Also, for those in Southern California, be sure to join me on September 13th at 2:00 PM for a Fujifilm X half photowalk with Samy’s Camera, as part of their 49th Anniversary three-day event. Spaces are limited and won’t likely last long, so be sure to register today! It’s $25 per-person ($27.13 after taxes), but each participant will receive a $25 Samy’s gift card, essentially making it free. Please bring an SD Card so you can take your photos home.
I’m not a lawyer, and I don’t play one on TV, either. I’m not able to provide any insight on this topic, I can only bring it up and maybe ask some questions, and speculate a little, which should be taken with a massive grain of salt. I probably know less about legal matters than the average person my age, so keep that in mind—I’m not pretending to be an expert on this whatsoever.
The news yesterday, as reported by PetaPixel, is that Polaroid (that is, PLR IP Holdings, LLC, which owns the rights to the Polaroid brand name, and doing business as Polaroid Originals) has filed a lawsuit against Fujifilm, and a judge has found sufficient evidence to allow the case to move forward. At some point in the coming months—unless the two parties agree on a settlement—this will go to trial.
The complaint is that Fujifilm’s Instax Square instant film is too similar to Polaroid’s classic film, which they trademarked years ago. Essentially, as I understand it, Polaroid’s film is not just film, it’s their logo. Since the white border of the film is highly recognizable, Polaroid registered a trademark for it. So, if a company wants to make instant film, it must look different than a Polaroid print. For example, Instax Mini is divergent enough that Polaroid would have a weak infringement case. Instax Wide isn’t 100% identical to the classic Polaroid frame, but it is very similar, and the judge in this case believes it is similar enough to move forward with the trial.
Fujifilm’s argument is that 1) the border serves a functional purpose (for example, housing the chemistry), and as such cannot be trademark protected (for example, Goodyear cannot trademark a tire just because it’s round and black), and 2) Polaroid had stopped making their film, which could be considered an abandonment of the trademark on the grounds of non-use. I think both of these arguments hold some merit, but are either strong enough to win? I have no idea.
Nearly a decade ago, Polaroid threatened Fujifilm with a lawsuit unless they paid them “millions per year” for their trademark. I’m not sure how much they will be seeking in damages should they win this suit, but I’m reminded of when Polaroid sued Kodak, and won big. Well, it was more that Kodak lost big than Polaroid won, because this lawsuit—how much was spent, and, perhaps more importantly, how much of a distraction it was—has been identified as a contributing factor to Polaroid’s eventual bankruptcy. But Kodak had to pay $925 million dollars to Polaroid (which, at the time, was the largest ever settlement), plus stop production of their Kodamatic instant film line. Oh, and they had to give their Kodamatic customers a refund, too. It was a huge blow to Kodak, and eventually contributed to their bankruptcy, at least a little.
Polaroid took Kodak out, and took themselves out in the process. Of course, that’s a massive—just massive—oversimplification of it all. The lawsuit was only a very, very small factor in both bankruptcies, as there were many other—and much larger—issues at play. A lot of articles have been written about this topic, and even a book (there are a lot of resources available, should you want to learn more). Obviously we’re only briefly touching the very surface here in this article and overgeneralizing, but it should be noted that the Polaroid vs Kodak lawsuit did have an impact on the film industry, probably more than most realize. There was no winner, despite Polaroid’s legal win.
I want to bring this back around to Fujifilm. It is very possible that a judgement could be ruled in Polaroid’s favor, and that Fujifilm will have to pay them millions—tens of millions at least, but quite possible hundreds of millions, if not more—and they’ll have to stop making Instax Wide cameras and film. They’ll probably have to give their customers a refund, too. I mean, if Red Bull had to pay a settlement because you don’t actually grow wings after drinking it, any judgement is possible. If such a ruling were to happen, that would be a massive blow to Fujifilm, which has the potential to ultimately end Fujifilm’s photography business.
Instax is Fujifilm’s big moneymaker. While the X-series and GFX-series have both grown in recent years, Instax is still Fujifilm’s largest camera/photo segment. Losing hundreds of millions in a judgement would be a massive setback, but if they have to stop making Instax Wide, that might be just as big of a blow—a double whammy. This has the potential to be devastating.
I don’t know, nor do I care to speculate, if Fujifilm violated Polaroid’s trademark. Maybe they did, maybe they didn’t—I have no idea, and that’s not for me to decide, anyway. With that said, I hope the judge rules in favor of Fujifilm, or, if not, it is like when the USFL sued the NFL and won, but only got a $1 judgement. The worst-case scenario (from my perspective as a long-time loyal Fujifilm customer) is that Polaroid wins and receives a very large settlement, which becomes a turning point for Fujifilm, eventually leading to a future bankruptcy or a shuttering of the photographic business (which is only a small part of the company overall). It’s like dominoes, where knocking one down can lead to more falling. Obviously, I hope that can be avoided.
It seems more likely than not that Fujifilm will pull through this just fine, even if they lose the case. Instax Mini has a larger market share than Instax Wide, and the digital camera division has been on a roll lately. But, to a small extent that I’m clearly overstating, Polaroid took down Kodak, and they could do the same to Fujifilm, even if it’s seemingly unlikely. This is something to keep an eye on. No court date has been set, and I’m not sure how long we’ll have to wait to find out—the battle between Polaroid and Kodak took 14 years to play out. Oh, and I know it may sound like it, but by no means am I anti-Polaroid. I have Polaroid cameras and film, and even sport a Polaroid t-shirt from time-to-time. I sincerely wish them much success in everything …aside from this lawsuit.
What do you think? Will Fujifilm win? Will Polaroid? What kind of impact will it have if they do? Is this all much ado about nothing? Let me know your thoughts in the comments!
I’m so happy to announce three upcoming events that you won’t want to miss. I can’t give you all of the details just yet, but I want to start getting the word out so that you have the opportunity to plan, as these will come up fast. You can expect the full details to be released very soon. In the meantime, I’ll share with you what I can.
September 6th — Fujifilm Film Simulations & Fuji X Weekly Recipes Class — Scottsdale, Arizona
I will be leading a class at Nuzira—an up-and-coming camera store in Scottsdale, AZ—on Saturday, September 6th, at 11 AM. The class is called Fujifilm Film Simulations and Fuji X Weekly Recipes — Film Like Photos Without Editing. We’ll discuss each of Fujifilm’s Film Sims and using Film Simulation Recipes on your X or GFX camera, why you might choose a certain Recipe and what you can expect when you do. This class will probably be the most helpful to Fujifilm photographers, but if you are just Fuji-curious, please come anyway. It will last about one hour.
