Oysters & Seafood – Denver, CO – Fujifilm X-T50 – Cinematic Film Recipe
This isn’t a new Film Simulation Recipe, but one of the 14 Fujifilm X-T50 Film Dial Recipes that I published in May when the Fujifilm X-T50 was announced. I stated in that article, “It would be absurd to include all 14 versions of this Recipe in the Fuji X Weekly App; even adding eight to the App is too much, but (with hesitation) that’s what I’ve done.” Those eight Recipes—Standard Film, Velvia Film, Astia Summer, Kodak Film, Fujicolor PRO 160C Warm, Superia Negative, Nostalgic Film, and Neopan Negative—are all identical other than the film simulation, and are found in the App.
I left six of the 14 Recipes—Fujicolor PRO Film, Fujicolor PRO 160S, Cinematic Film (which is this Recipe), Reduced Bleach, Monochrome Film, and Sepia Print—out of the App. In the months since, I have had a number of requests to include the Cinematic Film Recipe in the Fuji X Weekly App, so—by popular demand—Cinematic Film is now available on your phone!
Hotel Chelsea – New York City, NY – Fujifilm X-T50 – Cinematic Film Recipe
This Recipe is compatible with all fifth-generation X-Trans cameras, which (as of this writing) are the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50. For the X-T4, X-S10, X-E4, and X-T30 II cameras, I recommend setting Color Chrome FX Blue to Strong (instead of Weak). For the latest GFX models, I recommend setting Shadow to -0.5 (instead of -1). For more information on how I setup and use the X-T50 Film Dial Recipes, watch this video (click here). If you don’t have an X-T50 and still want to use the Film Dial strategy, simply add the Recipe to one of your C1-C7 slots, and program a Fn button to activate the film simulation menu. The Cinematic Film Recipe is especially great for taming high-contrast light, for a soft aesthetic, and for after-dark photography.
Film Simulation: Eterna Dynamic Range: DR400 Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome FX Blue: Weak White Balance: Auto White Priority, +2 Red & -4 Blue Highlight: -1.5 Shadow: -1 Color: +3 Sharpness: -1 High ISO NR: -4 Clarity: -2 ISO: Auto, up to ISO 6400 Exposure Compensation: 0 to +1 (typically)
Example photographs, all camera-made JPEGs captured using this “Cinematic Film” Film Simulation Recipe on a Fujifilm X-T50:
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Architecture Archway – San Diego, CA – Fujifilm X-T50 – Pacific Blues
I get asked fairly regularly which Film Simulation Recipes are the most popular. For me, this is a fascinating topic, but it’s definitely hard to know definitively. While I get a glimpse on social media, my best gauge is the Fuji X Weekly website statistics; specifically, which Recipe articles are viewed the most. I don’t collect any data on the Fuji X Weekly App, so that’s no help—although, if I did, it would likely offer the most accurate picture; however, it would still be impossible to know which Recipes people programmed into their Fujifilm cameras, or how often they used each. Perhaps a survey would be particularly useful, yet even it has its limitations. While certainly a flawed method, page-view website statics offer the best glimpse at which Film Simulation Recipes are the most popular, so that’s what I’m using for this article. These are simply the Top 25 most-viewed Recipes on the Fuji X Weekly website last month (August 2024).
The last time that I did one of these articles was for May, so June and July were both skipped. By request, I have returned with the most popular Recipes of August. There are usually some surprises when comparing one month to the next, but for the most part it’s pretty predictable; however, skipping a couple of months… there are a couple of major surprises, but it’s still pretty predictable.
Those Recipes with Kodak brand names in the title—Kodachrome, Portra, Gold, Tri-X, etc., etc.—are usually the most popular. Classic Chrome is the king of film simulations, as the majority of the most-viewed Recipes are based on that film simulation—in fact, the Top 7 are all Classic Chrome Recipes. Three of the Top 25 are Classic Negative Recipes; shockingly, the Reala Ace Recipe (not to be confused with the Reala Ace film sim) dropped out of the Top 5 all the way to #18! Two of the Top 25 are based on the Reala Ace film simulation, and one each are based on Acros, Nostalgic Neg., Eterna, and Eterna Bleach Bypass.
Without any further delay, below are the most popular Recipes of last month!
Top 25 Most Popular Film Simulation Recipes of August 2024
A Classic Chrome based Recipe for X-Trans IV cameras that is the long-time most popular Film Simulation Recipe for Fujifilm cameras. There is a pretty big gap between this and second place.
This is the X-Trans V version of Kodak Portra 400 v2. It rose significantly in popularity since May, likely because more people have X-Trans V cameras now.
This version of Kodak Portra 400 was commonly the third most popular Film Simulation Recipe on Fuji X Weekly for a long time—it’s still in the Top 10, but hasn’t cracked the Top 5 in awhile.
Pacific Blues is currently the highest ranked Classic Negative based Recipe. This particular one is compatible with X-Trans IV models, but there is also an X-Trans V version.
Bright Summer—another Classic Chrome based Recipe for X-Trans IV—is sometimes called Preetra 400, because it is modeled after Preet’s aesthetic (Preet himself is the one who gave it that nickname, btw). It didn’t crack the Top 25 for a long time, but in March it suddenly made an appearance, and has ranked pretty high ever since.
Vintage Kodachrome, which is based on Classic Chrome, is one of the older Film Simulation Recipes on Fuji X Weekly, and is compatible with X-Trans III cameras. It usually cracks the Top 15, and sometimes the Top 10.
By far the most popular B&W Recipe, Kodak Tri-X 400 is based on the Acros film simulation, and has compatibility X-Trans III, X-Trans IV, and X-Trans V models. It was ranked #11 in May.
I published this Recipe, which has compatibility with both X-Trans IV and X-Trans V cameras, in April. It uses Classic Chrome, and has some similarities to Kodak Portra.
This is a somewhat recently published Eterna-based X-Trans V CineStill 800T Recipe; however, it’s simply an adaptation of the X-Trans IV version that has been around awhile. This is the highest ranking Eterna based Recipe.
Reala Ace used to be the most popular Classic Negative Recipe, typically found in the Top 10, and sometimes even the Top 5 (and even once at #1!), but it has fallen quite far in the rankings since May. This Recipe is for X-Trans V cameras.
This is a Recipe that I’m surprised doesn’t rank higher. This version is for X-Trans IV cameras, but there are also versions for X-Trans II, X-Trans III + X-T3/X-T30, and X-Trans V.
A Classic Negative based Recipe that’s compatible with X-Trans V cameras (there’s also an X-Trans IV version). This one typically either just makes the Top 25 or just misses.
1960 Chrome was published in July and is compatible with both X-Trans IV & X-Trans V cameras. It is based on Eterna Bleach Bypass, a film simulation that doesn’t typically make it onto these type of lists.
Hey, everyone! I will be at the NAB Show in New York City on October 9th and 10th, leading three photowalks. These photowalks will be small groups, meaning that there will be tons of opportunity for one-on-one conversations. This is a teaching photowalk—I’m there to help you—so bring whatever questions you might have, and I’ll make it as informative and educational as I can. The photowalks will take place in the vicinity of the Jacob Javits Convention Center in Midtown West Manhattan.
Fujifilm will be offering “an immersive journey into the world of photography and videography.” As a part of this, there will be 24 photowalks hosted by a variety of extraordinarily talented creators. Seriously, I would love to attend all of these photowalks myself—this is a don’t-miss opportunity!
I will be leading three photowalks: October 9th at 10:30 AM, October 9th at 2:00 PM, and October 10th at 11:00 AM. The theme of my photowalks are Straight Out of Camera Photography—we’re going to “put the legendary Fujifilm colors to the test and learn to craft polished images in-camera to streamline your process.” Basically, we’re going to use various Film Simulation Recipes to photograph New York City. Bring your favorite Fujifilm camera; also, this will be an opportunity to get hands-on with some of the latest X-series gear, so bring a spare SD card.
