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My Fujifilm X-T30 Split-Toned B&W Film Simulation Recipe

Posted on February 24, 2020 by Ritchie Roesch

Vintage Bolsey Camera – Farmington, UT – Fujifilm X-T30 “Split-Toned B&W”

While creating my “Bleach Bypass” film simulation recipe, which requires double exposures, I also discovered how to split-tone black-and-white pictures in-camera using double exposures. Split toning was originally a darkroom technique where one would give their black-and-white print a bath in two different toning chemicals, which resulted in shadows and highlights having two different colors. There are many different ways to split tone and many different potential results. This Split-Toned B&W recipe loosely mimics the aesthetic of ferrocyanide toning (blue) with diluted sepia (reddish-brown). You can get similar results very easily with software, but it’s fun to achieve a split tone effect straight out of camera.

For this recipe, you’ll capture the first exposure as normal. I find that increasing the exposure by 1/3 to 2/3 stop over what you might normally do produces better results. For the second exposure, photograph blue paper. I used an 8.5″ x 11″ medium-blue construction paper for my pictures. I like to purposefully make the second exposure out of focus, although I’m not sure that it matters much if you do. You can control the strength of the blue tone by how bright the second exposure is. The darker the exposure, the less blue there will be and the less faded the picture will appear. The brighter the exposure, the more blue there will be and the more faded the picture will appear. It’s fun to experiment with this, because you can vary the look significantly by how you expose the second image. If you want the highlights to be warmer, simply increase the tone of the first exposure to be more warm, or even use the Sepia film simulation instead of Acros. You could use a different color paper, or even use a cool tone instead of warm on the first exposure, if you wanted. You could really play around with this and come up with all sots of different looks.

Exposure 1
Acros
Dynamic Range: DR200
Highlight: +4
Shadow: +4
Tone: +6 (warm)
Color Chrome Effect: Strong
Grain: Weak
Sharpening: +1
Noise Reduction: -4
ISO: Auto, up to ISO 6400
Exposure Compensation: +2/3 to +1 (typically)

Exposure 2
Velvia
Dynamic Range: DR200
Highlight: +4
Shadow: +4
Color: +2
Color Chrome Effect: Strong
Grain: Weak
Sharpening: +1
Noise Reduction: -4
White Balance: Auto, 0 Red & 0 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: -1 to -3 (typically)

Example photographs, all camera-made JPEGs using this Split-Toned B&W film simulation recipe on my Fujifilm X-T30:

Open Blinds – Farmington, UT – Fujifilm X-T30

Ocean – Farmington, UT – Fujifilm X-T30

White Faux Blooms – Farmington, UT – Fujifilm X-T30

Monochrome Floral Arrangement – Farmington, UT – Fujifilm X-T30

Lily Bloom – Farmington, UT – Fujifilm X-T30

Throw Pillows – Farmington, UT – Fujifilm X-T30

Dirt Play – Farmington, UT – Fujifilm X-T30

Girl In The Sunlight – Farmington, UT – Fujifilm X-T30

See also: Film Simulation Recipes

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My Fujifilm X-T30 “Bleach Bypass” Film Simulation Recipe

Posted on February 24, 2020 by Ritchie Roesch

Instamatic Morning – Farmington, UT – Fujifilm X-T30 “Bleach Bypass”

The upcoming Fujifilm X-T4 will have a new film simulation: Bleach Bypass. This new film simulation might eventually come to other X-Trans IV cameras, such as the X-T30, X-T3, X-Pro3 and X100V, but it might not, as Fujifilm has yet to add Classic Negative to the X-T3 and X-T30. It would certainly be nice if Fujifilm gave those of us with “older” X-Trans IV cameras the new film simulations. Even if they never do, you are in luck, as I have created a film simulation recipe to mimic the look of bleach bypass!

Bleach bypass is a darkroom technique where you skip or limit the bleach during development of color film, which causes it to retain the silver. Results will vary greatly depending on the film used and exactly how you develop it, but generally speaking what you get with bleach bypass is a high-contrast, low-saturation, grainy picture that appears as if a black-and-white and color picture were combined together. This technique is more common for motion picture film than still photography, but some people do bleach bypass with C-41 film.

I experimented with the techniques that I used for this film simulation back in June of last year. Much came out of those experiments, including both the Faded Color and Faded Monochrome film simulation recipes, as well as in-camera texturing. I created something similar to this recipe, but gave up on it before completing it. Last week Fuji X Weekly reader James Clinich reached out to me to share some experiments he had been doing, which turned out to be very similar to what I had done back in June. This rekindled my interest, and with inspiration drawn from James, I made this “Bleach Bypass” film simulation recipe.

Car’s 3 & 4 – Farmington, UT – Fujifilm X-T30 “Bleach Bypass”

This film simulation recipe requires the use of the double exposure feature of your camera. You will need a tripod, and there can’t be any movement in the scene. You have to make two identical exposures, one in color and one in black-and-white. After the first exposure is made, you must change the film simulation before making the second exposure. You can have both sets of settings programmed into the custom menu as separate presets, and toggle between them, or just change the film simulation, making sure that the tone is set correctly when making the Acros exposure. It’s a bit tricky and limited, but the results are nice. If you don’t want to do double exposures, but want something that will produce similar results to this recipe, try my Dramatic Classic Chrome recipe except set color to -4. That’s about as close as you can get. Otherwise, if you want to create a bleach bypass look in-camera, this recipe is your best option.

Exposure 1
Classic Chrome
Dynamic Range: DR200
Highlight: +3
Shadow: +4
Color: +2
Color Chrome Effect: Strong
Grain: Strong
Sharpening: +1
Noise Reduction: -4
White Balance: Auto, -1 Red & +3 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +2/3 (typically)

Exposure 2
Acros
Dynamic Range: DR200
Highlight: +3
Shadow: +4
Tone: +2 (warm)
Color Chrome Effect: Strong
Grain: Strong
Sharpening: +1
Noise Reduction: -4
White Balance: Auto, -1 Red & +3 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +2/3 (typically)

Example photographs, all camera-made JPEGs using this “Bleach Bypass” film simulation recipe on my Fujifilm X-T30:

Pillows – Farmington, UT – Fujifilm X-T30

Window Robot – Farmington, UT – Fujifilm X-T30

Illuminated Faux Flowers – Farmington, UT – Fujifilm X-T30

Pronto! – Farmington, UT – Fujifilm X-T30

Touch of Green – Farmington, UT – Fujifilm X-T30

Rooftops & Mountaintops – Farmington, UT – Fujifilm X-T30

Tracks Under The Bridge – Farmington, UT – Fujifilm X-T30

Do Not Cross Tracks – Farmington, UT – Fujifilm X-T30

Locked Box & Escape Route – Farmington, UT – Fujifilm X-T30

Empty Walking Bridge – Farmington, UT – Fujifilm X-T30

See also: Film Simulation Recipes

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Review: Fujinon XF 100-400mm f/4.5-5.6 R LM OIS WR

Posted on February 19, 2020 by Ritchie Roesch

Fujifilm Fujinon 100-400mm lens review

The Fujinon XF 100-400mm f/4.5-5.6 R LM OIS WR lens is a serious telephoto zoom! If you’re looking for a long telephoto lens for your Fujifilm X camera, your options are very limited, and this one might be your best bet; however, it’s bulky, heavy and, with an MSRP of $1,900, very expensive. Is the Fujinon 100-400mm lens worth the cost?

Fujinon is Fujifilm’s brand name for their lenses. The XF in the name means that this is a premium lens (in other words, not budget) for X-mount cameras. The lens has a focal length of 100mm to 400mm, which is equivalent to 150mm to 600mm in full-frame terms. The R indicates that it has an aperture ring on the lens, which it does, but unfortunately it’s unmarked, which seems like a strange choice. LM stands for Linear Motor, which is the auto-focus system that’s inside the lens. OIS means that it has built-in optical image stabilization. The WR stands for Weather Resistant, which is useful if you are attaching it to a weather resistant camera. While the full name of this lens seems excessively long, it does give us a good overview of what we’re looking at.

When my Fujinon 100-400mm lens arrived in the mail, I was shocked at the size and weight of it. I had read all about how big and heavy it was, but it still took me by surprise. The lens weighs more than three pounds, and is just over eight inches long when retracted at 100mm and is nearly 11 inches when extended to 400mm, not including the lens hood, which adds another three inches. It’s massive! You need to know that it’s very big and heavy, probably more than you are expecting.