I’ve co-led two photowalks with Nuzira: one in Scottsdale and one in Phoenix. This isn’t a photowalk, but please bring your Fujifilm camera. We’re going to have a great time! And this will be an excellent opportunity to ask any questions you might have about Film Simulations, Recipes, and Fujifilm cameras. More information, including how to register, is coming very soon, and as soon as it does I will let you know.
September 13th — Fujifilm X half Photowalk — Los Angeles, California
On Saturday, September 13th, at 2 PM, I will be leading a photowalk in Los Angeles, as a part of Samy’s Camera49th Anniversary three-day event. This photowalk is all about the Fujifilm X half, which is such a fun camera. You don’t need to own an X half to take part in this—in fact, this is a great opportunity to try one out—please bring an SD Card so you can take your photos home. Spaces are limited and won’t likely last long, so be sure to register today! It’s $25 per-person ($27.13 after taxes), but each participant will receive a $25 Samy’s gift card, essentially making it free.
This photowalk will last about two hours, and we’re going to have a ton of fun. It will be a great opportunity to create film-like street and urban photos. While you are at Samy’s for this event, you will also want to attend Reimagining Reality Through Multiple Exposures by Tom Baumgaertel (bewaremyfuji), which will be on Friday, September 12th, at 10:30 AM. This is a don’t-miss class, so be sure to go.
September 28th — Photowalk — Minneapolis, Minnesota
I can’t provide the details about this event just yet, other than it will be a photowalk in Minneapolis, MN, on Sunday, September 28th, at 2 PM. Once I get the green light, I’ll be sure to share everything with you, including how to register. The picture above is from a photowalk in Ann Arbor, MI, last year.
September is going to be a busy month. If you are in Arizona on the 6th, L.A. on the 13th, or in Minnesota on the 28th, I hope that you can join me. I’d love to meet you in-person, talk shop, and answer any questions you might have. Whichever event you can go to, we’ll have a good time. Hope to see you soon!
I love the Fujifilm X-E5. In my opinion, it’s the greatest iteration of the X-E series—probably objectively so, and not just subjectively. This line is one of my favorites, and I have a special place in my heart for it—an X-E1 was my gateway into the X-Series. But there’s something a bit unusual going on within the Fujifilm community regarding this new camera—I noticed it, so I thought I should comment on it.
By “Fujifilm community” I mean online. Something that I realized over the last year, after meeting thousands of you, is that the in-person Fujifilm community is much different than the online community. Yes, some are in both worlds, but there are many trolls, haters, and constant complainers on the internet that simply don’t exist in real life. Maybe they’re hiding, but they don’t show up to photowalks, classes, and events. Thankfully, most of those people avoid this website, probably because I don’t put up with it (I would encourage other websites to crack down on the toxic behaviors found throughout the comments sections). You see them elsewhere in droves (although trolls can have multiple pseudonyms, appearing to be many people, when it’s actually only one). In real life, the Fujifilm community is kind, friendly, and respectful—basically, just normal people.
Prior to its announcement, the view I held of the Fujifilm X-E5 (and I wrote about it several times) is that the camera should be basically the same as the X-E4, with only small changes. Prioritize size, weight, and affordability. Add an M/C/S switch, a rear command dial, and the X Processor 5, and call it good. However, the feedback I got from the community is that most disagreed. My opinion was clearly a minority opinion. Folks wanted the next X-E camera to be an interchangeable-lens X100VI, are as close to that as practical. I was not surprised that Fujifilm listened to the community, and made that camera. With the X-E5, Fujifilm delivered on what most had asked for.
It’s not what I asked for, but that’s ok. I’m just one person. Besides, I’m not always right. The camera that Fujifilm made instead is quite excellent. It has the 40mp X-Trans V sensor, IBIS, very nice build quality, and a newly designed Film Dial. You can program up to 11 Film Simulation Recipes into it, more than any other Fujifilm camera. There’s a heck-of-a-lot to like. All of those upgrades add up. That, plus accounting for inflation and tariffs (in America), the X-E5 is the most expensive X-E iteration. It’s no longer an entry-level model, but clearly mid-tier.
For those who had requested the camera to be an interchangeable-lens X100VI, they should put their money where their mouth is. Years ago, there was a push within the community for a longer telephoto prime lens—at the time, the Fujinon 90mm f/2 was the longest. Fujifilm listened to the input from the community, who said the lens needed to be long and sharp and fast. “If it ain’t f/2,” some publicly stated, “I ain’t buying.” Well, Fujifilm made the lens that many had asked for—an extremely excellent lens, too. But few purchased it. Why? Because it was large, heavy, and really expensive ($6,000!). Be careful what you ask for, because you just might get it.
Once bitten, twice shy. If the community asks for something and Fujifilm delivers, but then not many buy, do you think that they’ll continue to listen? If you asked for something and it came to pass, I feel you are obligated to put some skin in the game. What I see online, though, is the opposite. “Nobody asked for this,” is a statement that I’ve read a number of times now in comments on articles and videos about the X-E5. People are pretending that this isn’t the camera they requested.
Buckeye Motor Hotel – Buckeye, AZ – Fujifilm X-E5 – Summer Sun
I’ve had a front row seat to all those who asked for it, and it was a lot of people. Not a few; it was a ton. I cannot tell you how many times I read, “No IBIS, no buy.” And, “It better have the 40mp sensor!” I cannot count the number of times someone said, “I just want an interchangeable-lens X100VI.” You probably read those same statements, too. Like the Fujinon 200mm f/2 lens, some of those who asked for it are now pretending they didn’t.
The X-E5 will prove to be a popular model, and likely will be the all-time best-selling X-E camera. Those folks who had asked for it but are now pretending that they didn’t because it costs more money than they expected, their purchase is unnecessary for the success of this camera. Still, I find it frustrating when people say one thing, but, when push comes to shove, they do the opposite. If you advocated for this camera, don’t complain that they made it; instead, appreciate that they listened to you—otherwise, you risk ruining that Fujifilm actually listens to the community.
I’m reminded of the Fujifilm GFX100RF. There were people, mostly trolls, haters, and constant complainers, who were never going to be happy. They created a damned-if-you-do, damned-if-you-don’t situation for Fujifilm. If the camera didn’t have this or that, it was garbage for not having it; however, if it did have this and that, it was too big, heavy, and expensive. In the case of the GFX100RF, it didn’t have IBIS or an f/2 lens, so it was garbage. In the case of the X-E5, it does have IBIS and 40mp, but it costs significantly more money, so Fujifilm has lost the plot. Fujifilm can’t win; only the trolls win.
