Early one rainy morning back in May, Bryan and I photographed together in The Catskills. Neither of our rain jackets did well at keeping us dry, so, by the time we finished, we both ended up completely soaked. It was a great time nonetheless. Bryan is an awesome guy, and you are not going to want to miss this opportunity to meet him and photograph charming Ann Arbor.
For those who live in Ann Arbor, Michigan—as well as the surrounding areas—be sure to join us. Detroit is right there. Toledo and Lansing aren’t too far. Grand Rapids, Cleveland, and Fort Wayne are a pretty far drive, but some people have traveled longer distances than that for the other photowalks—if it’s not too far for you, I’d love to meet you in person. If you think that you can join us, you will need to sign up (click here to register), but it’s quick and easy to do, and best of all FREE!
We will meet somewhere in downtown Ann Arbor on Saturday, November 9th, at 10 AM. The exact meetup spot is TBD, but we will email it out to everyone who signs up once it has been finalized. Afterwards, we will head over to PROCAM for some refreshments. It’s going to be a great time!
I’ve been asked many times over the last couple of weeks which Film Simulation Recipes are the best for autumn photography. Sometimes the Recipes that work really well for the endless sunshine of summer aren’t quite as good for photographing fall foliage. I live in the desert; for the most part, the leaves here don’t change colors until November and December, and the show is rather mundane compared to most other places. Because of that, whenever I do get to experience the brilliant colors of the changing season, I’m learning as I go which Recipes work well and which ones don’t.
Last year I traveled a few hours up the road to the mountains near Flagstaff, Arizona, where there is an impressive autumn display. I tried seven different Recipes that I thought might do well, and it was interesting to compare the results. As you’d probably expect, some did better than others. If you are trying to figure out which Recipes to try this fall, I definitely recommend taking a look at that article (click here). I also published an article two years ago with some fall Recipe suggestions (click here), which is also worthwhile. Between those two posts, there are 17 potential options for your autumn photography.
Fujifilm X-T5 – Velvia Film Recipe
Last week I was up in New York and Connecticut. It might be “peak fall” right now—or maybe next week—for those up that direction. It was absolutely gorgeous when I was there, despite not being quite peak colors. I was thrilled not only for the opportunity to photograph the incredible scenery, but to also try out different Film Simulation Recipes for autumn photography. Specifically, I wanted to use ones that were not included in those two articles I mentioned in the last paragraph—between all three posts, you should now have a pretty good selection of potential options.
Everyone has different tastes, and the light and subject will be different wherever you go. That’s why it’s good to have options. My hope is that a few of these Recipes—or maybe some from those other two articles—will stand out to you to try for yourself. The idea here is not that you’ll use all 11 of these on your next fall foliage outing, but that you might try some. You might even decide that some of these are definitely not for you—knowing which ones to avoid can also be valuable.
Fujifilm X100VI – PRO Negative 160C Recipe
For myself, I did find a few that I will certainly use again whenever I have the opportunity to photograph fall foliage in the future. And I also found a few Recipes that I probably won’t. Just because I like (or don’t like) something doesn’t mean that you’ll agree with that assessment. Hopefully, though, if you are unsure which ones to program into your Fujifilm camera, this will give you some direction.
Without any further delay, below are 11 Film Simulation Recipes that I tried for fall photography in New York and Connecticut last week.
Velvia Film was one of the Recipes that I was most excited to try out for fall photography. I had high hopes for it, and it didn’t disappoint. In retrospect, I only wish that I had used it more—a lot more, actually. I will definitely utilize this one on my next autumn adventure!
This Recipe is quite vibrant, slightly warm, and fairly low contrast. If you want to emphasize the vivid colors of the changing leaves, this one will do it. Velvia Film is one of the Film Dial Recipes, and you are likely to get good results with Provia, Astia, PRO Neg. Hi, Reala Ace, Classic Chrome, Classic Negative, and Nostalgic Negative (and maybe others); however, Velvia is top-notch for this type of photography, and what I most recommend. It is compatible (as of this writing) with the Fujifilm X-T4, X-S10, X-E4, X-T30 II, X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50 and X-M5 cameras.
I thought that I was going to love Vibrant Velvia for autumn, but I didn’t. Not that it was bad (because it wasn’t), but it didn’t quite emphasize the colors like I hoped it would. Green and blue stand out, but the warm colors of the changing leaves surprisingly get a little deemphasized. Situationally specific, it could still be a good choice for fall photography; however, I think there are several better options.
Where I think this Recipe works best is in a situation like the photo directly below this paragraph. The fall foliage add pops of warmth to the green and blue, which are the two most prominent colors in the scene. As of this writing, this Recipe is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50 and X-M5 cameras.
I like Appalachian Negative in general, so I thought I might also appreciate it for fall. Sure enough, I do! It has the right retro Kodak-like vibes to trigger nostalgia. This is another Recipe that I wish I had used more, because I like the results. I can imagine it being especially appropriate for photographing a pumpkin patch or fall decor or things like that.
Because this Recipe uses the Nostalgic Neg. film simulation, it is only compatible with the latest cameras, which (as of this writing) are the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50 and X-M5. Of the three Recipes in this article that use the Nostalgic Neg. film simulation, Appalachian Negative is my favorite for autumn pictures.
I had pretty high hopes for 1976 Kodak when I programmed it into my X-T5, but ultimately I decided that it is just a bit too warm and contrasty for my tastes. It definitely does make the pictures look like they were captured in another era, but it just feels like too much warmth, particularly whenever the scenes are already especially warm. Situationally specific it might be a good choice—such as low-contrast cool light scenes—but overall it was not my favorite for fall photos.
If you are going for a 1970’s magazine vibe, you might consider this Recipe; otherwise, I would instead recommend the one directly below this or especially the one directly above. As of this writing, 1976 Kodak is compatible with the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50 and X-M5 cameras.
As far as the Nostalgic Neg. Recipes that I tried, I feel that Kodak Negative sits in-between Appalachian Negative and 1976 Kodak; however, it is divergent enough that I could see having it programmed as a companion to one of those Recipes. For fall photos, I like this one much more than 1976 Kodak, but not quite as much as Appalachian Negative.
In the right light, this Recipe is phenomenal for capturing autumn colors. Next opportunity, I will definitely have this one programmed into my camera. Kodak Negative is compatible (as of this writing) with the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50 and X-M5 cameras.
I didn’t expect to like this Recipe for fall foliage because it is soft with muted colors; however, I ended up liking it for that very reason. The Kodak Portra 160 Recipe produces results that are somewhat the antithesis of what one expects from fall photos, which is what makes it work.
This isn’t a Recipe that I would use for all of my autumn images, but, as occasional relief to the vivid pictures that dominate this season, it is quite excellent. This Recipe is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras; for fifth-generation models, simply set Color Chrome FX Blue to Weak instead of Strong.
Kodak Portra 400 v2 is one of my absolute favorite Recipes, so it should be unsurprising that I appreciate the results for fall photographs. Interestingly, there are some similarities between this and Appalachian Negative, so perhaps having both Recipes programmed into the camera is a bit redundant; however, they are definitely divergent enough to justify both.
This particular Recipe is the version for the fifth-generation models, which (as of this writing) are the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50 and X-M5. There is also a version for X-Trans IV cameras, and one for the X-T3 and X-T30.
Astia Azure is a Fuji X Weekly App Patron-only Early Access Recipe, which means that only App subscribers have access to it at this time. Eventually it will be made available to everyone once a different Early Access Recipe replaces it. I found it did alright in certain light situations (such as the above photo), but was mediocre in others.
While I didn’t necessarily dislike it, Astia Azure wouldn’t be my top choice for autumn photography—I think it’s more of a summertime Recipe, especially if there’s a lot of blue sky… it’s pretty good for nighttime, too. As of this writing, the Astia Azure Recipe is compatible with the Fujifilm X-T4, X-S10, X-E4, X-T30 II, X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50 and X-M5 cameras.
I liked the PRO Negative 160C Recipe a lot for fall photographs. It combines a somewhat soft tonality with vibrant and slightly warm colors, producing anologue-like results. This is another one that I wish I had utilized more, and will use again for autumn images at the next opportunity.
Because this Recipe uses the Reala Ace film simulation, it is only compatible with fifth-generation models, which (as of this writing) are the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50 and X-M5 cameras. There is a version that uses the PRO Neg. Hi film simulation, which is compatible with the X-T4, X-S10, X-E4, and X-T30 II.
This is another Fuji X Weekly App Patron-only Early Access Recipe, which means that only App subscribers have access to it at this time. Eventually it will be made available to everyone once a different Early Access Recipe replaces it. I like this one, although it can be a bit too contrasty in high-contrast situations, so it isn’t for every scenario.
While I would certainly consider having this as one of my seven C1-C7 Recipes, I’m not certain if it would make the cut or not. It’s close, and it definitely can be useful, so if it didn’t, it would be a tough cut. The Ektachrome E100 Recipe is compatible (as of this writing) with the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50 and X-M5 cameras.
Last but certainly not least is Pacific Blues. This is another of my favorite Recipes, so it should not be surprising that I also like it for fall photography. This one has a lot of contrast, so it can be challenging to use, and is clearly not for every fall image. Even if the situation where it works well is only encountered occasionally, I would still have this as one of my C1-C7 Custom Settings presets.
This particular version of the Pacific Blues Recipe is for X-Trans IV cameras, which are the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras; for fifth-generation models, there’s a version for your camera.
Fujifilm X-E4 – Pacific Blues Recipe
Fujifilm X-E4 – Pacific Blues Recipe
Of these 11 Film Simulation Recipes, which seven would I program into my Fujifilm X-T5 or X100VI? Velvia Film, Appalachian Negative, Kodak Portra 160, Kodak Portra 400 v2, PRO Negative 160C, Ektachrome E100, and Pacific Blues—I think, anyway. Kodak Negative was a tough cut in that scenario, so I would probably take a longer look at it, and really consider if that’s what I want to do. In any event, that seems like an excellent set of seven for fall photography that covers most subjects and situations. But, don’t forget, there are also the seven I used in Flagstaff last year, and I would certainly consider including some of those, namely CineStill 400D v2, Kodak Ektar 100, Fujicolor Superia 100, and The Rockwell. This would be a lot easier if we had more than seven slots. More likely, the next opportunity to capture the autumn leaves, I will have different Recipes programmed into two or three cameras, so that I can use more than just seven.
The fall colors won’t last long. If you’ve been wanting to photograph them, don’t procrastinate. Grab your Fujifilm camera, program in a few of these Recipes, and head out the door. The time is now, so make sure that you don’t miss out.
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There are two upcoming photowalks in November that I’m excited to announce: Ann Arbor, Michigan, and Philadelphia, Pennsylvania. Be sure to mark your calendars now!
First up is Ann Arbor on Saturday, November 9th, with Fujifilm X-Photographer Bryan Minear. Bryan is incredibly talented, and it will be a true honor to co-lead a photowalk with him. I guarantee that you’ve seen his work before (even if you are not sure that you have, you probably have—and if you haven’t, you are missing out). I met Bryan in New York in May, and he’s just a really great person. We’re partnering with PROCAM for this free photowalk, and Fujifilm is involved, too. Some of the details are still being worked out, but for those in Michigan, know that this is happening, so be on the lookout for more information, which I will share with you just as soon as I can. This is one that you don’t want to miss!
