This is a one-year photo-a-day project called 52 Weeks of Photography. Even though it is a year-long undertaking, I’m taking it one week at a time, because it’s a little easier to manage many small blocks than one large chunk. This is the 11th week, so the 11th set of seven images.
The reason why I’m doing this 365 Day project is because I noticed some gaps in-between my images last year. I didn’t pick up my cameras daily. On several occasions, four or five days passed by without a single picture created. Twice in 2024, I skipped a whole week. I want to rectify this, and get back into the habit of daily photography. I also want to elevate the quality of my craft in 2025, and am hoping that this will help.
Raindrops on a Pond – Peoria, AZ – Fujifilm X100VI – Upcoming Recipe
The plan is to capture a year’s worth of notable images, either personally or artistically. Ansel Adams famously stated, “Twelve significant photographs in any one year is a good crop.” It’s important to keep expectations realistic, but I’m also trying to avoid thoughtless snapshots just to fulfill the day’s requirement. I want to push myself to be better, and hopefully that will happen. Not every photo will be great—in fact, most won’t—but I hope they are all at least decent enough to be shared without embarrassment. And maybe when the whole project is complete, there will be 12 significant pictures (out of the 365) that I’m particularly proud of.
Another week is in the books. I like several of the photographs that I created during this week (although none are likely to make any sort of portfolio), but—overall—there are a lot of mediocre images. I’m working on a big project that I’m trying to wrap up, and in order to get over the finish line, I seemed to have I chosen quantity over quality on some days. I’m really hoping to be done with that project by the end of the week, so stay tuned—I’m excited to share it with you!
Below are the 11th set of seven pictures from this 52 Weeks of Photography project.
Tuesday, March 4th, 2025
Trafficade – Goodyear, AZ – Fujifilm X100VI – Upcoming Recipe
Wednesday, March 5th, 2025
Big Tabs – Buckeye, AZ – Fujifilm X100VI – Upcoming Recipe
Thursday, March 6th, 2025
Happily Waiting to Leave – Buckeye, AZ – Fujifilm X100VI – Upcoming Recipe
Friday, March 7th, 2025
Dreary Day at Rio Vista Park– Peoria, AZ – Fujifilm X100VI – Upcoming Recipe
Saturday, March 8th, 2025
Main Market– Buckeye, AZ – Fujifilm X100VI – Upcoming Recipe
Sunday, March 9th, 2025
Red Trees, Teal Sky– Buckeye, AZ – Fujifilm X-T4 ES & 35mm f/2 – Aerochrome v2
While at the CP+ Show in Japan, PetaPixel interviewed Yuji Igarashi, who is the General Manager of the Professional Imaging Group, Imaging Solutions Division, of the Fujifilm Corporation. He said some interesting things regarding the Fujifilm X100VI production situation. Now, it’s important to take it with a grain of salt. Sometimes people will harshly judge an interpretation of what someone said in a different language, lacking grace for interpretation errors and dialect and cultural differences. Keeping that in mind, let’s get into it.
“We’ve more than doubled our production compared to the previous model,” Yuji Igarashi stated. “But on top of that, we are also still increasing production. Now we can produce higher than [15,000 units per month] and we have been, but it’s not like we can produce double that [amount again].”
Not much new there. Fujifilm told us from the outset that they had doubled production from the previous model, from 7,500 units per month to 15,000. We also already knew that for a year now they have been trying to increase production further. Fujifilm told PetaPixel that they have been unable to accomplish 30,000 units per month, but they are definitely beyond 15,000.
“We’ve been doing what we can to increase our production for the X100VI,” Yuji explained, “but the processes are quite complicated—especially for pieces like the top plate. To make these sharp edges, it goes through many processes. So, this type of camera is not so suited for ramping up production.” In other words, they’re doing all that they can, but there are significant challenges that prevent them from churning out even more cameras.
“In one year since we launched this product,” Yuji continued, “compared to the previous models which took us to sell three or four years, we’ve already shipped an equivalent amount.” This was shocking to me. Fujifilm is stating that—even with the manufacturing limitations—they have already built and delivered as many X100VI’s, which was released just one year ago, as the previous iteration over nearly a four year period. Just as many people have an X100VI in their hands as have an X100V, yet it only took Fujifilm one year to do that for the new camera vs four years for the X100V. And it’s a similar situation for the X100F and the previous versions.
This completely shreds the (quite stupid) theory that Fujifilm is purposefully creating shortages in order to manipulate the market. The unprecedented demand of the X100VI was and is real. No camera has been as in-demand as the X100VI ever. In all of history, no model from any brand received more preorders than the X100VI, it’s not even close. Despite building a ton of copies, Fujifilm has not yet met the initial demand, but they’re getting close. “So I know people are quite frustrated when they say it’s still not available,” Yuji said. “I think one issue is that the first-day orders were so big when it was announced, that’s why people say they’ve been waiting for eight, or 10 months, which we totally understand is so frustrating. So until we clear that, some people will still continue to say, ‘We’ve been waiting for 10 months.'”
Now you might say that the math isn’t mathing. If Fujifilm hasn’t been able to quadruple production, how could they possibly build as many units in one year as they did over nearly four? First, Fujifilm produced a bunch of copies in the months prior to the camera’s announcement, in anticipation of strong initial demand. Also, the X100V was effected by the pandemic parts shortage, which for a time limited the number of copies they could manufacture. If Fujifilm managed to make (say) 300,000 units, that would likely be close to the total number of X100V’s manufactured in total. And that 300K guesstimate might be in the ballpark. We know that 180,000 were manufactured at a minimum post launch, and 60,000 might have been manufactured prior to launch. If Fujifilm has been able to increase production by 6,000 units on average over the last 10 months, then you’d have 300K. While that’s a lot of cameras, apparently there were around 500,000 day-one preorders in China alone, so the initial demand has still not been met a whole year later.
Thankfully, slowly but surely Fujifilm is catching up. Here and there the X100VI has been seen in-stock at camera stores, particularly the black version. If you want to buy one, the wait isn’t nearly as long now. You might still have to be patient for a month or maybe a few, but the 10-month-long waits are in the past. It’s a good time to get your order in if you’ve been waiting. Or, if you’ve been hoping to find it at a local camera store, they might just have one right now—maybe.
The challenge for Fujifilm is to tread carefully on production numbers. If they suddenly find that the demand has been met, and they’re building over 20,000 units per month, they could end up overproducing a lot of copies. Since it takes months from the time parts are ordered until finished cameras are delivered, if the market suddenly shifts, it’s possible that Fujifilm could manufacture a hundred thousand copies more than are needed and can be sold. That amount of overproduction would be a tough blow to the bottom line, and possible could cripple the camera division. As wait times dwindle, Fujifilm should strongly considered reducing the number of units that they manufacture monthly. At some point, 15,000 copies each month will be much too much. Hopefully that is a long ways off, but it will arrive eventually, and it will need to be handled quite carefully when it approaches.
In just 10 days—on March 20th—Fujifilm will announce a new product, purportedly a fixed-lens GFX camera, in Prague. This X Summit takes place at 11:00 AM local in the Czech Republic, which is 2:00 AM Pacific Time and 5:00 AM Eastern Time in the United States. I won’t be awake for that. By the time I brew my first cup of coffee, the camera will have been long announced, and preorders already open. If you want to get this camera right away, my recommendation is to set your alarm clock.
Since most Americans will be fast asleep when the announcement happens, Fujifilm North America is having their own party, which they’re calling an X Summit Experience, in Las Vegas at the WPPI Expo. This will be at 10:30 AM Pacific Time on the 20th. If you are in the Las Vegas area, I’m sure it will be worthwhile to stop by—just be sure to register.
Fujifilm did something similar to this with the launch of the X-T50 and GFX100S II. The X Summit for that was in Australia, which was the middle of the night for most of America. So they had an X Summit Experience on a Manhattan rooftop later in the day to celebrate the announcements. I was invited to be a part of that, and it was a ton of fun. So definitely, if you are in Vegas on the 20th, be sure to go. Unfortunately, I won’t be there for this one.
It’s possible that more than one thing will be announced at this X Summit. Four products—two cameras and two lenses—were unveiled at the Sydney X Summit in 2024; however, since nothing has leaked, I would be surprised if anything else was officially announced. But, I do suspect there could be some extras, such as a future product tease, and/or more info on the upcoming GFX Eterna cinema camera. I won’t catch it live, but will probably watch it on YouTube later in the day.
