide sensor (or two sensors side-by-side), Fujifilm would use a fixed-lens body, which was PetaPixel’s idea. If the WCL and TCL lenses also work with an X100-like XPan camera, I could see this as being a good compromise (I would be mildly surprised if the conversion lenses actually work for it, though).

*Yucca in the Sand* – White Sands NP, NM – Fujifilm GFX100S II – Velvia Film – XPan

There is another option. It’s not perfect, but it would certainly simplify everything. This could be pretty easy for Fujifilm to do. It’s not as exciting, but it would work. Fujifilm could simply do anamorphic de-squeeze in-camera. For example, Fujifilm could make an XPan (1.8x) anamorphic lens that screws onto the future X100VII (like the WCL or TCL does), and the camera would then de-squeeze it, and show the wide image in the LCD or EVF. This would produce a 40mp XPan image. If Fujifilm wanted to do this for the interchangeable-lens models, they would need to make 1.8x anamorphic lenses (no such lens exists for X-mount). This, of course, comes with some negative side effects, namely a reduction in sharpness and “stretched” bokeh.

There isn’t a perfect solution. For those wanting a digital XPan camera right now, the GFX100RF is your best bet. If Fujifilm were to ever make a digital XPan camera, it would likely be a fixed-lens model; however, they could use GF lenses on an interchangeable-lens camera. An anamorphic lens with built-in de-squeeze is another option that would be easier to implement, but has downsides. What Fujifilm could and should do more than anything else is simply add the XPan aspect ratio to the 40mp models via a firmware update, and also include it on all sixth-generation cameras. With that said, if Fujifilm ever did make a dedicated digital XPan camera, I would be right at the front of the line to buy it.

AI Can’t Match the Aesthetic Correctly

Posted on 3 Days Ago by Ritchie Roesch

*Bike Bags* – Copenhagen, Denmark – Fujifilm X-E5 – Provia Positive

Someone told me, “When I want a Recipe for a certain look, I just ask AI to make it for me.” I’ve heard a similar sentiment a few times. In fact, there are a couple of website and apps that will do it for you. Just upload a picture, and AI will create a Recipe that supposedly matches the picture. ChatGPT and other AI programs can do it, too. But is it any good?

It’s an easy test, actually. Use a photo that was made using a Recipe, and see if it comes up with the same or similar settings. If not, then it doesn’t do a good job. Test it again using a photo made using that same Recipe, and see if it gives you the same or similar settings as the first time. If it doesn’t, then it’s inconsistent and can’t be trusted. In order for AI to be a useful tool for this, it needs to be both accurate and consistent; if neither are true, it’s not a good tool.

If you upload a photo to AI and ask it to create a Fujifilm Recipe, you hope that it’s going to produce reasonably similar results to the photo you uploaded. If not, then what’s the point? You might as well just use random settings, or let darts or dice determine what to program into your camera. Someone once told me that AI is better than a complete novice, but not as good as an expert. I think there’s a lot of truth to that, but when it comes to creating Recipes, AI might actually be worse than the novice.

For example, I uploaded the image at the top, Bike Bags, which was made using my Provia Positive Recipe, and asked ChatGPT to make a Recipe from that photo. You can see my chat with AI below:

I noticed two things immediately. First, it has a lot of similarities to Reggie’s Portra. Certainly not 100% (and for sure it’s not as good), but there some obvious parallels. Second, it says to use base ISO 160 and also DR200; since the Dynamic Range settings are ISO dependent, you can’t use DR200 at ISO 160. A minor grievance, but it illustrates that AI isn’t fully versed in Fujifilm settings. This is how Provia Positive compares to AI’s “Nordic Harbor” (a.k.a. Reggie’s Portra tweak):

The results are pretty divergent. You might like the AI version (it’s basically Reggie’s Portra with a slight green cast), but you can’t say that it’s a good facsimile of the Recipe it’s suppose to look like. Using the same account, I started a new chat and asked ChatGPT again to make a Recipe using the same photo, but I worded the question slightly different. It basically gave the same Recipe but with four changes: Reala Ace instead of Classic Chrome, Color 0 instead of +1, Shadow -2 instead of -1, and WB Shift +1 Red & -3 Blue instead of -2 Red & -4 Blue. Let’s take a look:

ChatGPT’s Reala Ace version of its “Nordic Harbor” Recipe

After this, I used a separate ChatGPT account and repeated step one precisely, and got even different results (this time it suggested Velvia). I then tried using different photos made with the same Provia Positive Recipe, and each time it gave me a different Recipe, and none were very close to my Recipe. Between the two accounts, I asked ChatGPT to make a Recipe based on a Provia Positive photo a total of 10 times. Even if it had given an accurate result once (which it didn’t), how could you trust it with divergent suggestions each time? How could you ever know which one would be most correct?

ChatGPT’s third attempt, this time with Velvia

I then tried other AI programs and apps, and repeated the test. Interestingly enough, on my first attempt with Claude, it gave a Reggie’s Portra like Recipe (just like ChatGPT), but with an even stronger green cast than ChatGPT’s iteration. Gemini also chose Classic Chrome on the first attempt, but played it safe and didn’t venture very far from factory-defaults. After 10 tries with these other AI apps and programs, plus the 10 I did with ChatGPT, I had a total of 20 results. Three things shocked me. First, Classic Chrome was chosen nine times, far more than any other film simulations. I assume this is because Classic Chrome is by far the most popular film sim for those who use Recipes, and that’s influencing AI’s answers. Second, Provia wasn’t picked even once. Not one time did AI choose the correct film simulation—not Provia, the “standard” option. Even on the programs specifically intended for making Fujifilm Recipes from photos, it got it wrong. If I had picked at complete random, most likely I would have chosen Provia at least one time (there are 20 film sims, and I made 20 attempts, but nine of them are monochromatic and not color). Third, one time Acros was given for the film simulation. One of the AI’s thought that Acros—a B&W film simulation—was the most correct! Wow.

This article is already way too long, so let me wrap this up. Yes, AI can make a Recipe that is based on a photo that you upload to it. Anytime you ask AI to do something, it will give you an answer. But is that answer any good? When it comes to Fujifilm Recipes, probably not. First, as you can see above, AI couldn’t figure it out. It also gave a different answer each time, and sometimes very nonsensical ones. Both the inaccuracies and inconsistencies are major red flags, and demonstrate that it’s not a trustworthy source for this particular task. It’ll probably get there someday, but it’s not there today. This is a very easy test, one that you can do yourself. If you ever wonder if any AI program or app can make a Recipe that matches the aesthetic of a picture that you upload to it, simply use an image that you already know the parameters of; if it can’t match it—or at least be in the general ballpark of it—then it’s not a good resource. You might actually be better off throwing darts, rolling dice, or picking the settings out of a hat at random.

Upcoming: July Travel Photography Classes & Photowalks

Posted on 7 Days Ago by Ritchie Roesch

Fujifilm is presenting a number of summer seminars on travel lenses and travel photography across America. They’ve asked me to lead two of them: one in Austin, Texas, on July 8th, and one in Oklahoma City, Oklahoma, on July 25th. If you live in or near those two cities, mark your calendars now and be sure join in on the fun.

The Austin class and photowalk will be at Precision Camera & Video, located at 2438 W. Anderson Lane, on Wednesday, July 8th. The class will begin at 5 pm, afterwards—about 6:30 pm—we will head over to the Austin Public Library to walk around downtown with our cameras. The fee is $5, and you do need to register (click here). It’s going to be a great time of learning, community, and photography. If you live anywhere near central Texas, I hope to see you there!

*Betsy the Burgundy Bullet* – Austin, TX – Fujifilm X100VI – Eterna Summer

Later in the month, on July 25th, I’ll be at Bedford Camera & Video in Oklahoma City. The full details are still being worked out, but it should be along the lines of an afternoon class followed by a photowalk. As soon as it’s all finalized, I’ll get the details out to you. If you live in or near Oklahoma City, be sure to check back periodically so that you don’t miss out.

I don’t have details on the other locations, so if you live outside of Texas and Oklahoma, check with your local camera stores to see if they have any events going on. It’s possible that they are hosting one of these summer seminars, and, if so, you’ll want to join in on it. If you live in Austin or Oklahoma City, I hope to see you this July!

Upcoming Fujifilm X-T6 Thoughts

Posted on 8 Days Ago by Ritchie Roesch

I wasn’t planning to write about this, but a few people reached out to me for my opinion, so I figured I might as well type out an article. Fujirumors shared some tidbits about the upcoming yet-to-be-announced Fujifilm X-T6, namely that it will have a 40mp sensor, 8K video, new battery, and new AI autofocus. Previously, Fujirumors reported that the camera will have “reworked dials” and a new Film Simulation (I discussed the potential new Film Sim here). And that’s all that’s been shared so far.