One week later is Philadelphia on Saturday, November 16th, at Unique Photo as a part of their two day Camera Show. Just like the August photowalk in Philadelphia, this one will be co-led by myself and Allan Ali, who is a local legend. It was so great to work with him, and I’m looking forward to doing it again next month (hopefully this time it doesn’t poor rain on us 🤣). If you are in Philadelphia or even as far as New York City, I hope you can join us. This one is from 10:15 AM to 12:15 PM, and will include a short classroom presentation. The cost is $10 per person, and you must preregister (click here). Space is limited, so if you want to come, don’t procrastinate—for August, it filled up rather quickly, and I’m sure this one will, too. The last photowalk that Allan and I did with Unique Photo in Philadelphia was just incredible, so I’m stoked that we can do it again real soon.
Hopefully there will be a little more to announce in the near future. Be sure to check in now and then so you don’t miss out. For those in Michigan and Pennsylvania, I hope to see you in-person real soon!
I’m a little late to the party, but in case you haven’t heard, Fujifilm announced a new camera: the tiny and inexpensive X-M5.
My alarm sounded at 3:30 AM Eastern Time this morning, so that I could catch my flight from JFK International to Phoenix Sky Harbor. After running through the airport Home Alone 2 style, I barely made it, just as the gate attendant was announcing the last barding call. I made it nonetheless, and am now home after a whirlwind tour of New York City and Connecticut. It was such a great time, and I look forward to sharing more about it with you in the coming days.
In the meantime, here’s my take on the Fujifilm X-M5. I will do my best to say something different than the many reviews that have already been published across the web. To be clear: this isn’t a review. I haven’t used, touched, or even seen the camera in-person. I know as much about it as you, and maybe not even that much. It does seem to pack a lot into a tiny and inexpensive body, from what I’ve read.
I have been saying for a couple of years now that Fujifilm needs an affordable entry-level model. They used to have two, but when the X-A7 and X-T200 had sputtering sales in 2020, Fujifilm discontinued both. I’ve stated several times that, in my opinion, there is a sufficient market to justify one entry-level model—but probably not two—so if Fujifilm were to make an X-A8 or X-T300 (but not both), it would likely do just fine. Instead (and after a few years), they did something really unexpected and better, and revived the long-dormant X-M line.
Fujifilm released the X-M1 in 2013. It was unusual in that it had an X-Trans I sensor paired with the X-Trans II processor. It was announced just a few months before the X-A1, which was basically the same camera, except with a Bayer sensor instead of X-Trans. Because the X-A1 and X-M1 were nearly identical, yet the X-A1 was cheaper, the X-M1 struggled to sell, and it never had a successor… until now.
The X-M5 has been imagined and designed with the idea of what an X-M series camera would look like had it not been discontinued. How would it have evolved over the last decade? Fujifilm used their imaginations, and created the new camera. And, in the spirit of the original, it comes with the “old” X-Trans IV sensor paired with the “new” X-Trans V processor.
It is currently the most affordable X-series model, at only $799 for the body-only, and $899 when paired with the 15-45mm f/3.5-5.6 lens. For those wanting to get into the Fujifilm system but have found it to be a little outside of the budget, the X-M5 might be your best option. This is an easy camera to recommend for beginners, as it fills an obvious void in the X-series lineup.
The X-M5 is also the smallest interchangeable-lens X-series camera. It is tiny and lightweight, which makes it compelling for travel or walk-around photography. I would pair it with the Fujinon 27mm f/2.8 or Fujinon 18mm f/2… but, here is the problem: the 27mm lens is very difficult to find, and the 18mm is overdue for a refresh. This is an ideal camera (along with the X-E line) to showcase one big advantage of APS-C: size and weight; however, the lack of pancake lenses makes it less compelling than it should be. My suggestion to Fujifilm is to increase production of the 27mm f/2.8, design a new-and-improved 18mm f/2, and introduce one or more new pancake options (maybe to be released in conjunction with the next X-E camera?).
While the X-M5 is a bit video-centric, it does not have IBIS. I don’t think the lack of IBIS is a big deal whatsoever for stills photography, but I do see it as a potential problem for videography. However, for the price and size, I think its exclusion is acceptable. You can use OIS lenses, a gimbal, and/or the digital stabilizer, if necessary.
Perhaps the two biggest drawbacks are the lack of an EVF and the PASM dial. It’s understandable why the camera doesn’t have an EVF—the X-M1 didn’t have one, and if the X-M5 did, it would require the body to be both larger and more expensive—but the lack of one will be a dealbreaker for some. The PASM dial was also expected, but for me, personally, I much prefer the traditional dials instead; some people like this setup (different strokes for different folks), but it’s nearly a dealbreaker for me—nearly.
The Film Dial… I like it, but it’s controversial. You may or may not like it yourself; however, I suspect that many will find it both fun and useful on the X-M5 specifically. I’m quite happy to see its inclusion on this camera.
From what I can tell, the Fujifilm X-M5 is not for me, but it might be good as my teenage son’s first camera. Christmas is around the corner, so we’ll see. Maybe it will be wrapped under the tree (if it’s still even available…). I think it will sell very well, and serve as a gateway into the Fujifilm ecosystem for many. For those already in the X-series family, this might be a good compact camera for travel, or an inexpensive companion to a larger body.
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
A couple days ago pal2tech posted a YouTube video explaining the Film Dial on the Fujifilm X-T50 (which, apparently, will also be found on the upcoming X-M5). To my surprise, Chris gave a very kind shoutout to Fuji X Weekly, and he even included a link to one of my YouTube videos in the description of his video. I’m really honored to be mentioned by Chris; I’m a big fan of pal2tech—it’s one of my favorite YouTube channels, and one that every Fujifilm photographer should subscribe to, in my humble opinion. If you haven’t seen his video, go ahead and give it watch.
The Film Dial is one of the most controversial design decisions Fujifilm has implemented, right up there with the X-Pro3’s backwards LCD screen. I actually really like the dial, personally. It’s a lot of fun to use, and adds versatility for the SOOC photographer. But not every camera is for everyone, and not every camera feature is for everyone, so it is understandable when some don’t like it; however, I think a lot of the negativity surrounding the Film Dial is simply a misunderstanding of how useful it can be.
NAB Photowalk Group 3 – New York City, NY – Fujifilm X100VI – Nostalgic Americana
I was just at the NAB Show in New York City, because Fujifilm brought me out to lead three photowalks around Manhattan. Fujifilm loaned cameras to those on the photowalks, and some folks were handed a Fujifilm X-T50. Before beginning, I took a few moments to help set up these loaner cameras, and for those with the X-T50, I programmed my universal Film Dial Recipe, and explained how to use it.
As the photowalks were wrapping up, I asked those with an X-T50 what they thought of the Film Dial. One person answered that it was a lot of fun. Another said that they really liked it. Another showed me some images they captured with Eterna, a film simulation they had never tried before but now love. Only one person gave negative feedback, and their complaint is completely understandable.
Could the Film Dial have been implemented better? Absolutely! An easy way for Fujifilm to improve it would be to allow each film simulation to be customized into a Recipe. In other words, make it possible to custom set Highlight, Shadow, Color, White Balance, etc., etc., with each slot on the Film Dial. When the Film Dial is set to C, that’s when the C1-C7 presets would work. This could be done with a Firmware update someday in the future. Even though it’s not perfect, that doesn’t mean the Film Dial isn’t a fun and useful feature, because in its present state it very much is.
I’m looking forward to the Film Dial being included on more models. I think putting a much-loved feature of the camera front-and-center on the top plate is a smart move by Fujifilm. I’m also looking forward to seeing how it might evolve in the future, and possibly become even better.
NY Photographer in IR – New York City, NY – Fujifilm X-T4 ES – Aerochrome v2
In other news, while at the NAB Show, I spoke with someone at B&H, and they told me that the Fujifilm X-T4 ES (“Extended Spectrum”) infrared camera is available from them right now. It’s not something that can be purchased online, so you either need to call them or drop by in-person to buy it. So if you want to try my Aerochrome v2 Recipe—which I love so much, personally—you may want to contact B&H and inquire about the Fujifilm X-T4 ES. For those who wanted to get one, it’s not too late.
There’s one last thing I want to mention. I was walking around Central Park recording some content to help promote the new Evergreen + Fuji X Weekly Protective Case for Fujifilm X100-series cameras. I had my case, and Alex from Evergreen also had one with him. While meandering, we ran across someone with a Fujifilm X100VI, so we said hi to him and had a short conversation. He told us that he had ordered the camera when it was first announced, but his copy had just arrived, and this was one of his first opportunities to use it. We were very happy to gift him one of the two cases to go along with his new camera. The protective case is a great way to keep your X100VI, X100V, X100F, etc., safe while traveling or out on an adventure.
New Fujifilm X100VI & New Case – New York City, NY – Fujifilm X100VI – PRO Negative 160C
I’m still traveling, but as soon as I’m back home I have a lot more to share with you, so stay tuned!
Travel by Change – Denver, CO – Fujifilm X-T50 – Superia Negative Film Dial Recipe
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 (September 2024).
These types of lists are usually pretty predictable. There are often a few surprises—there is always some movement—but from one month to the next, it’s mostly the same. This time, I was shocked by some of the rankings. I’ll discuss most of the specifics within the list itself, but one Recipe in particular that I want to bring up here is Bright Summer. Prior to March, I had never noticed it in the Top 25, but suddenly it was, and even ranked as high as #6! In August it was #10. But in September it dropped out of the Top 25 altogether (it is #26, for those wondering). That’s a pretty sudden and significant drop, and I wonder if it is simply because the seasons are changing.
Cape Cod Bay House – Plymouth, MA – Fujifilm X100VI – Fujicolor Film Recipe
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 5 are all Classic Chrome Recipes. Reala Ace, Classic Negative and Eterna based Recipes are pretty far behind, but I’m glad to see them represented multiple times each in this list.
Without any further delay, below are the most popular Recipes of last month!
Top 25 Most Popular Film Simulation Recipes of September 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.
Reggie’s Portra, a popular Classic Chrome based Recipe for X-Trans IV cameras, usually ranks high, but this is the first time I’ve seen it at #2. This is the most versatile of the Portra Recipes, and was ranked #4 in August.
A Classic Chrome based Recipe for X-Trans IV cameras that is almost always ranked number two in these types of lists. In fact, this is only the second time this year that I’ve seen it drop out of the second-place position.
Cinematic Film is one of the 14 Film Dial Recipes for the Fujifilm X-T50 (and, really, all X-Trans V cameras). Initially I didn’t include it in the Fuji X Weekly App because adding all 14 would have been ridiculous, but by popular demand I did include it retroactively. Perhaps I shouldn’t be surprised, but I’m very shocked to not only see it in the Top 25, but all the way at #6! This isn’t just the highest rated Recipe based on the Eterna film simulation, but the highest that isn’t Classic Chrome.