Monochrome Reeds – Farmington Bay, UT – Fujifilm X-T30 & Fujinon 100-400mm lens @148mm

Dark Lake Shore – Farmington Bay, UT – Fujifilm X-T30 & Fujinon 100-400mm @124mm

The lens seems to be made with plenty of plastic. Not quite as much as Fujifilm’s budget lenses, but more than I would have thought for an XF lens, and I wonder how it would survive a fall. Hopefully I will never have to find out, but I do know that if it does fall it will fall hard! Beyond that, it seems well-built and well designed. There are three switches on the side: OIS on-and-off, Auto-Aperture on-and-off, and a close-focus inhibitor. The aperture ring works well, but is disappointingly unmarked. The focus ring is nice and smooth for manual focusing. The zoom ring twists the lens in and out for zooming. This lens accepts 77mm filters.

The Fujinon 100-400mm lens is very sharp at 100mm and mediocrely sharp at 400mm. This is a zoom lens and has sharpness similar to other Fujinon zooms, so don’t expect prime lens sharpness. Comparing my Fujinon 90mm f/2 to this lens at 100mm, the 90mm produces crisper results. This shouldn’t surprise anyone because primes usually produce better results than zooms, and the Fujinon 90mm f/2 is one of the very best Fujifilm primes. Even so, sharpness on the 100-400mm lens is pretty darn good for a zoom, at least at 100mm. I found sharpness to be excellent at apertures f/11 and larger from 100mm to about 250mm. From roughly 250mm to 350mm sharpness is still excellent, but not quite as good, and it seems to be best between f/5.6 and f/8. Sharpness gets noticeably worse when the focal length is longer than 350mm, becoming the least crisp at 400mm, including some obvious corner softness when wide open. At 400mm I think the sharpness is comparable to the Fujinon 50-230mm budget zoom, and f/8 seems to be the optimal aperture. I would avoid apertures smaller than f/16 at all focal lengths, as diffraction is noticeable.

I didn’t notice any chromatic aberrations, although the camera might be automatically removing it. I found no distortion, so expect straight lines to be straight. From 100mm to about 300mm there’s little-to-no vignetting, but vignetting becomes noticeable when wide-open and approaching the long end of the lens. At 400mm, even when stopped down, the vignetting doesn’t completely go away. The maximum aperture is f/4.5 at 100mm, f/5 at 200mm, f/5.2 at 300mm, and f/5.6 at 400mm, which is sufficient. I would prefer a larger maximum aperture, but that would only make the lens bulkier, heavier and more expensive than it already is. The minimum aperture at all focal lengths is f/22. Bokeh, which is the quality of the out-of-focus area in an image, is pretty good. The minimum focus distance is almost six feet, which means that you won’t be photographing anything from close up, but achieving a shallow depth-of-field isn’t particularly difficult thanks to the long focal lengths. Fujifilm claims that the image stabilization is good for five stops, but I really don’t think so. It’s definitely helpful, especially at the longer end, but I wouldn’t count on it working any miracles. I found it best to turn the image stabilization off when using a tripod.

Fujifilm Fujinon 100-400mm lens review

Auto-focus is extraordinarily quick and quiet considering how many heavy moving parts are inside the lens. It’s not the fastest Fujinon lens, but it’s still fast. The inhibitor switch is helpful if you’re not close focusing. Manual focusing is great when using a tripod, but I found it a tad awkward to do hand-held just because of the size and weight of the lens.

The Fujinon 100-400mm is a difficult lens to use, especially at the longer end. When the lens is attached to your camera, you want to make sure that you hold the lens (not just the camera). You’ll find yourself wanting to use a tripod, or at least a monopod, and you’ll need to mount the lens (not the camera) to it. When not using a tripod, you’ll need to use good techniques to keep it steady, similar to shooting a rifle. Fast shutter speeds will be your friend. I seemed to get better results at the longer end when using the electronic shutter instead of the mechanical. Atmospheric distortion is magnified when zooming in on far away objects. With a good tripod and techniques this lens can be used in low-light situations, but I found that it likes a lot of light and does well in daylight. I got better results when I took my time and was very deliberate and precise. While the lens is particularly challenging, it can also be especially rewarding.

Perhaps the best way to think about the Fujinon 100-400mm is that it’s a fantastic 100-350mm lens, especially from 100mm to about 250mm, which is where it produces the best results. The last 50mm is a bonus—sufficiently good, but disappointing when you consider how much it costs. In other words, 400mm is available when you need it, but consider avoiding it when you can. If you think about the lens in that way you will likely be happy with it, but if you are counting on the long end for top-notch image quality, you’ll be let down. Whether you’re happy or not, the fact is that your options are limited. Fujifilm’s longest prime lens is the 200mm f/2, which retails for more than three times as much as the 100-400mm. The next closest prime is the 90mm f/2, which isn’t especially long. The 50-140mm f/2.8, which isn’t much cheaper than this one, but is optically superior, might not be telephoto enough, depending on your needs. Lastly, there’s the 50-230mm budget zoom, which is nearly five times cheaper, but optically inferior, and also might not be long enough. Those who are deciding between the 100-400mm and the 50-140mm will have to determine if 140mm is telephoto enough for their photography. If so, I’d recommend the shorter lens. If you are deciding between the 100-400mm and the 50-230mm, if you plan to use the lens only occasionally, it might be difficult to justify spending nearly two thousand dollars, so you should probably go with the cheap one; if you’ll be using it often or need the longer reach, the 100-400mm is better, but you’ll have to put up with the heft. For those who need a long telephoto option, you might just have to get this big lens, because there really are no good alternatives. Thankfully, the Fujinon 100-400mm is a pretty good telephoto zoom lens that can produce stunning pictures.

Edit: I overlooked the Fujinon 55-200mm as an alternative. It’s better than the 50-230mm, and much less expensive than the 100-400mm, although with a maximum focal length that’s half as long. If you can’t afford the 100-400mm or need something that’s smaller and lighter, this is one that you should consider.

My affiliate links for the Fujinon XF 100-400mm f/4.5-5.6 R LM OIS WR lens are here: B&H Amazon. If you make a purchase using my links I will be compensated a small amount for it.

Example photographs, captured using the Fujinon 100-400mm lens on a Fujifilm X-T30:

Liquid Hay – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm @301mm

Wetland Snow – Farmington Bay, UT – Fujifilm X-T30 & Fujinon 100-400mm @100mm

Blue Heron – Farmington Bay, UT – Fujifilm X-T30 & Fujinon 100-400mm @400mm

Blue Creek – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm @100mm

Silver Snow – Layton, UT – Fujifilm X-T30 & Fujinon 100-400mm @159mm

Francis Peak – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm @400mm

Birds Nests – Farmington Bay, UT – Fujifilm X-T30 & Fujinon 100-400mm @107mm

Frary Peak Thru the Reeds – Farmington Bay, UT – Fujifilm X-T30 & Fujinon 100-400mm @143mm

Monochrome Cattails – Farmington Bay, UT – Fujifilm X-T30 & Fujinon 100-400mm @243mm

Stretch – Farmington Bay, UT – Fujifilm X-T30 & Fujinon 100-400mm @400mm

Ugly Duckling – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm @400mm

Half Circle Reflected – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm @100mm

Forgotten Concrete – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm @100mm

White Pillow – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm @252mm

Shadow Ware – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm @243mm

New Film Simulation Coming: Bleach Bypass

Posted on February 17, 2020 by Ritchie Roesch

According to Fujirumors, the upcoming Fujifilm X-T4 will come with a brand new film simulation: Bleach Bypass. What’s bleach bypass? It’s a darkroom technique where you skip or limit the bleach during the development of color film, which retains the silver in the film. What you end up with is a high-contrast, low-saturated image that might appear as though someone combined a color and black-and-white image. Think Classic Chrome, but with more contrast and less saturation, and a silvery appearance. I think this new film simulation will be an excellent addition!

Will Fujifilm make the new Bleach Bypass film simulation available to other cameras via a firmware update? Maybe the X-Trans IV models, not likely any other. Fujifilm has yet to add Classic Negative to the X-T3 or X-T30, and maybe they never will. I’m hopeful that after the release of the X-T4, Fujifilm will add both of these new film simulations to the “older” X-Trans IV models, but that might be nothing more than wishful thinking. I will tell you this: it’s hard not to be envious! I’m really looking forward to one day trying both of them and creating new film simulation recipes. I just hope that day comes sooner than later.