First, until Fujifilm announces the camera, everything is speculation. For example, we don’t know what “reworked dials” even means (my guess: the lower sub-dials might get updated, but the dials themselves—shutter, ISO, exposure comp—will be nearly identical, but that’s merely a guess). We will all know soon enough, though, whenever Fujifilm does an X Summit for this model, which will likely be sometime in the summer or maybe fall. Second, I have zero inside information. I find out about new gear the same way that you do. I don’t know anything more about this than you.

It sounds like Fujifilm will likely kick off the sixth-generation with the X-T6. I’m not surprised at all that Fujifilm will continue to use a 40mp sensor, and I’ve said as much in the past. In my opinion, 40mp is already well more than enough resolution for almost everyone. Sometimes more megapixels is good, and sometimes it equals more problems. There are tradeoffs to increasing resolution; many times the positive benefits outweigh the negative, but as it gets higher and higher, the pros decrease and the cons increase, and at some point you round the top of the inverted U-curve. Few would argue that 40mp isn’t near the peak for APS-C. What I predicted awhile back is that the sixth-gen will be more about speed and efficiency, and the big change will likely be the processor and not necessarily the sensor.

It’s unknown if the the next generation will continue to use the X-Trans V 40mp sensor, or if it will be a new-and-improved X-Trans VI 40mp sensor. It could go either way, and maybe even both ways depending on the model (for example, X-T6 with new 40mp sensor, X-T60 with old 40mp sensor). I suppose it depends as much on what Sony is willing to manufacture (and how much it costs) as it does on what Fujifilm desires. I don’t have any predictions, I think it’s 50-50 on whether they will continue to use the same sensor or have an upgraded version. I wouldn’t be shocked to learn that it is partially-stacked, and I won’t be disappointed if it’s not.

*Buc-ees at Nighttime* – Goodyear, AZ – Fujifilm X-T5 – Fluorescent Night

As far as the new battery, I would bet that it’ll be like the NP-W126S, which was an improvement to the old NP-W126. You can use the new battery in older models, and the old battery in newer models (with a warning that it’s not optimized for it). That’s not negative. I’ll be shocked if it’s a complete redesign. If Fujifilm can improve the battery without losing compatibility, that’s a positive thing. Did you notice the puns?

The X-H2 already has 8K video. It’s my understanding that Fujifilm locked it out of the X-T5 due to heat dispersion issues, so if the processor is more efficient, it would make sense for it to be unlocked on the X-T6. No surprises here. If anything, maybe this is an indication that the X-H3 will have open gate.

I think autofocus is what most people are going to discuss. My opinion is probably different than most. I have talked about it at length over-and-over, and I hate to rehash everything. I’ll try to keep this as brief as possible, but buckle up, because this will be a little lengthy.

To begin with, Fujifilm’s autofocus in fifth-generation models is already pretty good, likely in the top 2% best of all autofocus cameras ever made, and plenty sufficient for most people and circumstances. That perspective is important, and too often ignored. There are a lot of people who seem to lack an appreciation for just how good we have it, how fortunate we are to be photographers right now. With that said, Fujifilm’s AF isn’t as good as the Canikony brands, and for several logical reasons: 1) the other brands had a significant head start (Sony through Minolta and Konica going back to the 1970’s; Canon and Nikon going back to the 1980’s), 2) the Canikony brands have much larger R&D budgets and can better recruit the best talents, 3) the Canikony brands (as reported by PetaPixel) for a long time prioritized AF over image quality improvements and in some cases even to the detriment of IQ, and 4) X-Trans takes a lot more processing power than Bayer, which in and of itself puts Fujifilm at an AF disadvantage. Outside of a paradigm shift, Fujifilm will never have AF that’s as good as the big three, and anyone who expects otherwise will always be disappointed. Expectations need to be kept realistic and in line with reality, but few seem to be grounded when it comes to this topic.

There is some good news, though. First, the Canikony brands (especially Sony and Canon) are near the peak of an inverted U-curve. Their AF is already more than good enough for 99.99% of their customers, so AF improvements only have a practical benefit to a very small group that is only shrinking with each update. That gives Fujifilm an opportunity to catch up as it climbs the inverted U-curve. With each AF improvement that Fujifilm offers, they will get closer to the peak, but it will also have practical benefits for fewer and fewer people each time. For example, I’m personally 100% satisfied with the current AF, so each improvement is meaningless for me, and I imagine that’s true for a lot more people than some naysayers are willing to admit. Second, and I’ve said this before, AI might be the paradigm shift that levels the playing field (or it might not be, who knows?). If this “new AI autofocus” is truly significantly better than the current AI autofocus, it might close much of the gap.

I do believe that X-Trans VI will see improved autofocus, thanks to AI and (especially) more powerful and efficient processing, but the biggest thing that Fujifilm could (and probably should) do is simply make it more intuitive, requiring less fine-tuning from the user. As it is now, you have to optimize the settings for your specific use-cases, and a lot of people are unaware that they need to do that; even if they are aware, they are likely unsure of how to optimize it for their specific use. In other words, Fujifilm’s AF is much better than some believe, it’s just that they don’t know to get the most out of it. If Fujifilm could fix that (without making any other improvements), it would go a long ways towards making people believe that the AF is better. So I hope that improved intuitiveness is a part of Fujifilm’s autofocus plans for the next generation.

That’s all I have. Within a handful of months, if not sooner, I’m sure Fujifilm will announce the first sixth-generation camera. Until then, everything is speculation, and it’s difficult to know what’s true and what isn’t, and what any of it really means. It’s fun to get little tidbits, and peek behind the curtain, but all of it is an incomplete picture until the X Summit, and maybe even beyond that. That is to say, don’t take anything too seriously. Make sure that you consume it with very large grains of salt. It’s very easy to get worked up over something that’s not really even true (something I’ve been guilty of myself). It will get here when it gets here, and I’m sure it will be pretty cool, whenever that happens.

Eterna Bleach Bypass is an Underrated Film Simulation

Posted on 9 Days Ago by Ritchie Roesch

*Low Sun over Tetons* – Grand Teton NP, WY – Fujifilm X-E4 – Ferrania Solaris FG 400

Among Fujifilm’s 20 Film Simulations, Eterna Bleach Bypass might be the second least popular, only ahead of Sepia. In my opinion, it is the most underrated and under-appreciated option. Introduced on the Fujifilm X-T4 in 2020, Eterna Bleach Bypass remains exclusive to newer-generation cameras, so those with older models don’t have it available to them. Of the recent Film Simulations—Reala Ace, Classic Negative, Nostalgic Negative, Eterna, and Eterna Bleach Bypass—this one seems to get the least love, which I think is a bit unfair.

To understand the Eterna Bleach Bypass Film Simulation, it helps to first understand what it’s trying to replicate. Bleach bypass is a film processing technique in which the bleach stage is reduced or skipped during development, leaving silver in the emulsion along with the color dyes. The result is an image with higher contrast, muted colors, and a gritty, dramatic tonality—almost as if a black-and-white and color frame were combined together into one. It’s a more common darkroom technique for motion pictures than still photography, but it has been used for both. If you have ever watched the movie Saving Private Ryan, you’ve seen actual bleach bypass. Fujifilm’s Eterna Bleach Bypass Film Simulation is essentially an approximation of their Eterna motion picture film processed this way. It has strong contrast and is the lowest saturated of all the color Film Simulations.

*Tilted Saguaro* – Tucson, AZ – Fujifilm X-T5 – 1960 Chrome

Eterna Bleach Bypass is not a “works for everything” type of Film Simulation like Classic Chrome, Reala Ace, etc.. It’s more for when the subject and situation are “right” for it. Because of that, many never try it, or if they do, it’s once or twice and never again. When used intentionally, it can create cinematic images with a moody character. If you want to add drama to urban environments, partially cloudy or overcast sky, mountain scenes, and much more, this Film Simulation will do it.

Technically, you can get pretty close to factory-default Eterna Bleach Bypass by using the Eterna Film Simulation and increasing both Highlight and Shadow while also lowering Color and making a WB Shift adjustment. But there are straight-out-of-camera aesthetics that are only possible with the Eterna Bleach Bypass Film Simulation. It has its own look that’s immediately recognizable once you become familiar with it. Eterna Bleach Bypass is way underrated and deserves more fanfare. If you’ve never tried it, below are seven really good Fujifilm Recipes that use Eterna Bleach Bypass. I invite you to try one today!

1960 Chrome

The aesthetic of the 1960 Chrome Recipe comes from several photographs in various 1960’s issues of Arizona Highways magazine (I collect old copies of Arizona Highways, there’s so much great photography inside), so it has a vintage feel to it. This Recipe has compatibility with fourth and fifth generation models.