It is probably unfair to include the Film Dial Recipes in this list because it is not one but 14 Recipes (including Cinematic Film above). This was the first time seeing it in the Top 25, so I was faced with the choice of included it (as unfair as that might be) or not. The Vibrant Arizona article is technically four Recipes, so there is a precedence for its inclusion. I think the sudden rise in interest in the Film Dial Recipes is due to two things: 1) people buying the X-T50, and 2) people realizing that these Recipes can be used for a lot of other cameras, and not just the X-T50.
This is a brand-new Recipe published less than three weeks ago, and already it is in the Top 10. Currently it is the highest-ranked Reala Ace based Recipe (if you don’t include Fujicolor PRO 160C Warm from the Film Dial Recipe set).
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. It fell three spots compared to last month.
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. Its ranking remains unchanged from last month.
This is the X-Trans V version of Kodak Gold 200. This is the highest that I’ve seen it rank (one spot higher than last month), and the second month in a row that it is above the old version.
Pacific Blues is currently the highest ranked Classic Negative based Recipe (if you don’t include Superia Negative from the Film Dial Recipe set). This particular one is compatible with X-Trans IV models, but there is also an X-Trans V version. It’s often in the Top 10; last month it was #8.
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 #12 in August.
This is an Eterna-based Recipe for X-Trans V cameras; however, it’s simply an adaptation of the X-Trans IV version that has been around awhile. It rose one spot compared to last month.
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; however, it is one spot higher than last month. This Recipe is for X-Trans V cameras.
I published this Recipe, which uses Classic Chrome and has compatibility with both X-Trans IV and X-Trans V cameras, in April. It fell four spots since August.
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 it, and is one spot higher than in August.
Published in June, this is the highest-ranked Recipe that uses the Nostalgic Neg. film simulation (aside from Nostalgic Film in the Film Dial set). It was ranked #21 in August.
Dan Allen, who created this Film Simulation Recipe after shooting with Kodak T-Max 100 film and his Fujifilm X-T5 side-by-side, noticed that there are a lot of subtle variances in the film. Even within the same roll, there can be small differences from frame-to-frame, and one Recipe can’t mimic them all; however, instead of creating five or six different versions of a Kodak T-Max 100 Recipe, Dan made two that were “close enough” to the emulsion to be convincing: Kodak T-Max 100 Hard Tone and Kodak T-Max 100 Soft Tone.
The “Hard Tone” version has a little more contrast, with brighter highlights and deeper shadows, and this Kodak T-Max 100 Soft Tone Recipe has less contrast, with softer highlights and lifted shadows. The difference between the two isn’t huge, nor should it be. And it is perfectly alright to customize them further—”season to taste”—by making small adjustments to Highlight, Shadow, etc., especially since the variances cannot be fully mimicked by just two Recipes. You might try using the Highlight setting from one version with the Shadow setting of the other—or just use them as they are, and appreciate the excellent results.
Above photos by Dan Allen. Left: Kodak T-Max 100 Film / Right: Fujifilm X-T5 & Kodak T-Max 100 Soft Tone Recipe
This Film Simulation Recipe is fully compatible (as of this writing) with the Fujifilm X-T4, X-S10, X-E4, X-T30 II, X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50 cameras. Presumably it will also be compatible with the camera that Fujifilm is about to announce (rumored to be the X-M5). You can also use this Recipe on the latest GFX models, although it will likely render slightly differently (try it anyway).
Film Simulation: Monochrome+G Monochromatic Color (Toning): WC 0 & MG 0 (Off) Grain Effect: Weak, Large Color Chrome Effect: Off Color Chrome FX Blue: Off White Balance: Daylight, -6 Red & -3 Blue Dynamic Range: DR200 Highlight: -0.5 Shadow: +1.5 Sharpness: -1 High ISO NR: -4 Clarity: -1 ISO: up to ISO 6400 Exposure Compensation: -2/3 to +2/3 (typically)
Example photographs, all camera-made JPEGs using this Kodak T-Max 100 Soft Tone Film Simulation Recipe using a Fujifilm X-T5 and X100VI:
Fujifilm X-T5 – Kodak T-Max 100 Soft Tone – Photo by Dan Allen
Fujifilm X-T5 – Kodak T-Max 100 Soft Tone – Photo by Dan Allen
Fujifilm X-T5 – Kodak T-Max 100 Soft Tone – Photo by Dan Allen
Fujifilm X-T5 – Kodak T-Max 100 Soft Tone – Photo by Dan Allen
Fujifilm X-T5 – Kodak T-Max 100 Soft Tone – Photo by Dan Allen
Fujifilm X-T5 – Kodak T-Max 100 Soft Tone – Photo by Dan Allen
Fujifilm X-T5 – Kodak T-Max 100 Soft Tone – Photo by Dan Allen
Fujifilm X100VI – Kodak T-Max 100 Soft Tone – Photo by Ritchie Roesch
Fujifilm X100VI – Kodak T-Max 100 Soft Tone – Photo by Joy Roesch
Fujifilm X100VI – Kodak T-Max 100 Soft Tone – Photo by Joy Roesch
Fujifilm X100VI – Kodak T-Max 100 Soft Tone – Photo by Ritchie Roesch
Fujifilm X100VI – Kodak T-Max 100 Soft Tone – Photo by Jonathan Roesch
Fujifilm X100VI – Kodak T-Max 100 Soft Tone – Photo by Ritchie Roesch
Fujifilm X100VI – Kodak T-Max 100 Soft Tone – Photo by Jonathan Roesch
Fujifilm X100VI – Kodak T-Max 100 Soft Tone – Photo by Jonathan Roesch
Fujifilm X100VI – Kodak T-Max 100 Soft Tone – Photo by Jonathan Roesch
Fujifilm X100VI – Kodak T-Max 100 Soft Tone – Photo by Jonathan Roesch
Fujifilm X100VI – Kodak T-Max 100 Soft Tone – Photo by Ritchie Roesch
Fujifilm X-T5 – Kodak T-Max 100 Soft Tone – Photo by Dan Allen
Comparison:
Left: Kodak T-Max 100 Hard Tone / Right: Kodak T-Max 100 Soft Tone
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.
Fujifilm X100VI – Kodak T-Max 100 Hard Tone – Photo by Joy Roesch
Kodak introduced T-Max 100 and T-Max 400 in 1986, and T-Max P3200 two years later. It was touted as a fine-grained, sharp and detail-rich black-and-white negative film. Interestingly, ever since T-Max was released, there has been a divide in the photographic community around this emulsion: people either loved it or hated it. Those who loved it tended to not like Tri-X, and those who hated it tended to love Tri-X; you were likely in one camp or the other. Tri-X was more gritty, dramatic and versatile, while T-Max was softer, cleaner, and more finicky. All-in-all, you are not likely to spot huge differences between the two as a casual observer, but those who regularly shot with these films could easily distinguish the nuances.
This particular Film Simulation Recipe, called Kodak T-Max 100 Hard Tone, was created by Dan Allen after shooting some rolls of Kodak T-Max 100 film side-by-side with his Fujifilm X-T5. He did his best to match the X-T5 photos to the T-Max frames. This was not an easy task, and took a lot of adjustments and refinements. Dan spent a lot of time and effort on this. He discovered that it would take a handful of versions of the Recipe to replicate all of the variances that can be found even within the same roll, and ultimately determined that one Recipe cannot mimic them all. His solution was to create two versions—one with a higher contrast and one with a lower contrast—that are “close enough” to be acceptable facsimiles for most of the variabilities.
Above photos by Dan Allen. Left: Kodak T-Max 100 Film / Right: Fujifilm X-T5 & Kodak T-Max 100 Hard Tone Recipe
Even though this Recipe does a pretty darn good job of replicating Kodak T-Max 100, it is always ok to “season to taste” the settings. Don’t be afraid to increase or decrease Highlight and Shadow, for example. There are a lot of factors that can determine the exact aesthetic of the film, so some small tweaks might be necessary to get it precisely as you want it. Or, just leave them as Dan created, and enjoy the lovely results.
This Film Simulation Recipe is fully compatible (as of this writing) with the Fujifilm X-T4, X-S10, X-E4, X-T30 II, X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50 cameras. Presumably it will also be compatible with the camera that Fujifilm is about to announce (rumored to be the X-M5). You can also use this Recipe on the latest GFX models, although it will likely render slightly differently (try it anyway).
Fujifilm X-T5 – Kodak T-Max 100 Hard Tone – Photo by Dan Allen
Film Simulation: Monochrome+G Monochromatic Color (Toning): WC 0 & MG 0 (Off) Grain Effect: Weak, Large Color Chrome Effect: Off Color Chrome FX Blue: Off White Balance: Daylight, -6 Red & -3 Blue Dynamic Range: DR200 Highlight: +0.5 Shadow: +2.5 Sharpness: -1 High ISO NR: -4 Clarity: -1 ISO: up to ISO 6400 Exposure Compensation: -2/3 to +2/3 (typically)
Example photographs, all camera-made JPEGs using this Kodak T-Max 100 Hard Tone Film Simulation Recipe using a Fujifilm X-T5 and X100VI:
Fujifilm X-T5 – Kodak T-Max 100 Hard Tone – Photo by Dan Allen
Fujifilm X-T5 – Kodak T-Max 100 Hard Tone – Photo by Dan Allen
Fujifilm X100VI – Kodak T-Max 100 Hard Tone – Photo by Jonathan Roesch
Fujifilm X100VI – Kodak T-Max 100 Hard Tone – Photo by Jonathan Roesch
Fujifilm X100VI – Kodak T-Max 100 Hard Tone – Photo by Ritchie Roesch
Fujifilm X100VI – Kodak T-Max 100 Hard Tone – Photo by Ritchie Roesch
Fujifilm X100VI – Kodak T-Max 100 Hard Tone – Photo by Joy Roesch
Fujifilm X-T5 – Kodak T-Max 100 Hard Tone – Photo by Dan Allen
Fujifilm X-T5 – Kodak T-Max 100 Hard Tone – Photo by Dan Allen
Fujifilm X-T5 – Kodak T-Max 100 Hard Tone – Photo by Dan Allen
Fujifilm X-T5 – Kodak T-Max 100 Hard Tone – Photo by Dan Allen
Fujifilm X-T5 – Kodak T-Max 100 Hard Tone – Photo by Dan Allen
Fujifilm X-T5 – Kodak T-Max 100 Hard Tone – Photo by Dan Allen
Fujifilm X100VI – Kodak T-Max 100 Hard Tone – Photo by Jonathan Roesch
Fujifilm X100VI – Kodak T-Max 100 Hard Tone – Photo by Joy Roesch
Fujifilm X100VI – Kodak T-Max 100 Hard Tone – Photo by Ritchie Roesch
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.
Fujifilm posted a video announcing an upcoming X Summit in Tokyo on October 14th. Most likely, they will introduce one camera and two lenses. There could be other surprises, who knows. It will be at 6:00 AM Pacific Time, 9:00 AM Eastern. If you are possibly interested in the products that are expected to be announced, you might want to tune in and preorder as soon as that goes online, which is usually immediately afterwards.