The themes of the other photowalks are Video Visuals, Camera-to-Cloud, Film Simulations, Couples Portraiture, Street Photography, and Social Reels. These photowalks are free; however, you must preregister for the photowalk that you want to attend, and also be registered for NAB. While NAB is not free, if you follow this link (click here), you can get free registration! Those of you who live in the NYC area will want to come for certain. Spaces are very limited, so don’t procrastinate—sign up today!
Just to be clear right up front: this is not a review of the new Fujinon 16-50mm f/2.8-4.8 R LM WR kit lens. Someone let me use their copy for half a day while I was in Denver to lead a photowalk (thanks, Matt!), so this is just a quick impression after a handful of hours of use. Everything that I say about it should be taken with a grain of salt, since I don’t own the lens and only used it briefly. My goal is simply to help bring some clarity to those who might be considering it—I’m not certain if I’ll be able to accomplish that, but I hope so.
The Fujinon 16-50mm f/2.8-4.8 is Fujifilm’s successor to the much-beloved 18-55mm f/2.8-4 kit lens, which has been discontinued. I’m not a zoom-lens guy—I prefer prime lenses—but I do own the 18-55mm f/2.8-4, and it’s the only zoom lens that I use even close to somewhat regularly. I don’t use it all the time, but definitely more than any other zoom that I own. It’s an excellent kit lens, perhaps even the best kit lens offered by any brand. I was actually a little sad when Fujifilm announced that they were replacing it. I think the primary reason for its discontinuation is that it cannot fully resolve the 40mp X-Trans V sensor.
There’s actually quite a lot different between the 16-50mm f/2.8-4.8 and the 18-55mm f/2.8-4. Some advantages of the 16-50mm are: optically superior, internal zoom, lighter, smaller (the lenses are the same size, but the 18-55mm extends when you zoom while the 16-50mm doesn’t), weather-sealed, wider focal length, and better minimum focus distance. Some advantages of the 18-55mm are: optical image stabilization, larger maximum aperture at the telephoto end, longer telephoto reach, and can be found cheaper used than the 16-50mm new. Each has advantages and disadvantages, so it’s difficult to say that one is “better” than the other; however, if I had to pick one as better, it would be the new 16-50mm.
I was actually pretty impressed with the sharpness of the 16-50mm f/2.8-4.8 lens. It’s tack sharp, with the crispness that one would expect from a prime lens. I didn’t notice any vignetting, either. The new lens is optically the winner; the old lens isn’t a slouch, but the 16-50mm is quite obviously the better of the two. Having the 16-50mm is like owning a whole bunch of prime lenses, albeit ones without impressive maximum apertures.
The difference between 16mm and 18mm is larger than the difference between 50mm and 55mm; however, my personal preferences is to have more telephoto reach. For me, I want 55mm f/4 more than I want 16mm. I almost never used 16mm during the short time with the lens, but you might use 16mm often and 50mm rarely. Toping out at f/4.8 at 50mm is odd, since it is a half-stop intermediate aperture. Half-stops were once common a long time ago, but they’re pretty rare nowadays. There’s not a significant benefit in depth-of-field, compression and bokeh (using that term incorrectly) from 55mm f/4 compared to 50mm f/4.8, but there is a difference nonetheless. For me, though, the biggest problem with f/4.8 is dust. You see, living in Arizona, I constantly battle a dirty sensor, and dust on the sensor won’t show at f/4 but it will begin to show at f/4.8.
The Fujinon 16-50mm f/2.8-4 R LM WR makes the most sense when paired with the cameras that have the 40mp X-Trans V sensor and IBIS, which (as of this writing) are the X-H2, X-T5, and X-T50. My guess is that the majority of those who own the X-H2 and X-T5 are not using kit zooms (although I’m sure some are… I use the 18-55mm on my X-T5 sometimes), so that means the Fujifilm X-T50 is the camera that this lens makes the most sense for, in my opinion (I’m sure Fujifilm will release more models in the future that this lens pairs especially well with). For the models without the 40mp sensor but with IBIS—the X-H2s, X-S20, X-S10, and X-H1—you could go either way. Pairing this lens to a weather-sealed body is quite logical, so maybe that could be a deciding factor. For cameras without IBIS, I would recommend the 18-55mm f/2.8-4 lens, since it has OIS.
I have no intentions of purchasing the Fujinon 16-50mm f/2.8-4.8. Don’t get me wrong: I would be happy owning it, but I’m also happy owning the Fujinon 18-55mm f/2.8-4, and I just don’t have a need for two kit zooms right now. But, if you’re trying to decide, I think the Fujifilm X-T50 and Fujinon 16-50mm f/2.8-4.8 combo could be an especially excellent lightweight travel kit. Also, the internal zoom of the 16-50mm is a major plus for those who will be using it with a gimbal, since you won’t have to rebalance whenever you adjust the focal length. The $699 MSRP is a bit steep (it’s the same price that the 18-55mm was), but if you buy it bundled with a camera body, it’s basically $300 cheaper, and for that price I think it could be worthwhile.
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
Yellow Bus – Plymouth, MA – Fujifilm X-T4 ES – Aerochrome v2
I’m in love with this Aerochrome v2 Film Simulation Recipe! It’s for full-spectrum infrared cameras like the Fujifilm X-T4 ES, and not “normal” cameras. You must have a full-spectrum X-Trans IV or X-Trans V model, which requires an expensive and invasive procedure from a third-party vendor; otherwise, the X-T4 ES (“Extended Spectrum”) is a full-spectrum camera briefly offered by Fujifilm (it’s very difficult to find, but in my opinion totally worth owning). So if you have the right gear, you’ll want to try out this Aerochrome v2 Recipe today!
Not only do you need the “right” camera—a full-spectrum model like the Fujifilm X-T4 ES—but you also need the “right” filters. This Recipe requires three: Kolari Vision IR Chrome filter, Hoya G(XO) Yellow-Green filter and Tiffen Yellow 2 #8 filter. The IR Chrome filter is intended for infrared photography, while the Yellow-Green and Yellow filters are for B&W film. I’m not sure if the order matters, but I have the Yellow filter first (closest to the lens), the IR Chrome next, and the Yellow-Green last (furthest from the lens).
Architecture – San Diego, CA – Fujifilm X-T4 ES – Aerochrome v2
This Recipe produces Aerochrome-like pictures, but it doesn’t behave exactly like the film. Even so, the fact that you can get this look straight-out-of-camera is amazing! If this was the only Recipe that I could ever use on my Fujifilm X-T4 ES, I’d be very happy. I do have an Aerochrome v1 Recipe that has less green and yellow hues and a more pronounced blue tint, plus I’m working on a handful of others, so if this isn’t the look that you want, there are (or will be shortly) other options. But this Recipe… it’s what I hoped to achieve when I purchased the camera a couple of months ago. Oh, and surprisingly, it’s excellent for night photography.