Fujifilm has the best JPEG output in the camera industry, in my opinion. That’s not to say the others are garbage, because some brands are pretty good (Ricoh, for example); however, they are not all equal, and—in my view—Fujifilm is at the very top when it comes to straight-out-of-camera photography. Leaning into their long history of making analog film, they’ve crafted Film Simulations and various JPEG options (which together make Film Simulation Recipes) that achieve authentic aesthetics that don’t require editing.
Over the years Fujifilm has added many new Film Simulations and JPEG settings so that photographers can get a wider variety of looks straight-out-of-camera. Nostalgic Negative and Reala Ace are found on the latest generation of models. Eterna Bleach Bypass and .5 Highlight and Shadow adjustments were introduced with the Fujifilm X-T4. Classic Negative, Grain size, Color Chrome FX Blue, and Clarity were first found on the X-Pro3. So what should Fujifilm introduce next? What new Film Simulations and JPEG settings should be added to future cameras?
Fujifilm X100V & Pop Color Advanced Filter
There are a number of Film Simulations that Fujifilm could make. Probably the easiest would be Fortia, which would simply require moving Pop Color from Advanced Filters to the Film Simulation set. Another easy option would be a new B&W Film Simulation (maybe called Neopan) that would essentially be a higher contrast and grainer version of Acros. A Film Simulations that I believe would be a big hit is one modeled Fujicolor PRO 400H that turns pastel when overexposed, like the film was famous for. Another option that I would like to see is Cross Process, modeled after Velvia 50 developed in C41 chemistry. A fifth potential future Film Simulation is Instax, mimicking instant film.
As for JPEG settings, one option might be Split-Tone, where a certain color cast could be selected for the shadows, and a different color cast could be selected for the highlights (for example, blue for the shadows, yellow for the highlights). This could be available for both color and B&W images. Another one might be Faded Blacks, where deep shadows are rendered lighter. A third potential option could be vignette. For those last two, it could simply be Off, Weak, or Strong. To demonstrate what Faded Black and Vignette might look like, I edited some pictures using the Photos App in my iPhone, simply setting the Black Point to -50 and Vignette to +10, which might be similar to Faded Black Strong and Vignette Weak, if such settings existed. You can see the before and after below:
Now it’s your turn! What would you like the next Film Simulation to be? Should Pop Color be moved from Advanced Filters to the Film Simulation set? What new JPEG option would you prefer be introduced next? Do you like the idea of Faded Blacks and/or Vignette? Let me know in the comments!
This is a one-year photo-a-day project called 52 Weeks of Photography. Even though it is a year-long undertaking, I’m taking it one week at a time, because it’s a little easier to manage many small blocks than one large chunk. This is the 10th week, so the 10th set of seven images. I can’t believe that I’m nearly 1/5th finished!
The reason why I’m doing this 365 Day project is because I noticed some gaps in-between my images last year. I didn’t pick up my cameras daily. On several occasions, four or five days passed by without a single picture created. Twice in 2024, I skipped a whole week. I want to rectify this, and get back into the habit of daily photography. I also want to elevate the quality of my craft in 2025, and am hoping that this will help.
Ford Falcon – Buckeye, AZ – Fujifilm X100VI – Upcoming Recipe
The plan is to capture a year’s worth of notable images, either personally or artistically. Ansel Adams famously stated, “Twelve significant photographs in any one year is a good crop.” It’s important to keep expectations realistic, but I’m also trying to avoid thoughtless snapshots just to fulfill the day’s requirement. I want to push myself to be better, and hopefully that will happen. Not every photo will be great—in fact, most won’t—but I hope they are all at least decent enough to be shared without embarrassment. And maybe when the whole project is complete, there will be 12 significant pictures (out of the 365) that I’m particularly proud of.
A lot of personal things came up this week. There were a couple of time that I thought I was going to fail. Somehow I managed to photograph each day, and I think it is because of the habits formed during the first nine weeks—if the same obstacles had presented themselves earlier in the project, I’m confident that I wouldn’t have completed it. Because those habits had cemented themselves already, it helped tremendously. Life happens, so I built into this project two days that can be missed. At some point I know that I’ll need to use those, but I’d rather save them for later if possible, and thankfully it was possible.
Below are the 10th set of seven pictures from this 52 Weeks of Photography project.
I said something in my Is $5,000 A Bargain or Bust? article that caught a couple people’s attention. In regards to the upcoming fixed-lens GFX camera, I stated, “I really hope for conversion lenses—both wide and telephoto—like the X100-series has. I highly doubt that the WCL-X100 and TCL-X100 will work on it (although it would blow my mind if they somehow did), but something similar should be made for the GFX100RF.” I received two messages from people wanting to further discuss the idea that the wide and telephoto conversion lenses for X100-series cameras might be compatible with the upcoming medium-format model.
Just to be clear from the top, I’m highly skeptical that the WCL-X100 and TCL-X100 will be officially compatible with the GFX100RF. It’s possible that they might be, but that seems like improbable engineering. I don’t think Fujifilm designed the lens on the new camera to be compatible with those two conversion lenses. More likely—if there are conversion lenses—new ones will be designed specifically for the GFX camera. But…
There’s a strong likelihood that you could actually use those two conversion lenses if you want to. Now, the camera is unlikely to account for and fix the distortion (unless the engineers programmed it to). There’s a good chance that the conversion lenses won’t cover the whole frame, or—if it does—there could be strong vignetting and soft corners. But maybe it won’t be as bad as you might think. For example, Pentax Auto-110 lenses, which are tiny, cover the APS-C sensor. The Helios 44-2 lens, which is for 35mm cameras, fully covers the GFX sensor. So there is a possibility that the WCL-X100 and TCL-X100 conversion lenses will cover most or maybe even all of the GFX sensor.
If they don’t, that may not be a big deal. Using a different aspect ratio will likely crop out whatever isn’t covered. If the conversion lenses cover almost all of frame, then the 3:2 ratio might be all you need. If the coverage isn’t quite that good, 16:9, 65:24, and 1:1 should do the trick. Or, with 100mp to work with, a simple crop should do—I could see using the teleconverter lens in conjunction with the in-camera digital teleconverter, which would crop out whatever isn’t covered.
The real question is if the adapter ring on the GFX100RF will be the same size as the X100-series. My guess is no. Most likely it will be larger on the GFX—I think that’s a pretty safe assumption. In the unlikely case that it is the same size, you’d be able to just screw on the conversion lenses just like you would on the X100VI. Much more likely, you would need a step-down ring to attach the conversion lenses. This would have (at least) two side effects: less coverage of the sensor, and more close-focusing capabilities—maybe even macro—like using an extension tube.
My hope is that Fujifilm releases conversion lenses for the upcoming GFX100RF. If they don’t, or if they do but they’re unaffordable or difficult to find in stock, then adapting the WCL-X100 and TCL-X100 should be possible; however, it may not be ideal. There will certainly be some vignetting and soft corners, and they probably will not cover 100% of the GFX sensor, among other potential issues. But, technically speaking, it should work. If I do purchase the upcoming camera at some point in the future, I’ll be sure to test it out and report back to you what I discover.
Fujifilm is renown in the photography world for blending modern technology with vintage styling, delivering an experience similar to classic film cameras with colors inspired by analog looks. While newer models often steal the spotlight, some older Fujifilm cameras remain hidden gems—overlooked, yet still highly capable. These cameras seem to pair especially well with my Film Simulation Recipes for straight-out-of-camera photos that don’t require editing. If you’re looking for a capable, budget-friendly camera that embraces the magic of Fujifilm’s film simulations, consider these four hidden treasures.
Fujifilm X-T1: The Classic Workhorse
Released in 2014, the Fujifilm X-T1 was a game-changer for the X-series. It introduced the rugged, SLR-style design with dedicated dials that many Fujifilm photographers love. With a 16mp X-Trans II sensor, the X-T1 may not have all the latest film simulations and JPEG options, or stats that impress compared to the latest models, but don’t let that fool you—it still produces fantastic images in 2025.
This was one of the first cameras with Classic Chrome, which is the long-time most popular film simulation for those who use Recipes. Kodachrome II, Kodachrome 64, Classic Kodak Chrome, and Kodacolor are a few of the Classic Chrome Recipes that work beautifully on the X-T1, producing a vintage film-like aesthetic straight-out-of-camera. The Fujifilm X-T1 is an excellent introduction to the Fujifilm experience without breaking the bank, and it’s easy to recommend as someone’s first interchangeable-lens model to learn photography on.