Fujifilm also announced that they are planning to release a firmware update for the X-H2s, X-H2, and GFX100 II in November. This upcoming firmware update seems to be video-centric, but will also likely include some improvements and fixes for still photography. I wouldn’t be surprised to see firmware updates for some other cameras at or around that same time, but since it won’t include all of the video stuff, my guess is that they’re not making a big deal about it.
It’s been widely reported that earlier this year Fujifilm released a buggy firmware update that negatively affected autofocus on some models. While they largely fixed the issues from that buggy update (it’s always a good idea to wait a couple weeks before updating the firmware, in case there is a problem, no matter your brand of camera), there are still some persistent problems that people are reporting. Fujifilm has been working on it, and I believe that they’re about to get it all sorted out.
Captured with a Fujifilm X-M1 camera & Fujinon 90mm f/2 lens
There has been a lot of unnecessary hysteria around this topic. In my opinion, it has been largely overblown with a lot of unfair exaggerations and even some downright lying. That is not to say issues haven’t or don’t exist, because obviously they do, or that they shouldn’t be addressed—they should be, and they are. I think some of the feedback has indeed been quite helpful to Fujifilm, providing a better understanding of exactly what is going on and how to fix it; however, some other feedback has just been an embarrassment to the community at large, with chronic complainers, haters, and trolls fanning the flames with anger and hate. The comments sections of many Fujifilm related websites and videos have become unbearable. Some trolls have been posting multiple times under various aliases, so as to make it seem like the outcry is bigger and louder than it actually is (shameful behavior, for those doing it). Petapixel has even deleted some comments, something they don’t do all that often (but should do much more, in my opinion), that’s how bad it has become—a few bad apples will spoil a whole bunch, as the saying goes. I cannot tell you how many people have emailed or DMed me, expressing how tired they are of it, but they don’t want to speak up publicly for fear of being bullied by the trolls. That behavior needs to stop—no excuses—it’s unacceptable.
I, personally, have not experienced any AF issues on my Fujifilm cameras (and I have many, and I use them all of the time). Within the last two months I have spoken with many of you in person. Just last week I spoke to some who use the affected cameras for their livelihood (very successful and talented creators), and asked them directly about this. In all of the circles that I’ve been in lately, this has not been seen as a big problem by anyone who I spoke to. That’s not to say issues weren’t noticed by some, only that they were able to work around it and get the job done without any problems whatsoever. All of this is to say, I think that those who are actually actively out there creating content with their Fujifilm cameras are doing just fine right now, and the issues have been largely overblown on the internet. Still, it’s good to see that very soon Fujifilm will have it all sorted out, so no worries for those who have been losing sleep over this.
Now, of course, I will get some angry comments about what I just said. That’s fine. Because the Fuji X Weekly community is so amazing, this website has largely been immune from the trolls that are all too common elsewhere. I have not been inundated by those over-the-top comments you see on other websites, and it’s thanks to all the good folks who regularly visit this page (that’s you!). But I’m sure I will still get some. The point of this article is simply to mention that a few new products are about to be announced, and that some firmware updates won’t be far behind. I really wish the rest didn’t need to be said, but unfortunately (and sadly) that’s the state of things right now.
According to Fujirumors, Fujifilm is working on a new camera that will have a sensor size never before used by Fujifilm. I have no idea what that means, but I thought it might be fun to speculate what some of the possibilities are. Who knows if this is an X-series camera… it could be GFX. It could be a digicam or something like the XP80 waterproof camera. It could be Instax, since they have the EVO and PAL models. It could be something else entirely. For the sake of this article, I will assume that it is X-series; however, it very well might not be. I think this is one of those times where it’s best to keep expectations in check and not get your hopes up too high. Still, it can be fun to guess.
My very first thought is that it could be an X30-like successor—perhaps called X50—with a 1″ sensor. The Fujifilm X30 had a tiny 2/3″ 12mp X-Trans II sensor, but was still a good compact zoom, and is fun to use even in 2024. While a successor would need to be significantly different, I do believe that if it has a 1″ 20mp X-Trans V sensor, a 9mm to 37mm (24mm to 100mm full-frame-equivalent) f/2-4 zoom lens, IBIS, EVF, and retro tactile controls (no PASM, please), it will do quite well. There is a renewed interest in these types of cameras right now. Alternatively, a fixed-focal-length wide-angle option could be good, too.
Another idea would be to use the sensor found in the latest GoPro models. It has a tiny 1/1.9″ 27mp sensor with an unusual (almost square) 8:7 aspect ratio. The benefit of the unusual sensor shape is it allows for vertical videos without having to tilt the camera sideways, so obviously it would be a video-centric model, perhaps in the action camera realm. Most likely this would not technically be an X-series model, but it is possible that Fujifilm could use an X-Trans array. I don’t think this is a likely option, unless Fujifilm has thought of some way to stand out in what is already a crowded scene.
I doubt that Fujifilm has any interest in Micro-4/3. I think that MFT is too close to APS-C that they would only compete against themselves; aside from that, MFT is basically a declining market. Still, it is possible that an X100-like or X70-like compact fixed-lens MFT camera is in the works, I just see it as highly unlikely.
An intriguing option that I’ve suggested a couple of times (first in 2019, actually) is APS-H. There aren’t a lot of APS-H cameras anymore, but it used to be more common. Canon made some, as did Sigma. Since APS-H is about 15% larger than APS-C, not all APS-C lenses cover the entire frame. Sigma’s solution was to automatically crop to APS-C for the lenses without full coverage, and I would suggest that Fujifilm take the same approach. While some Fujifilm lenses will fully cover APS-H, some—the majority, actually—won’t; for those that don’t, the camera would automatically crop to APS-C.
The reason why Fujifilm might do this—and the camera that Fujifilm might do this for—is XPan on the future X-Pro4 (or maybe called X-Pro5). Where APS-C lenses struggle to cover APS-H are the corners, so the not-fully-covered lenses would be just fine for the XPan aspect-ratio, since the corners are cropped out. The roughly 50mp APS-H sensor would produce roughly 27mp XPan images. For lenses without full coverage with the 3:2 aspect ratio, you’d still get a 40mp APS-C photo; however, for the lenses with full coverage, you’d get the full 50mp-ish picture.
The only other option I can think of that makes sense is perhaps a full-frame X100-like camera. I don’t believe that Fujifilm has any interest in creating a new lens mount, so I would be completely shocked if Fujifilm made any interchangeable-lens full-frame models. Fujifilm would mostly be competing against themselves, and would undercut both their X and GFX lines; aside from that, the full-frame market is quite crowded and highly competitive. But, a premium fixed-lens full-frame camera might sell very well. Fujifilm would have to do something to differentiate it from the X100VI so that they aren’t directly competing against each other, and I have no doubts that they can.
If I were to bet on what it will be, my guess is none of these, that it’s not an X-series camera. If it is in the X-series, I think the top odds are that it is a 1″ sensor compact camera of some sort. An APS-H X-Pro with the XPan aspect ratio would be super cool, but unlikely in my opinion. With the massive demand for the X100VI, a full-frame version could be a huge sales success. Eventually we will know for sure, but for now we can only speculate, and most of those guesses will turn out to be wrong. Still, it’s fun to dream.
I’m very proud to introduce the Evergreen + Fuji X Weekly Protective Case for Fujifilm X100 series cameras! It’s available in both clear and black for $50.00 USD.
This new camera case is dust-proof, watertight, and shock-resistant. It is intended for the outdoor adventurer who needs to keep their camera safe while backpacking or camping or exploring or other similar activites. If you’re the outdoors type who takes a camera along on your adventures, but are concerned about keeping your gear safe, this case is for you.
The Evergreen + Fuji X Weekly Protective Case is specifically designed for the X100VI, X100V, and X100F cameras. It will also fit older X100-series models. While not specifically intended for it, my Fujifilm X70 with a leather half-case fits well. My Fujifilm X-E4 with the Fujinon 27mm f/2.8 pancake will also work, but only without the lens cap. I found that a Fujifilm X-M1 with a 7Artisans 18mm f/6.3 pancake lens fits. Optimally, this case is for the latest X100-series models, so if you have an X100VI, X100V, or X100F, the Evergreen + Fuji X Weekly Protective Case will keep your camera safe as you explore.
Within the case there is space for one spare battery and one SD-Card. There’s also one slot on each side for filters. I fit both a 49mm Moment CineBloom filter and 49mm Fotasy Ultra Slim UV filter in one slot; in the other I put a Hoagle filter adapter. I can also fit a Hoagle Ultra Thin Lens Hood into the case, but not in the filter slots. It’s important to note that most lens hoods will not fit, nor will the wide or tele conversion lenses. You will most likely find that your camera strap is too big and won’t fit (it all depends on what you have); however, one strategy could be to use a quick-release strap from Peak Design and keep the strap elsewhere. Personally, I use a wrist strap, which does fit into the case.
This Evergreen + Fuji X Weekly Protective Case was a collaborative endeavor. I providing design ideas and input, and then feedback after testing various concepts. It was a team effort, so I can only take a small amount of credit. The folks at Evergreen Cases are truly professional, and they did the heavy lifting. I’m thrilled that they invited me to be a part of it, and have a hand in the design. Also, we co-created a Portra-inspired Film Simulation Recipe, called Fuji X EG400, which is included in each case.
I get asked all of the time when to use which Film Simulation Recipe. With over 350 in the Fuji X Weekly App to choose from, it can be difficult to know when each Recipe should be chosen, especially since many of them are specifically intended for sunny daylight conditions. With only seven Custom Presets on your Fujifilm camera (for most of you, anyway), which ones should you have programed? When should you select them?
The problem with trying to answer this question is that it’s a highly subjective endeavor. While I might like a certain Recipe for a particular situation, you might not. There’s not a right or wrong answer, just what works for you and what doesn’t—and I cannot say whether any particular Recipe will work for you or not. Only you can answer that for yourself, and you have to try a Recipe to know. With that said, I do attempt to give good advice. I’ve written many articles related to this topic, including the series Which Film Simulation Recipes, When? While that has likely been the most helpful, it’s nearly two-years-old now, and a lot of new Recipes have been published since. I think it’s time to update the series for 2024.
The premise of the original series is that Jason Kummerfeldt of Grainydays, a YouTube channel about film photography, gave some advice on when to use which film emulsion in a video entitled Which Film Stock, When? Since film choice is such a personal thing, how do you say when to use which? It’s the same thing for Film Simulation Recipes. His solution was simply to demonstrate what he uses and state what he likes, and maybe you’ll like it, too. In my series, I copied that approach for Recipes—I told you my preferences, and invited you to try them out. We’re going to follow that same formula for this update with just a small twist, which I think makes a little more sense.
Below are seven Recipe suggestions for you to program into C1-C7 on your Fujifilm camera, with advice on when to use each. Since Recipes are (for the most part) generationally specific, each article will cover a different group of cameras. This is Part 2, and covers X-Trans IV models (except the X-T3 and X-T30, which will be discussed in Part 3): Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II.