Ferrania Solaris FG 400

The Ferrania Solaris FG 400 Recipe is simply Kodak Portra 400 v2 with Eterna Bleach Bypass instead of Classic Chrome. Most Recipes don’t look particularly good when you change the Film Simulation, but in this case it does. This Recipe is compatible with “newer” X-Trans IV cameras (X-T4, X-S10, X-E4, and X-T30 II); for fifth-generation models, set Color Chrome FX Blue to Off.

LomoChrome Metropolis

The very first Recipe that I created using the Eterna Bleach Bypass Film Simulation was LomoChrome Metropolis. This Recipe is compatible with “newer” X-Trans IV cameras (X-T4, X-S10, X-E4, and X-T30 II); for fifth-generation models, set Color Chrome FX Blue to Weak.

Eterna Bleach Bypass

“Essentially black-and-white for color photography,” is how I described the Eterna Bleach Bypass Recipe. It’s compatible with “newer” X-Trans IV cameras (X-T4, X-S10, X-E4, and X-T30 II); for fifth-generation models, set Color Chrome FX Blue to Weak.

Chrome City

Chrome City is found in the Universal Negative Recipe set, and is one of my favorite Recipes for dreary, rainy days. It’s intended for fifth-generation cameras.

Kodachrome Blue

The Kodachrome Blue Recipe mimics improperly scanned Kodachrome slides. Due to its unique design, Kodachrome is the most difficult slide film to accurately scan, so there are a lot of examples of the film with a blue cast, including some of my own that the lab did a poor job scanning. This Recipe is compatible with “newer” X-Trans IV cameras (X-T4, X-S10, X-E4, and X-T30 II); for fifth-generation models, set Color Chrome FX Blue to Weak.

Pushed CineStill 800T

The Pushed CineStill 800T Recipe was intended for daytime photography, but is actually most well suited for nighttime situations. This one is compatible with X-Trans V cameras; for “newer” X-Trans IV (Fujifilm X-T4, X-S10, X-E4 & X-T30 II) use this version, and for the X-Pro3 and X100V use this one that has Eterna as the base.

Find these Fujifilm Recipes and many more in the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

About (Typical) Exposure Compensation

Posted on 10 Days Ago by Ritchie Roesch

I wanted to give a real quick word about the Exposure Compensation found within each Fuji X Weekly Recipe. I get questions about this fairly regularly, and there seems to be some confusion. Let me give a short explanation of what is meant when a Recipe says (for example) Exposure Compensation: +1/3 to +1 (typically).

The “typical exposure compensation” provided with each Recipe is intended to be a starting point and nothing more. It was never meant to be a rule, only general directions. For some recipes it’s a little more critical than others. For example, Vintage Kodachrome really does need a little underexposure in order to look right; conversely, Bright Kodak really does need a little overexposure to render correctly. But for the most part, this isn’t a critical aspect of a Recipe. It’s simply intended to give a little direction for those unsure.

One question that I get sometimes is: what about those who shoot in all-manual, and don’t use the Exposure Compensation Dial? Well, instead of “exposure compensation”, it’s just exposure. In other words, simply increase or decrease the exposure suggested by the meter by whatever the Recipe says. If your meter says (for example) f/4, 1/250, and ISO 400, and the Recipe says +1 exposure, simply use f/2.8 instead of f/4, or select 1/125 instead of 1/250, or choose ISO 800 instead of ISO 400 (choose one, not all three).

Another question that I get is: how do I program Exposure Compensation into my camera? There are some models that can save an exposure compensation within each Custom Setting preset (it won’t save a range—like +1/3 to +1—but it can save one, such as +2/3); however, most Fujifilm cameras cannot do that. For the majority of cameras, Exposure Compensation is a manual process done by turning the Exposure Compensation Dial on the top of the camera.

Each time you activate the shutter, the appropriate exposure for each scene should be judged individually. Even though a Recipe might say Exposure Compensation +2/3 to +1 (typically), perhaps for the unique lighting scenario in front of you, maybe -1/3 is most appropriate. Aside from that, we each have our own tastes and styles, and maybe for you, a slightly brighter or darker image is better. In other words, don’t take the typical exposure compensation values of a Recipe too seriously. It’s only meant to help you go in the right direction; however, each situation should be judged for what it is, which might be different each time.

Which brings me to two Recipes specifically: Reggie’s Portra and Reggie’s Superia. For Reggie’s Portra, I had listed +1/3 to +1 as the typical exposure compensation range. For Reggie’s Superia, I had listed it as +1/3 to +2/3. But Reggie Ballesteros—the creator of those two Recipes—never gave them, nor intended for them to have, any suggested exposures. The exposure for each picture should be judged individually. At his request, I removed the suggested exposure compensation range. Reggie is not wrong in this assessment, and it’s for a similar reason that I did not include a suggested exposure range for the Video Recipes.

I never intended for the Exposure Compensation field of Fujifilm Recipes to be so confusing. I hope this clears it up a little for those who may have struggled with it. I never intended for it to be a rule, only a rough starting point for those unsure what the exposure should be. If it’s not helpful to you, feel free to ignore it.

7 Must-Try Recipes for 4th-Gen Fujifilm Cameras

Posted on 10 Days Ago by Ritchie Roesch

Part 1: 5th-Gen

This is Part 2 of what will be a five-part series exploring Fujifilm Recipes for each generation of cameras. Beginning with the latest models, we will work our way back towards the older cameras. For each article, I will suggest seven Recipes to try. This is intended for those new to the whole Recipe thing, who haven’t tried them before (or perhaps only a few Recipes so far). The intention is to provide you with a list of seven that you can program into your C1-C7 Custom Setting presets. For those with only C1-C6, you’ll have to choose one to exclude; for those with only C1-C4, you’ll have to cut three out.

The list below, which are the seven Recipes for Part 2, is specifically for fourth-generation Fujifilm cameras, which is to say X-Trans IV, but it’s a little more complicated than that. The fourth-generation cameras that this set is specifically for are the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, and GFX100S. If you have one of those cameras, these are the correct Recipes for you. This is far from an exhaustive list of fourth-generation Recipes, it’s only seven really good ones to get you started. If you are unsure which Fujifilm Recipes to begin with, these are ones that I highly recommend.

Kodachrome 64

Kodachrome was the most iconic film, so it stands to reason that we should begin this list with the Kodachrome 64 Recipe. It’s intended for sunny daylight photography, but can sometimes be good in other scenarios, too, just depending on the subject and lighting. I feel like Kodachrome 64 is an essential Recipe to try.

Kodak Portra 400 v2

Reggie’s Portra

I like to have at least one Recipe programmed into my camera that’s highly versatile. There are several excellent options, but a personal favorite is Reggie’s Portra, which works in almost any light situation.

Pacific Blues

The Pacific Blues Recipe is intended for a sunny summer day at the beach; however, I have found it works wonderfully well on foggy or dreary days, too. It’s more dramatic and significantly different than the options above, so it offers a good alternative aesthetic that’s still film-like. This is one of my personal favorite Recipes.

The Rockwell

This list wouldn’t be complete without a Velvia-based Recipe. When the situation calls for something bold, The Rockwell will accomplish that, delivering vibrant and sharp results.

Serr’s 500T

Most Recipes are intended for sunny daylight; while some can still do well at night, there are Recipes specifically intended for night photography. Of those, Serr’s 500T is one of my favorites.

Kodak Tri-X 400

No C1-C7 would be complete without at least one B&W Recipe, and Kodak Tri-X 400 is my go-to option. I love monochromatic photography, and you’ll be hard-pressed to find a better Recipe than this.

Part 3: X-T3/X-T30

Find these Film Simulation Recipes and many more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

7 Must-Try Recipes for 5th-Gen Fujifilm Cameras

Posted on 12 Days Ago by Ritchie Roesch

This is Part 1 of what will be a five-part series exploring Fujifilm Recipes for each generation of cameras. We will begin with the latest models, and work our way back towards the older cameras. For each article, I will suggest seven Recipes to try on your Fujifilm camera. This is intended for those new to the whole Recipe thing, who haven’t tried them before (or perhaps only a few Recipes so far). The intention is to provide you with a list of seven that you can program into your C1-C7 Custom Setting presets. For those with only C1-C6, you’ll have to choose one to exclude; for those with only C1-C4, you’ll have to cut three out.

The list below, which are the seven Recipes for Part 1, is specifically for fifth-generation Fujifilm cameras, which is to say X-Trans V, but it’s a little more complicated than that. Fifth-generation cameras are: X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, X-T30 III, GFX100 II, GFX100S II, and GFX100RF. If you have one of those cameras, these are the correct Recipes for you. This is far from an exhaustive list of fifth-generation Recipes, it’s only seven really good ones to get you started. If you are unsure which Fujifilm Recipes to begin with, these are ones that I highly recommend.

Kodachrome 64

Kodak Gold 200

This is a classic Recipe that’s always popular. Kodak Gold 200 produces warm photos, and is intended for use in sunny daylight situations. It’s especially good for golden hour, including sunrises and sunsets.