Fujifilm X-T1 & Kodak Portra 160 Recipe
Fujifilm X-T1 & Kodak Portra 160 Recipe
Fujifilm X-T1 & Ektachrome 100SW Recipe
Fujifilm X-Pro2: The Soul of Film Photography
The Fujifilm X-Pro2 is a dream camera for photographers who love the rangefinder experience. Introduced in 2016, it was the first Fujifilm camera with the 24mp X-Trans III sensor and the first to feature Acros, one of my favorite film simulations. This camera was a notable step forward in emulating film-like results thanks to added JPEG options like faux grain. Of the three X-Pro iterations, the X-Pro2 is my personal favorite.
This camera is a fantastic choice for those who want an analog-like shooting experience. With its optical/electronic hybrid viewfinder and vintage aesthetics, it feels like using an old film camera. Recipes like Vintage Kodachrome, Kodachrome II, Kodak Gold 200, and Acros Push Process (to name a few) look great on the X-Pro2. This camera is especially great for manual vintage lenses, which makes the experience even more retro.
Fujifilm X-Pro2 & Kodachrome II Recipe
Fujifilm X-Pro2 & Provia Slide Recipe
Fujifilm X-Pro2 & Acros Recipe
Fujifilm X-T20: The Compact Powerhouse
When I met Omar Gonzalez on a Manhattan rooftop last year, he seemingly wasn’t carrying a camera. So I asked him if he brought one with him, and, if so, which one? He smiled, and pulled out of his sweater pocket a Fujifilm X-T20. He then told me that the X-T20 is his everyday casual camera for just walking around with. That should speak volumes. He also mentioned that the C1-C7 Custom Setting Presets were filled with Fuji X Weekly Recipes.
With the same X-Trans III sensor as the X-Pro2 and X-T2, the Fujifilm X-T20 offers exceptional image quality in a more compact, lightweight body—ideal for street photographers, travelers, and creatives on the go. Despite its size, the X-T20 retains the essential dials that make Fujifilm cameras so enjoyable to use. Recipes like Provia Slide, Everyday Astia, Agfa Optima, and Agfa Scala produce stunning yet nostalgic images on this camera. The X-T20 is an excellent choice for photographers who want a mix of convenience, quality, and affordability.
Fujifilm X-T20 & Kodachrome II Recipe
Fujifilm X-T20 & Velvia Recipe
Fujifilm X-T20 & Fujicolor Pro 400H Recipe
Fujifilm X30: The Forgotten Compact
The Fujifilm X30 might just be the most underrated Fujifilm camera. This fixed-lens compact camera from 2014 features a 2/3-inch 12mp X-Trans II sensor and a 28-112mm (full-frame-equivalent) f/2.0-2.8 lens that has a lot of character. It’s small size is ideal for everyday carry, yet it is quite versatile thanks to the zoom lens.
The pictures from this camera are amazing, with a ton of character—I especially love the lens flare. The photos are instant memories, and that’s the selling point of the X30, as the spec sheet is not especially impressive, and the camera seems a bit outdated in 2025. Recipes like Pro Film, Lomography Color 100, CineStill 800T, and Monochrome Red are excellent options. The X30 is an everyday-carry camera—just grab it while heading out the door on ordinary outings.
Fujifilm X30 & Kodachrome 64 Recipe
Fujifilm X30 & Pro Film Recipe
Fujifilm X30 & CineStill 800T Recipe
Conclusion
While the latest Fujifilm cameras have more features and film simulations, these four underrated models remain exceptional tools for photographers who appreciate the magic of film simulations and Recipes. Each one offers a unique experience: the rugged reliability of the X-T1, the rangefinder soul of the X-Pro2, the compact power of the X-T20, and the travel-friendly versatility of the X30.
When paired with the right Film Simulation Recipes, these cameras prove that you don’t need the newest gear to get great results. If you’re looking for a Fujifilm camera that delivers timeless images and an engaging shooting experience, don’t overlook these hidden gems. You might just discover your new favorite camera.
Find these Film Simulation Recipes in the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
This is a one-year photo-a-day project called 52 Weeks of Photography. Even though it is a year-long undertaking, I’m taking it one week at a time, because it’s a little easier to manage many small blocks than one large chunk. This is the ninth week, so the ninth set of seven images.
The reason why I’m doing this 365 Day project is because I noticed some gaps in-between my images last year. I didn’t pick up my cameras daily. On several occasions, four or five days passed by without a single picture created. Twice in 2024, I skipped a whole week. I want to rectify this, and get back into the habit of daily photography. I also want to elevate the quality of my craft in 2025, and am hoping that this will help.
Mill – Queen Creek, AZ – Fujifilm X100VI – Upcoming Recipe
The plan is to capture a year’s worth of notable images, either personally or artistically. Ansel Adams famously stated, “Twelve significant photographs in any one year is a good crop.” It’s important to keep expectations realistic, but I’m also trying to avoid thoughtless snapshots just to fulfill the day’s requirement. I want to push myself to be better, and hopefully that will happen. Not every photo will be great—in fact, most won’t—but I hope they are all at least decent enough to be shared without embarrassment.
I have some big projects in the works, and made good progress on them during this week. I can’t wait to share them with you! In the meantime, there are a lot of “Upcoming Recipe” placeholders. I hope you don’t mind.
Below are the ninth set of seven pictures from this 52 Weeks of Photography project.
Tuesday, February 18th, 2025
Curved – Goodyear, AZ – Fujifilm X100VI – Upcoming Recipe
Purportedly, Fujifilm is about to shake up the medium-format world with their upcoming 100mp fixed-lens GFX camera: GFX100RF. This upcoming model, rumored to be priced around $5,000, will feature a high resolution 100mp sensor paired with a fixed 35mm f/4 lens (28mm full-frame-equivalent, or 18.5mm APS-C-equivalent). Apparently, it will be about the same size as an X-Pro model. While this might sound like a dream camera for some, others may wonder whether it’s actually a good value—will it even be worthwhile at that price point. Let’s talk about this.
I want to start with this disclaimer: I don’t have any inside information on the upcoming camera. Fujifilm hasn’t shared anything about it with me, not even if there is a camera forthcoming, or if any camera is forthcoming. I only know as much as the next person, and what I do know I read on Fujirumors. Patrick has a pretty solid track record, so there’s a good chance that everything he has shared about the camera is correct, but until it is announced by Fujifilm, nothing can be known with 100% certainty. In other words, anytime that we’re discussing rumors, it should be taken with a grain of salt. We will all know everything when it is announced in March, and, until then, it’s only speculation.
Some might see the upcoming Fujifilm GFX100RF camera as a fantastic value. Not all that long ago, a digital medium-format camera would set you back at least $10,000, if not $30,000 or even $60,000. When Pentax released the 50mp 645Z in 2014 at “only” $8,500, it shocked the camera world because it seemed to be impossibly inexpensive for what it was. Beginning in 2017, Fujifilm basically took things a step further, and in the process became the leader in medium-format, by offering the GFX50S and GFX50R for $6,500 and $4,500 respectively. Since then, prices have continued to come down while the capabilities of these cameras have increased.
The Fujifilm GFX100S II has an MSRP of $5,000. It has the same sensor and processor as the upcoming GFX100RF. A couple advantages of the GFX100S II are that it is an interchangeable-lens model, and it has IBIS; some disadvantages are that it is much bigger/heavier, it requires the purchase of a lens, and it is PASM (not the traditional Fujifilm tactile controls). Essentially, you exchange IBIS for a lens, and get a retro-styled body about the size of an X-Pro3. The most similar lenses in the GF lineup are the 30mm f/3.5 (closest focal-length) and 50mm f/3.5 (closest size), which cost $1,700 and $1,000 respectively. An argument can be made that the GFX100RF is an excellent value at “only” $5,000, considering that the lens is included.
The big advantage of the upcoming camera is, of course, size and weight, and the retro design. My speculation is that it will be the thinest ever digital medium-format body/lens combination, and maybe even the “smallest” (depending on exactly how one defines that). Comparisons will be made to the Hasselblad 907X (plus CFV 100C back) with the 45mm f/4 or 28mm f/4 lens, which is much more expensive at over $9,000 (interestingly, the Hasselblad does not have IBIS, and we’re talking about f/4 lenses…).
I think a lot of the complaints circling the internet about the upcoming GFX100RF are from those who were unlikely to buy the camera in the first place. There was always going to be an excuse. It doesn’t have IBIS. The maximum aperture is too small. It has a fixed lens. The cost is too much. If only the engineers had pulled off miracle after miracle after miracle, then they would purchase. But since the designers were limited to things like reality, what a stupid camera that nobody will buy! Of course, I disagree with that completely.