Filters: Kolari Vision IR Chrome, Hoya G(XO) Yellow-Green & Tiffen Yellow 2 #8 Film Simulation: Velvia Dynamic Range: DR400 Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome FX Blue: Strong White Balance: Daylight, +7 Red & +6 Blue Highlight: +2.5 Shadow: -0.5 Color: +4 Sharpness: 0 High ISO NR: -4 Clarity: -2 ISO: Auto, up to ISO 6400 Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured using this Aerochrome v2 Film Simulation Recipe on my Fujifilm X-T4 ES:
Grass & Sand – Plymouth, MA – Fujifilm X-T4 ES
Driftwood Log – Plymouth, MA – Fujifilm X-T4 ES
Red Beach – Plymouth, MA – Fujifilm X-T4 ES
Red Rock – Plymouth, MA – Fujifilm X-T4 ES
Boards & Boats – Plymouth, MA – Fujifilm X-T4 ES
Vans – Plymouth, MA – Fujifilm X-T4 ES
Red Trees Behind Rooftop – Plymouth, MA – Fujifilm X-T4 ES
House at Dusk – Plymouth, MA – Fujifilm X-T4 ES
Flowers in the front Yard – Plymouth, MA – Fujifilm X-T4 ES
Seaweed by the Rocks – Plymouth, MA – Fujifilm X-T4 ES
Girl Holding a Dead Crab – Plymouth, MA – Fujifilm X-T4 ES
Mayflower – Plymouth, MA – Fujifilm X-T4 ES
Boats in the Bay – Plymouth, MA – Fujifilm X-T4 ES
Tree behind Columns – Plymouth, MA – Fujifilm X-T4 ES
Parthenon – Nashville, TN – Fujifilm X-T4 ES
Parthenon Pillars – Nashville, TN – Fujifilm X-T4 ES
Patina – Buckeye, AZ – Fujifilm X-T4 ES
Kids at a Lake – Nashville, TN – Fujifilm X-T4 ES
Steps to the Water – Plymouth, MA – Fujifilm X-T4 ES
Reflected Red – Nashville, TN – Fujifilm X-T4 ES
CSX Train – Nashville, TN – Fujifilm X-T4 ES
Turning – Nashville, TN – Fujifilm X-T4 ES
City Trees – Nashville, TN – Fujifilm X-T4 ES
Boats off the Water – Nashville, TN – Fujifilm X-T4 ES
Little Dam – Nashville, TN – Fujifilm X-T4 ES
Palm, Architecture & Moon – San Diego, CA – Fujifilm X-T4 ES
Lily Pond – San Diego, CA – Fujifilm X-T4 ES
Palms & Structure – San Diego, CA – Fujifilm X-T4 ES
Kelp Washing Ashore – San Diego, CA – Fujifilm X-T4 ES
Surfer – San Diego, CA – Fujifilm X-T4 ES
Sidecar Dog – Philadelphia, PA – Fujifilm X-T4 ES
Not Always Sunny – Philadelphia, PA – Fujifilm X-T4 ES
Autumn in August – Philadelphia, PA – Fujifilm X-T4 ES
Window with a View – Philadelphia, PA – Fujifilm X-T4 ES
Lifeguard Tower 5 – San Diego, CA – Fujifilm X-T4 ES
Luke’s 32 – Nashville, TN – Fujifilm X-T4 ES
Cookin’ & Drinkin’ – Nashville, TN – Fujifilm X-T4 ES
Rainbow over Hoboken – Hoboken, NJ – Fujifilm X-T50 – Pushed Analog Recipe
I created this new Film Simulation Recipe while on my four-city photowalk tour. I didn’t have any specific film in mind, but wanted something contrasty, colorful, and warm—perhaps vaguely reminiscent of a push-processed Kodak emulsion without mimicking anything specific. In fact, I didn’t even reference any photographs when I created this (which is unusual for me), just used my experience making Recipes to achieve the aesthetic that I was after. Since it is only similar to pushed film in a very generic way, I named this Recipe very simply Pushed Analog.
Pushing film is where you purposefully underexpose, and then increase the time in the developer to compensate. This Recipe might be more similar to ISO 100 film pushed one stop or maybe two at most (but probably not two stops). Pushing film increases the contrast and grain, and makes the images more punchy and gritty. The more you push, the stronger the effect. The warmth in this Recipe is similar to using a warming filter, such as an 81A or something similar, with daylight balanced film, which used to be common in the film era.
Ciao & Church – Boston, MA – Fujifilm X-T50 – Pushed Analog Recipe
This Pushed Analog Film Simulation Recipe isn’t for every subject or situation, and not everyone is going to like it. Some of you will love it, I’m certain; however, this is not an everyday option that everyone will appreciate. I found that it works best in sunny daylight, and can also be a good option for dusk or dawn. It’s so-so for overcast days, and not good for artificial light. You can get dramatic results, but you might not find every image to be striking. This Recipe is compatible with all fifth-generation X-series cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50.
Film Simulation: Reala Ace Dynamic Range: DR200 Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome FX Blue: Strong White Balance: Fluorescent 1, -3 Red & -2 Blue Highlight: +1.5 Shadow: +2 Color: +4 Sharpness: -1 High ISO NR: -4 Clarity: -3 ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured using this Pushed Analog Film Simulation Recipe on a Fujifilm X-T50:
Upper Manhatten – Hoboken, NJ – Fujifilm X-T50
Richie’s Lemon Ice – Boston, MA – Fujifilm X-T50
Yellow Umbrellas – Hoboken, NJ – Fujifilm X-T50
P is for Parking – Hoboken, NJ – Fujifilm X-T50
Chimney between the Trees – Salem, MA – Fujifilm X-T50
Vines on the Building – Salem, MA – Fujifilm X-T50
Find this Film Simulation Recipe and over 350 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
I’ve been on the road almost all of August. I’ve traveled from the west coast to the east coast, and stopped at a few places in-between. It’s been an epic three weeks of travel, and I’m not home yet.
Because I’ve been so busy, I haven’t been able to publish anything on Fuji X Weekly (until today …briefly, anyway), answer your comments, or respond to your emails. I will get to them as soon as I have the opportunity—I apologize for the delay, and appreciate your patience.
I have so much content to share! I have many various articles and photographs to post, and I hate that I can’t just type it all out right now. Once I’m back home, I will busily get it all ready for publication. Expect most of it to be published throughout September.
Today, while I have a quick opportunity, I wanted to briefly shoutout both the Nashville and Philadelphia photowalks. These were the last two on the tour. It was so great to meet you all in your hometowns, and it was an honor to photograph with you. Those two photowalks, which were just two days apart, were such a great way to conclude the series.
41 people showed up for the Nashville photowalk. It was in the middle of the week, which I think made it a little more difficult for people attend. I’m so thankful to everyone who did make it out. There was a bit of a mixup in the meetup location, which delayed the start. Once we began… Broadway is such a busy road! I had never been to Nashville, and I had no clue that the there would be gobs and gobs of people on the sidewalks. Because of this, there were a ton of photo opportunities everywhere (literally every spot you looked), but also it was impossible to stay together as a group, and difficult to have conversations. Still, it seemed like everyone had a great time. A special thanks to Gabe Wasylko for co-leading the photowalk, to Fujifilm for all the behind-the-scenes work to make it happen, and The Pixel Connection for all your help and support!
Here are a few photos that I captured on the Nashville photowalk:
The Philadelphia photowalk was great… but we also got soaked. I counted 49 people, who came out despite the forecasted rain (apparently it’s not always sunny in Philadelphia…). I gave a short presentation on film simulations and Film Simulation Recipes, then we headed out with our cameras to tour the historic Old City district. As we were making our way back the sky broke open and it just poured. It didn’t last long, but those without weather-sealed gear (myself included) got to test out if the rain would really ruin our cameras. The X-T50 I had made it through unscathed. Anyway, thank you to all those who braved the weather to come along—it was so great to meet you! Also, a special thanks to Allan Ali for co-leading the photwalk, to Fujifilm for all the behind-the-scenes work, and Unique Photo for hosting!