Of course, the real winners are those who grab their cameras—whatever those cameras are—and head out to photograph. Whatever people say on the internet doesn’t actually matter; what does matter is what you do in real life—the people you meet, and the pictures you create. You don’t need the latest gear to do that, you don’t need the Fujifilm X-E5. Most likely, whatever you already have is sufficient. Sometimes you do need new gear, should something break or maybe what you have isn’t ideal for your needs. Sometimes new gear can inspire you to pick up your camera instead of letting it collect dust. But, for the most part, you already have what you need. The excessive negativity on the internet is just nonsense, and is safe to ignore. And those trying to create a revisionist history of the X-E5 are being dishonest—I was there, and I remember what was said.
Red Coast – Fort Bragg, CA – Fujifilm X-T4 ES – This new Aerochrome v2 Recipe
Last year, I started my infrared photography journey when I purchased a Fujifilm X-T4 ES full-spectrum IR camera. Since then, I’ve published seven infrared Film Simulation Recipes for the X-T4 ES, which can also be used on full-spectrum converted X-Trans IV (except the X-T3 & X-T30) and X-Trans V cameras. You must have a full-spectrum model to use these Recipes, which requires an expensive and invasive procedure from a third-party vendor; otherwise, the X-T4 ES (“Extended Spectrum”) is a full-spectrum camera briefly offered by Fujifilm to the general public (it’s very difficult to find, but in my opinion totally worth owning). If you have a “normal” (non-converted) camera, these Recipes will not work.
One camera that people have commonly converted (as common as it gets, anyway) is the Fujifilm X-T3. While the X-T3 is X-Trans IV, it has JPEG options more similar to X-Trans III—it’s missing some that are available on later X-Trans IV models. Because of this, my seven infrared Recipes won’t work on a full-spectrum converted X-T3 or X-T30. Dan Allan has a full-spectrum X-T3, and he really wanted to use my Aerochrome v2 Recipe, so he modified it to be compatible with his camera. It’s not 100% the same, but pretty close, and quite nice. Those with a full-spectrum converted X-T3 or X-T30 can now join the infrared Recipe fun!
Above Left: Original Fujifilm X-T4 ES Aerochrome v2 Recipe; Above Right: This new Aerochrome v2 Recipe for the X-T3/X-T30.
Dan was kind to share his modification with me (and all of you), and also allowed me to publish his wonderful photos in this article, which you’ll find below (thank you, Dan!). If you have an X-Trans III full-spectrum model, this Recipe will work by ignoring Color Chrome Effect, but it will render a little different (feel free to try, though). If you have a Fujifilm X-T4 ES—or an X-Trans IV (other than the X-T3 & X-T30) or X-Trans V camera that has been full-spectrum modified—this Recipe will work by choosing Grain size Small, Color Chrome FX Blue set to Off, and Clarity set to 0. Depending on your preferences, you might actually like this version a bit better. The blue sky is the most obvious difference (interestingly, it seems slightly less divergent in Dan’s pictures than in the set above), but there are other more subtle variances; however, the overall vibe is the same between the original Aerochrome V2 Recipe and the new version. This Recipe requires three filters: Kolari Vision IR Chrome filter, Hoya G(XO) Yellow-Green filter and Tiffen Yellow 2 #8 filter. The IR Chrome filter is intended for infrared photography, while the Yellow-Green and Yellow filters are for B&W film. I’m not sure if the order matters, but I have the Yellow filter first (closest to the lens), the IR Chrome next, and the Yellow-Green last (furthest from the lens).
Edit: Dan informed me that he has the IR Chrome filter first (closest to the lens), followed by the G(XO), and then the Yellow 2 #8 (furthest from the lens). He isn’t sure if the order matters, but it might. He also wanted to mention that his conversion was with Kolari, with their anti-reflection glass, which might have a minimal impact on the outcome vs the X-T4 ES.
Filters: Kolari Vision IR Chrome, Hoya G(XO) Yellow-Green & Tiffen Yellow 2 #8 Film Simulation: Velvia Dynamic Range: DR400 Grain Effect: Strong Color Chrome Effect: Strong White Balance: 5000K, +7 Red & +7 Blue Highlight: +2 Shadow: 0 Color: +4 Sharpness: 0 High ISO NR: -4 ISO: Auto, up to ISO 6400 Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured by Dan Allen using this Aerochrome v2 Film Simulation Recipe on his full-spectrum converted Fujifilm X-T3:
Full-Spectrum Fujifilm X-T3 & Aerochrome v2 Recipe — Photo by Dan Allen
Full-Spectrum Fujifilm X-T3 & Aerochrome v2 Recipe — Photo by Dan Allen
Full-Spectrum Fujifilm X-T3 & Aerochrome v2 Recipe — Photo by Dan Allen
Full-Spectrum Fujifilm X-T3 & Aerochrome v2 Recipe — Photo by Dan Allen
Full-Spectrum Fujifilm X-T3 & Aerochrome v2 Recipe — Photo by Dan Allen
Full-Spectrum Fujifilm X-T3 & Aerochrome v2 Recipe — Photo by Dan Allen
Full-Spectrum Fujifilm X-T3 & Aerochrome v2 Recipe — Photo by Dan Allen
Full-Spectrum Fujifilm X-T3 & Aerochrome v2 Recipe — Photo by Dan Allen
Full-Spectrum Fujifilm X-T3 & Aerochrome v2 Recipe — Photo by Dan Allen
Full-Spectrum Fujifilm X-T3 & Aerochrome v2 Recipe — Photo by Dan Allen
Full-Spectrum Fujifilm X-T3 & Aerochrome v2 Recipe — Photo by Dan Allen
Full-Spectrum Fujifilm X-T3 & Aerochrome v2 Recipe — Photo by Dan Allen
Full-Spectrum Fujifilm X-T3 & Aerochrome v2 Recipe — Photo by Dan Allen
Full-Spectrum Fujifilm X-T3 & Aerochrome v2 Recipe — Photo by Dan Allen
Full-Spectrum Fujifilm X-T3 & Aerochrome v2 Recipe — Photo by Dan Allen
Full-Spectrum Fujifilm X-T3 & Aerochrome v2 Recipe — Photo by Dan Allen
Full-Spectrum Fujifilm X-T3 & Aerochrome v2 Recipe — Photo by Dan Allen
Full-Spectrum Fujifilm X-T3 & Aerochrome v2 Recipe — Photo by Dan Allen
Full-Spectrum Fujifilm X-T3 & Aerochrome v2 Recipe — Photo by Dan Allen
Full-Spectrum Fujifilm X-T3 & Aerochrome v2 Recipe — Photo by Dan Allen
A reader messaged me recently with a confession: while camera shopping the other day, the top factor wasn’t megapixels, ergonomics, battery life, AF speed, size, or any other spec sheet headline. It was how the JPEGs look straight-out-of-camera—the aesthetics of the pictures—and how easy or difficult it is to get that look. Five years ago that might have sounded odd. Today it’s normal.