Fujifilm X-T1 (X-Trans II) Ektachrome 100SW Film Simulation Recipe

Posted on February 17, 2020 by Ritchie Roesch

Windows & Reflections – Salt Lake City, UT – Fujifilm X-T1 “Ektachrome 100SW”

What I love about my Ektachrome 100SW film simulation recipe is that it reminds me of a film that I used to use. Just like the original Ektachrome 100SW recipe, which is compatible with X-Trans III & IV cameras, this recipe is identical to my Kodachrome II recipe, except that it uses Velvia instead of Classic Chrome. This version of Ektachrome 100SW is compatible with X-Trans I & II cameras, as well as Fujifilm Bayer cameras.

Velvia
Dynamic Range: DR200
Highlight: +2 (High)
Shadow: +1 (Medium-High)
Color: -1 (Medium-Low)
Sharpness: 0 (Medium)
Noise Reduction: -2 (Low)
White Balance: Auto, +1 Red & -2 Blue
ISO: Auto up to ISO 3200

Example photographs, all camera-made JPEGs captured on my Fujifilm X-T1 using this Ektachrome 100SW film simulation recipe:

Instamatic – Farmington, UT – Fujifilm X-T1

Throw Pillow – Farmington, UT – Fujifilm X-T1

Striped Pillow – Farmington, UT – Fujifilm X-T1

Indoor Decor Near a Window – Farmington, UT – Fujifilm X-T1

Grass & Concrete – Farmington, UT – Fujifilm X-T1

Little Steps – Farmington, UT – Fujifilm X-T1

February Forest – Layton, UT – Fujifilm X-T1

Lizard – Salt Lake City, UT – Fujifilm X-T1

Penguins On A Rock – Salt Lake City, UT – Fujifilm X-T1

Swimming Penguins – Salt Lake City, UT – Fujifilm X-T1

Coral Fish – Salt Lake City, UT – Fujifilm X-T1

See also: Film Simulation Recipes

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Fujifilm X-T1 (X-Trans II) Kodachrome II Film Simulation Recipe

Posted on February 12, 2020 by Ritchie Roesch

Rural Grass – Farmington Bay, UT – Fujifilm X-T1

One of my favorite film simulation recipes, and one of the most popular, if not the most popular, on Fuji X Weekly, is my Kodachrome II recipe. This version of that recipe is adapted for Fujifilm X-Trans II cameras, such as my X-T1. It will work on all cameras with an X-Trans II sensor, plus Bayer sensor cameras, such as the XF10, X-T100 and X-A7. Because it requires the Classic Chrome film simulation, it is not compatible with X-Trans I cameras, or the original X100.

Classic Chrome
Dynamic Range: DR200
Highlight: +2 (High)
Shadow: +1 (Medium-High)
Color: -1 (Medium-Low)
Sharpness: 0 (Medium)
Noise Reduction: -2 (Low)
White Balance: Auto, +1 Red & -2 Blue
ISO: Auto up to ISO 3200

Example photographs, all camera-made JPEGs captured on my Fujifilm X-T1 using this Kodachrome II film simulation recipe:

The Wetlands of Farmington Bay – Farmington Bay, UT – Fujifilm X-T1

Pallet Dump – Farmington, UT – Fujifilm X-T1

Old Wood – Farmington Bay, UT – Fujifilm X-T1

February Thistles – Farmington Bay, UT – Fujifilm X-T1

Francis Peak in February – Farmington, UT – Fujifilm X-T1

Succulents – Farmington, UT – Fujifilm X-T1

Bright Apple – Farmington, UT – Fujifilm X-T1

Kodak Film Canisters – Farmington, UT – Fujifilm X-T1

Bolsey on the Camera Shelf – Farmington, UT – Fujifilm X-T1

Longing For Another World – Farmington, UT – Fujifilm X-T1

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My Fujifilm X-T30 Dramatic Monochrome Film Simulation Recipe

Posted on February 11, 2020 by Ritchie Roesch

The Obscurity of Light – Farmington, UT – Fujifilm X-T30 – “Dramatic Monochrome”

A couple of weeks ago when I was discussing the possibility of Fujifilm creating a black-and-white only camera, something that I came to learn by accident is that the Monochrome film simulation is pretty darn good. On X-Trans III & IV cameras, I have always used the Acros film simulation because it is beautiful and has a film-like quality to it. But there’s something about the “old-fashioned” Monochrome film simulation that’s nice, as well. I had never made a Monochrome film simulation for X-Trans III & IV cameras, so I set out to do so.

At first I wasn’t sure exactly what I wanted, so I decided that the best starting point was to revisit the iconic photographs of the great photographers from the 1930’s, ’40’s and ’50’s—people like Ansel Adams, Andre Kertesz, Robert Doisneau, Weegee, Pual Strand, Elliott Erwitt and others. I realized that I was drawn to the high-contrast pictures that these photographers had created. I wanted to create a recipe that mimics that look in-camera. These settings, which I call Dramatic Monochrome, are what resulted from that.

Francis Peak – Farmington, UT – Fujifilm X-T30 – “Dramatic Monochrome”

For those with X-Trans III sensors, which don’t have the Color Chrome Effect, you’ll get similar results, but it won’t be quite as dramatic. The difference isn’t very big, so don’t worry about it. I would consider using +2 for Sharpness on X-Trans III instead of +3. On X-Trans IV cameras, you could give a +1 toning for a subtle warm look, such as what would happen if you gave a print a quick Sepia bath.

Monochrome (+Y, +R, +G)
Dynamic Range: DR200
Highlight: +4
Shadow: +4
Grain: Strong
Color Chrome Effect: Strong
Toning: 0
Sharpening: +3
Noise Reduction: -4
Exposure Compensation: 0 to +2/3 (typically)
ISO: Auto up to ISO 12800

Example photographs, all camera-made JPEGs using this Dramatic Monochrome film simulation recipe on my Fujifilm X-T30:

Chair Near a Window – Farmington, UT – Fujifilm X-T30

Shadow Ware – Farmington, UT – Fujifilm X-T30

White Pillow – Farmington, UT – Fujifilm X-T30

Santa Fe – Farmington, UT – Fujifilm X-T30

Young Piano Hands – Farmington, UT – Fujifilm X-T30

Clouds Above The Snow – Farmington, UT – Fujifilm X-T30

Wasatch Ridge Winter – Farmington, UT – Fujifilm X-T30

Lines In The Snow – Farmington, UT – Fujifilm X-T30

Clouds Over The Frosted Hill – Farmington, UT – Fujifilm X-T30

White Beyond Dark – Farmington, UT – Fujifilm X-T30

Frosted – Farmington, UT – Fujifilm X-T30

Darkness & Light – Farmington, UT – Fujifilm X-T30

See also: Film Simulation Recipes

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Defending Tatsuo Suzuki

Posted on February 9, 2020 by Ritchie Roesch

This will be a controversial post. I’m a bit hesitant to publish it, because it will cause a stir, and I’m not looking for trouble. The Fuji X Weekly audience has been extraordinarily civil, which is something I’m extremely grateful for, as the internet can oftentimes be the exact opposite of civil. The internet has a way of bringing out the worst in people, perhaps because they can hide behind anonymity, or maybe there is a disconnect that makes interactions seem a bit less human; whatever the reason, people sometimes are rude or downright mean on the web. I’m asking right up front for civility and human kindness in regards to this article.

The video at the top, entitled My Milestone, was produced by Fujifilm to promote the X100V. It was promptly removed by Fujifilm because of public outcry. The featured photographer, Tatsuo Suzuki, is controversial, not for his images, but for how he captures those images. This video created quite a stir on the internet, and the worst in people showed up strongly in the comments of various articles regarding the video.

Here’s another video that shows Suzuki’s photographs and technique:

It seems as though the majority of people are against Suzuki’s style and agree that the video is controversial, and they believe that Fujifilm should never have associated themselves with him. Fujirumors and PetaPixel even conducted polls that confirm it. Now Suzuki is no longer a Fuji X Ambassador, either because Fujifilm dropped him or he dropped them. I’m going to go against popular opinion and defend Tatsuo Suzuki. The reaction to the Fujifilm video has been a huge overreaction.

As best as I can gather, what Suzuki did in the video that sparked all the outrage is demonstrate his “aggressive” style of shooting. He’s very much “in your face” as he walks the streets of Tokyo with his camera. It comes across as rude, as he invades people’s personal bubbles. My opinion is that he does this because, in Japan, people are extremely guarded, and the photographs that he captures, which are very good, would be impossible with any other technique. It’s the technique that he chooses to use in order to fulfill his photographic vision. It’s abrasive, yes, but also effective.