Oak Creek – Sedona, AZ – Fujifilm GFX100S II & 80mm f/1.7 – Nostalgia Negative
The lack of IBIS will deter some, no doubt. There’s a myth that more megapixels make camera shake more noticeable, but that’s simply not true. A blurry picture is blurry no matter the resolution, and a sharp picture is sharp no matter the resolution. The same rules for achieving sharp photos apply exactly the same to 10mp as 100mp. But that doesn’t mean IBIS isn’t a useful feature that’s worthwhile to have. Some see it as essential, and the lack of it on the GFX100RF will prevent them from purchasing; however, I don’t see this as a big issue for most potential buyers.
Also, the f/4 lens is not especially exciting. This maximum aperture is not uncommon on GFX lenses, and produces a depth-of-field similar to f/2 on APS-C. People looking at it from an APS-C or full-frame perspective might find it shocking, but those in the medium-format world will see it as pretty normal, similar to how f/2 is common for the X-series.
The proper take, in my opinion, is that this camera isn’t for everyone, or even for most. The GFX system as a whole is not for everyone, or even for most. The vast majority of photographers don’t need a GFX camera. Some do, and it is available for them. Some don’t, yet enjoy the system anyway. For the majority, the X-system is a better option, in terms of value, enjoyment, size, and even capabilities. It’s not “trash” or “dumb” just because you personally don’t need it, or because it doesn’t have all of the specs that you wished it would, or because it is priced above what you can reasonably pay for a new camera. I think it’s ok to say, “That camera will be nice, but it’s not for me.”
So, then, who will the GFX100RF be for? First, it will be compelling for those who want a compact and lightweight medium-format camera. The size/weight aspect alone will make it desirable. This camera will be great for roadtrips and exploring, something that the other GFX models are not especially ideal for. I suspect that a significant group of GFX owners will buy it as a second camera for this purpose. Second, it will be for those who prefer retro styling and traditional tactile controls. The only other retro GFX camera is the 50R, which is long-discontinued and approaching seven-years-old. While that camera was considered a bit of a sales flop, it has since gained a cult-like following. Retro for Fujifilm isn’t just about trendy styling, it’s about functionality and fun. Third, it will be seen by some as the long-overdue and long-hoped-for successor to the Fujifilm X70, which has grown in popularity over the last several years. The upcoming camera is certainly not a direct followup to the X70, but I think there are enough similarities that some will see it as a spiritual successor nonetheless. Fourth, it will be seen as a larger-sensor X100-like camera, so some of the hype of the X100VI will carry over to the GFX100RF. Fifth, it will serve as a gateway into GFX. The X100-series has been a lot of people’s introduction to Fujifilm; likewise, the GFX100RF will be some people’s first GFX camera. This is because it’s an all-in-one model, and no further investment is needed to get started. It’s a way to dip your toes into the pool before deciding if you want to jump all the way in. Between those five groups, I suspect that sales will be strong, but only time will tell just how well it does.
I really hope for conversion lenses—both wide and telephoto—like the X100-series has. I highly doubt that the WCL-X100 and TCL-X100 will work on it (although it would blow my mind if they somehow did), but something similar should be made for the GFX100RF. A 0.9x wide-converter (25mm full-frame-equivalent, or 16.5mm APS-C-equivalent) or 0.8x wide-converter (22mm full-frame-equivalent, or 14.5mm APS-C-equivalent), and a 1.4x teleconverter (39mm full-frame-equivalent, 26mm APS-C-equivalent), would make the camera much more compelling. If these two conversion lenses were $500 or less each, and a compact three-lens “system” was possible for only $6,000, that would make it seem like a better bargain.
While some are suggesting that the price will cause the upcoming Fujifilm GFX100RF to be a bust, I really don’t think that will be the case; however, GFX is a niche line, and sales figures will never approach that of the X-series. It won’t sell nearly as many copies as the X100VI, or X-M5, or X-T5, etc.. But will it prove to be profitable? I’m pretty confident that it will. And if it is, I’m hopeful that it will convince Fujifilm to begin work on the GFX100R, a long-overdue successor to the GFX50R. If this camera does well, it might bring with it a whole new era of retro-style medium-format cameras.
Yellow Brush, Pink Sand – White Sands NP, NM – Fujifilm GFX100S II + 80mm f1.7 – Kodak Gold Max 400 Expired
If there’s one film simulation that perfectly captures the nostalgia of family vacations and everyday moments, it’s Classic Negative. Modeled after the Fujicolor Superia line of film, Classic Negative has a way of making images feel like cherished memories straight-out-of-camera. With its unique color palette and strong contrast, this film simulation is ideal for those who want their snapshots to have analog character.
Because of its distinctive colors—with a familiar retro aesthetic—Classic Negative works quite well for family and travel photography. Skin tones are rendered with a touch of warmth. Greens are subdued, while reds lean orange. Classic Negative is unique among the film simulations in that the exposure—whether brighter or darker—affects how the pictures are rendered, similar to how Superia film behaves to overexposure and underexposure. This produces photos that are reminiscent of prints from the ’90’s and 2000’s, evoking nostalgic emotions.
When you use Classic Negative, you get pictures that feel like instant memories. If you’ve ever flipped through an old photo album—perhaps filled with pictures from your childhood—you’ll recognize the charm. The colors and tones are reminiscent of one-hour photo lab prints. For many, this film simulation isn’t just about the colors—it’s about the built-in nostalgia.
Spooner Cove – Montaña de Oro SP, CA – Fujifilm X100V – Fujicolor 100 Gold
The last thing you want to do upon returning from vacation is to spend hours and hours at a computer editing hundreds or even thousands of RAW files. Classic Negative ensures that your images have a timeless quality right from the camera. It’s well-suited for candid moments, like kids running through the ocean waves, grandparents smiling at a birthday party, or lunch along a quiet street in a new city. Whether you’re on a roadtrip, at a amusement park, or simply documenting everyday family life, Classic Negative is a storytelling tool with a film-like aesthetic.
This film simulation turns everyday snapshots into pictures filled with emotion and nostalgia. Whether you’re documenting a once-in-a-lifetime vacation or a quiet moment at home, Classic Negative ensures that your photos feel as special as the memories themselves. The next time that you’re out with your Fujifilm camera, try a Classic Negative Film Simulation Recipe—watch your photographs come to life with timeless charm. There are nearly 60 Classic Negative Recipes in the Fuji X Weekly App; if you’re unsure which ones to try, below are 10 Recipes that are quite excellent for everyday moments and vacation snapshots.
Last year, WEX Photo Video asked if I’d be interested in assembling a Fujifilm-related camera bundle. It could be anything that I wanted, just as long as the products made sense together. I decided on a first-time-Fujifilm type of kit. If you are in the market for your very first Fujifilm camera, this bundle would serve as an excellent all-in-one starting point.
The camera I chose for this bundle is the Fujifilm X-T50. It’s simple and fun enough for beginners, yet sophisticated and capable enough for advanced users—in other words, the camera will keep up with you as you grow. No matter where you are on your photographic journey—from brand-new hobbyist to experienced pro—the Fujifilm X-T50 is an excellent camera, so it’s easy to recommend. The silver version is my favorite, so that’s what I chose for the bundle.
“Fuji X Weekly is an amazing resource for photography enthusiasts, especially those diving into the world of Fujifilm. Created by Ritchie Roesch, Fuji X Weekly has become the go-to for Fujifilm photographers looking to explore their camera’s potential. Known for its collection of Film Simulation Recipes, Fuji X Weekly empowers users to recreate the iconic looks of classic film stocks directly in their cameras without the need for post-processing. This bundle celebrates the creativity that Fuji X Weekly represents and is picked by Ritchie to offer you a perfect starting point to explore the Fujifilm system and capture stunning images with ease.”
—Wex Photo Video
What’s a camera without a lens? The Fujinon 35mm f/2 is one of my favorites. It’s small, lightweight, optically excellent, and affordable. I’ve owned this lens for a long time, and still use it regularly. On X-series cameras, because of the APS-C crop factor, it’s a “nifty-fifty” standard prime, something every photographer should have, and the perfect lens for learning composition. The silver version of the Fujinon 35mm f/2 looks strikingly good on the silver X-T50.
To complete the kit, included is a spare NP-W126S battery, SanDisk Extreme 256GB SD Card, and SmallRig Leather Half Case. A memory card is essential to get started, and this SanDisk is one that I personally have in a few of my cameras. The extra battery isn’t essential, but very nice to have—especially for traveling—so I wanted it included. The SmallRig Half Case adds a little style and extra protection.
Altogether, these five items—silver Fujifilm X-T50 camera, silver Fujinon 23mm f/2 lens, spare battery, 256GB SD Card, and leather half case—is an excellent kit for someone just getting started with Fujifilm. With this bundle, you’re good to go—there’s nothing else you need to buy to begin your photographic journey.