Pacific Blues

The Pacific Blues Recipe is intended for a sunny summer day at the beach; however, I have found it works wonderfully well on foggy or dreary days, too. It’s more dramatic and significantly different than the two options above, so it offers a good alternative aesthetic that’s still film-like. This is one of my personal favorite Recipes.

Reala Ace

The Reala Ace Recipe predates the Reala Ace Film Simulation release, and is based on Classic Negative. It’s more like the actual film of the same name than the Reala Ace Film Simulation, which is more like Fujicolor PRO 160C. This is a highly versatile Recipe that can be used anytime of the day or night.

Vivid Velvia

Boldly colorful, Vivid Velvia is intended for landscape photography where you want the scene to pop. It’s fairly versatile, but probably not the best option for portraits. If you are primarily a landscape photographer, you might find yourself using this one the most.

CineStill 800T

While some of the other Recipes will do well for nighttime photography, CineStill 800T is specifically intended for photographing after dark. You can use it during the day if you should desire a cool blueish cast, but for the most part you’ll want to save it for after sunset. This Recipe pairs well with a weak diffusion filter, like 5% or 10% CineBloom or 1/8 or 1/4 Pro Mist.

Agfa Scala

Agfa Scala is a new adaptation of an old Recipe. I’ve loved the Agfa Scala Recipe for a long-time, and an update for the latest cameras was long-overdue. This is one of my current favorite B&W options.

Part 2: 4th-Gen, Part 3: X-T3/X-T30

Find these Film Simulation Recipes and many more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Is Fujifilm About To Make Fortia the Next Film Simulation?

Posted on 15 Days Ago by Ritchie Roesch

*Could this be the next Film Simulation? Fujifilm X-T50 + Pop Color Advanced Filter*

Fujifilm has become renown for their Film Simulations. On the latest X and GFX cameras, there are 20 Film Simulations: Provia, Velvia, Astia, Classic Chrome, Reala Ace, PRO Neg. Hi, PRO Neg. Std, Classic Negative, Nostalgic Negative, Eterna, Eterna Bleach Bypass, Acros, Acros +Ye, Acros +R, Acros +G, Monochrome, Monochrome +Ye, Monochrome +R, Monochrome +G, and Sepia. That’s a lot, but of course we always welcome more.

With each new generation, Fujifilm has introduced new Film Simulations. With X-Trans II it was Classic Chrome; X-Trans III saw Acros and Eterna (sort of—just at the very end with the X-H1); Classic Negative and Eterna Bleach Bypass were released within the fourth-generation; and Nostalgic Neg. and Reala Ace are found on fifth-generation models. If the pattern continues, we can expect a new Film Simulation to be introduced at or near the beginning of the sixth-generation (which should be announced within the coming months), followed by another Film Simulation later in the generation.

Just this morning Fujirumors dropped a hint of what the new Film Simulation could be, describing it as having “really deep and strong colors.” My first thought: they’re graduating the Pop Color Advanced Filter to Film Simulation. I’ve been advocating that for a few years now, since Pop Color has some notable similarities to Fortia (a short-lived slide film sold only in Japan with colors more wild than Velvia). Instead of having Pop Color, you’d have the Fortia Film Sim., and of course that also means Advanced Filters would need an update, too. This makes a lot of sense, and is the most likely scenario in my estimation. Pop Color is the only Advanced Filter that I use even remotely regularly, and I wish I could apply the other JPEG options (like Color Chrome Effect, Grain, etc., etc.) to it. The Retro and Expired Film Filters from the Fujifilm X half should be added to Advanced Filters, replacing Pop Color.

But “really deep and strong colors” could mean a lot of things. A Cross Process Film Simulation, which mimics Velvia film developed in C41 chemistry, would certainly meet the description. I used to do this sometimes 15-20 years ago, and it was a lot of fun. I would love to get a similar look straight from my Fujifilm camera. This is another potential Film Simulation that for years now I’ve advocated for, and I hope they someday make.

*Cross-processed Fujichrome Velvia 50 film*

Aside from those two, what else could it be? An Aerochrome-like Film Simulation that mimics infrared photography without actually being IR (similar to the RNI Aero app) is one possibility. I’d be quite surprised if they did this, but it would be really cool if they did. Maybe something that more-or-less mimics Ektachrome E100VS, which was basically Kodak’s version of Velvia. I doubt it, but you never know. I can’t think of much else that would meet the description. Of course, it could be a poor explanation of the upcoming Film Sim., and it actually won’t have the “deep and strong colors” as I’m imagining. My guesses could be pretty far off, who knows!

What do you hope the next Film Simulation is? Personally, I think one that mimics Fujicolor PRO 400H, including turning pastel with overexposure, would be popular. Maybe a Sensia slide film look? A Film Simulation that resembles Instax? A more contrasty black-and-white option? I’d love to read your ideas in the comments!

News: Fujikina NYC 2026

Posted on 15 Days Ago by Ritchie Roesch

Fujifilm just announced a new Fujikina event in New York City. The three-day event will take place October 16-18. Aside from the dates and city, no other information was included in this announcement. You can sign up to receive more information on Fujifilm’s website (click here).

I’ve said this before a few times, but Fujikina events are sometimes adjacent to camera launches (typically, right after an X Summit), and sometimes they are not. For example, I was at Fujikina Copenhagen in May, and there was not any product launch associated with it. I have no idea if the New York City Fujikina will follow an X Summit, it may or may not. Statistically, more Fujikina events are not associated with a product launch than ones that are, so most likely this one will not be, but it certainly could be. Fujifilm has been quiet so far in 2026, with no new X or GFX gear as of yet, so I suspect the latter half of the year could be quite busy.

*City in Infrared* – NYC, NY – Fujifilm X-T4 ES – Aerochrome v2

The email that Fujifilm circulated for Fujikina NYC says, “Come for the fun, stay for the community. This fall, we’re bringing our people together. Fujikina NYC 2026 is more than excitement, education, and engagement—it’s a celebration of what you love, with people who love it, too.” Sounds like a good time.

Fujikina Copenhagen was great! I have no reason to believe that Fujikina NYC won’t be just as good, if not even greater. If you live near New York City, it will be a great opportunity that I’m sure you won’t want to miss. If you can make it, you should definitely go.

Photographers Are Tired of Big Cameras

Posted on 17 Days Ago by Ritchie Roesch

On June 11th, PetaPixel published a post entitled Photographers Are Tired of Big Cameras by Jaron Schneider, which had an intriguing premise but fell a bit flat on delivery. This article is my attempt to fix that. This is perhaps what Jaron should have said.

While sitting at a train station in Osaka, Japan, Chris Niccolls stated, “I’m thinking of buying a new camera.” This might seem extremely innocuous, a common phrase uttered by most photographers as frequently as trains depart the Osaka station; however, coming from Chris, this was nothing short of shocking. You see, as a camera reviewer, Chris is constantly using new gear. Each week he has a different camera in his hands. Since 2009, when Chris and Jordan Drake began making videos for The Camera Store TV on YouTube, he has used pretty much every model released from every brand. But he very rarely buys them. It’s highly unusual for Chris to be in the market for a new camera.

For the last few years, he has been carrying a Sony a7R V. That’s what he uses when he’s not reviewing cameras. He seemed quite content with it, even just recently. If Chris was in the market for any one camera, I would have bet on it being the a7R VI, the successor to his camera, which he had just recently reviewed. Curiously, that’s not what he had in mind. “I want something small,” Chris added.

*Studio Ghibli Scene* – Copenhagen, Denmark – Fujifilm X-E5 – Provia Positive

The Fujifilm X-E5 is the camera that Chris was considering, which he ultimately purchased just recently. The two factors that he considered most important were compact size and image quality, with bulkiness weighted (pun intended) slightly more important than image quality. After much consideration, Chris decided that the X-E5 struck the perfect balance for him. It was small and lightweight enough, while also delivering image quality that met his strict standards. Of all the cameras available, most of which he has personally tried, the Fujifilm X-E5 is the one that he believes is most ideal for him at this moment in time.

There’s a noticeable trend in photography that can’t be ignored: creators crave compact cameras. According to a recent CIPA report, one out of every four cameras shipped in April was a compact fixed-lens model. That’s shocking! When you look at the most popular cameras over the last year, the majority of them are on the small side, and several of them are fixed-lens. Models like the Ricoh GR IV and Fujifilm X100VI are selling out well before they hit the shelves. All of the data available indicates that smaller gear is tremendously trendy right now.

What explains this? Nobody knows for sure, but there are a few possibilities, and it’s probably a combination of each, and possibly more. First, photographers are getting older. Across the globe since World War II, the average age for most countries has been rising. In America, nearly half of all professional photographers are over 40. The bulky gear that was no issue to carry around a decade ago is now starting to feel a bit cumbersome. Second, many influencers on social media use smaller gear because it’s easier to travel with, and that gear-of-choice tends to get purchased by their audience (that’s why they’re called influencers). Third, younger photographers often care more about picture aesthetic and user experience than spec-sheet stats. That high-end gear with extraordinary capabilities is less impressive to them than a camera that easily produces the look they’re after, especially if it can fit into a pocket or purse.