Kodak Portra 400 v2 does well anytime during daylight hours, but especially for “golden hour” near sunrise and sunset. As the name suggests it is a good option for portrait photography, but is excellent for many genres. This really could be your primary use-all-of-the-time Recipe, and that’s why I suggest placing it in C1. Personally, I use this one frequently.
Golden Desert Hill – Buckeye, AZ – Fujifilm X-E4 – Bright Kodak
I like to reserve C2 for bright midday photography. The old rule of thumb was once the sun was high in the sky, it’s time to put the camera away. While Bright Kodak can be used anytime the sun is out, it is one of my favorite options for middle-of-the-day situations, and proves the old adage wrong.
Denny’s Days – Beaver, UT – Fujifilm X-E4 – Kodachrome 64
This is a good spot to have an alternative aesthetic compared to C1 and C2—as I don’t think you’d want to have all three up to this point to be essentially similar. Although each of the first three have a Kodak-like look, Kodachrome 64 produces a more contrasty slide film aesthetic. With the ones I’ve suggested, you’ve got a good set for all sorts of daylight situations no matter your subject.
Ice Flower & Chain Link – Morro Bay, CA – Fujifilm X-E4 – Pacific Blues
Pacific Blues is excellent for sunny daylight photography—it was specifically designed for a summer day at the beach—but I have fallen in love with it for overcast and foggy days. For dreary conditions, this Recipe is hard to beat.
I like to have at least one Recipe programmed into my camera that’s highly versatile and can be used no matter the situation. There are several excellent options, but a personal favorite that I use frequently is Reggie’s Portra. Almost no matter the light, this one does very well.
11th Street – Astoria, OR – Fujifilm X100V – Serr’s 500T
Most Recipes are intended for sunny daylight; while some can still do well at night, and the versatile options above are definitely good for after-dark, there are some Recipes that are specifically intended for night photography. Of those, Serr’s 500T is one of my absolute favorites.
Old Window Blinds – San Luis Obispo, CA – Fujifilm X100V – Kodak Tri-X 400
I love black-and-white photography. As far as Recipes go, the monochrome options tend to be less popular than color; however, my favorite Recipe—and the one that I would choose if I could only ever photograph with one—is Kodak Tri-X 400.
The Fujifilm X100VI is the most preordered camera in history by far. There were more orders placed prior to the release date than there were X100V’s produced in its entire four-year run. Completely unprecedented! I quickly made my order within minutes after it was announced, and I still had to wait over a month for it to arrive. There are people who placed their preorders on day-one who are still waiting, and some have been told that it might be closer to Christmas before it can be delivered. Even though Fujifilm is right now manufacturing the X100VI at somewhere around four-times the rate that they did the X100V, they still haven’t cleared out the preorder list, let alone begin to tackle the backorders placed after the release. It’s nuts! If you’ve been patiently waiting for yours, I hope that it arrives soon. If you haven’t already ordered yours, the wait could be quite significant.
Quite obviously before Fujifilm even thinks about offering alternative versions of the X100VI, they need to catch up on all the orders already placed. I have no idea how long that might take, but I highly doubt it will be anytime in 2024, and maybe not in 2025, either. However, once they’ve managed to get this situation under control—perhaps in the spring of 2026—I would encourage Fujifilm to consider producing variations of the X100VI. While this is something I’ve suggested for awhile (first with the X100F, actually), this is the first time that I’ve dedicated an entire article to the topic.
Leica just announced a 43mm f/2 version of the Q3, called Leica Q3 43. For those who don’t know, the Q3 has a 28mm f/1.7 lens, which is equivalent to 18.6mm on Fujifilm, the same focal-length as the X70. The new 43mm version has more of a standard field-of-view, and is equivalent on Fujifilm to 28.6mm (Fujifilm doesn’t offer that exact focal-length, but it is pretty close to both 27mm and 30mm, which Fujifilm does make).
Offering multiple focal-length versions of a fixed-lens camera is nothing new. For the Ricoh GR III, which has a 18.3mm (27.5mm full-frame-equivalent) lens, there’s a 26mm (39mm equivalent) variation called GR IIIx. Sigma had up to four versions of the DP cameras: 14mm (21mm equivalent), 19mm (28.5mm equivalent), 30mm (45mm equivalent), and 50mm (75mm equivalent). Fujifilm has never taken this approach, but I think they should.
What Fujifilm does offer are conversion lenses, which screw onto the end of the camera’s fixed lens. There’s a wide-angle (WCL-X100 II) and telephoto (TCL-X100 II) option. The wide conversion lens has a 0.8x magnification, which means that the 23mm (34.5mm equivalent) lens on the X100VI becomes 18.4mm (27.6mm equivalent). The telephoto conversion lens has a 1.4x magnification, which means that the 23mm lens on the X100VI becomes 32.2mm (48.3mm equivalent). Essentially, it’s like having three versions of the camera: 18mm, 23mm, and 32mm. The downside to the conversion lenses is that they add a fairly significant amount of size and weight (especially the telephoto) to the camera, which, to an extent, defeats the purpose of it. While the teleconverters do indeed add quite a bit of versatility, I would like to see one or two alternative focal-length versions in the future, where the dimensions and weight of the camera are about the same, just with different fields-of-view.
My top two recommendations would be a 16mm (24mm equivalent) f/2.8 version, and a 35mm (52.5mm equivalent) f/2 version. Obviously 18mm f/2 would be a popular choice, so I’m sure that would be high on their list of potential focal-lengths. Fujifilm has a pancake 27mm f/2.8, and modifying those optics for use with an X100 series camera could be intriguing. Fujifilm could offer just one variation (like Leica did with the Q3, and Ricoh did with the GR III), or they could offer multiple options (like Sigma did with the DP series). Personally, I’d like both a more wide-angle and a more telephoto version.
This should not be a priority for Fujifilm whatsoever, but something to consider for down the road. Maybe it could be announced in the fall of 2025 in time for the Christmas shopping season, or in spring of 2026, or sometime later. Or maybe they don’t see any reason to offer it at all, because perhaps they don’t believe it will gain any net camera sales, only take away X100VI sales. Personally, I would likely buy whatever alternative focal-length version(s) that they do release, if they ever do, to be an addition to my X100VI. I don’t know how many other people would do the same, but it might be worthwhile for them to consider.
I don’t see Fujifilm going down this path in the near future. They may have no interest in doing it ever. But I like the idea, personally, and would encourage them to at least consider the possibility. Not everyone appreciates the 23mm (34.5mm equivalent) focal-length of the X100-series cameras, and even if they do, they may want a little variety sometimes. While I believe that it would do quite well for Fujifilm, obviously it is something that they themselves must believe in order for it to ever happen. I hope that someday it does.
In this article we’re going to discuss Fujifilm’s X-series Autofocus, which is a hot topic right now. A lot of things are being said about it on YouTube and social media and especially in the comments section of photography websites. I’m a little afraid to give my two cents, because I know it will not be well received by some of you reading this. I think most regular visitors of this website will not have any qualms about it, but no doubt this will be shared on Reddit or DPReview or a Facebook group or someplace like that, and I will receive some aggressive disagreements by some of those folks.
I cannot tell you how many times I’ve seen people online call Fujifilm’s Autofocus “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 my opinions are different than many. I did write about it two months ago, but I think it needs to be addressed again.
As I’ve pondered this topic, I think there are a number of issues that are often lumped together, but need to be discussed individually. They are related in that it affects Autofocus, but otherwise they are unrelated, and lumping them together doesn’t help bring about any solutions. We’ll get to it all, but it will take some time to navigate through it. Be patient, as this will be a journey.
First and foremost, I believe that much of the negativity is a type of hysteria. Someone points out a “problem” and now everyone (it seems) is experiencing it. Echo chambers and groupthink on the internet can make people especially susceptible to this. I’m not a psychologist and offer no professional medical advice, but I did listen to a podcast recently on a flight that made me consider this as a strong possibility.
The podcast was Cautionary Tales with Tim Harford and the episode was entitled Sonic Poison? The Genesis of Havana Syndrome. It explains how hysteria can have a real affect on people, such as causing nuns to meow, or children to experience sickness that they don’t really have, or millions of dollars of perfectly good Coca-Cola dumped down the drain for no good reason, or spies “poisoned” by loud cicadas in Cuba. While these things were in their heads, they manifested in real physical ways.
What clued me in to the potential that this phenomena might also be happening to those who own Fujifilm cameras is when someone told me that they were really upset at Fujifilm because their Autofocus was not working as it should be and that Fujifilm needed to fix the problem right now; this person admitted that they had never experienced the issue personally, but they knew it was a problem because they had seen it in a YouTube video. Later, another person stated to me something very similar: while the “problem” had had no affect on their photography, they were aware of its existence because they had seen it on the internet—and they were demanding that Fujifilm fix it ASAP or else they would quit the brand.
I’m not suggesting that Fujifilm’s Autofocus woes are “all in your head” and that it is just psychological, but I do believe it explains a good deal of it. I think if some certain YouTube videos had never been published (and it’s fine that they were, I’m not condemning them, I’m just observing), there would not be nearly so much discussion and outrage right now. A lot of people “became aware” of a problem that they likely would not have noticed on their own otherwise, and it wouldn’t have affected them in any real way (in other words, it wouldn’t have been an issue at all). When you spend a lot of money on something, and especially if your livelihood (or hopes of a future livelihood) depends on that thing, and you believe that it is not working right, it’s easy to understand why there would be some hysteria. Nuns meowing, Coke getting dumped, and Fujifilm’s “sucky” Autofocus are related, if you ask me, and it’s something that we can all be susceptible to. But, again, I’m not a psychologist and offer no professional advice on this.
While I believe a significant amount of the outrage can be attributed to that hysteria, there are real issues that should be discussed rationally. Something that I find interesting is that for the first five or six years of this blog, Fujifilm’s Autofocus was not a big issue whatsoever. It wasn’t a hot topic. What changed? I think it was Fujifilm’s enticement of Canikony brand photographers. I think many of the complaints are by people who used to shoot Canikony brand cameras—particularly Canon and Sony—and when they switched to Fujifilm over the last couple of years, they were disappointed by Fujifilm’s Autofocus system. It’s not as good as those found on Canikony models, especially Canon and Sony.
There are three reasons why Canikony cameras have better Autofocus than Fujifilm. First, they’ve been doing it for much longer. Sony (through Konica and Minolta) have been making Autofocus cameras since the 1970’s, and had what was considered the first “good” AF system (not good compared to what we have today, but good for back then) with the Minolta Maxxum in the mid-1980’s; Canon and Nikon both introduced their first Autofocus cameras in the 1980’s. Second, Canikony brands have had significantly more R&D money to invest in their Autofocus systems. Finally, as PetaPixel pointed out, the Canikony brands over the last handful of years have spent very little effort on image quality improvements, while placing much of their efforts on Autofocus improvements, and in some specific cases, actually to the detriment of image quality (a path that I do not want Fujifilm to pursue, personally). Most of the Canikony cameras that Fujifilm models are often compared to are also significantly more expensive, and usually larger and heavier.