Fujifilm grasped years ago that “look” is a feature, not a garnish. Their Film Simulations aren’t just color presets; they’re carefully engineered tonal behaviors—contrast, colors, hues—that feel intentional, and are cohesive across the lineup. Fujifilm used their vast experience with film to create their Film Simulations, which is why their camera-made JPEGs are so good. Photographers talk about “Fuji color” like it’s a place you can visit, not just a slider position in a photo editor.
Coastal Mist – Elk, CA – Fujifilm X-T5 – Velvia Film
Film Simulation Recipes fine-tune those Film Simulations into aesthetics that oftentimes replicate classic film stocks. By adjusting the various JPEG settings, you can achieve many different looks straight-out-of-camera: Kodachrome 64, Kodak Gold 200, Fujicolor Superia 100—these are just a few examples. I’ve published over 400 Film Simulation Recipes, found on this website and in the Fuji X Weekly App. Most likely there’s a Recipe that matches your style. As my newest catchphrase says: Shoot more, edit less, and let your camera be your darkroom.
Fujifilm makes it easy to achieve a lot of great (often analog-like) looks. You can reduce or even eliminate post-processing, which saves a lot of time (and quite literally changed my life—no hyperbole). A computer is no longer required. While Fujifilm is head-and-shoulders above the competition when it comes to in-camera JPEG processing, there are other brands that are also good, and worth considering. Ricoh GR cameras, for example, are capable of some excellent straight-out-of-camera looks. There are Nikon Recipes, and Panasonic has LUTs. Leica added a few more profiles, and Sony recently added two more FL (“Film Look”) options. Each has advantages and disadvantages.
Fujifilm is clearly in the lead, but since other brands have taken notice, they shouldn’t feel too comfortable. They need to continue to innovate, with more in-camera looks, more customization, but also more simplicity. Remember: our friend was just as interested in the ease of achieving looks as much as the looks themselves, and to an extent some of the competition actually has a leg up on Fujifilm. It’s easy to overlook the importance of simplicity, but it’s just as critical as robustness—those might seem like contradictory terms, but they’re not.
White Bridge across Pond – Charleston, SC – Fujifilm X-E4 – Pacific Blues
There’s another aspect to all of this that needs to be discussed, and that’s the point of diminishing returns. Eventually, spec increases mean less and less. At some point, a camera is more than fast enough, and speed increases are unimportant to most people. The megapixels are more than enough, and increases in resolution are meaningless to the majority of customers. Etc., etc.. There might even be negative side effects to these improvements, which could make them seem regressive to some. This is known as the Inverted U Curve. I think a lot of aspects of digital camera technology are nearing (or have already reached or even surpassed) the peak of the curve, which means that they’ll be less effective as marketing ploys. This provides the opportunity for other things that have traditionally been ignored to take center stage. This is why more and more, the JPEG output is a deciding factor—and in some cases, the deciding factor—in new camera purchases.
If you catch yourself picking a camera because you love how it renders the world, don’t feel silly. That’s not laziness; it’s clarity. It’s normal. Specs used to be the destination; today, for many, they’re just the road—the destination is the look. With Fujifilm’s Film Simulations and my Film Simulation Recipes, it’s never been easier to reach your destination.
A common question I get is, “Which Fujifilm X-series camera should I buy?” With so many options, it can be difficult to figure out which one is right for you. Some models are quite alike, with overlapping features and similar price points, which can be confusing—especially if you’re new to the system. Each camera in Fujifilm’s lineup has its own role to play, and understanding that role makes it much easier to choose the right one for you. To help you out, I’ll break down each X-series camera below and explain its purpose in the lineup—what it’s best at, who it’s for, and why Fujifilm made it. With that foundation, you’ll be better equipped to make your decision.
Fujifilm X-H2s
The Fujifilm X-H2s is Fujifilm’s most premium X-series camera—the flagship model. It’s designed for speed, which makes it the most ideal option for videography, as well as sports and wildlife photography. It’s the only X-series camera—and only APS-C camera—with a stacked sensor, which allows it to be faster than other models. Interestingly, a large majority of the official Fujifilm videos (found on their various YouTube channels) are filmed on this camera—if you want to know what you can do with it cinematically, there are tons and tons of excellent examples online. Because the X-H2s is the top-of-the-line option, it is also the most expensive at $2,799 (after the recent price increase across the Fujifilm lineup).
A couple of possible downsides to the X-H2s are that it’s the largest (along with the X-H2, which shares the same body), which might make it less ideal for travel or walk-around photography, and it doesn’t have the traditional tactile exposure controls that Fujifilm is known for. This is a PASM model that’s specifically intended to be appealing to those coming from Canikony brand cameras, who might not appreciate Fujifilm’s retro-styled bodies. It’s weather sealed and has two card slots (one for CFexpress Type B). The rear LCD screen is vari-angle, and can twist many directions. I find it fascinating that camera reviewers often compare the X-H2s to full-frame models; those are somewhat unfair apples-to-oranges comparisons, but you see it often, which just goes to show that this camera punches above its weight class.
If you really need speed, the Fujifilm X-H2s is your best bet. It’s the top X-series option for video, sports, and wildlife. This is the most “pro” camera in the lineup, if that’s important to you. I have never used this camera personally.
Fujifilm X-H2
The Fujifilm X-H2 is nearly identical to the X-H2s. The main difference is that, instead of a 26mp stacked X-Trans V sensor intended for speed, it has a 40mp non-stacked X-Trans V sensor intended for resolution. It’s not quite as quick as the “s” version, so it’s not as ideal for video, sports and wildlife; however, it’s still snappy, and still excellent for those situations—it’s a great hybrid camera. You simply trade a little speed for megapixels, while saving $600. You get basically the same camera for significantly less money. If you need the fastest X-series model, the “s” version is the one to get; if not, the X-H2 is quite compelling, especially if you are moving over from one of the “big three” brands. I have not used the X-H2 personally.
Fujifilm X-Pro5
There is not currently an X-Pro5. The last camera in this series was the X-Pro3, released in 2019 and discontinued in 2022. A successor is overdue, and likely to come next year (my prediction is in the spring, but that’s merely a guess). Nothing is known about the camera (not even the name… “X-Pro5” is speculation); however, it probably won’t be too dissimilar from other X-Pro models. The X-Pro series offers classic rangefinder styling, a hybrid EVF/OVF, and durability (other than the rear LCD cable on the X-Pro3… that’s another story, and probably why that camera was discontinued). X-Pro is top-of-the-line out of all the retro-styled X-series models. These cameras are beloved, they’re classics—the Leica of Fujifilm, so to speak. There’s not much to say about it at this time other than it’s coming someday, and it will likely be over $2,000 (maybe well over) when it does come. I wouldn’t be surprised if Fujifilm kicked off the sixth generation with this camera. Whenever it is released, you’ll know, because it will definitely make headlines. The picture above is of an X-Pro1.