Here are a few photos that I captured at the Philadelphia photowalk:
The Film Simulation Summer Photowalk in San Diego was epic… even if it got off to a rocky start. You see, the photowalk was at Balboa Park, which is typically a popular place, and parking can normally be somewhat challenging; however, the San Diego Zoo, which is also in Balboa Park, just so happened to get some Giant Pandas from China the day before, creating a panda-monium. Needless to say, parking was a nightmare!
Even so, somewhere around 60 photographers came out to the event, which is a very large group. A number of people showed up late (due to the parking situation), so it was impossible to get an accurate head count. I bet more would have been there had the parking situation been better, so I apologize to everyone who tried to come but just couldn’t find parking. Once we got going, it was a lot of fun, and I think everyone had a good time. It was great to meet everyone and talk cameras and photograph with you all. Thanks so much to everyone who braved the parking situation and came out for the photowalk—you made it epic!
Tom – San Diego, CA – Fujifilm X-T50 – Pacific Blues Recipe
This was a collaborative effort. It took a lot of people to pull it off. I want to shout-out Tom Baumgaertel (bewaremyfuji) who co-lead the photowalk. Tom is amazing! It was great to hang with him for the day. Thanks to Fujifilm for all the behind-the-scenes work, and also helping out during the walk. Thank you to Nelson’s Photo & Video for being a big part of it. I don’t know how many individuals it took to make this photowalk happen, but it was a lot!
Next up is Nashville on August 15th, which is this coming Thursday. There are only a few slots left, so be sure to register (click here) if you haven’t done so yet. Philadelphia is two days later on August 17th, and it is completely booked. If you are attending one of those photowalks, I will see you very soon!
Below are some photos from the San Diego photowalk that I captured on a Fujifilm X-T50:
Fujifilm X-T50 + Fujinon 27mm f/2.8 + Pacific Blues Recipe
Fujifilm X-T50 + Fujinon 27mm f/2.8 + Pacific Blues Recipe
Fujifilm X-T50 + Fujinon 27mm f/2.8 + Pacific Blues Recipe
Fujifilm X-T50 + Fujinon 27mm f/2.8 + Pacific Blues Recipe
Fujifilm X-T50 + Fujinon 27mm f/2.8 + Pacific Blues Recipe
Fujifilm X-T50 + Fujinon 27mm f/2.8 + Pacific Blues Recipe
Fujifilm X-T50 + Fujinon 27mm f/2.8 + Pacific Blues Recipe
Below are some photos from the San Diego photowalk that Amanda captured on a Fujifilm X-T5:
Fujifilm X-T5 + Fujinon 56mm f/1.2 + Pacific Blues Recipe – by Amanda Roesch
Fujifilm X-T5 + Fujinon 56mm f/1.2 + Pacific Blues Recipe – by Amanda Roesch
Fujifilm X-T5 + Fujinon 56mm f/1.2 + Pacific Blues Recipe – by Amanda Roesch
Fujifilm X-T5 + Fujinon 56mm f/1.2 + Pacific Blues Recipe – by Amanda Roesch
Fujifilm X-T5 + Fujinon 56mm f/1.2 + Pacific Blues Recipe – by Amanda Roesch
Fujifilm X-T5 + Fujinon 56mm f/1.2 + Pacific Blues Recipe – by Amanda Roesch
Fujifilm X-T5 + Fujinon 56mm f/1.2 + Pacific Blues Recipe – by Amanda Roesch
Fujifilm X-T5 + Fujinon 56mm f/1.2 + Pacific Blues Recipe – by Amanda Roesch
Fujifilm X-T5 + Fujinon 56mm f/1.2 + Pacific Blues Recipe – by Amanda Roesch
Fujifilm X-T5 + Fujinon 56mm f/1.2 + Pacific Blues Recipe – by Amanda Roesch
PetaPixel published an interesting article today entitled Camera Makers Are Increasingly Happy to Trade Image Quality for Other Benefits by Jaron Schneider. I found it fascinating, particularly in light of my Let’s talk Fujifilm AF article that I published a little over a week ago. When I typed that post, I hadn’t considered that there might be an actual cost to image quality in order to produce blazing fast cameras with extraordinarily exceptional autofocus.
In my article, I said, “Fujifilm’s autofocus is very good—fantastic, actually. However, Sony and Canon (and arguably Nikon) have a bit more fantastic autofocus system than Fujifilm (as you’d expect). I really don’t understand the complaints about Fujifilm’s autofocus. It is like complaining that a Corvette isn’t a Maserati, and calling the Corvette garbage because it isn’t more like a Maserati. If you want a Maserati, buy a Maserati! Otherwise, appreciate that you have a Corvette.”
PetaPixel’s article essential states that the big three camera makers—Canon, Nikon, and Sony (a.k.a. Canikony)—are chasing faster camera processing, improved autofocus, and increased video specs at the expense of pure image quality. It might be that they’re so focused (pun intended) on those things that improving image quality for still photographs just isn’t a priority, so it remains stagnate from one model to the next. Perhaps they simply feel that image quality has neared the ceiling for the current tech, so there’s no need to push things further. On the other hand, the tech they’re using in some cameras to achieve speed plus autofocus and video specs is actually detrimental to image quality, particularly for dynamic range and high-ISO noise.
I’ve never even been inside of a Maserati or Corvette, but perhaps the Corvette, while not as fast or agile as the Maserati, offers a more comfortable ride for significantly less money, while still delivering a thrill. No camera is perfect, and each has advantages and disadvantages—what I can say for certain is that I’d choose a “Corvette” camera over a “Maserati” any day of the week. And I’m glad that Fujifilm is not compromising still image quality in pursuit of speed and specs. Jaron wrote, “One company that is finding its products suddenly becoming more compelling because of this: Fujifilm.”
I hope that Fujifilm doesn’t cave in to the negativity by some who would prefer that they simply become a part of the Canikony brands (Canikonyfilm?). In my opinion, Fujifilm should continue to blaze their own trail, and not concern themselves too much with what the other brands are doing. They need to continue to produce compelling cameras—trendworthy and timeless products—and do more to communicate with potential customers why their unique approach is desirable and maybe even preferable.
I really don’t want Fujifilm to pursue a path that leads to reduced image quality. Those who appreciate image quality above technical specs and extreme performance will turn to—and have already been turning to—Fujifilm as the Canikony brands ignore them. Those who prefer speed and specs above all else have three brands to choose from—for certain those things sell cameras (or else they wouldn’t be doing it), but those who actually need it are a very small percentage of the total customers. Most of those who buy those cameras do so because of marketing or hype or FOMO; however, they don’t need a “Maserati” by any stretch, and would be quite happy with a “Corvette” instead.
What is your opinion? Should Fujifilm give up some image quality in order to make faster cameras like Canon, Nikon, and Sony have been doing? Or should Fujifilm work more towards improvements in image quality instead? Comment below with your opinions!
Several weeks back I stumbled on a review of Kodak Ektachrome E100 color reversal film (the current version), and I thought: That looks a lot like the Reala Ace film simulation. I took a guess at some settings, but didn’t put much effort into testing or refining them. I got busy with some other things (such as planning and preparing for a four-city photowalk tour), and neglected to do anything more. More recently, Fuji X Weekly reader Dan Allen messaged me with the same exact observation about Ektachrome E100 and Reala Ace, which made me revisit the project.
Dan actually captured some side-by-side photos with Ektachrome E100 and a Fujifilm camera using the Reala Ace film simulation; however, he couldn’t quite get it to match. Interestingly, the settings that he had come up with as the closest facsimile were quite similar to mine. It was thought that the particular scanner used likely played a role in the exact aesthetic of the Ektachrome images—one film can produce a variety of looks depending on how it was shot, developed, and printed, projected, or scanned, among other things. Being a slide film, E100 is inherently designed to be projected. While this Recipe isn’t an exact match to Dan’s Ektachrome slides (although it’s not terribly far off, either), it does share a lot of resemblance with some Ektachrome E100 images that can be found online.