Anyone who expects Fujifilm’s Autofocus to be at the same level as the Canikony brands have not put much thought into it. Still, it’s surprising to me, considering the disadvantages that Fujifilm has faced, that they’re not very far behind, either. Fujifilm’s Autofocus is by far more than good enough for most people and situations, including for the many professional photographers who use these cameras each day even under difficult circumstances. In preparation for this article, I reached out to five highly talented and successful photographers/videographers who use Fujifilm—people I met in person this year while traveling across America—and asked if they find Fujifilm’s Autofocus “lacking” or “detrimental” to their work. All five answered no; one added a caveat that for a specific use-case this person prefers their Sony model—they could do it with their Fujifilm, but it’s a little easier on their Sony, so for that particular situation this person doesn’t use Fujifilm.
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 era with what would seem like to them impossible camera technology. Yet the photographs captured today are no more impressive than than they were 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. I love finding vintage photography magazines and admiring the incredible photographs captured on significantly inferior gear than what we have readily available today—we’re so spoiled!
In other words, if they could do it on their lesser gear, you can do it on your greater gear. No excuses. Fujifilm’s Autofocus is really good, especially compared to what existed over the last handful of decades. No, not quite as good as the Canikony brands are right now, but really good nonetheless. The negativity just never made sense to me. It’s 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.
Many years ago I was given this advice: Either you are controlling your camera, or your camera is controlling you. I think that a lot of people allow their cameras to control them, which might typically work out fine because the current tech is so advanced, but, when it doesn’t work out, it’s an easy scapegoat to blame the gear instead of looking inward. Without self reflection, you are robbing yourself of the opportunity to learn and grow. Your gear is only a limitation if you allow it to be, and if you don’t allow it, then it’s no issue whatsoever. That might require learning some new skills or sharpening some skills that you already have but could be improved upon.
A lot of people don’t like that advice, but it is completely true. You have it within you to not allow any limitations on any gear get in the way of creating whatever it is that you want to create. The difference between those that are having a ton of success with their Fujifilm gear and those complaining about it saying they can’t is the person holding the camera, and not the camera itself. I get it: it’s much easier to blame the gear. But, if you blame the gear instead of yourself, your camera is controlling you, and you will not improve—that success will be elusive.
All that I just said is the most important part of this article. You might disagree, and that’s ok. Sometimes the truth hurts. It might be a bitter pill that you were not ready to swallow. I didn’t say anything that’s not true; perhaps it is deserving of a second read-through, and with an open mind. With all that said, there are some other things that are important to address.
I think a good deal of the negative attention regarding Fujifilm’s Autofocus issues came after Fujifilm released a firmware update earlier this year with an Autofocus bug. I didn’t experience the issue caused by that firmware personally because I always wait awhile to update the firmware. This is a good idea regardless of camera brand. Sometimes there are bugs, and sometimes the bugs are significant. If you wait a week or two, if there is some major bug, it should be well known by then—if so, just skip that firmware and wait for the next one. Fujifilm did fix that Autofocus bug; however, to a much smaller degree there is still some AF problem that seems to only affect certain use cases. It’s my understanding that Fujifilm is aware of it and working on a solution. It will get resolved, just give it a little time.
As Fujifilm has grown, I think one department that may not have upscaled enough is the one that is in charge of firmware. Perhaps Fujifilm needs to add a couple more to the team, or maybe they have already and are experiencing some growing pains as new folks are brought in (or combination of the two). From my perspective, it just seems that this team is stretched a little too thin and needs more resources to allow them to keep up. My advice to Fujifilm is simply to invest more in the team that is in charge of firmware, as I’m certain it will pay off in the long run. A lot of negative attention today could have been avoided had this team been given all of the necessary resources a couple years back.
The remaining Autofocus woes are related to hardware and settings. It could be that you are not using the best lenses, or don’t have your camera settings programmed optimally.
Fujifilm’s older lenses are slower. The newer options with a Linear Motor (designated with “LM” in the lens name) are often the fastest. The larger and heavier the glass elements, the slower the AF will likely be. In other words, there’s a pretty significant performance difference depending on the lens that you have on your camera. Use the right lenses and you’ll have more success; however, for most people and circumstances, all of the lenses are plenty good enough—this is more for those who demand peak performance for their situation. Also, ensure that the lens firmware is up-to-date, not just the camera—this might resolve it for you, so it is worth looking into.
Fujifilm cameras have a lot of customizable fine-tuning options for Autofocus (especially on the newer models); if those settings are optimized for your situation, you will have much success, but if not, you may have more “misses” than you’d like. There are resources online that can help you find the right AF settings for you—it’s a very individual type of thing, so what works for one person may not for another; I recommend that you look for advice from multiple sources, and experiment—try different settings and see what happens. Also, I have found that several complaints were resolved with one specific thing: Release/Focus Priority should be set to Focus and not Release. I have a feeling that this one setting is the root of many people’s AF woes.
Political Skateboarder – Nashville, TN – Fujifilm X-T50 – Kodak Film Recipes
In my opinion, Fujifilm’s Autofocus problems have been significantly overblown—Mount Everest has been made out of an ant hill. The internet has spread hysteria. Some people have unrealistic expectations. For others its user-error, and could be resolved with a little effort. Blaming the camera is easy to do, but it stifles your growth. Control your camera, don’t let it control you. Many people have the same exact gear as you do and they do not experience your issues. It’s not the camera—it has never been the camera, and it never will be the camera. Your gear is much more than capable. As Ansel Adams stated, “The single most important component of a camera is the twelve inches behind it.” You have it within you to not allow it to adversely affect you, but it might require some practice or learning new skills. That’s not a message that people usually want to hear, but it’s one that needs to be said. If you require optimized peak Autofocus performance, make sure that you are using the right lenses and have the best settings selected for your situation. For Fujifilm: provide more resources to the firmware team so that they can ensure they are not producing buggy updates (by the way, this is not an issue unique to Fujifilm by any stretch).
Please keep your comments civil. I know that chronic complainers, haters, and trolls will come out of the woodworks when an article like this is published. Unlike most websites, I don’t put up with that here. If you disagree, please be kind in your disagreement. I feel like this article needs to be published to counteract all the negativity that is much too prevalent across the internet. My hope is that—if you have experienced issues with Fujifilm’s Autofocus—you’ll be encouraged to create amazing content with the gear you own, because your camera is, in fact, more than capable just so long as the one using it is also capable (and you can be!). Excuses get in the way, but you don’t have to let them. That’s the message of this article.
Robert Capa famously stated, “If your photos aren’t good enough, you’re not close enough.” A macro lens, which allows you to focus more closely to the subject, takes this idea to an entirely new level. You can get extremely close! The smallest of details, which might normally be overlooked, can become the subject itself.
Fujifilm has three such lenses for the X-series: Fujinon XF 80mm f/2.8 R LM OIS WR Macro, Fujinon XF 60mm f/2.4 R Macro, and Fujinon XF 30mm f/2.8 R LM WR Macro. The 80mm lens is the most premium of these, and is a must for anyone who is serious about macro photography on Fujifilm cameras. The 60mm lens isn’t technically a macro lens, as it doesn’t have 1:1 magnification, but it is near-enough to be designated as such; it is an older Fujinon model, and not as sharp or quick as the others. The 30mm lens is the latest macro offering by Fujifilm, giving close-focus capability to a very useful focal length.
MPB is the sponsor of this article. They loaned me a Fujinon XF 30mm f/2.8 R LM WR Macro lens 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!
Normally, macro lenses are telephoto, such as the Fujinon 80mm f/2.8, because otherwise the lens might get too close and disturb the subject—either by scaring the subject away (if it’s an insect or animal) or by casting a shadow on it. The 30mm focal length is 45mm full-frame-equivalent on Fujifilm X-series cameras, and is a “normal” field-of-view for photography—essentially, a nifty-fifty; however, it is not the most practical choice for macro photography. In fact, you may want to remove the lens hood for up-close pictures, because it can get in the way. While I found the lens to be somewhat challenging for macro images, the fact that it doubles as a standard focal-length lens—not too dissimilar from the Fujinon 27mm f/2.8 or Fujinon 35mm f/2—means that it’s great for everyday walk-around photography. That versatility is quite intriguing.
The downside of this lens compared to the 27mm f/2.8 or 35mm f/2 is that the 30mm f/2.8 Macro is much larger (0.9″ and 1.8″ long compared to 2.75″ without the hood and 3.75″ with the hood, respectively). It is quite compact and lightweight for what it is, but if you’re looking for an everyday carry option, this isn’t quite as small as those. If macro or near-macro photography is of interest to you, this is an excellent lens to own; otherwise, you might better appreciate some of the other options.
Macro lenses are often extremely sharp because the nature of their work demands it, but the downside is that they are often slow. Not only do they typically have smaller maximum apertures, but they are almost always a bit slower to focus, since they have such a large range to cycle through. The Fujinon 30mm f/2.8 Macro is indeed very sharp and largely free of any optical flaws, and definitely lives up to the Fujinon reputation. Surprising to me, it is also quite quick to find and lock focus, which is somewhat unusual for a macro lens. From a technical point-of-view, there’s a lot to be impressed with.
For someone wanting to get into macro photography (or if you are already into macro photography, but are switching to Fujifilm from another brand), I would highly recommend starting with the Fujinon 80mm f/2.8. The Fujinon 30mm f/2.8 is an excellent complimentary option for when you need something less telephoto and/or bulky, but in my opinion it shouldn’t be your first or main macro lens. For someone who’s not really into macro photography per se, but would like to sometimes get closer to their subjects, and is also interested in a solid everyday-carry option, this lens will do the trick very well.
Getting closer to your subject to improve your photography has been common advice for over 75 years now, and I think there is just as much truth to it today as when Robert Capa first coined it in the 1940’s. Perhaps macro photography takes it more literally than Capa had intended, and certainly merely getting closer isn’t a cure-all fix to uninspired images. With that said, I do believe that lenses like the Fujinon XF 30mm f/2.8 R LM WR Macro provide the opportunity to grow as a photographer, and certainly the challenge of using it effectively will improve ones photography over time. So, yeah, if your pictures aren’t good enough, maybe it’s because you’re not close enough, and this lens will allow you to get much closer.
This is going to be a busy fall! I have a lot of upcoming things in the works, and I cannot wait to share them all with you. Hopefully within the next couple of weeks I can announce everything. As soon as I can, I’ll be sure to post about it on Fuji X Weekly.
There are two very exciting events that are just around the corner. Both are don’t-miss opportunities for you. If you live in Texas, I hope to see you at Fujifilm’s Create With Us next week in Austin. If you live anywhere near New York City, be sure to come to the NAB Show in October. Both will be epic! You need to be registered, so be sure to sign up ASAP, because space is limited.
Fujifilm Create With Us in Austin — September 28th
Join me in Austin, Texas, on September 28th—that’s next week! I will be co-leading two photowalks with Fred Agho, one at 1:30 PM and the other at 4:30 PM, as a part of Fujifilm’s Create With Us event. If you live in Austin—or are within driving distance of Austin—this is an event that you won’t want to miss!