Fujifilm X100VI
The X100 series is legendary. It’s probably the most iconic Fujifilm line, with a beautiful retro rangefinder design, including a hybrid OVF/EVF. Pairing the 40MP X-Trans V sensor with a fixed 23mm (35mm full-frame equivalent) f/2 lens, the X100VI is perfect for street, travel, and documentary photography. This iteration is the first in the series to have IBIS. The leaf shutter, built-in flash, and built-in ND filter are three especially great but often overlooked features. The X100VI is compact and discreet, yet eye catching—no wonder it is the most viral camera of all time!
Because you cannot change the lens, this camera is not for everyone; however, it can inspire you to see differently because you’re limited to one focal length, which can force you to think more creatively. The Fujifilm X100VI is my “desert island” camera—if I could only have one model for the rest of my life, it would be this one. With that said, I find that the X100-series tends to pair really well with an interchangeable-lens model, for when the 35mm-equivalent focal length just isn’t the right choice. The X100VI isn’t a point-and-shoot; it’s a premium compact, which is reflected by the $1,799 MSRP (after the recent price increase).
Fujifilm X-T5
If there’s one quintessential interchangeable-lens Fujifilm camera, it’s probably the X-T5. It closely embodies Fujifilm’s retro styling and tactile controls, while packing in their latest 40mp X-Trans V sensor and processor. You get IBIS, a three-way tilting LCD, dual card slots, and weather sealing—all in a body that still feels compact. It’s basically an X-H2, but smaller, lighter, better-looking, and cheaper. This is a premium stills-centric model, yet it’s no slouch when it comes to video capabilities. A lot of comparisons have been made to the Nikon Zf, which is a full-frame camera (not necessarily a fair equivalence), yet the X-T5 holds its own pretty well, (again) punching above its weight class.
The X-T5 is a workhorse that can do a bit of everything. It seems well suited for landscapes, portraits, travel, etc., etc.. I used this camera extensively for about a year-and-a-half, then my wife, Amanda, used it for a year (mostly portraits, theater, and video), and now I have it back, and am enjoying photographing with it again. As a stills-centric yet good-for-everything camera, it’s easy to recommend. With an MSRP of $1,899, it’s under 2K but definitely not cheap.
Fujifilm X-T50
The Fujifilm X-T50 is the little brother of the X-T5. It has the same sensor, processor, and IBIS—it’s basically the same internally as the X-T5 and even the X-H2—but lacks weather sealing and dual card slots. It’s smaller and lighter, with a little more plastic. This was the first camera with a Film Dial, which adds a bit of aesthetic versatility, and is great for exploring which Film Simulations you might like best. This is Fujifilm’s mid-range retro SLR-styled camera, but is just as capable as the higher-end X-T5.
Because this camera is smaller and lighter, it’s a little better for travel or walk-around photography. The X-T50 is a bit more beginner or enthusiast orientated than the X-T5, but you can grow with it, since it’s just as capable as the higher end model. At $1,699, it’s only a little cheaper than the X-T5. If size and weight are a priority, that might be a reason to choose this camera, or if you want a slightly less complicated camera; otherwise, the X-T5 is the better option. I really like the X-T50 personally, particularly because of the Film Dial.
Fujifilm X-E5
The Fujifilm X-E5 is the newest X-series camera. It’s basically an X-T50, but in an X100VI-like body. It’s as close as you’re going to get to an interchangeable-lens X100VI, especially when paired with pancake lenses. It’s Fujifilm’s smallest camera with an EVF, which makes it especially great for travel photography, or just everyday carry. It’s also the only model where you can program up to 11 Recipes into it. The X-E5 is the most premium camera in the X-E series, and is solidly mid-tier, with improved build quality over its predecessor. I have no doubt that this will be a big hit, even with the $1,699 price tag. If you like retro rangefinder styling, this is the interchangeable-lens camera to buy.
Fujifilm X-S20
The Fujifilm X-S20 is the little brother of the X-H2s. It’s a hybrid model that’s especially good for video, but is no slouch for stills. It uses the “old” 26mp X-Trans IV sensor paired with the new X Processor 5. It is not weather sealed and has only one card slot. It’s not necessarily retro styled, and lacks the traditional tactile dials found on most Fujifilm models; instead, it has PASM controls similar to the X-H2s and X-H2, and it has an articulating rear LCD screen. It’s intended to be appealing to those coming from Canikony brand cameras. It only has C1-C4 and not C1-C7 like many other Fujifilm cameras, for those who use Film Simulation Recipes. There are two X-S20’s in my house: one belongs to my wife, Amanda, and the other belongs to my son, Jonathan. They both really love it—in fact, my wife chose the X-S20 over the X-T5. At $1,599, this is a mid-tier camera, but it is slightly more affordable than the X-T50 and X-E5.
Fujifilm X-T30 II / X-T30 III
The current entry-level X-series camera with an EVF and retro tactile controls is the Fujifilm X-T30 II. It has the 26mp X-Trans IV sensor and X Processor 4; however, it was the very last fourth-generation model, so it does have some options that the earlier 4th-gen cameras lack, making it seem a bit less dated. At $999, it is definitely more affordable than the options above, making it a compelling choice, and probably the best overall value right now—a great beginners camera. It doesn’t have IBIS, and may not be the best option for video—although, with a gimbal or tripod, it’s certainly capable of recording quality clips.
The X-T50 was not this camera’s successor, but a whole new highly similar line that is a bit more premium. Fujifilm is about to replace the X-T30 II with (what will likely be called) the X-T30 III. Because of this, the X-T30 II can be a bit tough to find in-stock, as I believe Fujifilm has stopped production of it. If you want the best affordable Fujifilm camera, be sure to buy an X-T30 II—that is, if you can find one. Fujifilm is expected to announce the X-T30 III later this year, likely in the fall. I anticipate it being nearly identical to the X-T30 II, just with the new X Processor 5, possibly with a Film Dial like the X-T50, and perhaps a couple hundred dollars more expensive. In all likelihood, the X-T30 III will be the last fifth-generation X-series camera.