*D Y* – Grapevine, TX – Fujifilm X-E5 – Reggie’s Superia

Fujifilm and Ricoh are the two companies that seem to be benefiting the most from this trend. Fujifilm, in particular, has seen their market share increase over the last few years, thanks to the success of cameras like the X100VI, X-E5, X-M5, and X-T30 III, all of which are hot sellers. Even the much maligned X half has been a massive success in some parts of the world, especially Asia. Of all the major brands, Fujifilm might be in the best position to seize on this compact camera craze, and it will be fascinating to watch them navigate it over the next few years. Will they produce successors to the long-discontinued X30 and X70? Surely both of those would be hits if they did. Will they find ways to shrink the size of their current lineup? Will they introduce a few more pancake lenses? There’s a lot that they could do to capitalize on the trend, but they could also err on the side of caution, and not take many risks. If there’s one brand that has demonstrated a willingness to try something different, it’s Fujifilm. It will be intriguing to watch how each camera company responds to the changing market.

Now that Chris is a Fujifilm photographer, will he embrace straight-out-of-camera photography? Will he try some Fujifilm Recipes? Maybe find some that will replace RAW editing? Will Chris hop off the Fujifilm Express at the next stop, or will he ride it for awhile and see where the adventure takes him? Unlike the trains at the Osaka station, the trend towards smaller gear shows no signs of stopping.

So how’d I do? Did I improve on Jaron’s article? Is this version better or worse than what was published on PetaPixel? Let me know what you think! I enjoyed this writing exercise. I mean no disrespect to anyone—Jaron, if you read this, please know that it was all in good fun.

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

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

Fujifilm X-E5 Discussions

Posted on 19 Days Ago by Ritchie Roesch

It’s been historically slow for Fujifilm so far in 2026, which makes it more difficult for Fujifilm-related bloggers to come up with interesting content to share with their readers. On the bright side, this can be a good opportunity to find and highlight things that might otherwise slip through the cracks and go unnoticed. That’s what this article is attempting to do. Nothing here is headline news, but hopefully there’s something that you’ll find intriguing or even possibly helpful.

Specifically, we’re talking about the Fujifilm X-E5, showcasing articles that are either explicitly or just vaguely related to it. This is a camera that I own and love. It’s as close as Fujifilm has ever gotten to an interchangeable-lens X100-series model. My favorite aspect of it is that you can program three additional Film Simulation Recipes than other cameras. It’s the most compact and lightweight interchangeable-lens X-series camera with the 40mp sensor and IBIS. There’s plenty to love.

*Masazumi Imai* – Copenhagen, Denmark – Fujifilm X-E5 – Provia Positive

Before we dive in, here’s a little X-E5 tidbit that I bet you don’t know, which I learned while at Fujikina Copenhagen. It takes a massive team—sometimes more than 100 people—to create a camera, but each one has a lead designer. There are several designers at Fujifilm. For example, the lead designer of the X100-series and X-T (single digit), as well as many other models, is Masazumi Imai, who gave a wonderful presentation at Fujikina. Each lead designer likes to leave a little easter egg hidden somewhere in the camera (which mostly goes unnoticed by the users). I’m not sure who was the lead designer of the X-E5, but I learned that the designer of that camera leaves a specific easter egg: hexagon feet. If you turn the X-E5 upside down and look at the four tiny feet at the bottom, they’re six-sided and not round. Any Fujifilm camera with hexagon feet had the same lead designer as the X-E5. I’m not sure which models those are, but apparently there are a few.

Now let’s look at some recent articles across the web that relate to the Fujifilm X-E5. Some of these are explicitly about the X-E5, and some are only related if you squint your eyes a little.

Fujifilm X-E5 Teardown

Kolari Vision just published their teardown of the Fujifilm X-E5. Seeing the X-E5 being taken apart makes a tear fall down my cheek (get it? Tear down, teardown?). Jokes aside, it’s fascinating to see how Fujifilm squeezed so much camera into such a small body. This also illustrates just how intrusive an infrared conversion actually is. I would love to see Fujifilm sell a full-spectrum infrared camera to the public, like they did very briefly with the Fujifilm X-T4 Extended Spectrum, so that you wouldn’t have to take it apart. Thankfully, Kolari (as well as some other companies) know what they’re doing, and your camera is in good hands if you send yours in for a conversion. I don’t have firsthand experience with that, but I’ve talked with several people who do, and they only have positive things to say.

Good Image Quality

*Roaring Fork* – Great Smoky Mountains NP, TN – Fujifilm X-E5 – Vivid Velvia

There’s an interesting article over at PetaPixel entitled Photographers Are Tired of Big Cameras. Essentially, Chris Niccolls wants a smaller camera than he normally uses, and he’s going for the Fujifilm X-E5. He is constantly using all sorts of gear from all sorts of brands as part of his job, but for his own personal photography, he wants something smaller than the Sony a7R V that he normally shoots with. After trying nearly everything under the sun, he really likes the X-E5 for its compact size and good image quality. The author of the article, Jaron Schneider, then makes an odd disclaimer: the X-E5 doesn’t necessarily have “excellent” image quality; instead the camera has “just good” image quality, which he notes is good enough for Chris. I understand that “good” and “excellent” are subjective, but it was a weird comment that seemed unnecessary for the message of the article. The image quality of the X-E5 is “just good” compared to what? I understand that the people at PetaPixel have experience with pretty much every single camera made within the last 25 years, and some models have better image quality than others, but what aspect of the X-E5’s image quality is subpar? I wish that more context had been provided, because it comes across as a put-down to both Fujifilm and Chris. I think the overall story—a growing trend towards smaller, lighter gear—is fascinating. That Fujifilm is at the forefront of the discussion is also intriguing. So much more could have been said; instead, I’m wondering what was meant by an offhand comment.

Learn

Last but not least, I saw in a Pal2Tech video yesterday that Chris Lee has launched a new project on his website called Learn. He has a ton of great resources, including a Fujifilm X-E5 setup guide (among many, many other things). You should definitely check it out, there’s so much information available. It seems like it isn’t complete, so I suspect that this will only grow into even a greater resource in the coming months.

7 Fujifilm Recipes to Replace RAW Editing

Posted on 23 Days Ago by Ritchie Roesch

*Sailboat at Nyhavn* – Copenhagen, Denmark – Fujifilm GFX100RF – Vivid Velvia

By moving the creative process from the computer to the camera, Fujifilm Recipes can effectively replace RAW editing for many photographers. Instead of spending hours adjusting curves and sliders after the fact, you make the aesthetic decisions before even pressing the shutter. The colors, contrast, grain, white balance, and overall mood become part of the act of photography itself. Some people—gatekeepers—insist that RAW editing is the only serious path because it offers maximum flexibility, but maximum flexibility isn’t always the best path. Sometimes, limitations improve art.

One of the great benefits of Recipes is freedom—freedom from the computer and Lightroom (or other RAW editing software), freedom from indecisive aesthetic choices, freedom from unfinished work (such as RAW files just sitting around waiting to be edited). Most photographs that are created using Recipes are finished the moment that they’re made, making the journey from vision to finished image dramatically shorter. Perhaps the greatest freedom that Recipes bring is time.

*Low Clouds Over Manhattan* – New York City, NY – Fujifilm X100VI – Kodak Tri-X 400

Another benefit of using Recipes is that it aligns with how a large number of people actually want to do photography. Not everyone desires photography to be half-camera and half-computer. Some simply want to capture meaningful moments, compelling scenes, and beautiful light without turning every outing into a post-processing project. There is no rule that says a photographer must shoot RAW and edit in Lightroom to be legitimate. If a Recipe delivers the look you want straight-out-of-camera, then you’ve already reached the destination. This is not to say that RAW has no place, only that it isn’t a prerequisite or requirement. There’s no right or wrong way to do photography, only whatever works best for you. That could be JPEGs, that could be RAW, it could be film, it could be all of those at different times, or something else entirely. Do whatever is best for you and your photography.

If you are looking for some Fujifilm Recipes to try that might convince you to stop editing RAW, I’ve picked seven that I think could do just that. Of course everyone has their own tastes and styles. You might like some of these and not others, or all of them, or none of them. The Recipes that could become your favorites might not even be in this list. But, if you are looking for some great ones to try, these are seven that I highly recommend.