Suzuki is not the first to use this aggressive technique nor is he the most extreme with it. Bruce Gilden, Garry Winogrand and Eric Kim come to mind, and I’m sure there are many others. These are all successful and celebrated, albeit controversial, photographers, including Suzuki. They are far from the only controversial photographers out there. Even the legendary Steve McCurry has been called controversial at times. My point is this: just because you disagree with something doesn’t make it wrong.

Man In Red – Farmington, UT – Fujifilm X-T1

Was Suzuki doing anything illegal? No. In Japan, and many parts of the world, this type of photography is legal. Was he acting different than you or most people might act in public? Yes. Just because you don’t go around taking unsolicited closeup pictures of strangers doesn’t mean that it’s wrong to do so. Is it strange? Yes. Wrong? Not necessarily.

There’s a trend right now to shut down debate when faced with a differing opinion. If there’s something that you disagree with, it’s become common to attack the person whom one disagrees with. It used to be that people could “agree to disagree” and still be kind and caring and remain friends. Nowadays, if someone says or does something that you disagree with, you might attack their character and call them all sorts of names, demanding that they be stripped of their dignity until they change their ways. That’s exactly what I’ve seen in this debate. It’s really nasty and harmful. Those who go to war with their words against someone who did or said something that they disagree with, those people are the ones that stop dialogue, who encourage hate, and stifle civility. It’s good to say, “I don’t appreciate the way he conducts himself.” It’s not alright to call him all sorts of mean names and tear apart his character bit by bit.

I don’t know Tatsuo Suzuki personally. For all I know he’s the nicest guy in the world. Perhaps he helps little old ladies cross the street and rescues cats from trees and does all sorts of good deeds. Maybe he’s the “jerk” that people have been calling him, but maybe that couldn’t be further from the truth. You don’t know. I don’t know. Why assume the worst in him when you don’t know him? We’d all be better off if we assumed the best in others.

Ghosts of the Past – Ogden, UT – Fujifilm XF10

When I do street photography, I like to be the guy that nobody notices who stealthily gets the shot without being seen. One of the big reasons why I do this is fear, but I tell myself that it’s also out of respect for those I might be photographing. Is that really the best approach? I noticed that a lot of people called Suzuki a “creep” because of how he conducts himself when he photographs. But what is creepier: the guy in the shadows hiding and lurking or the guy who makes it completely obvious to everyone around him exactly what he’s doing? While it’s much more shocking to see Suzuki at work, I wonder how shocked people would be to find out someone has been secretly photographing them without them noticing? While ignorance is bliss, I do think being open and honest is better than being secretive and sneaky. Most people don’t have the guts to be open and honest in candid street photography, so they hide.

You might be saying to all of this, “So what?” There’s something that happened to me a number of years ago. Somebody that I don’t know wrote a college paper on the evils of Photoshop. They argued that manipulating photographs of woman was causing a self-esteem crisis among young girls. I had written an article (for a different photography blog) defending Steve McCurry’s use of Photoshop. Remember when that was a big deal? Anyway, whoever this person was that wrote the paper quoted (really, misquoted) me in it, taking my words out of context, and made it seem as though I wanted young girls to have self-esteem problems. It was completely absurd! The university published this paper on their website. Someone that didn’t know me assumed the worst in me based on a quote that they didn’t understand, and unfairly attacked my character. That was completely wrong of them to do it! The lesson here is that we have to be very cautious not to do the same to others that this person did to me. Thankfully, I don’t think anybody cared what the paper said and nothing negative came out of it. In the case of Suzuki, someone did care what was said and something negative did come out of it.

Fujifilm knew who Tatsuo Suzuki was when they invited him to be an ambassador. They knew who he was when they made the promotional video for their product. They should have stood by him and defended him. If they lost a few customers over it, that’s alright because they knew who he was and despite that (because of that?) decided to partner with him. It seems pretty crummy to toss him aside just because some people complained. It also seems crummy that people don’t care to understand Suzuki’s point of view, and prefer the easy route of character assassination instead. I think that the best advice moving forward is to take a deep breath and examine ourselves first before biting someone’s head off. We have two ears and one mouth, so we should be quick to listen and slow to speak. Or, in this case, slow to type.

Fujifilm X100V

Posted on February 5, 2020 by Ritchie Roesch

Fujifilm X100V

Fujifilm just announced the much anticipated X100V, which replaces the much loved X100F. The X100 series hasn’t changed much externally since it began. This is one of the most beautifully designed cameras in the digital era, so why change it? There’s no reason, so Fujifilm doesn’t. The X100V looks nearly identical to the original X100. What’s different is internal.

Fujifilm redesigned the lens. It looks the same and has the same specs, but with improved sharpness, particularly corner sharpness wide-open. The rear screen now tilts and is a touch-screen. Unfortunately, and this is perhaps the biggest external change, the D-Pad is now gone, but this isn’t a huge deal, as you get used to the touch controls pretty quickly. The viewfinder has been given a small upgrade. The X100V is weather-resistant, which is not the same as weather-sealed; it’s designed to handle the elements a little better than previous versions.

The biggest upgrade for this camera is the X-Trans IV sensor and processor. This is the same sensor and processor found in the X-T3, X-T30 and X-Pro3, yet the X100V has the new features found in the X-Pro3 that aren’t (yet) found in the X-T3 and X-T30, including the Classic Negative film simulation. The X100V is faster, more feature-rich, and has better video capabilities than the X100F.

Fujifilm X100V

Is the X100V a camera that you should buy? Whenever a new camera is released, it’s easy to want it. It’s easy to get caught up in the hype. It’s easy to have camera envy. The X100V will be a fantastic camera, no doubt about it! The X100 series cameras are easy to love. But should you really drop everything and order your copy today?

My opinion is this: if you already own the X100F, keep it! The upgrade isn’t significant enough to justify buying the new model. The X100F and the X100V are very similar to each other. If you wear out your X100F, then buy the new model, but if it still works just fine, don’t change cameras. If you have an older model, such as the original X100, X100S or X100T and are considering upgrading, I say sure, why not? But if those cameras still work and bring you joy, why rush to get the new model? If you are trying to decide between the X100F and X100V and money is no issue, go with the X100V, which is a little better than its predecessor. But if you are like most people and have a tight budget, the X100F is nearly as good and can be found for a little cheaper.

The X100V will be released on February 27 with an MSRP of $1,400.

This post contains affiliate links. I will be compensated a small amount if you make a purchase after clicking my links.

Fujifilm X100V black: B&H Amazon
Fujifilm X100V silver: B&H Amazon
Fujifilm X100F black: B&H Amazon
Fujifilm X100F silver: B&H Amazon

An interesting side note: I predicted that this version of the X100 would be called the X100V way back in September of 2017. The “S” in X100S stands for second, the “T” in X100T stands for third, and the “F” in X100F stands for fourth, so nobody really knew what the next one would be called. Some predicted X200, or X110, or X110F, or X100N (“N” for new or next), or X100A (because A is the first letter of the alphabet), or X100Z (because Z is the last letter of the aphabet). I took a guess at “V” because it’s the Roman numeral for five, and this is the fifth iteration of the X100. I have no idea what the next one after the X100V might be called. Any guesses?

My Fujifilm X-T1 (X-Trans II) Kodacolor Film Simulation Recipe

Posted on February 3, 2020 by Ritchie Roesch

Man in Red – Farmington, UT – Fujifilm X-T1 – “Kodacolor”

Yesterday I published my Kodachrome 64 recipe for X-Trans II cameras, such as my Fujifilm X-T1, and today I will share with you my Kodacolor recipe for X-Trans II! Because this Kodacolor recipe requires the Classic Chrome film simulation, those with X-Trans I cameras can’t use it, but those with X-Trans II or Bayer sensor cameras can. While I got the overall aesthetic pretty darn close to the original Kodacolor recipe for X-Trans III and IV, the one thing that I wish I could change is the grain. Newer Fujifilm cameras have faux grain options, but older ones don’t. If you want to mimic the grain in-camera, your best option is to use a higher ISO, such as 3200 or 6400, and let the digital noise act as faux grain. Otherwise, I’m quite pleased with how this Kodacolor film simulation recipe turned out.