This Fuji X Weekly + Wex Photo Video collaborative bundle is not available anywhere else. Fujifilm doesn’t offer the X-T50 and 35mm f/2 as a kit (they should!). The only place you can get these bundled together is at Wex. Right now, this kit is only £1,661.90 (about $2,100 USD). The MSRP for these five items, if purchased separately, is £1,841.90; however, because the X-T50 and 35mm lens are currently on sale, the price is £180 less. There’s no extra discount for purchasing these items together; this is meant to simplify the purchasing process for someone in the market for their first Fujifilm camera.
Find nearly 400 Film Simulation Recipes for Fujifilm cameras in the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
Across the Grand Expanse – Grand Canyon, AZ – Fujifilm X-T5 – Kodachrome 64
When it comes to travel photography, nothing quite matches Fujifilm’s Classic Chrome film simulation. Inspired by Kodak’s color slide films—such as Kodachrome and Ektachrome—that were commonly used for documentary photography, Classic Chrome delivers muted tones, rich contrast, and a subtle warmth that evoke the look of classic photojournalism. Whether you’re exploring bustling cities, vast landscapes, or quiet villages, this film simulation brings a distinct analog feel reminiscent of past eras to your images.
The magic of Classic Chrome for travel photography is that it adapts well to various lighting environments, from golden-hour sunsets to harsh midday light to dreary overcast scenes to neon nightscapes. The balance of true-to-life yet expressive colors and rich contrast make it perfect for unpredictable travel conditions, enhancing the mood of a scene, and producing images with a timeless and immersive feel. Classic Chrome doesn’t exaggerate colors—it enhances them in a way that lets the subject take center stage.
Whether you’re capturing a quaint coastal town, the details of a historic city, the vastness of a dusty desert, the vibrancy of a street market, or the bustle of an urban sidewalk, Classic Chrome adapts beautifully. It provides a vintage, editorial look that is just as effective for street photography as it is for landscapes. This film simulation enhances the story within the image, where emotion and authenticity matter more than exaggerated aesthetics.
Classic Chrome is the most popular film simulation among those who use Film Simulation Recipes, and it’s easy to understand why. With 90 Classic Chrome Recipes in the Fuji X Weekly App, there’s bound to be a few that match your style. If you’re unsure which ones to try, below are 10 Recipes that are quite excellent for travel photography.
This is a one-year photo-a-day project called 52 Weeks of Photography. Even though it is a year-long undertaking, I’m taking it one week at a time, because it’s a little easier to manage many small blocks than one large chunk. This is the eighth week, so the eighth set of seven images.
The reason why I’m doing this 365 Day project is because I noticed some gaps in-between my images last year. I didn’t pick up my cameras daily. On several occasions, four or five days passed by without a single picture created. Twice in 2024, I skipped a whole week. I want to rectify this, and get back into the habit of daily photography. I also want to elevate the quality of my craft in 2025, and am hoping that this will help.
GFX100S II & 30mm – Buckeye, AZ – Fujifilm X-T4 & 90mm f/2 – Reggie’s Portra
The plan is to capture a year’s worth of notable images, either personally or artistically. Ansel Adams famously stated, “Twelve significant photographs in any one year is a good crop.” It’s important to keep expectations realistic, but I’m also trying to avoid thoughtless snapshots just to fulfill the day’s requirement. I want to push myself to be better, and hopefully that will happen. Not every photo will be great—in fact, most won’t—but I hope they are all at least decent enough to be shared without embarrassment.
I wasn’t especially productive or unproductive this week. There are a handful of photographs that I really like, and a fair number of mediocre ones. I do feel that grabbing a camera and making pictures daily is becoming more natural—I believe the habit is setting in; however, I do need to press myself to be more creative on some days.
Below are the eighth set of seven pictures from this 52 Weeks of Photography project.
Tuesday, February 11th, 2025
Cat Under Arch – Buckeye, AZ – Fujifilm X100VI – Upcoming Recipe
Wednesday, February 12th, 2025
Night Owl – Buckeye, AZ – Fujifilm GFX100S II & 30mm f/3.5 – Kodak Tri-X 400
Thursday, February 13th, 2025
Leaf on a Wet Windshield – Buckeye, AZ – Fujifilm X100VI – Upcoming Recipe
Friday, February 14th, 2025
Seat Stripes– Surprise, AZ – Fujifilm X100VI – Upcoming Recipe
Saturday, February 15th, 2025
Light on a Dark Wall – Buckeye, AZ – Fujifilm X-E4 & 27mm f/2.8 – RedScale
The Red Desert – Buckeye, AZ – Fujifilm X100VI – RedScale
Redscale is an analog film technique where you load a roll of color film into the camera backwards. The film is exposed from the wrong side—through the plastic backing—exposing the red layer first. The results are photographs with a predominately red color cast. Sometimes it’s yellow-ish, sometimes it’s orange-ish, sometimes it’s peach-ish, sometimes it’s purple-ish, but mainly it is red. Results can very from film-to-film, and also how the film is exposed and developed/scanned; however, a redscale photo is unmistakable—you know it when you see it.
You can buy film preloaded for redscale photography. Lomography has Redscale XR, which is an unknown Kodak emulsion loaded into the canister backwards (some have speculated it’s Ultramax 400). On Valentine’s Day, Harman released Red 125, which is backwards-loaded Phoenix 200. Harman Red 125 is what this RedScale Recipe was inspired by. Because the film is new, there aren’t a lot of examples yet. I’m not convinced that this Recipe is perfectly accurate, but it seems to be pretty close from the limited number of pictures I found online.
Light on a Dark Wall – Buckeye, AZ – Fujifilm X-E4 – RedScale
Redscale photography isn’t for everyone or every situation—it’s a niche lomo-esque aesthetic. But if you want to get that look straight-out-of-camera, this RedScale Film Simulation Recipe will do that very convincingly. This is compatible with Fujifilm X-Trans IV (excluding the X-T3 and X-T30; use this Redscale Recipe instead) and X-Trans V cameras. While Classic Negative renders blue more deeply on X-Trans V than on X-Trans IV, because the color blue doesn’t really come through with this Recipe, it looks the same on both sensor generations. You can also use it on most GFX cameras.
Film Simulation: Classic Negative Dynamic Range: DR200 Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome FX Blue: Off White Balance: 10000K, +9 Red & -9 Blue Highlight: 0 Shadow: +2 Color: +4 Sharpness: -2 High ISO NR: -4 Clarity: -3 ISO: Auto, up to ISO 6400 Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured using this RedScale Film Simulation Recipe on a Fujifilm X-E4, X100VI & GFX100S II:
Classic Circles – Buckeye, AZ – Fujifilm X-E4
The Very Best – Buckeye, AZ – Fujifilm X-E4
Disc – Buckeye, AZ – Fujifilm X-E4
Tall Chair – Litchfield Park, AZ – Fujifilm X-E4
Red Fan – Buckeye, AZ – Fujifilm X-E4
Hat Rack – Buckeye, AZ – Fujifilm X-E4
b – Buckeye, AZ – Fujifilm X-E4
Nature & Structure – Buckeye, AZ – Fujifilm X100VI
Chairs & Cart – Buckeye, AZ – Fujifilm X-E4
Promenade – Buckeye, AZ – Fujifilm X100V
CVS Sign – Buckeye, AZ – Fujifilm X-E4
YJack – Buckeye, AZ – Fujifilm X-E4
Two Bikes – Buckeye, AZ – Fujifilm X100VI
Suburban Bike – Buckeye, AZ – Fujifilm X-E4
Son, Shadow – Buckeye, AZ – Fujifilm X-E4
Reflected Structure – Tempe, AZ – Fujifilm X-E4
Red Hen – Buckeye, AZ – Fujifilm X-E4
Unlikely Friends – Buckeye, AZ – Fujifilm GFX100S II
Palm Canopy – Buckeye, AZ – Fujifilm X100VI
Suburban Tree – Buckeye, AZ – Fujifilm X-E4
Palm Abstract – Buckeye, AZ – Fujifilm X-E4
Closed for the Evening – Buckeye, AZ – Fujifilm X-E4
Fire Flowers – Buckeye, AZ – Fujifilm X-E4
K81 – Buckeye, AZ – Fujifilm X-E4
Red Hair – Buckeye, AZ – Fujifilm X-E4
Red Saguaro Fingers – Buckeye, AZ – Fujifilm X100VI
Find this RedScale Film Simulation Recipe and nearly 400 more in the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
As we’ve already discussed, aperture determines the amount of light that enters the camera, and shutter speed determines for how long that light is allowed to expose the camera’s sensor. The third aspect of the exposure triangle is ISO, which is how sensitive the sensor is to that light. Well, that’s not exactly true. ISO works much different with digital sensors than it did with silver halide film, but the basic premise is similar: the higher the ISO, the brighter and “grainer” the image; the lower the ISO, the darker and “cleaner” the image. ISO is found in the camera’s menu, and on some models is controlled by a knob on the top plate or via a wheel around the shutter knob.