Kodak introduced Ektachrome in 1946. I counted once, and there are over 40 different emulsions that have been called Ektachrome over the years, not including slight revisions or improvements to the same film. The “E” development process was invented for Ektachrome film… it began with E1; the E6 process that’s used today was introduced in 1977. Each different Ektachrome and development process produced a divergent look. Kodak discontinued Ektachrome in 2012, but in 2018 they brought back Ektachrome E100. Some have suggested that this new version is simply a revision of Ektachrome E100G, but I don’t believe that’s been verified—it may or may not be.
While Reala Ace can be made into a pretty close match to Kodak Ektachrome E100, there are some issues that prevent it from being even more accurate—I would love a +5 Color option, for instance. Skin tones aren’t perfect, either—it’s possible to improve that, but at the expense of other attributes. I also think DR-Auto would be a good option, but the camera doesn’t jump to DR200 quickly enough, in my opinion. This Recipe is not perfect, but after a lot of tries over the years, this is the most satisfied I’ve been with any of my attempts, and I think it’s convincing enough to be given the Ektachrome E100 name.
This is an App Patron Early-Access Recipe. If you are a Fuji X Weekly App Patron, you have access to it right now. If not, no worries, as it will eventually be made available to everyone, once it is replaced by a new Early-Access Recipe. It is compatible with all fifth-generation X-Trans cameras, which (as of this writing) are the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50. I’m sure it can also be used on the latest GFX models; however, it will likely render slightly different (try it anyway).
Example photographs, all camera-made JPEGs using this Ektachrome E100 Film Simulation Recipe on a Fujifilm X-T50:
Corn Dog – Denver, CO – Fujifilm X-T50
Window Succulent – Buckeye, AZ – Fujifilm X-T50
Airline Club – Phoenix, AZ – Fujifilm X-T50
Terminal Passenger – Phoenix, AZ – Fujifilm X-T50
Green Plant on a Red Desk – Buckeye, AZ – Fujifilm X-T50
Concrete Wall & Shrubs – Buckeye, AZ – Fujifilm X-T50
Find this Film Simulation Recipe and over 350 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
Omar Gonzalez posted a hilarious YouTube video called Do You Suffer from Fujifilm Sim Depression?, a parody of pharmaceutical commercials, except that it’s about Fujifilm film simulations and not prescription drugs. It’s incredibly well done and funny! I don’t want to spoil it if you haven’t watched it, but the conclusion is that Omar likes the Provia film simulation. So watch the video if you haven’t yet seen it, and if you are suffering from “Fujifilm Sim Depression” let me offer you this cure: the PROvia Film Simulation Recipe. Perhaps someday Omar will see it and try it; if so, I hope he likes it!
Provia is one of the film simulations that I personally like least… it’s well above Sepia, but towards the bottom of the list nonetheless. Ouch. As it turns out, I was never meant to like it, yet it is the “Standard” film simulation on all Fujifilm cameras. This PROvia Recipe is my take on a “better” Provia, and is intended to not only look good, but also be versatile so that it could be one’s go-to Film Simulation Recipe (that’s why “PRO” is capitalized in the name). It is compatible with all X-Trans II cameras; those with X-Trans I and Bayer models can use it, too, but it will render slightly different (try it anyway).
Car Care – Tucson, AZ – Fujifilm X70 – PROvia Recipe
This PROvia Film Simulation Recipe was a Fuji X Weekly App Patron Early-Access Recipe, but now it’s available to everyone. If you are an App Patron, you’ve had access to it for awhile. For those who are not, now you can use it, too. Perhaps it will even cure your Fujifilm Sim Depression….
Provia/STD Dynamic Range: DR400 Highlight: -2 (Soft) Shadow: +1 (Medium-Hard) Color: +1 (Medium-High) Sharpness: 0 (Standard) Noise Reduction: -2 (Low) White Balance: Auto, -1 Red & 0 Blue ISO: Auto, up to ISO 3200 Exposure Compensation: +1/3 to +2/3 (typically)
Example photographs, all camera-made JPEGs using this PROvia Film Simulation Recipe on my Fujifilm X70:
Sabino Creek – Summerhaven, AZ – Fujifilm X70
Saguaro Behind Palms – Tucson, AZ – Fujifilm X70
Palm Branches – Tucson, AZ – Fujifilm X70
Green Ocotillo – Tucson, AZ – Fujifilm X70
Gunfight Site – Tombstone, AZ – Fujifilm X70
Reach for the Sky – Tombstone, AZ – Fujifilm X70
Bird Cage Theatre – Tombstone, AZ – Fujifilm X70
One Way Alley – Bisbee, AZ – Fujifilm X70
Cloudy Saguaro – Tucson, AZ – Fujifilm X70
Prickly Pear Pads – Tucson, AZ – Fujifilm X70
Sunlight Through the Forest – Summerhaven, AZ – Fujifilm X70
Snowy Hillside – Summerhaven, AZ – Fujifilm X70
Rainy Desert at Dusk – Tucson, AZ – Fujifilm X70
Indoor Fireworks – Tucson, AZ – Fujifilm X70
Used Bookmans – Tucson, AZ – Fujifilm X70
Alignment – Tucson, AZ – Fujifilm X70
Find this Film Simulation Recipe and over 350 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
The Film Simulation Summer Photowalk this past Saturday in Denver was a huge success! We had a ton of fun. The weather was perfect and the vibe was great. It was so wonderful to meet everyone!
The turnout was just incredible—almost everyone who signed up showed up, which is nearly unheard of for free photowalks (a 50%-60% turnout is more typical). Despite the lead time being so short—it was officially announced just days before the event—there were between 60 and 65 photographers that came out. The furthest away someone traveled for this photowalk was Italy(!!). I was blown away by the turnout, but I was even more impressed with the kindness and spirit of those who came—you all are awesome people!
It wasn’t without a hitch. A police officer approached us before we even began, and with an aggressive voice wanted to know what we were doing. I told him that we were just there for photography, and he was satisfied with that answer. Apparently someone (not from our group) had set off an alarm, and he was investigating that. He moved along and all was good, but for a moment I wondered if the photowalk was going to end before even beginning. There were a couple of other small issues that we had to work through. Overall, though, it just went really well. If the next three photowalks are only half as good as this one was, they will all be great!
Speaking of the next three photowalks:
San Diego is only four days way! We’re meeting on August 9th at 2 PM at the Spreckels Organ Pavilion in Balboa Park. It’s 70% full, but there’s still some space available for anyone who wishes to join us.
Nashville is on August 15th. Pixel Connection is having a popup event from 4-7 PM, and our photowalk follows that at 7:15 PM at the Cumberland Park Amphitheater. There’s still plenty of space available. If you know anyone in Tennessee or the surrounding area who might be interested in attending, please help spread the word.
Philadelphia is on August 17th at Unique Photo at 4:15 PM. This photowalk is 100% fully booked!!!
I didn’t get to do a whole lot of photography at the Denver photowalk (I was too busy chatting, which was great!), but below are some of my pictures, all camera-made JPEGs captured on a Fujifilm X-T50 & Fujinon 16-50mm lens:
The Fujifilm X30 is an amazing and fun little camera. All it does is create wonderful pictures. It was quite surprising, and just blew away my expectations! I bet some of you aren’t even aware that this camera exists.
MPB is the sponsor of this article. They loaned me a Fujifilm X30 to try out for a couple of weeks. For those who don’t know, MPB is an online platform where you can buy, sell, or trade used photo and video gear. “At MPB, there’s something for everyone who wants to try something new, hone their skills, or pursue their passion—and it won’t cost the earth.” If you’re in the market for used camera gear, be sure to check out their platform—you can learn more about MPB here. Thank you, MPB, for making this article possible!