Classic Chrome
Dynamic Range: DR400
Highlight: +1 (Medium-High)
Shadow: +1 (Medium-High)
Color: -2 (Low)
Sharpness: 0 (Medium)
Noise Reduction: -2 (Low)
White Balance: 6300K, -3 Red & -2 Blue
ISO: Auto, up to ISO 6400

Example photographs, all camera-made JPEGs using this Kodacolor recipe on my Fujifilm X-T1:

Front Runner – Farmington, UT – Fujifilm X-T1

Fro – Farmington, UT – Fujifilm X-T1

Cross at Crosswalks – Farmington, UT – Fujifilm X-T1

Look Both Ways – Farmington, UT – Fujifilm X-T1

Pipe – Farmington, UT – Fujifilm X-T1

Rusty Shadows – Farmington, UT – Fujifilm X-T1

Stop by the Rack – Farmington, UT – Fujifilm X-T1

Nord’s Stop – Farmington, UT – Fujifilm X-T1

Mall Across the Mud – Farmington, UT – Fujifilm X-T1

Pond Among Reeds – Farmington Bay, UT – Fujifilm X-T1

Grass on the Water – Farmington Bay, UT – Fujifilm X-T1

Lake Reflection – Farmington Bay, UT – Fujifilm X-T1

Antelope Island Beyond Farmington Bay – Farmington Bay, UT – Fujifilm X-T1

Camera Shelf – Farmington, UT – Fujifilm X-T1

Green is Good for My Soul – Farmington, UT – Fujifilm X-T1

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My Fujifilm X-T1 (X-Trans II) Kodachrome 64 Film Simulation Recipe

Posted on February 3, 2020 by Ritchie Roesch

Sun Roof – Farmington, UT – Fujifilm X-T1 – “Kodachrome 64”

One of my favorite film simulation recipes is Kodachrome 64. It’s also one of the most popular recipes on Fuji X Weekly. Those with X-Trans III and IV cameras, such as the Fujifilm X-T30 that I created it on, have been enjoying it since August, but those with X-Trans II cameras—X-T1, X-T10, X-E2, X-E2s, X100T, and X70—have been left out of the fun. Those with Bayer sensor cameras, such as the X-T100, XF10, X-A7, etc., have been out of luck, too. That all changes, starting now. I have cracked the code, and created a Kodachrome 64 recipe for my X-Trans II camera! Unfortunately, it won’t work on the X100, X100S, X-E1 or X-Pro1 because it requires the Classic Chrome film simulation, which those cameras don’t have. But those who own a Fujifilm X-Trans II or Bayer camera, which do have Classic Chrome, I’m sure will appreciate this Kodachrome 64 recipe.

Classic Chrome
Dynamic Range: DR400
Highlight: +2 (High)
Shadow: +1 (Medium-High)
Color: 0 (Medium)
Sharpness: 0 (Medium)
Noise Reduction: -2 (Low)
White Balance: Daylight, 0 Red & -3 Blue
ISO: Auto, up to ISO 3200

Example photographs, all camera-made JPEGs using this Kodachrome 64 recipe on my Fujifilm X-T1:

Watered Tree – Farmington, UT – Fujifilm X-T1

Reflection in the Grass – Farmington, UT – Fujifilm X-T1

Reed Grass – Farmington, UT – Fujifilm X-T1

Reeds In Water – Farmington, UT – Fujifilm X-T1

Sisters on a Bridge – Farmington, UT – Fujifilm X-T1

Red Mustang – Farmington, UT – Fujifilm X-T1

Wrangler – Farmington, UT – Fujifilm X-T1

Parking Lot Sunset – Farmington, UT – Fujifilm X-T1

January Evening Hill – Farmington, UT – Fujifilm X-T1

Rooftop Birds – Farmington, UT – Fujifilm X-T1

Suburban Silver Lining – Farmington, UT – Fujifilm X-T1

Coffee Cup – Farmington, UT – Fujifilm X-T1

Prerequisite – Farmington, UT – Fujifilm X-T1

Yellow Pillows – Farmington, UT – Fujifilm X-T1

Smiling Jon – Farmington, UT – Fujifilm X-T1

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Comparing JPEGs: Fujifilm X-T1 vs X-T30

Posted on January 29, 2020 by Ritchie Roesch

Fujifilm X-T30 with Astia film simulation.

Fujifilm X-T1 with Astia film simulation.

I’ve been trying to figure out how to make my Fujifilm X-Trans III & IV film simulation recipes compatible with my X-T1 camera, which has an X-Trans II sensor. The X-T1 has the same film simulations as my Fujifilm X-T30, minus Acros and Eterna, but many of the customization options to fine-tune the image are different. For the X-T1, everything maxes out at plus and minus two, while X-Trans III & IV cameras can go to plus and minus four on many settings. There are other tools that the newer cameras have that the older ones don’t. The simple fact is this: X-Trans III & IV recipes aren’t directly compatible with X-Trans I & II cameras; can I recreate those recipes for the older models?

When I looked at the pictures that I captured with the different film simulations on my X-T1, it seemed like the results were different than with the same film simulations on my X-T30. Do the film simulations look different on different sensors? I did some tests to determine what is the same and what is not. I think there are some subtle changes, and you won’t get precisely the same results from X-Trans II as you will from X-Trans III and IV. It’s close, but not exact.

Fujifilm X-T30 with Monochrome film simulation.

Fujifilm X-T1 with Monochrome film simulation.

Something that I determined is that, with everything set at 0, X-Trans II has slightly darker shadows and X-Trans IV has slightly lighter highlights. It makes it seem like the pictures from my X-T30 are brighter than those from my X-T1, although mid-tones are identical. I made the mistake in the test below (with the exception of Provia) of trying to compensate for that by dropping the exposure by 1/3 stop on my X-T30, which made it darker than the X-T1. That overcompensated for the highlight and shadow difference, while making the mid-tones all wrong. Instead of lowering the exposure on the X-T30, I could have adjusted shadow and highlight by one (-1 Shadow and +1 Highlight) on the X-T1 to get a closer match. Actually, if I had adjusted shadow and highlight (+1 Shadow and -1 Highlight) on the X-T30, it would have been an even closer match, as I also discovered that +1 on the two cameras are different. I think that +1 on the X-T1 is equal to about +1.25 on the X-T30 (if it could adjust in 1/4 increments), and +2 is equal to about +2.5. I think that, because highlights have a brighter starting point on the X-T30, +2 Highlight is about the same on both cameras, while +2 Shadow on the X-T1 is actually closer to +3 on the X-T30. Interestingly enough, I think that -1 and -2 highlight and shadow on the two cameras are similar to each other, and with the same exact minus settings applied to both cameras, the X-T30 will have lighter highlights and shadows than the X-T1. Color on the X-T1 seems to move in +/-1.25 increments when compared to the X-T30, which means +2 Color on the X-T1 is in-between +2 and +3 on the X-T30, while -2 Color on the X-T1 is in-between -2 and -3 on the X-T30.

There’s another difference that I discovered between X-Trans II and X-Trans IV: the white balance is not the same. The X-T1 is actually slightly warmer, leaning towards yellow or yellow-green. It’s not a huge difference, but it’s not exactly the same, which means a slight adjustment will be required to the white balance shift for recreating recipes. What I anticipate as I attempt to translate X-Trans III & IV recipes for X-Trans II is that some will be easy, and some will be difficult or maybe impossible. Because there are less tools to work with on my X-T1, the aesthetic won’t be as precise, as it’s not as fine-tune-able. Despite that, I hope to have some good film simulation recipes very soon for those with older Fujifilm X cameras.

Provia:

Fujifilm X-T30

Fujifilm X-T1

Velvia:

Fujifilm X-T30

Fujifilm X-T1

Astia:

Fujifilm X-T30

Fujifilm X-T1

Classic Chrome:

Fujifilm X-T30

Fujifilm X-T1

Pro Neg. Hi:

Fujifilm X-T30

Fujifilm X-T1

Pro Neg. Std:

Fujifilm X-T30

Fujifilm X-T1

-2:

Fujifilm X-T30

Fujifilm X-T1

-1:

Fujifilm X-T30

Fujifilm X-T1

+1:

Fujifilm X-T30

Fujifilm X-T1

+2:

Fujifilm X-T30

Fujifilm X-T1

+3:

Fujifilm X-T30

+4:

Fujifilm X-T30

Fujifilm Monochrome, Part 2

Posted on January 28, 2020 by Ritchie Roesch

Dramatic Silver Mountain – Farmington, UT – Fujifilm X-T30

In my last post I suggested that Fujifilm should make a monochrome camera like the Leica M10 Monochrom. I wasn’t planning to say anymore about it, but the response I received from that article compelled me to type out this one. The majority of those who replied, either in a comment under that post, via Instagram, or through email, said that they would consider buying a black-and-white-only camera if Fujifilm made one. Some of you had great ideas for it. There’s a chance that someone at Fujifilm reads Fuji X Weekly, so I’m writing this with that in mind.