This is the simplest of the three exposure triangle elements to grasp, and yet maybe the most difficult. With things like dual-native ISO and ISO invariance, it can be quite confusing. I don’t want to get too deep into the weeds here, because it doesn’t really matter all that much. Basically, Fujifilm cameras technically have just two ISOs: base gain (ISO 200 on X-Trans III and older, ISO 160 on X-Trans IV, ISO 125 on X-Trans V) and second gain (ISO 800 on X-Trans III and older, ISO 640 on X-Trans IV, and ISO 500 on X-Trans V). The base gain is the cleanest of the two. As the ISO is increased from the base gain, the picture becomes “noisier” (a.k.a. “grainier” or “grittier”) because the brightness is being turned up, making the digital noise more obvious. At the second gain point, a switch activates the second base ISO, and the image is actually cleaner than the ISO directly below it. As the ISO is increased from the second gain, it becomes “noisier” because the brightness is being turned up, making the digital noise more obvious. You could photograph at just those two ISOs, and using software increase the brightness, and the results will be the same as increasing the ISO in-camera. Clear as mud?
Another point worth mentioning is that Dynamic Range (DR) and D-Range Priority (DR-P) settings are ISO-dependent. In order to use DR400 or DR-P Strong, the minimum ISO required is ISO 800 on X-Trans III and older, ISO 640 on X-Trans IV, and ISO 500 on X-Trans V. For DR200 or DR-P Weak, the minimum ISOs are 400, 320, and 250, respectively. DR200 and DR400 are unavailable at the extended ISOs. This illustrates another point of confusion: while the maximum dynamic range (range of details between deep shadow and bright highlight) for DR100 is at base ISO, the maximum dynamic range in general is at the second gain point with the camera set to DR400 or DR-P Strong. Confusing, right?
Fujifilm X-T50 – ISO 51200 – Nostalgic Neg. film simulation
The old rule of thumb for ISO was to keep it as low as possible, and only increase it when necessary. I think that advice is a little outdated. Fujifilm cameras produce clean results that are very difficult to distinguish from each other at and below the second gain point, and are still pretty clean at and below ISO 1600. Above ISO 1600 the noise becomes more obvious, and it’s up to each person to determine just how high is too high, how much noise is too much noise. Generally speaking, on X-Trans III and newer cameras, I personally find that color photographs are good up to ISO 6400 and black-and-white up to ISO 12800. There are, of course, exceptions to this. You might desire the gritty aesthetic produced by using ultra-high ISOs. Each person’s tastes are different.
Because (for the most part) ISO isn’t all that important, I like to let the camera choose it for me with Auto-ISO. This works with either the Aperture or Shutter set to “A” (Aperture-Priority or Shutter-Priority). In Auto-ISO, the camera will choose the lowest ISO possible, and only increase it when necessary. You can choose the top and bottom ISO values, and the minimum shutter speed. It works really well most of the time. Also, like aperture and shutter, there are full stops (ISO 200, 400, 800 etc.) and intermediate third stops (ISO 250, 320, 500, 640, etc.).
Unless you desire a “grainy” photo, you want to keep the ISO low (however, no lower than the minimum for the Dynamic Range setting used). Find the maximum ISO that you are comfortable with, and set that as the top value of your Auto-ISO (basically, you can set-and-forget). I think a lot of people worry too much about ISO and digital noise—I invite you to try a higher ISO than you might otherwise set as the maximum, as you might find it to be more useful than you previously thought. For the cleanest photographs, keep the ISO low, no higher than the second gain point for your camera.
There’s been a lot of discussions about the rumored upcoming Fujifilm GFX100RF, which might get announced next month. Supposedly, it will be a compact 100mp medium-format fixed-lens camera similar to the X100-series and about the size of an X-Pro3. It won’t have IBIS, and the lens will be 35mm f/4, which are major points of contention for some. I figured that this might be a good opportunity to explore if those two design choices will be crippling for the camera, or if it is much ado about nothing.
I don’t have any inside information on the upcoming camera. Fujifilm hasn’t shared anything about it with me, not even if there is a camera forthcoming. I only know as much as the next person, and what I do know I read on Fujirumors. Patrick has a pretty solid track record, so there’s a good chance that everything he has shared about the camera is correct, but until it is announced by Fujifilm, nothing can be known with 100% certainty. In other words, anytime that we’re discussing rumors, it should be taken with a grain of salt.
Personally, I’m really excited for the GFX100RF. I believe that an X100-like GFX camera is going to be a major success for Fujifilm. While I don’t anticipate it being as viral as the X100VI, I do think it will have strong demand. It’s also about time that Fujifilm offers a GFX camera with manual tactile controls (is not PASM). The only other one is the long-discontinued GFX50R. If the GFX100RF is a big success, I bet that Fujifilm will begin work on a long-hoped-for GFX50R successor. If sales of the GFX100RF turn out to be disappointing, I don’t anticipate a retro-styled GFX camera for a long time, if ever. In my opinion, this is a crucial release, a lot hinges on it.
Fujifilm GFX100S II & Fujinon GF 30mm f/3.5 at f/4 – PRO Negative 160C
The upcoming GFX100RF will essentially be the digital version of the Fujifilm GA645W, a fixed-lens 120 film camera from the 1990’s. The GA645W has a 45mm f/5.6 lens, which is 25mm full-frame-equivalent, and with a depth-of-field similar to f/3.2. The GFX100RF will have a 35mm f/4 lens, which is 28mm full-frame-equivalent, and with a depth-of-field similar to f/3.2. It’s not quite as wide as the GA645W, but pretty close. The Fujifilm X70, with its 18.5mm (28mm full-frame-equivalent) lens, might also be considered comparable.
Some people have said that f/4 is much too small for a maximum aperture on the upcoming GFX camera, since f/4 is not especially impressive. Unfortunately, a larger maximum aperture lens would require the camera to be bigger and heavier. Would an f/2.8 lens be nice? For sure, yes. But, at what cost? I’m sure Fujifilm was faced with a lot of difficult choices as they developed the prototype, and as they weighed the pros and cons, they made what they felt were the best decisions. So we have f/4, which is not uncommon for GFX. I count six GF lenses in the current lineup with a maximum aperture of f/4, plus two at f/3.5, and four with a maximum aperture smaller than f/4. Only five GF lenses have a maximum aperture larger than f/3.5. The decision to go with f/4 should not be all that surprising, and I doubt many—if any—in the GFX world were shocked by it.
Fujifilm GFX100S II at ISO 6400 & Fujinon GF 30mm f/3.5 at f/4 – Kodak Tri-X 400
GFX cameras are good for high-ISO photography. It’s kind of a paradox of digital medium-format: it’s good that it’s better at high-ISOs, because you’re going to need it, since the maximum apertures are typically not as large as smaller sensor formats. There are pros and cons to everything. Unsurprisingly, you’re going to find tradeoffs. It is what it is.
Not all Fujifilm cameras have in-body-image-stabilization (IBIS), but most of the GFX models do (only the original two don’t). There are a couple of situations where IBIS is especially helpful, plus a few where it can be nice to have. One is video. IBIS is not a requirement for video, but it is particularly convenient when handholding without a gimbal. Another is telephoto lenses. The longer the lens, the more useful IBIS is. Low-light situations without a tripod is an example of when it can be nice to have. For many circumstances, IBIS is not particularly necessary, especially for wide-angle lenses. Some who say that they need IBIS might discover that their photography wouldn’t suffer if it was turned off—they’re not giving themselves enough credit for how well they can hold still.
Fujifilm GFX100S II at 1/20 & Fujinon GF 30mm f/3.5 at f/16 – Kodak Tri-X 400
The rule of thumb is that, without IBIS, whatever the focal length of the lens is (or in the case of Fujifilm cameras, the full-frame-equivalent focal length), the minimum shutter speed should be a similar number. For example, if the X-series lens is 16mm, which is 24mm full-frame-equivalent, the slowest hand-held shutter speed is around 1/25. If the lens is 90mm, which has a full-frame-equivalent focal length of 135mm, the slowest hand-held shutter speed is around 1/125. With good techniques, you can often get a sharp picture with even slower shutter speeds. For the GFX100RF, with its 35mm lens (28mm full-frame-equivalent), the slowest hand-held shutter speed will be about 1/30.