The Fujifilm X30 is a compact fixed-lens zoom camera with a tiny 12MP X-Trans II sensor. The third iteration in the series, the X30 was already a bit dated when it was released in 2014. With its discontinuation in 2016, Fujifilm abandoned the series altogether. The camera has a 28mm-112mm full-frame-equivalent f/2-2.8 lens, so it covers a lot of focal lengths. It has pretty good close focus capabilities and even optical image stabilization. There’s a lot to like on paper, but the 2/3″ CMOS sensor is just really small, and I think it’s hard to take a camera seriously with such a tiny sensor—especially when that tech is a decade old or more. That’s all on paper, of course, and real world use is what actually matters.
Despite the tiny sensor, the Fujifilm X30 is actually a similar size (just a tad smaller) to the Fujifilm X-E4 with the Fujinon 18mm f/2 pancake. The camera is not nearly as compact as I had expected. I had anticipated the dimensions to be more similar to the Fujifilm X70—perhaps even be pocketable—but it’s actually noticeably larger. In place of the usual Shutter Dial is a PASM Dial (which was common on Fujifilm’s lower-end models at the time); otherwise, the X30 looks and functions like many other Fujifilm X-series cameras. Because of the tiny sensor, it has significantly lower high-ISO capabilities than the APS-C models—I think it’s best to keep the camera at ISO 800 and below, but I did use ISO 1600 in some low-light situations and it was ok enough.
I programmed seven Film Simulation Recipes into the camera’s C1-C7 Custom Presets: Classic Kodak Chrome, Kodachrome 64, Pro Film, Lomography Color 100, Provia Negative, CineStill 800T, and Monochrome Red. This is a good set that covers most situations. Also, because each one uses a different White Balance type, the camera will remember the White Balance Shift for each. On the older cameras, which aren’t capable of saving a WB Shift within the C1-C7 presets, the experience is much improved if each Recipe uses a different White Balance type. I used Kodachorme 64 the most, and Classic Kodak Chrome second most—at one point or another, each of the seven came in handy.
Fujifilm X30 – Classic Kodak Chrome Recipe
Fujifilm X30 – Kodachrome 64 Recipe
Fujifilm X30 – Pro Film Recipe
Fujifilm X30 – Lomography Color 100 Recipe
Fujifilm X30 – Provia Negative Recipe
Fujifilm X30 – CineStill 800T Recipe
Fujifilm X30 – Monochrome Red Recipe
The pictures from this camera are amazing! They have a ton of character—I especially love the lens flare. I think the photographs are the selling point of the X30. It doesn’t have a ton of resolution, so you probably can only print up to 11″ x 14″ and not likely any larger; however, the files are plenty large enough for web and social media use, which is how most pictures are seen nowadays. I could see myself using this as an everyday-carry. Just grab it while heading out the door on ordinary outings.
Once again, a big “thank you” to MPB for loaning me a Fujifilm X30. It definitely is “outdated” in 2024, but the images that it creates are surprisingly wonderful, which makes it worthwhile to own and use. I think this could also be an excellent option for someone just learning photography. Even though the X30 is an easy to overlook model—especially since compact zooms have largely been forsaken by the industry—the retro design of this camera and especially the nostalgic photographs that it makes are easy to love.
Example photographs, all camera-made JPEGs captured on a Fujifilm X30:
BTW, in the top picture the camera is sitting on Kyle McDougall’s book An American Mile. An excellent photoessay, and great for inspiration—I highly recommend it.
The Denver photowalk is only two days away—it’s coming up fast! We’re going to meet at Washington Park at 8:30 AM right in front of the Boathouse. Almost half of the slots have been reserved, but there is still plenty of availability; if you’d like to join us, just be sure to register (click here). Tommy Christie will be co-leading this photowalk. If you live in or near Denver, I hope to see you soon!
The San Diego photowalk is on August 9th at 2:00 PM in Balboa Park at the Spreckels Organ Pavilion. It’s about 60% full, so don’t procrastinate if you’re considering coming (click here to register). Tom, better known as bewaremyfuji, will be co-leading this with me. It’s just over one week away, so it will come up fast!
The Nashville photowalk, which will be co-lead by Gabe Wasylko, is on August 15th—about two weeks away. The photowalk will begin at 7:15 PM at the Cumberland Park Amphitheater, which is right after a popup event that you are also invited to. Only about 20% of the slots have been reserved, so there’s still plenty of room for anyone in that area who wants to join us, just be sure to register (click here). If you know of any photographers who lives in or near Nashville who might be interested, be sure to let them know and help spread the word.
The Philadelphia photowalk is on August 17th at 4:00 PM. We’ll meet at Unique Camera, and photograph around the nearby Historic District. Allen Ali will be co-leading this with me. The Philadelphia photowalk is already about 85% full, so if you want to come, be sure to register ASAP (click here) so that you don’t miss out.
These four photowalks are going to be so much fun, and I’m looking forward to meeting many of you in person very soon. This is going to be epic! I can’t wait!
Today’s digital cameras are exceptionally good at high ISO. For those unaware, ISO can be understood as a measurement of the sensitivity of a digital sensor or film emulsion to light. The more sensitive, the more grainy or noisy, which degrades the image quality. My question is: why do our Fujifilm X-series models even have ISO 51200? Who would ever use it?
I remember way back in the film days that ISO 400 was considered to be “high ISO”—that’s what the “H” stands for in Fujicolor PRO 400H, actually. ISO 800 was largely used only if you really had to (or for the novice that didn’t know any better—Kodak made a lot of sales of ISO 800 and ISO 1000 film back in the day marketed specifically to the uninformed). ISO 1600 was basically for emergency situations. ISO 3200—the upper limit—was for the truly brave. The higher ISOs were more acceptable (and more widely used) for B&W than color, where the grittiness could be used artistically. Still, the rule of thumb back then was to always use the lowest ISO that you thought you could get away with.
Nowadays, with modern gear, I use ISO 800 without even batting an eye. ISO 1600 is more like how ISO 400 was back them—perfectly usable, but the high-ISO limit for some. ISO 3200 on my Fujifilm cameras is actually much more usable than ISO 800 film ever was—ISO 6400 is probably a closer parallel to ISO 800 film, yet cleaner.
Fujifilm X-T30 – ISO 25600 – Ilford HP5 Plus 400 Push Process Recipe
For color photography, ISO 6400 is often my upper limit, but sometimes I’ll use ISO 12800, like with the GAF 500 Recipe. For B&W, ISO 12800 is often my upper limit; however, there are times when I’ve used ISO 25600 or (more rarely) ISO 51200, like with the Ilford HP5 Plus 400 Push-Process Recipe. I feel like ISO 25600 is probably the closest equivalent on Fujifilm X cameras to ISO 3200 with film.
The fact that I use ISO 6400 and sometimes ISO 12800 (particularly for B&W) without being too concerned about the quality is mind blowing. Even going back just 15 years… I remember accidentally shooting at ISO 1600 on my first DSLR, and the pictures were essentially ruined by it. ISO 800 was pretty much the upper limit for that camera before the image quality degraded too much. Some people probably don’t realize just how good their Fujifilm cameras are at high ISO photography.
Several people have told me that they avoid Film Simulation Recipes that use DR400 because the Dynamic Range settings are ISO-dependent, and DR400 requires a higher ISO than they are comfortable using. Everyone has their own tastes and preferences, but I would encourage anyone who is afraid to try higher ISOs to just give it a try and see what you discover. Don’t be afraid to bump it up a little.