I had suggested that, if Fujifilm did make a monochrome camera, it should either be in an X-Pro3 or X100V body, and they should call it “X-Pro3 Acros” or “X100V Acros” after their film and film simulation of the same name. It was pointed out to me that it doesn’t have to be in those bodies. It could be in a cheaper body, such as the X-T200, and since it doesn’t require any special sensor, just one without a color filter array, and would have a stripped down menu, the camera could potentially be made affordable. The less expensive the camera is, the more copies it will sell. Of all the body suggestions that I received, the X-E3 was the most popular choice for a monochrome camera by Fuji X Weekly readers.

Someone had an interesting idea for a feature on a monochrome camera: color filters. The X100F has a built-in neutral-density filter, so why couldn’t a monochrome camera have built-in yellow, red and green filters (and perhaps blue)? Click a button and the filter of choice is applied. That made me wonder: is it possible to have a color filter array that can be turned on and off? With the click of a button, perhaps the X-Pro4 can become a monochrome camera, and with another click it’s back to normal. That would be cool! It might be completely impossible, but I’m sure someone smarter than I can figure it out.

Bountiful Peak – Farmington, UT – Fujifilm X-T30

The second largest response that I got from my last post, not far behind the “I want that” replies, is, “would a monochrome camera even produce better results than what I can already get with the Acros film simulation?” My initial response was, heck yes! You get a big bump in resolution. But then I was shown two different YouTube videos that do blind tests between the Leica M10 Monochrom and the Fujifilm X-T3 (here and here), and it changed my mind. I did the blind test in both videos, and I was surprised by the results. In the first blind test, which compares the Leica with the Fujifilm and a Sony A7 III, the author uses the Monochrome film simulation, and not Acros, on the X-T3. Even so, the camera that I blindly picked as I looked at the pictures was the Fujifilm. I watched the blind test part twice before making up my mind and viewing the reveal. In the second video, which compares the Leica against another Leica monochrome camera and the Fujifilm and actual film, the author uses both the Monochrome and Acros film simulations. There were five pictures to choose from, and a few looked very close so it was more difficult to pick a favorite. I was surprised that the one I picked was the X-T3 with the Monochrome film simulation. Again, I watched the blind test part twice before deciding and viewing the reveal.

I’m not sure how much stock one can put into YouTube videos, where it’s difficult to really appreciate the pictures. Even so, I made two conclusions: Fujifilm cameras are especially great for black-and-white photography and I need to shoot more with the Monochrome film simulation. I use Acros on my X-T30, but it’s about time that I create a recipe using the Monochrome film simulation, which is apparently better than I gave it credit for.

Would a Fujifilm monochrome camera be awesome? Yes, it would! Would it be better at black-and-white than your current Fujifilm camera? Probably, but not by a big margin, that’s for sure. Perhaps if you print very large, that’s when the monochrome camera would be advantageous. I would still buy one if Fujifilm made one, but it’s good to reaffirm that Fujifilm is already superb at black-and-white photography, and I’m not missing much by not owning a monochrome-only camera.

In closing, I’m very curious what your results are with the blind tests. If you watched the videos, please let me know in the comments what your results were. Which camera made the best black-and-white pictures in your opinion? Thanks!

Fujifilm Monochrome

Posted on January 26, 2020 by Ritchie Roesch

Mountains Dressed In Monochrome – South Weber, UT – Fujifilm X-T30

Leica recently announced the M10 Monochrom, which is their third black-and-white only camera. It can’t capture a color picture because it doesn’t have a Bayer array. It only does black-and-white photography. Fujifilm should do something similar, even though most won’t buy it.

Believe it or not, there’s actually an advantage to a monochrome sensor. With a typical Bayer color array, only 50% of the light-sensitive sensor elements are recording luminosity information, while the other 50% are recording color information. With an X-Trans sensor, 55% of the light-sensitive sensor elements are recording luminosity information while 45% are recording color information. With a monochrome sensor, 100% of the light-sensitive sensor elements are recording luminosity information. Because of this, you get a higher perceived resolution, as pictures will appear more richly detailed, and there’s more shadow latitude, which also improves high-ISO capabilities. You can also use color filters like with black-and-white film.

I think an X-Pro3-M, a black-and-white only version of the X-Pro3, or an X100V-M, a black-and-white only version of the upcoming X100V, would do well enough commercially. Yes, it’s clearly a niche product, as there’s only a tiny market for it, yet Leica found a way to make it profitable, and Fujifilm could, too. There are plenty of photographers who use their X-Pro or X100 series camera to only shoot black-and-white. A Monochrome version would make things simpler for them, while improving perceived resolution, dynamic range and high-ISO. And, Fujifilm has a cool marketing angle: call it the X-Pro3 Acros or X100V Acros. People would eat that up. Increase the price a couple hundred dollars and it would sell well enough to be profitable, in my non-expert opinion.

The flip side to this is that Fujifilm X-Trans cameras, particularly X-Trans III and IV cameras that have the Acros film simulation, are already fantastic for black-and-white photography. Would a monochrome-only camera really produce enough of an improved image to justify buying one? I think that’s a tough question to answer, but my guess is probably not for most people. Still, a monochrome-only camera wouldn’t be for “most people” as it would be for a very small crowd, and for those people the difference would indeed justify buying it. For most, your current X-Trans camera is a great black-and-white photography tool, and there’s no need to get a monochrome-only camera. Some, however, would absolutely love to have one, and I think there’s enough of those people that such a camera could be profitable for Fujifilm, if they ever wished to create one. I hope they do.

Announced: Fujifilm X-T200

Posted on January 25, 2020 by Ritchie Roesch

Fujifilm X-T200

Fujifilm just announced the upcoming X-T200, which is the successor to the X-T100. While the X-T200 looks a lot like the camera that it’s replacing, and some of the specs might seem identical, this is definitely an improved model. Essentially, it’s a Fujifilm X-A7 that looks like an X-T100, but with some brand new features. The camera will ship on February 27, but you can pre-order now.

The main upgrades on the X-T200 are auto-focus, video, and the rear screen. For still pictures, there’s not much to distinguish this camera over the previous model. Auto-focus got a very nice boost, with the same capabilities as the X-A7. This camera also now has the same rear screen as the X-A7. Video is a night-and-day difference. The X-T100 has disappointing video capabilities, while the X-T200 overflows in this department.

One of the interesting new features is called “digital gimbal” which essentially crops the image slightly to make a smooth video without image stabilization. It’s similar to what GoPro has on their new models. It’s a great addition for those who plan to use the camera for video.

Who is it for? The X-T200 would make an excellent first interchangeable-lens camera for someone new to photography. It could be a great second body for someone who already has another Fujifilm X camera. Those who vlog or make YouTube videos might especially appreciate this model.

The X-T100 was clearly a step-down from the X-T20, both in price and features, while the X-T200 keeps up with the X-T30 quite well, and is a little cheaper, but not by a huge amount. It is a Bayer sensor camera and not X-Trans, and because of that it’s missing some of the options that the X-T30 has, yet the X-T200 has some features that the X-Trans model doesn’t. I would recommend the X-T30, but if you want to save a little money, the X-T200 is a surprisingly solid alternative. The X-A7 doesn’t have the “digital gimbal” feature found on the X-T200, but it’s also a little cheaper, so if you don’t need it, you might as well buy the X-A7 instead, because it’s essentially the same camera, just in a different shape. For still photography, the X-T100 is basically just as good as the X-T200, and you can pick it up for much less, but if video is important to you, the X-T200 is the camera to buy.

This post contains affiliate links. I will be compensated a small amount if you make a purchase after clicking my links.

Fujifilm X-T200 (Body Only) $700 B&H Amazon
Fujifilm X-T200 w/15-45mm lens $800 B&H Amazon

Project: Farmington Bay, Part 2

Posted on January 22, 2020 by Ritchie Roesch

Farmington Bay Lake – Farmington Bay, UT – Fujifilm X-T1

Part 1

My project this year is to photograph the Farmington Bay Waterfowl Management Area in Farmington, Utah. My goal is visit this place with a camera at least once per month throughout 2020, but hopefully more often than that. I especially want to make it to Farmington Bay when there’s some interesting weather or a chance of great light. This was my second visit.

The Farmington Bay is a wetland along the Great Salt Lake, where freshwater meets saltwater. There are creeks and small lakes and lots of tall grass. It’s a popular spot for bird-watching. Farmington Bay is massive, and I’ve only explored maybe 10% of it at most, but probably not even that much. There’s a road that takes you fairly deep into the wetland, but the rest is accessible only by foot or bike or boat.