There’s a myth floating around that IBIS is more necessary with 100mp sensors than with lower-resolution sensors. That’s simply not true. More resolution does not equal a bigger need for IBIS in order to get sharp photographs. A 100mp sensor has no more or less of a need for IBIS than a 12mp sensor. A sharp photo is a sharp photo no matter the resolution, and a blurry image is blurry no matter the resolution. The myth is false, and not based on reality.
Fujifilm GFX100S II at 1/25 & Fujinon GF 30mm f/3.5 at f/9 – Superia Negative
Massive crop from the above photo
I put all of this to the test yesterday. Obviously, I don’t have access to a GFX100RF. I’m sure some people have it in their hands right now, but I don’t. I do own a GFX100S II and a Fujinon GF 30mm f/3.5 lens (which doesn’t have OIS). So I turned IBIS off. I kept the aperture at f/4 or smaller. I did my best to simulate the upcoming camera, although the GFX100S II is much larger and heavier, and with PASM. The 30mm lens is 24mm full-frame-equivalent (16mm on X-series), so a little wider than what the GFX100RF will have.
The f/4 maximum aperture wasn’t a major issue. Wide-angle photography is not known for shallow depths-of-field. While it is possible to achieve a shallow depth-of-field, I don’t anticipate this being a major selling point of the camera. I imagine that “f/8 and be there” will be a much more typical shooting philosophy. In low-light situations, I did have to increase the ISO higher than I would have had to if I had used my X-series gear, but thankfully the camera does well with high-ISO.
I tested handholding the camera at slow shutter speeds. Unsurprisingly, I consistently achieved sharp photographs at 1/25, with probably a 90% success rate. At 1/20, the success rate was closer to 60%. At 1/15, the success rate was probably 30%. I was able to get one sharp photo at 1/13. Because the lens on the GFX100RF will be a little less wide-angle, the shutter speed should be increased slightly. I suspect that it will be roughly a 90% rate at 1/30, 60% at 1/25, 30% at 1/20, and maybe 10% at 1/15. Obviously, results will vary from person-to-person, depending on your technique and ability to hold still.
Fujifilm GFX100S II at 1/13 & Fujinon GF 30mm f/3.5 at f/4 – Superia Negative
Massive crop from the above photo
While IBIS would have been a nice feature, I don’t think its exclusion is a major issue. I’m sure it was a compromise in order to keep the size, weight, and price down. This camera—like every other camera that’s ever been made—is not for everyone. It has advantages and disadvantages. It will be especially great for some situations and use-cases, and not so much for others. Personally, I plan to buy it; however, probably not on the announcement day. Like the GFX100S II, I’ll have to save up and probably sell some gear in order to afford it. I think it’s going to be a lot of fun, so I’m excited to try it someday when the opportunity comes.
This is a one-year photo-a-day project called 52 Weeks of Photography. Even though it is a year-long undertaking, I’m taking it one week at a time, because it’s a little easier to manage many small blocks than one large chunk. This is the seventh week, so the seventh set of seven images.
The reason why I’m doing this 365 Day project is because I noticed some gaps in-between my images last year. I didn’t pick up my cameras daily. On several occasions, four or five days passed by without a single picture created. Twice in 2024, I skipped a whole week. I want to rectify this, and get back into the habit of daily photography. I also want to elevate the quality of my craft in 2025, and am hoping that this will help.
Oak Creek – Sedona, AZ – Fujifilm GFX100S II & 80mm f/1.7 – Nostalgia Negative
The plan is to capture a year’s worth of notable images, either personally or artistically. Ansel Adams famously stated, “Twelve significant photographs in any one year is a good crop.” It’s important to keep expectations realistic, but I’m also trying to avoid thoughtless snapshots just to fulfill the day’s requirement. I want to push myself to be better, and hopefully that will happen. Not every photo will be great—in fact, most won’t—but I hope they are all at least decent enough to be shared without embarrassment.
I had one especially productive day, and six that were much less so; however, overall I felt better about Week 7 than I did about Week 6. On the days with fewer photographs, I tried to push myself to be a bit more creative and intentional. Still, I know that I could have done better, so I need to keep at it, keep pressing forward.
Below are the seventh set of seven pictures from this 52 Weeks of Photography project.
Orange Desert– Phoenix, AZ – Fujifilm X-T4 ES – CitrusChrome
CitrusChrome is a brand new Infrared Recipe for full spectrum (sensitive to light outside the visible gamut) X-Trans IV or X-Trans V cameras, like the Fujifilm X-T4 ES (“Extended Spectrum”). It’s not for “normal” cameras. The Fujifilm X-T4 ES is a full spectrum camera briefly offered by Fujifilm to the general public—as of this writing, I believe that you can still buy the Fujifilm X-T4 ES from B&H, but it requires a phone call or in-person visit, and cannot be ordered from the internet. Otherwise, you’ll have to do a full spectrum conversion—an expensive and invasive procedure—from a third-party vendor like LifePixel, Kolari Vision, or Spenser’s Camera (to name a few).
This Infrared Film Simulation Recipe produces orange, red, pink, and peach false colors. What you get depends on the exact light situation and the specific materials—cloth or organic (leaves)—being photographed. As far as I know, none of the infrared films that were sold over the years produced the false colors seen here; however CitrusChrome can be in the ballpark of Aerochrome sometimes, so situationally specific it can be somewhat convincing as an Aerochrome facsimile. What this Recipe more resembles is modern (digital) IR photography, which has a much wider array of possible outcomes. With that said, I don’t believe that I’ve seen this exact look before, so it might be a brand-new aesthetic.
Light, Color, Texture– Buckeye, AZ – Fujifilm X-T4 ES – CitrusChrome
Aside from having a full spectrum camera (like the X-T4 ES), this Recipe requires two filters: True Color Infrared Autumnizer (Turquoise) and True Color Infrared Crimson (Light Blue), which can be found on AliExpress. The True Color Infrared Autumnizer (Turquoise) filter is simply a QB19 Blue filter and LB18 Green filter combined into one, while the True Color Infrared Crimson (Light Blue) filter is simply a QB19 and GRB3 (heat) filter combined into one. You probably could use a QB19, LB18, and GRB3 combination instead of the two True Color Infrared filters, but I have not tested that personally. I was a little hesitant to buy the Autumnizer (Turquoise) and Crimson (Light Blue) filters because I had never purchased anything from AliExpress before, and saw mixed reviews regarding the platform; however (and thankfully), the process turned out to be smooth. I’m not sure if the order matters, but I have the Crimson (Light Blue) filter first (closest to the lens) and the Autumnizer (Turquoise) last (furthest from the lens).
Filters: True Color Infrared Crimson (Light Blue) & True Color Infrared Autumnizer (Turquoise) Film Simulation: Astia Dynamic Range: DR400 Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome FX Blue: Strong White Balance: 9000K, +9 Red & -4 Blue Highlight: -0.5 Shadow: -1.5 Color: +4 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 CitrusChrome Film Simulation Recipe on my Fujifilm X-T4 ES:
Photography Ideas – Buckeye, AZ – Fujifilm X-T4 ES
Curtains and Blinds – Buckeye, AZ – Fujifilm X-T4 ES
Book & Fake Succulent – Buckeye, AZ – Fujifilm X-T4 ES
Red Blanket – Buckeye, AZ – Fujifilm X-T4 ES
Red Shoes – Buckeye, AZ – Fujifilm X-T4 ES
Toilet Trash – Buckeye, AZ – Fujifilm X-T4 ES
Cyber – Buckeye, AZ – Fujifilm X-T4 ES
House Behind Wall – Tempe, AZ – Fujifilm X-T4 ES
Stripes – Buckeye, AZ – Fujifilm X-T4 ES
Wall Shrub – Buckeye, AZ – Fujifilm X-T4 ES
CVS Exit – Buckeye, AZ – Fujifilm X-T4 ES
Garages – Buckeye, AZ – Fujifilm X-T4 ES
Main Street Market – Buckeye, AZ – Fujifilm X-T4 ES
Corner – Buckeye, AZ – Fujifilm X-T4 ES
Evening Palm Tree – Buckeye, AZ – Fujifilm X-T4 ES
Tempe Palm – Tempe, AZ – Fujifilm X-T4 ES
Palm Tree & Contrail – Buckeye, AZ – Fujifilm X-T4 ES
Craftsman – Buckeye, AZ – Fujifilm X-T4 ES
Forked Tree – Buckeye, AZ – Fujifilm X-T4 ES
Yellow Bougainvillea Blooms – Buckeye, AZ – Fujifilm X-T4 ES
Shutter speed simply controls the amount of time that light is exposed to the camera’s sensor. How motion is rendered—either frozen still or as a blur—will depend on the shutter speed. There are a few key things to know, but overall this is all fairly easy to understand.