Fujifilm X-M5
The Fujifilm X-M5 is the bargain basement entry-level X-series camera, with an MSRP of $899. It has a striking rangefinder-like retro design, but lacks traditional tactile controls (it has PASM instead) and lacks an EVF. It’s the smallest and lightest interchangeable-lens model in the lineup. Like the X-S20, it pairs the 26mp X-Trans IV sensor with the X Processor 5. It’s touted as a hybrid camera that’s excellent for video, but it lacks IBIS. In a sense, X-M5 is the little brother of the X-S20, and in a sense it’s the X-E5’s smaller sibling. If you have a tight budget or if you prioritize size and weight, this camera might be for you. Between this and the X-T30 II, if you are primarily a videographer, the X-M5 is your best bet, but if you are primarily a stills photographer, I recommend the X-T30 II. It seems like a good option as your very first camera, or else as a second camera for when your larger model isn’t ideal. I’ve never used the X-M5 personally.
Fujifilm X half
Last and maybe least is the Fujifilm X half. This is technically an X-series camera, but it’s not X-Trans, and isn’t APS-C, either. It has a 1″ Bayer sensor orientated vertically, with a fixed 32mm-equivalent f/2.8 lens. It’s essentially a digital version of half-frame cameras, like the Fujica Half, Olympus Pen, Kodak H35N, and Pentax 17. The X half has as much in common with the Instax Evo line as it does the X-series, and bridges a gap between the two systems, with a foot in both camps. It’s a heck-of-a-lot of fun, but definitely less serious than all of the options above. This could be a toy for the photographer who has everything, or a casual camera for events and vacations, or a first camera for your child that shows an interest in photography. You’re unlikely to capture portfolio-worthy pictures with the X half, but for social media or scrapbooks, this camera is quite excellent. Both my wife and I enjoy using it (and have fought over it), but neither of us would chose it as our primary model. At $850, it’s a bit expensive for what it is.
Conclusion
If you’re still unsure which Fujifilm cameras are right for you, let me break it down even more simply. If you are coming from one of the big three camera companies and want the easiest transition, you’re going to look at the X-H2s, X-H2, and X-S20. If you are primarily a videographer, you’ll want to consider those same three cameras, and I’ll throw in the X-M5 if you are on a tight budget. If you simply want the best-of-the-best, the X-H2s, X-H2, and X-T5 are your top options (and the next X-Pro, whenever that comes out). If you are primarily a stills photographer, the X-T5 is top-of-the-line (the next X-Pro will be, as well), the X-T50 and X-E5 are nearly as good (and smaller), and the X-T30 II is the best bargain. The best looking cameras are the next X-Pro (assuming that Fujifilm doesn’t change much), X100VI, and X-E5. If you don’t want to invest in a whole system, and just want to dip your toes into the Fujifilm world, the X100VI is what you should buy. If you don’t have a lot of money to spend, the X-T30 II and X-M5 are the two cameras you need to consider. If you have large hands and/or plan to use long lenses, the X-H2s, X-H2, and X-S20 have the best ergonomics, and I’ll throw in the X-T5 as a bonus. If you want small and lightweight, look at the X-M5, X-E5, X100VI, and (of course) the X half. If you want the most enjoyable, the X half, X100VI, X-E5, and the next X-Pro are the ones to consider. I’m sure I’m missing some situations, but I hope this provides clarity for some of you who are trying to decide which camera to purchase, and are just unsure.
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
Pacific Vista – Elk, CA – Fujifilm X-T4 ES – Aerochrome v2
I’ve been asked about infrared photography quite a bit lately, especially after sharing pictures captured with my full-spectrum Fujifilm X-T4 ES and the Aerochrome v2 Film Simulation Recipe on Instagram. Infrared is a fascinating genre of photography because it allows you to See Beyond the Visible™ (someone should trademark that…) by capturing light that your eyes can’t see. The results can be stunning and surreal. It’s definitely abstract, but in the best way possible.
Infrared photography is not new. It dates back to the early 1900’s, when special emulsions made it possible to record wavelengths just beyond visible light. At first, infrared film was used primarily for scientific and military purposes. In the 1940s, Kodak developed Aerochrome, a color infrared film designed for aerial reconnaissance. Soldiers could spot camouflaged objects because foliage would render in vivid reds and pinks, while man-made materials appeared in other colors. Artists later adopted Aerochrome for its unique false-color palette, using it to transform ordinary landscapes into psychedelic dreamscapes. Jimi Hendrix Are You Experienced? and Frank Zappa Hot Rats album covers brought infrared photography a bit more into the mainstream in the late-1960’s. While it was always a niche genre, infrared photography became less popular in the 1990’s, forcing Kodak to scale back production of their IR films. The rise of digital cameras was the final nail in the infrared film coffin.
Bird, Watching – Bodega Bay, CA – Fujifilm X-T4 ES – Aerochrome v2
Kodak discontinued Aerochrome production in 2009 (they continued to sell their stock for another two years, until they ran out). Nowadays, color infrared film is very difficult to find, and extremely expensive when you do find it. Digital cameras, however, opened up new possibilities. Modern camera sensors are inherently sensitive to infrared light, but an internal filter blocks it. By removing that filter—what’s called a full-spectrum conversion—you can once again see and photograph the invisible. The Fujifilm X-T4 ES (“Extended Spectrum”) is a factory-modified, full-spectrum version of the X-T4, and it’s perfect for exploring infrared photography. B&H had some available for purchase, but you had to inquire either over-the-phone or in-person; however, it’s now listed as discontinued, so they’re likely all sold out.
I have three Aerochrome Recipes for X-Trans IV and X-Trans V full-spectrum infrared cameras: Aerochrome v1, Aerochrome v2, and Aerochrome v3. Each mimics a different possible aesthetic of the film to various degrees. Of the three, Aerochrome v2 is my personal favorite. The Recipe was created specifically for full-spectrum Fujifilm cameras (particularly the X-T4 ES) paired with specific filters—in this case: Kolari Vision IR Chrome, Hoya G(XO) Yellow-Green & Tiffen Yellow 2 #8. It’s intended to replicate the look of Kodak Aerochrome, with pink/red foliage and cyan skies—delivering bold, dreamlike colors. Like all Fuji X Weekly Recipes, the goal is to get the desired aesthetic straight-out-of-camera. No lengthy editing sessions required; just program the settings, attach the right filters, and shoot.
Pacific Dusk – Elk, CA – Fujifilm X-T4 ES – Aerochrome v2
I’ve used the Aerochrome v2 Recipe in a variety of locations—from the White Sands National Park in New Mexico to the streets of Philadelphia—and each time I’m amazed at how it transforms a scene. I especially love using it at the coast, which I was doing just last week (and where I photographed the pictures in this article). The way it renders foliage is stunning, and the overall color palette is wonderfully surreal. It’s a creative tool that makes you see the world differently.