I captured these photographs using my Fujifilm X-T1 and Fujinon 35mm f/2. I used my Velvia and Monochrome recipes, plus a couple of experimental settings, but mostly Velvia. Farmington Bay is both beautiful and lonely. There are great expanses and fantastic views. I feel like I stumbled across a great treasure when I found this place. I look forward to returning with my camera in hand.

B&W

Dike Road – Farmington Bay, UT – Fujifilm X-T1

Dirt Road – Farmington Bay, UT – Fujifilm X-T1

Gate – Farmington Bay, UT – Fujifilm X-T1

Wasatch From Farmington Bay – Farmington Bay, UT – Fujifilm X-T1

Cloud Reflection – Farmington Bay, UT – Fujifilm X-T1

Ice in the Water – Farmington Bay, UT – Fujifilm X-T1

Shore Post – Farmington Bay, UT – Fujifilm X-T1

Color

Cattails On The Shore – Farmington Bay, UT – Fujifilm X-T1

Red Door – Farmington Bay, UT – Fujifilm X-T1

Tree in January – Farmington Bay, UT – Fujifilm X-T1

Red Gate – Farmington Bay, UT – Fujifilm X-T1

Red Cloth on Fence – Farmington Bay, UT – Fujifilm X-T1

Greenland – Farmington Bay, UT – Fujifilm X-T1

Green & White – Farmington Bay, UT – Fujifilm X-T1

Eye of the Beholder – Farmington Bay, UT – Fujifilm X-T1

Drain – Farmington Bay, UT – Fujifilm X-T1

Wetland Grass – Farmington Bay, UT – Fujifilm X-T1

Wetland – Farmington Bay, UT – Fujifilm X-T1

Wetland Lake – Farmington Bay, UT – Fujifilm X-T1

Bridge to Nowhere – Farmington Bay, UT – Fujifilm X-T1

Eagle on Bridge – Farmington Bay, UT – Fujifilm X-T1

Road Along The Water – Farmington Bay, UT – Fujifilm X-T1

First Fujifilm X-T1 Film Simulation Recipes

Posted on January 21, 2020 by Ritchie Roesch

Fujifilm X-T1 Blog

I’ve had my Fujifilm X-T1 for less than two weeks. I plan to create many different film simulation recipes for it, but that takes time, so they’ll likely trickle out over the coming months. I did create three film simulation recipes, which you’ll find below. I like to mimic the aesthetic of vintage films with in-camera JPEG settings, as I learned photography in the film era. These three X-T1 recipes aren’t intended to mimic the look of any particular film; I just like how they look.

The in-camera JPEG options on the X-T1, which has an X-Trans II sensor, are different and much more limited than X-Trans IV or even X-Trans III cameras. Fujifilm continues to provide more and better features to achieve desired looks straight out of camera. While the X-T1 doesn’t have as many options, it’s still possible to get very nice pictures right out of the camera, no post-processing needed. Actually, sometimes it’s nice to have fewer choices as it makes things more simple.

Even though these recipes were created on a Fujifilm X-T1, they’re compatible with all X-Trans II cameras, such as the X100T, X-E2, and X-T10, as well as Fujifilm Bayer cameras, like the XF10, X-T100, and X-A7. The Velvia and Monochrome recipes are compatible with X-Trans I cameras, such as the X-Pro1, X100S and X-E1. I should also point out that my Fujifilm XF10 film simulation recipes are compatible with the X-T1 and other X-Trans II cameras.

Some of you have been asking me to create recipes that are compatible with the older models for some time now, and I’m happy to finally be able to share some. You’ve waited awhile! These three film simulations are just the beginning for the X-T1. I will be creating more. I hope to recreate some of my other looks with the X-Trans II sensor, but we’ll see how that goes. Some future recipes might require unconventional approaches. I can’t wait to see what I come up with! In the meantime, enjoy the recipes below.

Classic Chrome

Praying the Order is Right – Salt Lake City, UT – Fujifilm X-T1

Film Simulation: Classic Chrome
Dynamic Range: DR200
White Balance: Auto, -1 Red & -1 Blue
Color: +2 (High)
Highlight: +1 (Medium-High)
Shadow: +1 (Medium-High)
Sharpness: 0 (STD)
Noise Reduction: -2 (Low)
ISO: Auto, up to ISO 3200

Rural Road In Winter – Salt Lake City, UT – Fujifilm X-T1

Winter Boxcar – Farmington, UT – Fujifilm X-T1

Flaming Lemon – South Ogden, UT – Fujifilm X-T1

Joyful Dining – South Ogden, UT – Fujifilm X-T1

Opening a Soda Bottle – South Ogden, UT – Fujifilm X-T1

Egg, Bowl & Rice – South Ogden, UT – Fujifilm X-T1

Grill Fire – South Ogden, UT – Fujifilm X-T1

Velvia

Pink Penguin – Salt Lake City, UT – Fujifilm X-T1

Film Simulation: Velvia
Dynamic Range: DR200
White Balance: Auto, 0 Red & -2 Blue
Color: +2 (High)
Highlight: -1 (Medium-Low)
Shadow: -1 (Medium-Low)
Sharpness : 0 (STD)
Noise Reduction: -2 (Low)
ISO: Auto, up to ISO 3200

Kobe Cold – South Ogden, UT – Fujifilm X-T1

Sushi Lamp – South Ogden, UT – Fujifilm X-T1

For Goodness Sake – South Ogden, UT – Fujifilm X-T1

Anchored Caboose – Farmington, UT – Fujifilm X-T1

Red In The Woods – Farmington, UT – Fujifilm X-T1

When The Season Is All Wrong – Farmington, UT – Fujifilm X-T1

Rudy Drain Winter – Salt Lake City, UT – Fujifilm X-T1

Monochrome

Rebuilt 24 – Farmington, UT – Fujifilm X-T1

Film Simulation: Monochrome (+Y, +R, +G)
Dynamic Range: DR200
Highlight: +1 (Medium-High)
Shadow: +1 (Medium-High)
Sharpness : +1 (Medium -Hard)
Noise Reduction: -2 (Low)
ISO: Auto, up to ISO 6400

Monochrome Lines – Farmington, UT – Fujifilm X-T1

Metal – South Ogden, UT – Fujifilm X-T1

When Life Gives You Lemons – South Ogden, UT – Fujifilm X-T1

Soup – South Ogden, UT – Fujifilm X-T1

Jo With Chopsticks – South Ogden, UT – Fujifilm X-T1

Drinking Soup – South Ogden, UT – Fujifilm X-T1

Eating Rice – South Ogden, UT – Fujifilm X-T1

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Intentionalism – Moving From More To Less

Posted on January 20, 2020 by Ritchie Roesch

The old house. Captured with a Fujifilm X-T30 & Fujinon 35mm f/2.

Less is more. That short and simple statement is true in both photography and in life. Less time commitments. Less money spent. Less accumulating stuff. Less frustrations. Less worrying. Less stress. More time spent with family and friends. More generosity. More doing what you love. More living life right now.

In America, and many other parts of the world, materialism is strong, and it constantly demands more. You need the best, the newest, the largest, and the most-expensive things that you can afford. If the Jones’ have it, you need it now! Envy is everywhere, and it’s difficult to escape its cold, choking grasp. People judge you on your possessions, at least that’s what you’re told, so your possessions better be good. You need to make a good impression quickly, as you might not get a second chance. You aren’t who you are, you are what you have. It’s an incredibly sad and selfish way to live, but it’s normal for a lot of people. I’m guilty of living this way just as much as the next person, but I’m tired of the materialistic life.

The opposite of materialism is minimalism, which is living with the absolute least amount of stuff that you need to survive. If you don’t need it, you shouldn’t have it. If it doesn’t add value to your life, you shouldn’t have it. It’s not about things, it’s about not having things. I’m not against minimalism, but I do feel like it’s a rabbit hole that can miss the point. Having less can be very good, but there’s a point where the pursuit of it can be oppressive and as equally vain as the pursuit of frivolous stuff.

View from the old house. Captured with a Fujifilm X-T30 & Fujinon 50-230mm.