Fujifilm X-T5 – ISO 25600 — Ilford HP5 Plus 400 Push Process Recipe
On Fujifilm models that don’t have a dedicated ISO Dial, I will use the front Command Dial to adjust the ISO. The unfortunate aspect of this is that I occasionally bump the Command Dial, which changes the ISO—most often, to ISO 51200, which is the camera’s maximum ISO. I usually catch it right away, but sometimes it’s not until after a few exposures.
Whenever this happens, I wonder why Fujifilm even has ISO 51200. Why not top it out at ISO 25600? While ISO 25600 isn’t especially useful for color photography, it can be good for gritty B&W. ISO 51200 is marginal even for gritty B&W, and is pretty much unusable for color. And who needs ISO 51200 anyway? Certainly the situations are extremely rare where ISO 12800 is too low, let alone ISO 25600.
Fujifilm X-T50 – ISO 51200 – Nostalgic Negative
Just recently, though, I had a change of heart. Actually, I had an epiphany: ISO 51200 on Fujifilm is a lot like Kodak Kodacolor VR 1000 film. When Kodak released that emulsion in the early 1980’s, it was the highest ISO color film available. However, the pictures were quite grainy and textured, and the film was shunned by most “serious” photographers at the time (and discontinued after just four years). Nowadays, there are actually some people who search out the film (which has long since expired), and shoot it for its aesthetic. Instead, they could simply use ISO 51200 on a Fujifilm camera and get similar results. You won’t want to print very large, but for web use or small prints, it’s surprisingly fine.
Below are some pictures that I captured recently using ISO 51200 on a Fujifilm X-T50. It began as an accident, but then I did it on purpose. The “Recipe” is a modification of an upcoming Film Simulation Recipe that I’ve been working on. Most of the pictures below are the Nostalgic Neg. film simulation, and one is Eterna. Those two film sims seem to be the best for ultra high ISO color photography.
Fujifilm X-T50 – ISO 51200 – Nostalgic Negative
Fujifilm X-T50 – ISO 51200 – Nostalgic Negative
Fujifilm X-T50 – ISO 51200 – Nostalgic Negative
Fujifilm X-T50 – ISO 51200 – Nostalgic Negative
Fujifilm X-T50 – ISO 51200 – Nostalgic Negative
Fujifilm X-T50 – ISO 51200 – Eterna
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
If you live in or near one of these cities, I invite you to join us on a Film Simulation Summer Photowalk. This is going to be an epic experience, and just a ton of fun. Best of all, it’s free. I hope to see you soon!
It takes a lot of collaboration to pull this off, and I want to thank everyone involved—Fujifilm, Mike’s Camera, Nelson’s Photo & Video, Pixel Connection, Unique Photo, Tommy, Tom, Gabe, and Allen. Without all of them, this wouldn’t even be a thing. Thank you so much for your involvement and help!
Captured with a Fujifilm X-M1 camera & Fujinon 90mm f/2 lens
There have been a lot of vocal complaints recently about Fujifilm’s autofocus. I cannot tell you how many times I’ve seen people online call it “garbage” or “bad” or some other negative term. Every once in awhile a person will comment on Fuji X Weekly with a similar sentiment; however, it’s vocalized a lot less here than elsewhere, it seems. This is a controversy that I’ve tried to steer clear of—people have strong opinions about this topic, and I believe that my take is not going to be well received by those with the strong opinions. But I feel someone needs to say something, so I will.
First, let’s begin with this important perspective: no camera is perfect. Each and every model, no matter the manufacturer, has advantages and disadvantages. No Sony, Canon, Nikon, Fujifilm, etc., etc., will ever be perfect, because each and every person has different wants and needs. Someone will desire a camera that’s especially compact, while someone else will want one with a large grip. The first person would likely greatly dislike a Canon EOS R1, and the second person would likely greatly dislike a Nikon Zfc; however, the first person might like the Zfc and the second person might like the R1. The first person might like a Ricoh GR III significantly more than the Zfc, and the second person might like a Fujifilm GFX100 II a little more than the R1. For the first person, the GR III might be the most perfect camera currently available, while for the second person, the GFX100 II might be. Now realize that there are 10,000 or more various takes on what is or isn’t the “best” camera, and those opinions are likely fluid and evolving.
Second, let’s not forget that photography has been around for a very long time. It didn’t begin two, five, or ten years ago. People have been capturing amazing photographs for well over 100 years. If you were to grab a Fujifilm X-T5, jump into a DeLorean, and travel back in time just 20 years, you’d blow away the photographers of that time with what would seem like to them impossible camera technology. Yet the photographs captured today are no more impressive than than theywere then. Camera gear has advanced tremendously over the last two decades, but the great photographs from today are no more great than they were 30, 40, 50, etc., etc., years ago.
If you disagree with the complaints, a common rebuttal that people will make regarding this topic is that “you must only photograph things that don’t move.” Interestingly, if you Google search photos of the Olympic games from the ’60’s or ’70’s, you can find some really amazing sports images captured well before autofocus was even invented. You can do the same with wildlife photography. They did this on equipment that was far less advanced and sophisticated than what exists today. If they could do it with the gear they had, why can’t you with the gear that you have? (Hint: it’s not the gear, and never has been).
Third, Fujifilm’s autofocus should not be expected to have the same level of performance as pretty much any other camera maker. Both Canon and Nikon’s first autofocus SLRs were released in 1986. Konica made the very first autofocus camera back in the 1970’s, and Minolta made the first “good” autofocus camera in 1985 (Sony cameras trace their heritage to both Konica and Minolta). Fujifilm has been making autofocus cameras for a much shorter time; Fujifilm also has had less R&D money to spend in-general than the Canikony brands. Anyone who expects that Fujifilm’s autofocus would be at the same level as those brands (who had a big head start and more money to spend) hasn’t put much thought into this. Even so, Fujifilm isn’t all that far behind Sony and Canon, and is arguably on par with Nikon. I have a Canon EOS 5DS R, Sony A7 IV, and Nikon Zfc (and have owned other cameras from those brands in the past), and I haven’t personally noticed any difference in autofocus performance between any of those cameras in my photography.
Fujifilm’s autofocus is very good—fantastic, actually. However, Sony and Canon (and arguably Nikon) have a bit more fantastic autofocus system than Fujifilm (as you’d expect). I really don’t understand the complaints about Fujifilm’s autofocus. It is like complaining that a Corvette isn’t a Maserati, and calling the Corvette garbage because it isn’t more like a Maserati. If you want a Maserati, buy a Maserati! Otherwise, appreciate that you have a Corvette.
The fact is that autofocus is a crutch, and I don’t mean that in a bad way. A lot of tech is a crutch, which can make things easier for you—they can oftentimes be quite helpful. I almost always use crutches of some sort in my photography, and I suspect that most other people do as well. But like any crutch, you don’t need it, or, at the least, you can learn how to make it work for you. Someone told me a long time ago that either you control your camera or your camera controls you. That has to be much more true today than when it was told to me. Whatever subject that you are photographing, people have been capturing amazing pictures in that genre for longer than you’ve been alive and with gear much less advanced and “capable” than yours. If they could do it, so can you. Your gear is only a liability if you allow it be—if it is a liability to you, you have the power to not allow it (control your camera vs it controlling you). The gear has never been the issue, but it’s a lot easier to blame the gear than to look inward. It’s important to remember that whatever you are photographing, there are people in that same genre using Fujifilm gear with much success. The gear isn’t a problem for them, so why is it for you?
Which brings us to your choice. If you own a Fujifilm camera and are dissatisfied with the autofocus, you have three options: 1) figure out how to make it work for you (you absolutely have the power to do this), 2) find a different camera that has better autofocus (a more sophisticated crutch), or 3) do neither, and just complain about it and be miserable. I can’t think of any other options, so those are your choices.