If you want to dive deeper into infrared photography, go get yourself a full-spectrum converted camera, or have one you already own converted. The Fuji X Weekly App includes full-spectrum Recipes; in addition to the three Aerochrome options, you’ll find PurpleChrome, Cotton Candy Chrome, and Agfa 400S. Whether you’re chasing the look of discontinued films or just exploring unseen light, there’s likely a Recipe to suit your style; if not, I’m sure I’ll create several more over the coming months and years.
Infrared photography lets you step into a hidden world—one where the ordinary becomes extraordinary. With the right Fujifilm cameras and Film Simulation Recipes, you can experience the excitement of seeing beyond the visible yourself. No channel swaps or extensive edits. You can achieve the look straight-out-of-camera, just like Aerochrome shooters did decades ago… only now, you don’t need a darkroom (or patience as your film is at the lab), just a little curiosity and the right settings.
I’m really excited, because I just published my first YouTube video in over a year! You might not be aware that Fuji X Weekly has a YouTube channel, but it does. I published two videos (not including Shorts) in 2024 (here and here), and three in 2023 (here, here and here). Those were a lot of fun, but YouTube videos are so much work. They take hours and hours and hours to create from start-to-finish. A good estimation—for those channels without a team of people—is one or two (or sometimes more) hours of editing for every minute of video published. That’s not including the time it takes to record the clips.
The video that just went live is a roadtrip to the Mission San Xavier del Bac in Tucson. This is the oldest still-used building in Arizona, and the oldest church. It’s where the city started (even though now it’s a little outside of town). The mission is a popular location for photography, and even Ansel Adams photographed it. I used 11 different Film Simulation Recipes on a Fujifilm X-E5. The adventure gets a bit wild, so hang onto your proverbial hats. I’ve included the video below—be sure to watch!
We tried a little different style for this new video. It’s a bit more relaxed, but hopefully entertaining. It gets a bit silly at times. Amanda (my wife) filmed it all using her Fujifilm X-S20 and Fujinon 16-50mm f/2.8-4.8 lens and an upcoming Recipe for video (look for more details on that in the near-ish future). She also did almost all of the editing. There were some technical difficulties; hopefully a new mic will help alleviate some of the issues on future projects. This is also the longest video we’ve ever published, nearly three times longer than the previous longest. A big hurray for Amanda and all the work she put into it!
Even though I have published videos very infrequently over the last few years, the channel has (surprisingly) grown and grown. There are over 17,000 subscribers currently. Four of the last five videos have over 10,000 views, and two have over 16,000. That’s not bad for a barely-there channel. My hope with this new upload is to kick-off a restart of sorts. While I can’t promise anything, my goal is to publish new videos regularly, and not let so much time pass between them. But, in the meantime, I hope that you enjoy this one.
Old Church – Tucson, AZ – Fujifilm X-E5 – Classic B&W
I love black-and-white photography. Kodak Tri-X 400 is my favorite monochromatic option, and (unsurprisingly) it’s by far the most popular B&W Recipe. For whatever reason, color Film Simulation Recipes tend to be a lot more popular than monochrome, so there are quite a few more of them; however, I really enjoy publishing a good B&W Recipe, and I’m quite excited about this one in particular. It’s really good, in my humble opinion.
The story behind this Classic B&W Recipe is unusual. While leading a photowalk in Manitou Springs, Colorado, with Mike’s Camera, someone asked me to explain the process of creating a Recipe. So I walked him through the process right there in Manitou Springs on a Fujifilm X-E5, and created this JPEG settings combo while doing so. I remember thinking that it looked nice, but pretty much forgot about it until after I returned home and reviewed the photos. After using it a little more, it quickly became one of my favorite B&W Recipes. Kodak Tri-X 400 still ranks a little higher in my book, but this one is easily a Top 5 for me.
Coffee – Tucson, AZ – Fujifilm X-E5 – Classic B&W
While I only used this Classic B&W Recipe on a Fujifilm X-E5 and X100VI, it is fully compatible with X-Trans IV (except the X-T3 and X-T30) and X-Trans V cameras. For those keeping score, that’s (as of this writing) the X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, and X-E5. You can also use this on the latest GFX cameras, including the GFX100S, GFX100 II, GFX100S II, and GFX100RF. For the Fujifilm X-T3, X-T30, and X-Trans III models, consider trying the Analog Monochrome Recipe, which isn’t too dissimilar.
Film Simulation: Acros+G Monochromatic Color (Toning): WC 0 & MG 0 (Off) Dynamic Range: DR200 Grain Effect: Strong, Large Color Chrome Effect: Off Color Chrome FX Blue: Off White Balance: Incandescent, -9 Red & +9 Blue Highlight: +3 Shadow: +4 Sharpness: +1 High ISO NR: -4 Clarity: +3 ISO: Auto, up to ISO 12800 Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured using this Classic B&W Film Simulation Recipe on a Fujifilm X-E5 and X100VI:
Monochrome Umbrella – Buckeye, AZ – Fujifilm X100VI
Empty Chair in a Dark Room – Litchfield Park, AZ – Fujifilm X100VI
Lonely Chair – Buckeye, AZ – Fujifilm X-E5
Hanging Shadows – Buckeye, AZ – Fujifilm X-E5
Grey Odadiuc – Buckeye, AZ – Fujifilm X-E5
Shadow Abstract – Litchfield Park, AZ – Fujifilm X100VI
Suburban Palm Shadow – Buckeye, AZ – Fujifilm X100VI
Coffee Cups – Tucson, AZ – Fujifilm X-E5
In the Raw – Tucson, AZ – Fujifilm X-E5
Facing North – Tucson, AZ – Fujifilm X-E5
Horse on a Ledge – Buckeye, AZ – Fujifilm X-E5
Baldwin 2 – Manitou Springs, CO – Fujifilm X-E5
Mission Church – Tucson, AZ – Fujifilm X-E5
Find this Film Simulation Recipe and over 400 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
Fujifilm recently loaned me an X-E5 to try out for a week or so. I also got to play with one at the B&H BILD Expo last month, so I was already a bit familiar with the camera before it arrived in the mail. Included with the X-E5 was the brand-new Fujinon 23mm f/2.8 pancake lens, so I’ll also be discussing that in this review, too. Let’s dive right in!
The Fujifilm X-E5 is actually the sixth X-E camera. The X-E1, released in 2012, was the very first, and the third X-series model overall, with only the X100 and X-Pro1 predating it. The X-E2 came out only one year later, followed by the nearly identical X-E2s in 2016. A year after that, Fujifilm released the X-E3, which saw the first significant design change (although it was still pretty similar). The X-E4 came out in 2021, which was the most different, with an emphasis on minimalism, compactness, and affordability; however, it was still similar overall. We have another significant design change with the X-E5, yet it still retains the distinctive look of an X-E series model.