Kodachrome 64

The Kodachrome 64 Recipe is modeled after the iconic film. It’s intended for sunny daylight photography, so it works best in those conditions, although I have had good results in some other situations, too. This particular version of the Kodachrome 64 Recipe is for fifth-generation Fujifilm cameras, which are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, X-T30 II, GFX100 II, GFX100S II, and GFX100RF. There’s also a version for fourth-generation models, one for the X-T3 and X-T30, as well as an X-Trans II iteration. You might also appreciate the McCurry Kodachrome Recipe.

Kodak Portra 160 v2

Kodak Portra 160 V2 is another Recipe intended for sunny daylight conditions. Interestingly, a photographer recently loaded a roll of Portra 160 into his film camera and used this Recipe on his Fujifilm camera, and shot them side-by-side. The results? The images were nearly identical, difficult to distinguish from each other. This Recipe, which is a modification by Thomas Schwab of my old Kodak Portra 160 Recipe (which was made with some help of Piotr Skrzypek), is for fifth-generation Fujifilm cameras, which are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, X-T30 III, GFX100 II, GFX100S II, and GFX100RF. Also, those with fourth-generation cameras should try my Kodak Portra 160 Recipe.

Pacific Blues

While intended for a sunny day at the beach, the Pacific Blues Recipe is surprisingly excellent in a variety of conditions and for diverse subjects. It’s one of my all-time favorites. This particular version is for fifth-generation Fujifilm cameras, which are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, X-T30 III, GFX100 II, GFX100S II, and GFX100RF. There is also a version for fourth-generation models. Another Recipe to consider is Fujicolor 100 Gold.

Copenhagen Negative

Copenhagen Negative is one of the newest Recipes on Fuji X Weekly, and it’s already one of my favorites. This is for fifth-generation Fujifilm cameras, which are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, X-T30 III, GFX100 II, GFX100S II, and GFX100RF. You might also appreciate the 1-Hour Photo Recipe.

Fujicolor PRO 160C Warm

A part of the Film Dial Recipe set, Fujicolor PRO 160C Warm is highly versatile, and can be used anytime of the day or night. This is for fifth-generation Fujifilm cameras, which are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, X-T30 III, GFX100 II, GFX100S II, and GFX100RF. An alternative to consider is the PRO Negative 160C Recipe.

Vivid Velvia

Vivid Velvia is a bold Recipe for vibrant pictures. It’s best for landscape photography, or anytime you want to emphasize vivid colors. This Recipe is for fifth-generation Fujifilm cameras, which are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, X-T30 III, GFX100 II, GFX100S II, and GFX100RF, as well as some fourth-generation models: X-T4, X-S10, X-E4, X-T30 II, and GFX100S. You might also like The Rockwell Recipe.

Kodak Tri-X 400

Last but far from least is Kodak Tri-X 400, the only black-and-white Recipe in this list. Created by Anders Lindborg, this is my all-time favorite B&W option. It can be used with any fourth or fifth-generation camera. Agfa Scala is another Recipe to consider.

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Your Camera’s Warranty Might Be Voided

Posted on 24 Days Ago by Ritchie Roesch

According to Fujifilm, using any non-licensed program (including Fujifilm’s own SDK) “to connect to, or control, any compatible Fujifilm camera, will void the camera’s limited product warranty.” I spoke with Fujifilm and confirmed this to be true. I was also told that they only give licenses to large corporations “like Adobe.” I bring this up because more and more, there are programs and apps that can connect to your Fujifilm camera, to remote control it or push Recipes to it, and so forth. Very few of these seem to tell you that doing so voids your camera’s warranty. I was also told by someone at Fujifilm that each time you connect, a marker is left in the camera, which Fujifilm could find to prove that a non-licensed program was connected to the camera.

Personally, I would be extremely cautious connecting any Fujifilm model that is still under warranty to any non-licensed software or app (anything that’s not officially from or supported by Fujifilm). Depending on your country, X-series gear can have up to a three year warranty, and GFX up to five year. You may want to look into the specifics of your camera and country to determine the exact length of your manufacturer warranty; for a lot of people, it will be just one year.

I bring this up because most of these programs and apps don’t tell you this. The developers are well aware (or at least should be) that if you connect your camera to their software it will void your warranty, but I think they’re afraid that if you knew the risk, you’d be less inclined to use their program, and they’d be less profitable. They’d rather be a bit shady than lose potential customers. The risk that they themselves are taking is that if your warranty gets denied and they didn’t disclose to you that using their app would void the warranty, you could hold them accountable (although good luck with that). My guess is that thousands (maybe tens of thousands) of Fujifilm photographers have unknowingly voided their warranty—they are completely unaware, and might be learning about it for the first time right now. That’s terrible, and it should be unacceptable.

With some of these programs, it’s even more shady than that. For example, many of them aggregate Recipes; however, some of the creators of those Recipes have no idea that their Recipes are even in the apps, and much of the time they are not even given credit, which is a shame. Worse, many photographers (who create Recipes) have their photos in these apps without permission or even credit (in other words, illegally). Someone who doesn’t even make Recipes is profiting off of those who do, including off of their photos. You’ll find tons of my Recipes, and when I’ve asked them to be removed, I have been told that there’s nothing technically illegal about it, so pound sand. That might be true (there could be a strong plagiarism argument), but it’s not cool in the least to do so. Someone who doesn’t even make Recipes shouldn’t be profiting off of those who do. With regards to my photos, that’s a daily (and uphill) battle to get them removed. If you’ve ever created and published a Recipe anywhere on the internet, there’s a good chance you’ll find it in at least one of these programs, and maybe your photos, too.

My Fujicolor 100 Gold Recipe and my photo used without permission or even credit in someone else’s app.

I’ve hesitated to say anything because some will take this as sour grapes. They will think that I’m just upset over competition. Look, there are legitimate creators doing wonderful things for the community, and I’ve happily pointed them out and linked to their websites or channels many times on Fuji X Weekly over the years. I’m for the community, and I think it’s great that so many are not only using Recipes, but are creating them, too. It’s a wonderful thing, and I never imagined that all of this would grow and grow and grow so much. It’s truly an honor to have a front-row seat. What I’m saying is: does that non-official-Fujifilm program that connects to your camera, whether software or app, tell you that by doing so your warranty will be voided? If not, that’s a big problem. You should be made aware, and from there you can make an educated decision to connect or not connect. If it’s hidden in the fine print, that’s an issue, too, because few actually read the fine print, yet it absolves the developer of responsibility.

Of course, Fujifilm themselves deserve some blame. You should be able to push Recipes into the Custom Settings presets (C1-C7 for most cameras, C-C6 or C1-C4 for others) right from the X App. You can do it from X RAW Studio, but it isn’t obvious. For that matter, there should be a mobile version of X RAW Studio. There’s a lot more that Fujifilm could and should do to make adding Recipes to your camera easier (something I’ve encouraged them to do, and even offered my assistance with). And maybe it’s a bit my own fault, too, because I’ve spent more than a year trying to go about all of this “the right way” by attempting to work with Fujifilm on something that was highly unlikely to ever work out, and ultimately didn’t. Because of this, my own implementation of a similar feature has been delayed and delayed and delayed. I desperately want to avoid voiding your warranty. If I did make something that would void your warranty, I would make everyone very well aware and not hide it, so that you could make whatever informed decision that you’re comfortable with.

Anyway, I need to end this post. I truly hope nobody gets hosed by an unknowingly voided warranty. Make whatever choice that you want, but I do think it’s beyond time for someone to say something publicly, so at least you know the potential consequences of the choice that you are making. I’m sorry that it has to come from me, I’d rather not be the messenger. I’ve put this off for a very long time hoping that something would change, but it seems to only have gotten worse with time.

Edit: I want to add a few quick things. First, you should learn the warranty laws that are specific to your country and state/region. Some places have stronger protections than others, some of which may prevent your warranty from automatically being voided just because you connect to an unlicensed program. Second, just because technically speaking your warranty has been voided, that doesn’t mean that Fujifilm won’t still honor it. They may or may not—in my estimation, depending on exactly what the problem is, there is a good chance that they will honor it. Third, even if they don’t, you might still have legal options (I’m not an attorney, nor am I an expert in warranty laws). I am only trying to make people aware of the potential risk, because they should absolutely be aware that there is a risk.

Is There a Fujifilm Exodus?

Posted on 27 Days Ago by Ritchie Roesch

I get a message or comment every now and again that’s really silly. Are you worried that so many photographers are leaving Fujifilm? It could be worded a little different. Maybe it’s, Fujifilm should be worried that so many are leaving. Or, I’m leaving the brand and I know many others who are, too. There are a lot of variants, but the sentiment is always the same. Someone is switching brands or threatening to do so, and that is newsworthy and everyone should pay attention because there is a Fujifilm exodus. Am I worried that so many photographers are leaving Fujifilm? No, I’m not, not even a little.