The complaints about Fujifilm’s autofocus have really only been over the last couple of years. Yes, there have been discussions about it since the original X100 back in 2011; however, I’ve seen a sharp increase in the complaints over just the last couple of years, and especially over the last year. I believe what accounts for this is people coming to Fujifilm from Canikony brands (especially Canon and Sony), and being dissatisfied with the autofocus of Fujifilm compared to the cameras that they previously had (my question is: why did they leave their previous brand if it was so good??). Fujifilm’s autofocus is not quite as advanced as Sony’s or Canon’s, but that should be expected (as was already outlined), and it doesn’t mean that Fujifilm’s is garbage or bad, only that the photographer needs to rely just a bit more on their own personal skills to compensate for the slightly diminished crutch.
It is true that I’m neither a sports nor wildlife photographer—I’ve dabbled in both at times, but those are not my main photographic interests by any stretch. I do have kids, and have captured a ton of successful pictures of them, as well as many other moving subjects. I don’t personally have any issues with Fujifilm’s autofocus—not even on the older models, which have far less sophisticated autofocus capabilities than the latest fifth-generation cameras. With that said, your photographic wants and needs might be different than mine, which brings us right back to the start: no camera is perfect, and each has advantages and disadvantages. If you don’t feel that a certain one is “right” for you, you have a lot of options. If you feel like the camera is controlling you (and not the other way around), I wholeheartedly believe that you have it within you to take control of your photography.
I have a limited edition Fujifilm X-T4 ES (Extended Spectrum) camera that I purchased from Fujifilm a month ago (but arrived a couple weeks ago). It was briefly sold directly from the Fujifilm website, but only for a handful of days. Right now, the Fujifilm X-T4 ES is available for purchase from B&H as a special order. You have to agree to some terms and restrictions and be a resident of the USA; one such term is to be a “professional” photographer or videographer with the express purpose of creating “fine art” content. I don’t know what their definition of a “professional” is, but if you’re in America and want this camera, you should at least inquire about it. I don’t believe that there are very many copies of the Fujifilm X-T4 ES, so if you want one, you should definitely act fast, as it won’t last long, I’m certain.
Red Founders – Buckeye, AZ – Fujifilm X-T4 ES – Aerochrome v1
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Red Founders – Buckeye, AZ – Fujifilm X-T4 ES – Aerochrome v1
This “Aerochrome v1” Film Simulation Recipe is for full spectrum infrared cameras, and not “normal” cameras, which have an infrared filter over the sensor. Fujifilm briefly sold a limited number of Fujifilm X-T4 ES (“Extended Spectrum”) cameras, which are full spectrum infrared (no IR filter). I don’t know how many of these cameras were made, but I think it’s a very small number. I was quite lucky to get one.
While the X-T4 ES is the only infrared camera that Fujifilm has ever made available to the general public (typically, they reserve them for “forensic, scientific, and cultural preservation applications”), there are companies that will convert a normal camera into a full spectrum model by removing the IR filter over the sensor. It’s an invasive and expensive procedure, but one of the few options available. What I cannot confirm is whether or not the straight-out-of-camera results from a third-party full spectrum converted camera are identical to the Fujifilm X-T4 ES. I believe that they are likely to be identical, but there is a chance that they’re not. I hope that Fujifilm will make more native full spectrum cameras in the future, and sell them to the general public. I’m certain that there is enough demand to justify it.
Raspberry Palm – Buckeye, AZ – Fujifilm X-T4 ES – Aerochrome v1
Aerochrome was an infrared film produced by Kodak between 1942 and 2009. It’s definitely not the only infrared color film ever made, but it’s the most popular and recognizable. You could achieve various aesthetics from Aerochrome by using different filters, with red, pink, purple, or orange vegetation as the hallmarks of the emulsion (especially red and pink). As far as I’m aware, there are not currently any color infrared films in production, and the few rolls of Aerochrome that remain are extraordinarily expensive. This “Aerochrome v1” Recipe mimics Aerochrome film, but it’s definitely not perfect. I’m currently working on two other Aerochrome Recipes, but the exact aesthetic I’m after has been a bit elusive so far (I’m close, though), so expect several versions to be published.
Aside from a full spectrum infrared camera, you also need specific filters. Since you are seeing light beyond the visible spectrum, filters are used to control exactly how the light enters the camera, which greatly affects the results. For this particular Recipe, a Kolari Vision IR Chrome filter and Hoya G(XO) Yellow-Green filter are required (I don’t think it matters, but I have the G(XO) filter in front of the IR Chrome). In my opinion, the Kolari Vision IR Chrome filter doesn’t produces acceptable Aerochrome results straight-out-of-camera by itself (at least not on Fujifilm); however, when used in conjunction with other filters it can be quite good.
Painting the Town Red – Buckeye, AZ – Fujifilm X-T4 ES – Aerochrome v1
This “Aerochrome v1” Film Simulation Recipe is intended specifically for the Fujifilm X-T4 ES camera; however, I’m sure it can be used on any full spectrum converted X-Trans IV or X-Trans V camera. For the X-Pro3 and X100V, you should use Highlight +1 and Shadow 0 (since those cameras don’t have 0.5 adjustments); additionally, for the X-T3 or X-T30, ignore Color Chrome FX Blue and Grain size. You might be able to use it on older cameras, adjusting for the settings that aren’t available on your specific model, but it will definitely render differently. It likely will work on newer GFX models, but with a slightly divergent result. If you have a regular Fujifilm camera, this Recipe will not work, as it requires a full spectrum camera like the X-T4 ES (and not the X-T4). Also, I’m not including this in the Fuji X Weekly App because it requires special gear.
Filters: Kolari Vision IR Chrome & Hoya G(XO) Yellow-Green Film Simulation: Velvia Dynamic Range: DR400 Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome FX Blue: Weak White Balance: Daylight, +8 Red & +7 Blue Highlight: +1.5 Shadow: +0.5 Color: +4 Sharpness: 0 High ISO NR: -4 Clarity: 0 ISO: Auto, up to ISO 6400 Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured using this Aerochrome v1 Film Simulation Recipe on my Fujifilm X-T4 ES:
Join me on a free Film Simulation Summer Photowalk!
I’ll be in four different cities—Denver, San Diego, Nashville, and Philadelphia—in August, which means these will come up fast. The photowalks will be jointly hosted by myself and another photographer, as well as a local camera store, and is sponsored by Fujifilm. It takes a lot of collaboration for these to happen, but I think that only makes them better.
This isn’t the official announcement. I’m hoping that I can give you all of the details by the end of the week; however, August is right around the corner, and I want to start getting the word out so that those who may wish to attend have a chance to make plans. Look for the official announcement by this coming weekend, or maybe early next week at the latest. I’ll spread the word as best as I can on social media once everything has been set, but definitely check back if you haven’t seen anything by early next week.
For now, just know that I’ll be in Denver, San Diego, Nashville, and Philadelphia soon. Denver will be on Saturday, August 3rd (time and location TBD). San Diego is tentatively scheduled for August 9th (time and location TBD). Nashville and Philadelphia will be shortly thereafter. Again, once I have all of the details finalized, I’ll let you know. Hopefully this is enough information that those in Denver and San Diego can begin making initial plans to attend, and those in Nashville and Philadelphia can begin looking forward to it.
We’re going to have so much fun! It will be an opportunity to meet fellow Fujifilm photographers, try out X and GFX gear, learn more about Fujifilm’s Film Simulations, put Recipes to work, and more. You won’t want to miss it!
The best part for me will be meeting you all. If you live in or near any of these four cities, I hope that you’ll be able to join us. I look forward to chatting and photographing with you in person in August!