Before we dive in, I want to quickly revisit aperture, because there’s something I forgot to mention in Part 1. How sunstars and lens flare will appear depends on a number of factors, including (among other things) the aperture you’ve selected. For more pronounced sunstars, use a small aperture, such as f/16. If you want to minimize sunstars and lens flare, use a large aperture, such as f/2. This is just one more factor to consider when choosing the most appropriate aperture for the scene in front of you.
Forest Sunstar – Sedona, AZ – Fujifilm X-T50 & Fujinon 23mm f/2 lens at f/14 – California Summer
Now, with that out of the way, let’s talk about shutter speeds. What is it? What does it do to your pictures? How do you control it to get the images that you want?
The quick and simple definition of shutter speed is that it is the amount of time the camera’s shutter curtain is open, allowing light to reach the sensor or film. A fast shutter speed allows very little light to expose the sensor, while a slow shutter speed allows a lot of light in. Shutter speed is one of three elements of the exposure triangle, along with aperture and ISO, and must be used in balance with the other two elements. On many Fujifilm cameras, the shutter speed is controlled by a knob on the top of the camera, marked with numbers like 125, 250, 500, etc., etc..
Some common shutter speeds are 1/15, 1/30, 1/60, 1/125, 1/250 and 1/500. There are, of course, many other shutter speeds, this is far from a comprehensive list. 1/15 is an example of a slow shutter speed, and 1/500 is an example of a quick shutter speed. You’ll note that these are fractions, as in fractions of a second. You’ll also note that they’re half or twice as long as the shutter speed on either side, which means that 1/60 lets in half as much light as 1/30, and 1/15 lets in twice as much light as as 1/30. Like aperture, there are intermediate stops in-between the full stops—most commonly one-third stops, but sometimes half-stops.
Shutter speed is about motion, either freezing or showing it. A slow shutter speed will show motion as a blur, while a fast shutter speed will freeze it. In the first picture below, which was captured with a 1/450 shutter speed, you’d never know that the car was zooming by, because the motion was frozen. The second picture below, which was captured with a 1/80 shutter speed, shows the motion through the car’s blur. The third picture below, which was captured with a 1/60 shutter speed, shows the motion through panning, where the car is sharp but the background blurred from the sweeping lens.
In order to freeze motion, there are a few considerations: the focal length of the lens, the distance of the moving object, and it’s speed. The longer the focal length of the lens, the faster the minimum shutter speed needs to be; the shorter the focal length, the slower the minimum shutter speed needs to be. The closer and faster the moving object is, the faster the shutter speed needs to be; the further and slower the moving object is, the slower the shutter needs to be in order to freeze it.
If nothing is moving in the frame, the only motion is the photographer. A tripod will eliminate camera shake; if you don’t have a tripod, in-body-image-stabilization (IBIS) or optical-image-stabilization (OIS) can help to a degree. If your gear doesn’t have stabilization, you’ll want to use this rule of thumb: whatever the focal length of the lens is (or in the case of Fujifilm cameras, the full-frame-equivalent focal length), the minimum shutter speed should be a similar number. For example, if the lens is 18mm, which has a full-frame-equivalent focal length of 27mm, the slowest hand-held shutter speed is around 1/30. If the lens is 90mm, which has a full-frame-equivalent focal length of 135mm, the slowest hand-held shutter speed is around 1/125. With good techniques, you can often get a sharp picture with even slower shutter speeds, but that takes practice.
Fujifilm GFX100S II & Fujinon 80mm f/1.7 – f/9, ISO 320, 1/680 shutter – 1970’s Summer
In order to freeze motion, for portraits, events, kids, and pets, I recommend a minimum shutter speed of 1/125, but faster is better, such as 1/250. For sports and moving wildlife, the minimum shutter speed should be 1/250, but faster is better, such as 1/500. If the motion is blurry, increase the shutter speed. In order to show motion as a blur, the maximum shutter speed will likely need to be under 1/125, and probably under 1/30, just depending on the situation. If the blur is insufficient, decrease the shutter speed.
Another shutter speed consideration is in regards to flash photography. Some cameras, such as the X100-series, have a leaf shutter, which allows for high-speed flash sync; however, most cameras don’t have a leaf shutter, and have a maximum shutter speed for flash. On Fujifilm models, this is marked by an “X” next to the shutter speed—for example, on the X-T5, the maximum shutter speed for flash photography is 1/250, which is marked as 250X on the shutter knob. The fastest shutter speed you should use with flash photography is the one with the X next to it.
The two main things to remember about shutter speed are 1) that it is used to show motion, either frozen still or as a blur, and 2) it is one aspect of the exposure triangle, and must be balanced with both aperture and ISO. Increasing the shutter speed reduces the light, so you may need to use a larger aperture and/or a higher ISO to compensate; reducing the shutter speed increases the light, so you may need to use a smaller aperture and/or lower ISO. It’s a balancing act. Used thoughtfully, shutter speed can express movement in creative ways, so take a moment to consider how to best use it for the scene in front of you.
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I’ve had a couple of people ask me this morning for my opinions regarding the brand new Olympus—sorry, I mean OM System as they are now called—OM-3 camera, which was announced today. I don’t have a lot of strong thoughts about it, and I’ve never handled the camera nor seen it in person, so these opinions should be taken with a large grain of salt.
Micro-Four-Thirds (M43) sales have been on the decline for years. It’s a shrinking market and has been for awhile, but it’s not dead (yet, anyway). Olympus—err, OM System—has surprisingly strong sales in Japan, but not worldwide, where it’s largely a minor (and almost forgotten) footnote in today’s digital camera market. The OM-3 will surely help to bring more international attention to the brand and the format.
I don’t have any major issues with the camera itself. I think M43 hit a ceiling several years back, and there’s not a lot of room for growth. You see that in this camera, as it’s not especially innovative compared to their releases going back to 2019. This is not a suggestion that the camera isn’t good, only that the system needs some major technological innovation in order to break the ceiling it is currently pinned against. Right now, they seem to be leaning into AI for that, but I’m not sure if that’s going to do it.
The OM-3 is a bit large and expensive for what it is. This is a Fujifilm-centric blog, so I will make some quick apples-to-oranges comparisons to X-series models. It’s similarly sized to the Fujifilm X-T50, and just a smidge heavier—I think that’s the Fujifilm model the OM-3 is most similar to, although they are divergent enough not to directly compare. The OM-3 is better-looking, but (unfortunately, IMHO) with a dial format more similar to the X-S20, plus a swivel screen. The OM-3 is weather-sealed, and in that sense it could be compared to the X-T5. The stacked sensor will draw some comparisons to the X-H2s, while the price is the same as the X-H2. I think if OM System had been able to price it three or four hundred dollars less, it would be a bit more compelling. Perhaps the camera that the OM-3 will get compared to the most is not a Fujifilm model, but the Nikon Zf. It’s possible that Olympus views this more as a competitor to that camera, and less to any specific Fujifilm model.
For those with M43 cameras, the OM-3 must be a sight for sore eyes. Between both OM System and Panasonic, M43 has averaged only two camera releases per year for several years now, so new bodies are few-and-far between. The OM-3 is the best-looking M43 camera released in awhile. It’s basically a flagship model, so it has a lot of solid features. For those on the outside—who aren’t already in the M43 system—I’m not sure this camera is enough to draw you in, especially when there are options with larger sensors, more resolution, higher dynamic range, better high-ISO, smaller depth-of-field, etc., for the same or less money, and not much larger, if larger at all.
The advantages that M43 has over other sensor formats are size, weight, and price. The OM-3 doesn’t leverage any of those advantages, but if Olympus were to make a new PEN-F, that very well could be a big success because it would play to the advantages of the system. If I were them, I would do that before 2025 is over. I would also return to the Olympus brand name, as OM System just doesn’t have as good of a ring to it, nor does it hold any nostalgia (plus, I keep accidentally typing Olympus instead of OM System…), but I highly doubt that will happen.
Let me wrap this up. I wish OM System much success. I have nothing against them or the OM-3. I’m sure it is an excellent camera, and that those who buy it will be quite happy with their purchase. I don’t have any interest in the OM-3 personally because I love my Fujifilm cameras, and there’s nothing profound enough with this model to convince me to invest into a new system, especially one that is barely holding on. I think this camera will appeal the most to those who already own some M43 lenses.