My camera journey began almost 30 years ago (that’s crazy!) with a Canon AE-1. After that I switched to Pentax, and continued with Pentax when I went digital; however, I was never really satisfied with my DSLRs. So I tried Samsung (remember when they made mirrorless cameras?). Then I bought a Sigma Merrill. I went with Nikon for a few years. Then I tried Sony and Panasonic. I did what is quite typical, and went from brand-to-brand-to-brand searching for something that I just couldn’t find. I didn’t even really understand what I was looking for. But then I purchased a used Fujifilm X-E1, and I fell in love with the traditional tactile controls and overall experience. Later, I got an X100F, and fell in love with the camera-made JPEGs and straight-out-of-camera photography. That’s what I was looking for (even though I didn’t know it), and I found it once I tried Fujifilm. I don’t regret the other camera purchases because they’re a part of my journey; without them, I might not be where I am today.

My story doesn’t end there, though. I get accused all the time of being a “Fujifilm fanboy” but I’m not strictly a Fujifilm photographer. I own and use Ricoh GR cameras. I tried a Nikon Zfc (it’s been collecting dust for a few years now). My brother-in-law uses Sony cameras, and he wanted me to make Recipes for it, so I purchased a Sony a7 IV. I didn’t much like the experience of the camera, so it’s been collecting dust for awhile now, too. I tried a Canon DSLR awhile back that I picked up for a good price; however, I only ended up using it for a few weeks before returning it to its box where it sat for a long time until I eventually sold it. A couple of years ago I tried a Leica Q2, but it’s not a camera I can afford (even if I could I probably wouldn’t buy it). I’m not against any brand. They all have pluses and minuses, and none are perfect or for everyone. Each photographer should use whatever they want to, whatever makes them happy or allows them to best create whatever it is that they want to create. For me, Fujifilm is that brand, but I’m not afraid to try something else.

Photography should be enjoyable, and if someone is not enjoying it, perhaps some change is needed. There is no need to rigidly stick strictly to any one brand, unless that is what makes you happy. If you think a Canon camera will be good for your photography, buy a Canon. If it’s Olympus, go that route. Whatever it is, don’t be afraid to continue your journey searching for the best photographic tools for you. It doesn’t bother me in the slightest if someone sells their Fujifilm gear and goes with another brand. Do what’s right for you.

Of course, the way that the question at the top is typically worded it’s as if it’s not an individual, but a group. It’s stated as if it’s a movement, an exodus. There are always people switching brands, no matter the brand. People are constantly going from brand-to-brand-to-brand, just like I did for years. For some, Fujifilm wasn’t their first and won’t be their last. That’s just the way it is, and it’s common and normal. However, some brands are shrinking, some brands are staying even, and some brands are growing. Fujifilm has been leading the pack in terms of growth for a few years now. If there’s a large group of photographers abandoning the system, there’s a much, much larger group jumping into it. There can’t be an exodus from the brand if the brand is experiencing so much growth.

What’s going on here is something different than that, and there’s actually a term for it: flouncing. It’s flaunting your bounce—storming out in an exaggerated, theatrical manner. It’s very easy to recognize, with some examples being, “That’s it, Fujifilm has lost me forever!” Or, “I’m selling all my gear and switching brands.” Or, “This camera release is the final straw!” Or, “I’m switching brands and I know many others are too.” People leave brands all the time and have legitimate reasons for doing so, but flouncing involves added elements, such as drama (it’s presented as a major event that everyone should pay attention to), attention seeking (it’s intended to provoke reactions), virtue signaling (the person wants others to know they’re taking a stand), and peer pressure tactics (they want others to join them). It’s a type of performative behavior. A common pattern is that 1) something is announced (camera, lens, firmware, etc.), 2) someone doesn’t like an aspect of it, 3) they declare the brand has lost its way, 4) they announce they’re leaving (or are considering leaving unless this or that happens), and 5) they predict a mass exodus. You see it all the time in the comments section of many websites.

Basically, anyone who flounces should be ignored. If they are truly going to switch brands or whatever they’re threatening to do, then so be it. People try different camera brands regularly. Most people—normal people—just do it and don’t call attention to themselves. The flouncer might have valid criticisms, but unfortunately they present it in an unhealthy, destructive way. Criticism can be invaluable for any and every brand, but it’s not going to be heard unless it’s stated in a constructive fashion. In other words, if someone is truly concerned about something and wants to see a change, they will go about it in a substantive and reasonable way without making it about themselves.

A person who flounces is seeking attention, validation, and/or influence. It’s as simple as that. It’s a type of negative behavior that is generally considered unhealthy and unproductive. Flouncing speaks much more of the person saying it than whatever their complaint might be, and none of it is positive. It would be great if people stopped doing it. So, no, I’m not concerned in the slightest about “so many leaving” Fujifilm. I’m pretty sure Fujifilm, who has never sold so many cameras before and has trouble producing enough stock to meet current demand, is not concerned about it either (although I certainly do not speak on their behalf). Sorry (not sorry), there is no Fujifilm exodus.

Fujifilm Should Do THIS With The X100-Series

Posted on 28 Days Ago by Ritchie Roesch

If Fujifilm wanted to, they could do something really cool, that would be a massive sales success. The perfect time for them to do this is now, or really beginning two or three years ago and continuing at least a little while into the future; however, the ideal opportunity won’t last forever. Trends change, paradigms shift. Right now, though, is really good. What is this thing that Fujifilm should do? Alternative focal-length versions of the X100-series camera.

Most famously, both Leica and Ricoh have made a second focal-length versions of their fixed-lens camera. For Leica, it’s the Q3 43, a 43mm version of the Q3 (which normally has a 28mm lens). For Ricoh, it’s the GR IIIx, a 26mm (39mm full-frame equivalent) version of the GR III, which normally has an 18.3mm (28mm equivalent) lens. The Sigma DP series has had two, three, or even four focal-length variants, depending on the iteration. For instance, the DP Quattro series had a 14mm f/4 (21mm equivalent), 19mm f/2.8 (28.5mm equivalent), 30mm f/2.8 (45mm equivalent), and 50mm f/2.8 (75mm equivalent) versions, with everything identical except the lens. Fujifilm could and should do something similar.

Fujifilm’s solution has been the WCL-X100 and TCL-X100 conversion lenses. Simply screw a lens onto the end of the fixed-lens, and the camera becomes either 18mm (28mm equivalent) or a 32mm (48mm equivalent) respectively. That works well in a pinch, but if you want a nifty-fifty focal length all of the time, the extra weight and size of the TCL-X100 defeats the purpose of the camera. In other words, the wide and tele conversion lenses work well for a lightweight travel kit when used occasionally, but they are much less practical when needed frequently. I have walked around all day with the TCL-X100 attached to the camera many times, and it become a bit annoying after awhile.

Something that I’ve come to realize over the last couple of years is that my favorite focal length is the 40mm-60mm (full-frame equivalent) range. I like going wide sometimes, and I like going telephoto sometimes, but most often, I prefer a “standard” focal length. This is probably because when I first learned photography—and for nearly the first decade of my photography—I used a 50mm lens. It’s very natural to me, and I oftentimes find my compositions stronger and my appreciation for the images higher when I use a focal length in that 40mm-60mm range. I don’t want to strictly use nifty-fifty lenses. I think it’s good to stretch outside of my comfort zone—just within the last handful of months, I have gone as wide as 12mm and as long as 600mm. Having experience across a broad range of focal lengths is good. But if there was a 50mm (equivalent) X100-series camera, I would much prefer it over the 23mm (35mm equivalent) version that Fujifilm makes. For you, maybe it would be something wider than the current 23mm lens, or maybe the 23mm lens is perfect.

What I propose to Fujifilm (assuming that they read this—sometimes they do, and sometimes they don’t), is to make alternative focal-length versions of the X100. The X100VI is probably more than halfway through its lifecycle. I assume that the next version will arrive in about a year-and-a-half or so, maybe two years tops. That’s probably enough time that Fujifilm could do this with the X100VI near the end of its lifecycle. More likely, though, it would not be the X100VI, but the X100VII. When the next iteration comes, Fujifilm could make alternative focal-length versions of the camera.

What would make the most sense is 18mm (28mm equivalent) and 33mm (50mm equivalent) versions, in addition to the regular 23mm (35mm equivalent). Literally have three different X100VII cameras. Maybe call the 18mm version X100VII-Wide (X100VII-W), the regular version X100VII-Classic (X100VII), and the 33mm version X100VII-Standard (X100VII-S). People who have hesitated to buy the X100-series because the focal length isn’t ideal for them (it’s either too wide or not wide enough) would purchase the version that is more ideal. And you’d have people buy two of them, or maybe even all three (I knew someone who owned all four Sigma DP Quattro cameras). If Fujifilm were to do this, all three versions would be sales successes. I don’t think they’d have any trouble selling as many as they manufactured.