This will be an epic day of learning, creating, networking, and more! You must be registered to attend. Space is limited, so don’t procrastinate—sign up today! I believe that the photowalks have been fully booked, but you can be placed on a backup list in case someone doesn’t show. I hope to see you in Austin next week!
I will be at the NAB Show in New York City on October 9th and 10th, leading three free photowalks. These photowalks will be small groups, meaning that there will be tons of opportunity for one-on-one conversations. This is a teaching opportunity—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 11:15 AM, October 9th at 2:45 PM, and October 10th at 11:45 AM (note: these were pushed out 45 minutes from their original times). The theme of my photowalks are Straight Out of Camera—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. 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!
There are popular Film Simulation Recipes that it seems everyone is using, and there are ones that don’t get nearly as much attention. The majority of the most popular Recipes use the Classic Chrome film simulation, so those that aren’t based on Classic Chrome tend to get less use. There are some excellent options that can get overlooked, and in this article I will highlight three specific ones that perhaps you’ve never tried.
This was actually the topic of yesterday’s SOOC Live broadcast, which I included below in case you missed it. Nathalie Boucry and I spent the first part of the show catching up on all that transpired since our last episode, and then spent the second half discussing three unsung Recipes: Astia Summer, Expired Velvia, and Monochrome Negative. Be sure to watch it now if you weren’t able to catch it when it was live.
Astia Summer is one of the 14 Fujifilm X-T50 Film Dial Recipes. My Film Dial Recipe is a universal Recipe that works well with all of the various film simulations. While the universal Recipe approach is easier on the X-T50 thanks to the Film Dial, it can be done with any Fujifilm camera simply by setting one of the FN buttons to open the film simulation submenu. By programming the Astia Summer Recipe into your camera, you potentially unlock as many as 14 Recipes in total—amazing!
What I like about the Astia Summer Recipe is that it is colorful and warm. While it’s not intended to mimic any film emulsion, it does have some vague similarities to Kodak Ektar 100, but it isn’t necessarily a great match for that. This Recipe is excellent for landscape photography, especially in situations where Velvia is too vibrant. While Astia in general can be quite good for portrait photography, Astia Summer is probably just a tad too vibrant for portraits. This Recipe is quite versatile, and can be used anytime of the day or night. It is compatible with all of the fifth-generation models, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50; also, it is compatible with the “newer” X-Trans IV cameras: X-T4, X-S10, X-E4, and X-T30 II.
Tiny Purple Blossoms – Avondale, AZ – Fujifilm X-E4
Unripe Lemon – Avondale, AZ – Fujifilm X-E4
The Expired Velvia Recipe uses Classic Negative and not Velvia. Why? Someone shot a roll of Fujichrome Velvia 50 film that was well-expired, and shared with me their scans of the film; interestingly, it looked very similar to Classic Negative, and not Velvia. This Recipe mimics those film scans very well, producing a convincing analog-like rendering. Aside from resembling expired Velvia film, this Recipe might also be reminiscent of some cross-processed emulsions or even old photographic prints from 1980’s. It’s definitely more of a lomo look, and is not true-to-life.
For best results, use this Film Simulation Recipe in sunny daylight. It might be ok in other situations, too, but definitely try it when the sun is out. You will likely have to underexpose a little, paying careful attention not to clip the highlight. The Expired Velvia Recipe is compatible with X-Trans IV cameras (except the X-T3 and X-T30) and all X-Trans V models, which (as of this writing) are the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50.
Oleander Flower Blossom – Avondale, AZ – Fujifilm X-E4
Sago Palm Frond – Avondale, AZ – Fujifilm X-E4
Monochrome Negative is a lovely black-and-white Recipe with similarities to Agfa Scala, but a little softer. It has good contrast and nice tonality. Be very careful with the exposure, as highlights can clip easily—there’s a good chance your Exposure Compensation Dial will be set at -2/3 or even -1.
There are a number of excellent B&W Recipes, and it can be difficult to know which one to choose. They can seem quite similar, too, which might make it even more difficult. My personal favorite is Kodak Tri-X 400, but Monochrome Negative is also an excellent choice. Because it uses Grain size Small, Color Chrome Effect and Color Chrome FX Blue Off, and Clarity 0 (no Clarity pause!), it is highly compatible across sensor generations—simply ignore the settings that your camera doesn’t have. Monochrome Negative can be used on all X-Trans III, IV and V models, which (as of this writing) are the X-Pro2, X-T2, X-T20, X100F, X-E3, X-H1, X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50.
I get asked all of the time when to use which Film Simulation Recipe. With over 350 in the Fuji X Weekly App to choose from, it can be difficult to know when each Recipe should be chosen, especially since many of them are specifically intended for sunny daylight conditions. With only seven Custom Presets on your Fujifilm camera (for most of you, anyway), which ones should you have programed? When should you select them?
The problem with trying to answer this question is that it’s a highly subjective endeavor. While I might like a certain Recipe for a particular situation, you might not. There’s not a right or wrong answer, just what works for you and what doesn’t—and I cannot say whether any particular Recipe will work for you or not. Only you can answer that for yourself, and you have to try a Recipe to know. With that said, I do attempt to give good advice. I’ve written many articles related to this topic, including the series Which Film Simulation Recipes, When? While that has likely been the most helpful, it’s nearly two-years-old now, and a lot of new Recipes have been published since. I think it’s time to update the series for 2024.
Red Rock at Sundown – Sedona, AZ – Fujifilm X-T50 – Reala Ace Recipe
The premise of the original series is that Jason Kummerfeldt of Grainydays, a YouTube channel about film photography, gave some advice on when to use which film emulsion in a video entitled Which Film Stock, When? Since film choice is such a personal thing, how do you say when to use which? It’s the same thing for Film Simulation Recipes. His solution was simply to demonstrate what he uses and state what he likes, and maybe you’ll like it too. In my series, I copied that approach for Recipes—I told you my preferences, and invited you to try them too. We’re going to follow that same formula for this update with just a small twist, which I think makes a little more sense.
Below are seven Recipe suggestions for you to program into C1-C7 on your Fujifilm camera, with advice on when to use each. Since Recipes are (for the most part) generationally specific, each article will cover a different group of cameras. Part 1 is X-Trans V models, which (as of this writing) are the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50. You can use these Recipes on the latest GFX cameras; however, they will render slightly differently (try them anyway).
Motor Hotel – Buckeye, AZ – Fujifilm X-T5 – Kodak Portra 400 v2
Kodak Portra 400 v2 does well anytime during daylight hours, but especially for “golden hour” near sunrise and sunset. As the name suggests it is a good option for portrait photography, but is excellent for many genres. This really could be your primary use-all-of-the-time Recipe, and that’s why I suggest placing it in C1. Personally, I use this one frequently.
I like to reserve C2 for bright midday photography. The old rule of thumb was once the sun was high in the sky, it’s time to put the camera away. While Vibrant Arizona can be used anytime the sun is out (also, try it at dusk and dawn), it is my favorite option for middle-of-the-day situations, and proves the old adage wrong.
Rainbows over Philly – Philadelphia, PA – Fujifilm X100VI – Fujicolor Film
This is a good spot to have an alternative aesthetic compared to C1 and C2—as I don’t think you’d want to have all three up to this point to be essentially similar—and the Fujicolor Film Recipe provides exactly that. With the ones I’ve suggested, you’ve got a good set for all sorts of daylight situations no matter your subject.
Pacific Blues is excellent for sunny daylight photography—it was specifically designed for a summer day at the beach—but I have fallen in love with it for overcast and foggy days. For dreary conditions, this Recipe is hard to beat.
Mountain Pines at Sunset – Flagstaff, AZ – Fujifilm X-T5 – Reala Ace
I like to have at least one Recipe programmed into my camera that’s highly versatile and can be used no matter the situation. There are several excellent options, but my personal favorite is the Reala Ace Recipe (which, incidentally, uses Classic Negative and not the new Reala Ace film sim).
Most Recipes are intended for sunny daylight; while some can still do well at night, and the versatile options above are definitely good for after-dark, there are some Recipes that are specifically intended for night photography. Of those, CineStill 800T is my top recommendation.
I love black-and-white photography. As far as Recipes go, the monochrome options tend to be less popular than color; however, my favorite Recipe—and the one that I choose if I could only ever photograph with one—is Kodak Tri-X 400.
Oysters & Seafood – Denver, CO – Fujifilm X-T50 – Film Dial “Cinematic Film”
Whether or not you have a Fujifilm X-T50, you can program the universal Film Dial Recipe into your IQ Menu as a bonus option (explained here). With the X-T50, the Film Dial allows you to achieve up to 12 different looks (essentially 12 bonus Recipes); with other cameras, program one of the FN buttons to activate the Film Simulation submenu, and you can achieve up to 14 different looks (14 bonus Recipes). This adds a ton of versatility to your camera.
Rainbows over Philly – Philadelphia, PA – Fujifilm X100VI – Fujicolor Film Recipe
As a part of the Philadelphia photowalk that I co-led last month, I gave a presentation at Unique Photo on Fujifilm’s Film Simulations and my Film Simulation Recipes. While I was researching for that presentation, I came across a statement by Fujifilm where they dubbed the new Reala Ace film sim as “a negative for the new era.” That slogan—negative for the new era—caught my imagination, and made me consider what it might mean, and how that could translate into a Recipe aesthetic.
Fujifilm claims that the Reala Ace film simulation is modeled after the Reala Ace 100 color negative film, which was a variant of Fujicolor Superia Reala 100 that was only sold in Japan; however, I believe that is more marketing than reality. The emulsion that the Reala Ace film sim is the most similar to is Fujicolor PRO 160C. In my opinion, Fujifilm should have called it PRO Neg. C, as it is clearly in the same family as PRO Neg. Std and PRO Neg. Hi, and is not a Superia aesthetic, which is what the Classic Negative film simulation mimics. But, either way, the Reala Ace film simulation is quite nice, and definitely has a color negative film quality to it.
Saltwater Marsh – Plymouth, MA – Fujifilm X100VI – Fujicolor Film Recipe
Prior to making this Fujicolor Film Recipe, I pulled out a photobox from my closet, and begin sorting through some of my prints from 15-20 years ago that I knew I had captured using a Fujicolor negative film. All of them were printed on Crystal Archive paper at Ritz camera. While I used those pictures to help create this Recipe, I didn’t try to closely copy any specific aesthetic, but was more just generally inspired by those prints. Later, I dug out the negatives (stored in a different box), and I was a little surprised by what films were actually used for those photos: Fujicolor PRO 160S, Fujicolor NPS 160, Fujicolor PRO 400H, Fujicolor Superia Reala 100, Fujicolor Superia 100, and Kodak Gold 100 (oops… I guess I got that one wrong).
I would describe this new Fujicolor Film Recipe as generally similar to a Fujicolor negative film printed on Fujicolor Crystal Archive paper. It’s true-to-life, and not particularly punchy. It definitely has the right feel for printed Fujicolor PRO 160S, although it’s not specifically closely modeled after that—it’s more of a happy accident than on purpose; however, it was inspired in part by that emulsion, so it shouldn’t be too surprising.