There’s a reasonable middle ground, where you’re not consumed by consumerism and you’re not subservient to minimalism. It’s called intentionalism, which is being intentional with your time and treasures. The idea is that everything you own should serve a purpose or bring you joy. If it doesn’t have a purpose in your life or if it doesn’t bring you joy, you don’t need it, so get ride of it! It’s about living with less. It’s having less clutter; having less things that you don’t really need taking up space in your life. Everything that you buy should be purchased very intentionally. Thoughtful consideration is required for what you spend money on. Spend less on junk. You shouldn’t be a servant to money, but instead money should serve you. Also, be careful of things that rob your time, because time is incredibly short.

Cut down on what you’ve accumulated. Lessen time spent unnecessarily. Trim what you spend money on. Scale down yourself, so that you can gain what those things can never provide. Reduce, so that you can obtain joy. Reduce, so that you can spend more time with family and friends. Reduce, so that you can be more generous with others. Reduce, so that you can live more freely. Not less for the sake of less, but less for the sake of more.

I don’t want to sound too preachy; I’m writing these things to myself just as much as I’m writing them to you. I’m telling you about this philosophical road that I’m beginning to journey down because you might notice some changes. Actually, the journey began several months ago, but the changes will become more obvious on Fuji X Weekly as time goes on.

View from the new house. Captured with a Fujifilm X-T1 & Funinon 35mm f/2.

Something that I’ve been working towards is fewer articles on this blog, yet higher quality content. I want to spend less time on insignificant posts, and use that time instead for more meaningful articles. I hope that this will improve Fuji X Weekly. Another change is that I sold my house and moved. For me, a big part of intentionalism is downsizing, which I’ve been doing, and now I live in a different town. That will affect my pictures in some way, although I’m not certain exactly how at the moment. Anytime that you change where you’re photographing, it will change your photography, at least a little.

How does intentionalism relate to photography and Fujifilm? Well, for me, Fujifilm cameras save me a ton of time because I can rely on camera-made JPEGs. I rarely sit at a computer editing pictures. I can use that time for other things, such as playing with my kids or a date night with my wife or visiting a friend or capturing more pictures. This isn’t new for me, but it does fit well with this philosophy. Another way that this relates is that I should only own gear that I need (serves a purpose) or that brings me joy. Of course, all of it brings me joy! But things that sit on a shelf collecting dust and taking up space, rarely used, aren’t really bringing joy, they’re just clutter. If something is working well for me, there’s no need to replace it just because something new came out. It’s good to get your money’s worth out of what you buy before replacing it. Buy things of quality and really use them, and don’t be in a hurry to upgrade.

Intentionalism is a journey towards simplicity. It’s similar to minimalism, but the end goal isn’t less for the sake of less, it’s less for the sake of more. It’s a path towards joy and a meaningful life, where I’m less important and those around me are more important. It’s a journey of generosity. It’s finding ways to make life simpler so that I can focus more on what’s really important. Less can indeed be more.

When Weather Sealed Cameras Matter

Posted on January 14, 2020 by Ritchie Roesch

Cold Cargo – Salt Lake City, UT – Fujifilm X-T1

I’ve always felt that, for me, a weather sealed camera isn’t essential. It’s certainly a nice feature, but not something I just have to have. Cameras that aren’t weather sealed can handle the elements to an extent, and oftentimes there are easy steps to mitigate the weather conditions (such as an umbrella), so I haven’t found it to be a limiting factor to my photography. Yet, there have been times that having a weather sealed camera has allowed me to “get the shot” when I might not have otherwise.

Fujifilm has a few cameras with weather sealing. The X-T0, X-Pro, and X-H series are all weather sealed, while the X-T00, X-T000, X-A, X-M, XF, X-E, X100, and X00 series (am I missing any?) are not. I’ve owned a few of these non-weather-sealed cameras, and I’ve used them with success in conditions that might warrant weather sealing. Take a look at the pictures below:

Monte Cristo Mountain Snow – Monte Cristo Mountains, UT – Fujifilm X-E1

Out In The Cold – Cedar City, UT – Fujifilm X-T30

Umbrella Overpass – Edmonds, WA – Fujifilm X100F

Dust In The Wind – Bonneville Salt Flats, UT – Fujifilm X-E1

The photographs above were all captured in conditions where a weather sealed camera would have been nice, but I got along just fine without it. The X-E1, X100F and X-T30, which are the cameras that I used for those pictures, are not weather sealed; despite that, I was able to get the picture that I wanted. I didn’t allow it limit my photography.

A weather sealed camera allows you to photograph with confidence in more extreme conditions, such as cold, rain, snow and dust. While non-weather-sealed cameras might get the job done, a weather sealed camera definitely will. Each time that I pushed the envelope on what my camera was designed to handle, it worked fine, but I worried about it. I hoped that I wasn’t ruining an expensive photographic tool.

There was one situation where I know that if I hadn’t used a weather sealed camera, I would have ruined the camera, or at least would have had to have it serviced. More likely, I wouldn’t have photographed at all, knowing that the camera couldn’t handle it, and I would have missed some great pictures. But I did have a weather sealed camera, and I have the shots that I wanted. Those pictures, which were captured on a windy day at Great Sand Dunes National Park in Colorado using an X-Pro2, are below:

From Dust To Dust – Great Sand Dunes NP, CO – Fujifilm X-Pro2

Sandal – Great Sand Dunes NP, CO – Fujifilm X-Pro2

Passerby – Great Sand Dunes NP, CO – Fujifilm X-Pro2

The conclusion is this: you don’t need a weather sealed camera until you do. Almost always your non-weather-sealed camera will suffice, especially if you take action to mitigate the conditions, but occasionally you might run into a situation where you really do need weather sealed gear. In those circumstances, you’ll either get the shot because of your camera, you’ll get the shot in spite of your camera (and you might find yourself in the market for a new one), or you won’t get the shot because of your camera. I do think those situations are rare for most people, and whether or not you have weather sealed gear is unimportant for most, but it’s sure nice to have it when you need it.

My Fujifilm X-T1 Arrived!

Posted on January 11, 2020 by Ritchie Roesch

Fujifilm X-T1

I mentioned a couple of weeks ago that I purchased a used Fujifilm X-T1 for only $300. The condition of the camera said “low shutter count” and “in like-new condition.” When you’re purchasing things off the internet, my experience is that it’s rarely exactly as described. Oftentimes the condition is overstated. I wasn’t sure what I was going to find when the package arrived. Well, the packaged was delivered a couple days ago; I opened up the box with anxious curiosity and found inside…

…a near mint Fujifilm X-T1. Yea! It looked brand new except it was missing the sync cap. It really did appear unused! It even had the original firmware installed. I don’t know the story behind it, but it seems like maybe someone used it a couple of times and didn’t like it, so they boxed it up and it sat on a shelf for four or five years. It’s very difficult for me to believe that I snagged this beauty for only $300. This was a $1,300 camera not very long ago. I remember seeing the X-T1 on sale for “only” $1,000 and that was considered a bargain at the time. At $300, the camera’s a steal!

Fujifilm X-T1 Fujinon 35mm f/2

Fujifilm X-T1 Blog

Unfortunately, digital is disposable. People buy cameras and use them for a year or two or maybe three, and then they move on to whatever is new. It’s a byproduct of technology that advances quickly, and also habits formed when digital photography was new and not especially good. There were significant leaps when new camera models came out. There are still big leaps happening today, but we’ve reached a point of diminishing returns, and those leaps don’t mean as much in practical application.

My first SLR was a 20-year-old Canon AE-1, which I purchased over 20 years ago when I was in Photography 101 in college. I used the camera for a number of years. Can you imagine someone buying a 20-year-old digital camera today to use as their main camera? And using that camera for five or more years? That’s unheard of, but it used to be normal in the days of film. Roughly 10 years ago digital camera technology reached a point where people could keep it and use it for years to come because the quality was there. There’s no reason that a five-year-old camera can’t have 15 or more years of life in it as long as the mechanical components continue to work. People often don’t keep them around long enough to find out.

Fujifilm X-T1 Dials

Fujifilm X-T1 Blog

The Fujifilm X-T1 is downright fantastic! It’s plenty quick. The image quality is great. The camera is weather sealed and feels very solid. It’s a little smaller than the X-T2 and X-T3 and not all that much bigger and heavier than my X-T30. I do wish it had the focus joystick and some of the JPEG options that the newer cameras have, but it’s not a big deal that the camera lacks those things. It’s still a very good camera capable of capturing beautiful pictures.

The photographs below are the first images captured with my new Fujifilm X-T1. These are camera-made JPEGs. I don’t have any recipes yet, but you can rest assured that I will be creating some, and when I do I will share them on Fuji X Weekly. Even though the camera is five-years-old, I’m very excited to go out and shoot with the brand-new-to-me X-T1.