The great thing about this is that the WCL-X100 and TCL-X100 lenses would still work. If you purchased the X100VII-Wide camera, the WCL-X100 lens would gave it a 14.5mm (22mm equivalent) focal length. I know it would work because the wide conversion lens works well on the X70. The TCL-X100 would give the X100VII-Standard a 46mm (70mm equivalent) focal length. The conversion lenses would still serve a purpose, and won’t become any less relevant just because there are three versions of the camera.

For a lot of people, the X100-series is their gateway into the Fujifilm world. You can try out the X-series without investing into a whole system. Once they’ve decided that they really like it, a camera like the X-T5, X-T50, X-E5, etc., often follows, along with some lens purchases. Not everyone who owns an X100-series camera travels this same path. For me, the X-E1 was my gateway, and an X100F came later. I purchased an X100V when it was new, followed by the X100VI when it was released. I own a number of interchangeable-lens cameras, as well. The X100-series is great for travel, street, or everyday snapshots where it’s more about being in the moment than fumbling with lenses and accessories. For me, the most ideal X100-series camera would have a nifty-fifty focal length lens. A wide version would be nice, too, sometimes—I really like the GFX100RF and X70; however, the GFX is much larger and heavier (although super small and lightweight for medium-format), and the X70 is old and doesn’t have many of the Film Sims and JPEG options of the latest models (can’t do nearly as many Recipes). I would buy more than one version, but the X100VII-Standard would get the most use by far. It would be really cool if Fujifilm did this.

Fujifilm’s Hidden Feature: Advanced Filters (plus, what Fujifilm should do with it on future cameras)

Posted on 29 Days Ago by Ritchie Roesch

There’s a feature on most Fujifilm cameras that few use—you might not be aware that it even exists—called Advanced Filters. Fujifilm introduced Advanced Filters in 2013 with the X100S and X20. With the exception of a few early models, your Fujifilm X-series camera has Advanced Filters (however, GFX models does not have it). Find Advanced Filters on the Drive Dial or Drive Menu (depending on the specifics of your model). For older cameras, Advanced Filters are JPEG only; however, on newer models, you can save a RAW file in addition to the JPEG. Since its initial implementation, Fujifilm has left this feature unmodified, offering the same options on each camera generation.

Why are the Advanced Filters so obscure and not widely used? Worse, why is it actually detested by some who have tried it? Well, the short answer is that Advanced Filters aren’t “advanced” at all, and are probably the most gimmicky and sometimes cringy thing Fujifilm has included in what are otherwise sophisticated cameras. My personal opinion is that some of the Advanced Filters are okay, others aren’t particularly good, and some are definitely out-of-date. Let’s take a look at each Advanced Filter.

Toy Camera

Fujifilm describes this Advanced Filter as “a retro toy camera effect”, which is to say that it is roughly modeled after a Holga or Diana film camera aesthetic. It’s intended to be a “lomo” look. It seems to be the Provia Film Simulation with a yellow cast and some vignetting.

Miniature

This adds blur to the top and bottom of the frame, similar to using a tilt-shift lens. When you are photographing from an elevated vantage point, the Miniature Advanced Filter can give the illusion that the subject is a miniature model. It’s better to use an actual tilt-shift lens to get this effect, but if you don’t own one, this is an easy way to approximate it. Like a lot of the Advanced Filters, I believe that it is based on the Provia Film Simulation.

Pop Color

Pop Color is my favorite Advanced Filter. It more-or-less resembles Fujichrome Fortia 50 film, and in my opinion Fujifilm should make Pop Color the next Film Simulation and call it Fortia. Perhaps they’ll need to fine-tune some aspects of it, but whatever it is that they need to do, I believe that Pop Color absolutely should graduate from Advanced Filters.

High Key/Low Key

Above Left: High Key Advanced Filter; Above Right: Low Key Advanced Filter

The High Key Advanced Filter creates a bright overexposed image, while the Low Key Advanced Filter creates a dark underexposed image. There’s nothing especially special about High Key and Low Key, as both can be easily replicated using the Provia film simulation. You might occasionally use these two in lieu of having a Film Simulation Recipe programmed into C1-C7 with a similar look, but I don’t believe many people are doing that. Instead, you could use Recipes like Bright Kodak or Low Key for better results.

Dynamic Tone

“Dynamic tone expression is used for a fantasy effect,” is how Fujifilm describes it. What it reminds me of is HDR photography with aggressive tonemapping, which was all the rage 15 to 20 years ago despite being hideous.

Soft Focus

The Soft Focus Advanced Filter is kind of like setting Clarity to -20 and Sharpness to -10 on your Fujifilm camera (if that were possible) while using the Provia Film Simulation. In my opinion, it’s much too strong; instead, it should be integrated into the Toy Camera Advanced Filter with the options of Off, Weak, or Strong (with the current iteration being Strong).

Partial Color (Red, Orange, Yellow, Green, Blue, Purple)

Above left: Partial Color Red Advanced Filter; Above right: Partial Color Green Advanced Filter

The six Partial Color filters are the Monochrome film simulation (with everything set to factory defaults), but with one color recorded (either red, orange, yellow, green, blue, or purple—the singular color is the Provia Film Simulation). This is another effect that was popular 15 to 20 years ago, but is not currently trendy.

In the past when I’ve suggested that Fujifilm should consider overhauling Advanced Filters, I was surprised by the pushback. There are people who use these, and surprisingly some of the options are beloved by some photographers. The best thing that Fujifilm could do is to allow them to be customized with White Balance, Dynamic Range, Grain, etc.. For Toy Camera, it would be cool if you could choose the Film Simulation, too. If Fujifilm were to ax half of the Advanced Filters, I don’t think most people would mind (or even notice).

Let’s hypothesize that on the next generation of Fujifilm cameras, which are likely coming within the next handful of months, that they overhaul Advanced Filters. Fujifilm is probably not doing this, but let’s just pretend that they are (because they should). Let’s say that Pop Color is gone because it’s now the Fortia Film Simulation. Let’s also say that High Key and Low Key are removed because they are unnecessary and their inclusion is a bit silly. Additionally, let’s say that Dynamic Tone and Soft Focus are axed because they’re cringy. That leaves Toy Camera, Miniature, and Partial Color, which Fujifilm should allow customization for, so that they can be modified for each person’s tastes.

Obviously, some new Advanced Filters will need to be added to replaced the ones that were removed. Fujifilm needs to look no further than the X half to find the answer. The Fujifilm X half has Filters, which are the Advanced Filters plus some new ones taken from the Instax Evo series. Some of these are really good, and should make their way into other X-series cameras. Let’s look at a few that Fujifilm should add to Advanced Filters.

Retro

The best that I can describe the Retro Filter is push-processed Ektachrome slide film from the late 1960’s and 1970’s (think Ormond Gigli’s color work from that era). This is one of my favorite X half filters, and would be a great addition to the X-series.

Expired Film

Above: Expired Film Filter — Fujifilm X half

The Expired Film Filter on the X half has three options: Green, Red, and Neutral. These aren’t Filters that I would use all the time, but on occasion they can be a lot of fun. As long as Grain can be selected (or maybe Fujifilm has Grain built into it), then it doesn’t need to be customized any further.

Light Leak & Halation

Above left: Light Leak Filter; Above right: Halation filter

There are two other X half Filters that I would like to see added to the X-series: Light Leak and Halation; however, I would like these to be JPEG options and not stand-alone Advanced Filters. You should be able to apply them to any Film Simulation, and make them a part of Fujifilm Recipes. For Light Leak, the options should be: Low, High, On, Off. If set to On, every image has a light leak; if set to Low, only a small percentage of random images (say 5%) get a light leak; if set to High, a larger percentage of random images (say 20%) get a light leak. The Halation effect, which should have the options of Off, Weak, and Strong, would be great for Cinestill Recipes. If Fujifilm is unwilling to do that, at the very least they should add these two to Advanced Filters.

Cross Process

This is a bonus, but I think an Advanced Filter that resembles cross-processed Fujichrome Velvia 50 film would be really cool. I used to develop E6 slide film in C41 chemistry for fun many years ago, and if my Fujifilm camera could replicate that aesthetic, I would love it.

If Fujifilm asked for my input on how to improve the Advanced Filters, I would get rid of a few of them (namely, High Key, Low Key, Dynamic Tone, and Soft Focus). I would graduate Pop Color to a Film Simulation named Fortia. I would allow Toy Camera, Miniature, and Partial Color to be customized with various JPEG options. I would add Retro and Expired Film from the X half to the list of Advanced Filters, as well as Light Leak and Halation if Fujifilm is unwilling to make them JPEG options that can be applied to any Film Simulation. And I would add a Cross Process Advance Filter that resembles Fujichrome Velvia 50 developed in C41 chemistry, because that would be really cool. This would turn what is often viewed as a cringy feature into something more useful and better appreciated. Will Fujifilm take this advice? I hope so, but my guess is that Advanced Filters will continue to be identical to what it was way back in 2013 when it was first introduced.

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