Palm & Blue Sky – Buckeye, AZ – Fujifilm X100VI – Fujicolor Film Recipe
This Film Simulation Recipe is compatible with all fifth-generation Fujifilm X-series cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50 cameras. You can also use it on the latest GFX models; however, it will render slightly different (try it anyway). For best results, use in sunny daylight; however, as you can see from the photos in this article, it can be used in a variety of light conditions. It is intended to be your Fujicolor “negative” for the new era.
Film Simulation: Reala Ace Dynamic Range: DR400 Grain Effect: Strong, Small Color Chrome Effect: Weak Color Chrome FX Blue: Weak White Balance: 5500K, -1 Red & -1 Blue Highlight: -1 Shadow: -0.5 Color: -2 Sharpness: -1 High ISO NR: -4 Clarity: -2 ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs captured using this “Fujicolor Film” Film Simulation Recipe on a Fujifilm X100VI:
Floating on the Ocean – Plymouth, MA – Fujifilm X100VI
New York – Plymouth, MA – Fujifilm X100VI
Happiness is a Beach – Plymouth, MA – Fujifilm X100VI
Yankees Girl – Plymouth, MA – Fujifilm X100VI
Low Tide – Plymouth, MA – Fujifilm X100VI
Salt Pond – Plymouth, MA – Fujifilm X100VI
Atlantic Through Trees – Plymouth, MA – Fujifilm X100VI
Clothes Pins – Plymouth, MA – Fujifilm X100VI
Sunstar & Clothesline – Plymouth, MA – Fujifilm X100VI
Chimney – Plymouth, MA – Fujifilm X100VI
Cape Cod Bay House – Plymouth, MA – Fujifilm X100VI
Garden Flowers – Plymouth, MA – Fujifilm X100VI
Bunches of Blossoms – Plymouth, MA – Fujifilm X100VI
Yellow Blooms – Philadelphia, PA – Fujifilm X100VI
Independence – Philadelphia, PA – Fujifilm X100VI
Independence Hall – Philadelphia, PA – Fujifilm X100VI
Sky Rainbow – Philadelphia, PA – Fujifilm X100VI
Carrabba’s Twice – Maple Shade, NJ – Fujifilm X100VI
Fruitstand – Hoboken, NJ – Fujifilm X100VI
Firetrucks – Hoboken, NJ – Fujifilm X100VI
Fuji – Hoboken, NJ – Fujifilm X100VI
Black Bike – Jersey City, NJ – Fujifilm X100VI
Don’t Walk – New York City, NY – Fujifilm X100VI
Yankees Stadium – New York City, NY – Fujifilm X100VI
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What I love about Dan’s project is that it repurposes beautiful antique cameras with modern instant film, and even incorporates Fujifilm’s X-series. It’s a poetic melting pot of old and new to create fascinating art that is simultaneously vintage and modern.
I know that you are going to appreciate this post, and perhaps even be inspired to try it for yourself. Thank you, Dan, for sharing your project with us—it is such an honor to publish this story!
Take it away, Dan!
Photo by Dan Allen.
I grew up in the golden age of film photography. I was a kid during the 1980’s, and lived in Rochester, New York—the home of Kodak. Film photography and cameras were interwoven into the very fabric of our local culture. Everyone in our city had at least one or two family members that worked for the big yellow box. At its peak, Kodak employed more than 60,000 people locally. We were the center of the photographic universe. What could possibly go wrong?
Enter Fujifilm.
In the 1980’s, Fuji became a direct competitor to Kodak in the U.S. film market. They slowly cut into Kodak’s market share, and in my eyes as a kid, they were the enemy. It was a mortal sin to even think about shooting a roll of Fuji’s film. Given the title of this post, I think you can see where I am going with this.
My interest in creative photography started as a young kid and continued through high school, where I first learned how to develop film and make a print in the darkroom. Cameras took a backseat as I focused on college, then a career in engineering, and started a family. Basically, photography stopped after graduating high school. Fast forward to Covid-19 lockdowns, which is when I discovered Ritchie’s Fuji X Weekly website. I was enamored with his Kodachrome 64 Film Simulation Recipe. I couldn’t believe those Kodak looking pictures were produced on a modern (yet retro looking) Fujifilm digital camera. It made all of those photographic childhood memories come rushing back. Soon after, I bought my first Fujifilm: an X-T3.
Photos by Dan Allen.
I quickly became a Fuji X Weekly film sim junkie, trying out each possible combination my camera could handle. The Kodak-based recipes were my favorite, though. At some point, I realized it was possible for Kodak and Fujifilm to be in the same room together!
In 2022, I decided to pick up the only working film camera I owned, a Canon Rebel with a nifty-fifty. I shot a roll of Kodak Ultramax and brought it to the local film lab. The circle of photography was now complete—I was right back where I left off, and it felt like home. From this point forward, I adopted a mixed photographic workflow, often carrying one film camera and one Fujifilm digital. I liked the convenience of Ritchie’s “no edit” Recipes, but I also enjoyed the unique challenges inherent to the analog film photography I grew up with. It was truly the best of both worlds.
As most photographers do, I caught a bad case of Gear Acquisition Syndrome (G.A.S.). I started buying vintage film cameras from thrift stores and yard sales. The older Kodak cameras from the early 1900s really caught my eye, especially the ones that were made right here in Rochester.
Twenty or so film cameras later, I stumbled across a 1916 Kodak Vest Pocket Autographic for $40. This was known as the “Soldier’s Kodak” during World War I, and was marketed to troops going overseas to document their trip. It really was a pocketable camera, not much bigger than a deck of playing cards. It was the Fujifilm X70 of the early 1900’s!
Photo by Dan Allen.
The Vest Pocket Autographic takes 127 roll film, which Kokak introduced in 1912 and manufactured until 1995. The negative size is roughly 44mm x 66mm, and is quite a bit bigger than a 24mm x 36mm negative from a full-frame 35mm camera. When the Vest Pocket arrived I gave it a good cleaning, and was able to get the shutter to fire. It has speeds of 1/25 and 1/50, and an apertures marked with 1, 2, 3, and 4—these aperture values equate to f/11, f/16, f/22, and f/32. It has a unique design, as the lens is mounted behind the shutter and aperture. This protected the lens from scratches; the optics on mine were in great shape. Everything on the camera appeared to be fully functional. All I needed now was some 127 film!
There are a few places that make 127 film by cutting down modern 120 film. I was able to find ReraPan 400 in 127 size from B&H Photo and placed an order. While I was waiting for the 127 film to be delivered, I happened to look at a few Fuji Instax Mini prints sitting on my desk. I thought, Hey, that looks like it would fit perfectly inside the Kodak Vest Pocket Autographic! Sure enough, it was almost a perfect match at 46mm x 62mm. The light bulbs were going off in my head. Could I really shoot Fujifilm Instax film in a 108 year old Kodak camera? Spoiler alert. YES!
I went outside and made my first test shot and it turned out great. The exposure was spot on, and the image looked to be in focus. Somehow this kid from the 1980’s that grew up in Kodakville had resurrected an 108-year-old World War I Kodak camera using modern Fujifilm Instax film. I wonder what George Eastman would think of this combination?
I bet you are wondering… can I shoot Instax in my grandpa’s old camera? Keep reading and I will detail the technical process below.
Photos by Dan Allen.
I must warn you, though: if you continue reading, you may find yourself going down a photographic rabbit hole from which there is no returning. The fact is that you can shoot Instax film in almost any vintage camera, so long as it fits in the back, and the camera doesn’t have a focal plane shutter that moves near where the film is (think Canon AE-1). I’m afraid that you may damage the shutter if the Instax print were to come in contact with any moving part of the camera; however, most rangefinder, folding, and TLR style cameras with a leaf shutter inside the lens should work fine.
This process requires two things: a film changing dark bag that you can buy for $30 or less, and an analog Fujifilm Instax camera, such as the Instax Mini 12 or similar model. Here is a general outline of how it works:
Test fit a sheet of Instax Mini, Square, or Wide film in your vintage film camera to see which size works best. Instax Mini is the size that fits into the Kodak Vest Pocket Autographic.
Load a fresh pack of film into your analog Instax camera. Note: any of the Instax cameras that have a “digital” image component like the Mini Evo will not work.
Fire the shutter to eject the dark slide from the Instax film pack.
Place both the vintage camera and analog Instax camera into the film changing dark bag, and zip it shut so it’s light tight. Don’t forget to remove any smart watches that could possibly light up and expose the film.
Stick your hands inside the film changing dark bag and open the back cover of the Instax camera. Be very careful to avoid turning on the Instax camera by accident. Some of them have lights which could expose the film.
Remove the Instax film cartridge pack. Slide one sheet out, then put the cartridge back in the Instax camera and close the back door.
Open the vintage film camera and insert the single Instax sheet and align it where the film would normally get exposed. Remember, Instax film exposes from the back not the front, so you have to face the dark back of the Instax sheet towards what you want to photograph. If the Instax sheet is loose or has a big size difference, you may need to tape it in place, or make a mask out of construction paper so that you can tape the Instax sheet to it. You do not want the Instax sheet sliding around inside the camera.
Close up the vintage film camera and remove it from the film changing dark bag.
Instax film has an ISO speed of 800. When you expose your picture, you will need to take a light meter reading. If you don’t have a light meter, you can use an app on your smartphone, or even use your Fujifilm camera with the ISO dial set to 800. Once you get your light meter reading, if the shutter speed is faster than the maximum shutter speed of your camera, you may need to use an ND filter to reduce the light. When I used the Vest Pocket Autographic camera, I needed to hold a 3 stop ND filter over the lens in bright sun.
Photos by Dan Allen.
Once you have exposed your Instax sheet:
Put the vintage camera and Instax camera back in the film changing dark bag and zip it up so it is light tight again.
Remove the Instax sheet from your film camera and set it aside.
Open the back of the Instax camera and remove the film cartridge.
Insert the exposed Instax sheet into the film cartridge, then put the cartridge back into the Instax camera and close the back door. For this to work, you must put the exposed frame back into the film cartridge, and it must be in the same way that it was removed, and as the first sheet.
Remove both cameras from the dark bag.
Fire the shutter on the Instax camera with your hand or something else dark to cover the lens. Instax film starts the development process when it is ejected from the camera.
The first time I tried this, I wasted a few frames of Instax film on purpose by pulling out the cartridge in daylight when I had about three shots left. This let me practice the entire procedure in the light where I could see what I was doing. It is not difficult to do, but remember: once it is inside the film changing dark bag, you will be doing the entire process by feel only, so it is best to practice several times with some ruined sheets in daylight, until you get the hang of it.
Photos by Dan Allen.
If you made it this far, you are officially a camera nerd. Now go out and shoot some Instax film in a vintage camera! Feel free to reach out to me on Instagram with questions at @dan.allen.photo. I use my Fujifilm X-T5 with a Fujinon 30mm Macro lens to digitally “scan” the Instax prints, which really makes it all come full circle.
A special thanks to Ritchie at Fuji X Weekly for inspiring me to get my first Fujifilm camera, and introducing me to the amazing Film Simulation Recipe community.
P.S. This Instax film process works with homemade pinhole cameras too!