With the X-E5, Fujifilm quite noticeably improved the construction quality—for example, the top plate is a single piece of machined aluminum, and the camera seems less plasticky overall. It just feels more sturdy, more premium, more refined than the X-E4. With a pancake lens attached—like the new 23mm f/2.8—the camera closely resembles an X100VI, which was clearly intentional. The X-E5 is essentially an interchangeable-lens X100VI; for those who have asked for such a camera: here it is! The two models aren’t exactly the same, and they each have their advantages and disadvantages, but they’re certainly similar enough to justify the comparison.
I don’t want to dive too deeply into the specs, but some important notes are that the X-E5 has the same 40-megapixel X-Trans V sensor and processor as the X100VI, X-T50, and X-T5. Like those models, the X-E5 also has IBIS. This is a camera capable of capturing high quality photos and videos. Not surprising, the X-E5 is also much more expensive—plus a tad larger and heavier—than its predecessor.
Like the X-T50 and X-M5, the X-E5 has a Film Dial, although it’s implemented a bit differently. Instead of a knob, it’s a wheel on the back, with a little window on the top plate. This is a really cool design; however, there is a downside: it has fewer Film Simulations. The X-T50 and X-M5 have only eight of the 20 Film Sims on the knob, with three customizable slots for your favorites that were left out; the X-E5 has only six Film Simulations, with three customizable slots. The six Film Sims on the dial are Provia, Velvia, Astia, Classic Chrome, Reala Ace, and Acros. Somehow—shockingly and inexplicably—Classic Negative was left out, as was Nostalgic Negative. I know that not all of them could make the cut, but I definitely question why Classic Negative was not included—seems like a sin.
The three customizable slots—called FS1, FS2, and FS3—can be set to any Film Simulation. In addition to that, they can also be customized into Film Simulation Recipes (functionality that should be—and hopefully will be—brought to the X-T50 and X-M5 via a firmware update). This is the very first time that Fujifilm has used the term “Recipe” in a camera—amazing! You can have 11 different Recipes programmed into the X-E5: seven within the C1-C7 Custom Settings presets, one in the IQ Menu set, and three on the Film Dial. The Film Dial also works well with my Universal Negative and Film Dial Recipes, providing extra aesthetic versatility. Only the C1-C7 Recipes can be custom named, so you have to remember what the other four are.
While this is certainly a welcome evolution of this feature, it could be made even better. For example, all of the Film Simulations should have the option for Recipes, and not just FS1/FS2/FS3. One issue with this UI, though, is that Recipes are scattered: some in Custom Settings presets, some on the Film Dial, and one in the IQ Menu. I think, more ideally, you’d find them all in one place. A lot of Fujifilm users would appreciate a Custom Settings Dial instead of a Film Dial, with maybe C1-C9 or C1-C12 (more is better). There are a lot of different ways that this could be addressed, and it’s something that should be addressed for future models. Still, the opportunity to have three extra Recipes programmed into the camera at any one time is quite nice, and I’m thankful for it. This is the main reason why I preordered this camera, even though I own an X-E4 that I really like.
Included with the X-E5 was the new Fujinon XF 23mm f/2.8 R WR pancake. This lens is very similar to the Fujinon 27mm f/2.8 R WR, which happens to be one of my absolute favorite lenses. I’ve been saying for years that Fujifilm should have more pancake lenses in their lineup, since a major selling point of Fujifilm cameras are their compact size and minimal weight. A camera like the X-E5 paired with a handful of tiny pancakes is ideal for traveling. This particular camera and lens combo is especially great for everyday walk-around photography.
The lens is sharp with minimal flaws. It has great close-focus capabilities; it’s not a macro-lens by any means, but with 40mp to crop from, it’s possible to use it for near-macro photography. From a technical point-of-view (and mind you, I didn’t do any serious testing), it’s pretty darn good for what it is, a marvel of engineering; from an artistic point-of-view, it seems to lack a little of the magic (a.k.a. character) that the 27mm f/2.8 and 23mm f/2 lenses are known for. Like the 27mm, it isn’t the quietest Fujinon lens. If you are trying to decide between the 23mm f/2.8 and the 27mm f/2.8, that’s going to be a tough call—personally, I like the 27mm just a bit more; however, the close-focus capabilities of the 23mm is certainly a significant plus. If you are trying to decide between the 23mm f/2.8 and 23mm f/2, that’s also going to be difficult, and your decision might come down to just how small is small enough for you. If you are buying the Fujifilm X-E5, it seems like an easy choice to get it bundled with the 23mm f/2.8, since it’s only $200 more when the lens itself is $500—if you have no intentions of keeping it, just turn around and sell it for $450, which makes the camera more affordable.
Ants & Funyun – Tucson, AZ – Fujifilm X-E5 & 23mm f/2.8 – Kodachrome 64
Getting back to the X-E5, the camera has a couple of really cool features, but you can only use one of them, and not both. The first, which is borrowed from the GFX100RF, is called Surround View Mode. It allows you to see outside of the frame when using an aspect ratio other than 3:2, giving a faux optical viewfinder experience (sort of). This is particularly nice when using the 1:1 aspect ratio. The XPan ratio would have been a great addition, but (sadly) it’s still missing on X-series models. The second feature is called Classic Display Mode, which turns the EVF into a really cool retro 1980’s-inspired display. I like both, but I couldn’t figure out how to activate the Classic Display Mode for some time—eventually I asked a Fujifilm tech rep for help. As it turns out, if Surround View Mode is activated, even when using the 3:2 aspect ratio, Classic Display Mode is disabled (and vice versa). Fujifilm: I suggest that Surround View Mode be automatically disabled when in the 3:2 aspect ratio, so that Classic Display Mode can be used; when changing aspect ratios to anything other than 3:2, if Surround View is activated, it would automatically disable Classic Display. This way, you don’t have to jump through hoops to use both of these cool new features.
While the X-E4 saw a lot of buttons removed in the name of minimalism, Fujifilm gave them to the X-E5 in spades. Just the new front control lever alone allows for five customizable functions. The inclusion of the rear command wheel and M/C/S switch means that you shouldn’t be short of camera controls, no matter how many functions you need quick access to. Those who disliked the direction of the X-E4 should especially appreciate its successor.
What else can I tell you about the Fujifilm X-E5? It isn’t weather-sealed (although it seems to have some level of weather resistance—I wouldn’t put it under a faucet, though). It uses the “old” NP-W126S battery. I expected that, as those things would have increased the size, weight, and cost even more. The X-E5 is definitely more premium than previous X-E cameras. I had suggested that Fujifilm prioritize size, weight, and cost by keeping it nearly the same as the X-E4; however, my opinion was clearly in the minority. Most people asked for an interchangeable-lens X100VI, and the X-E5 is as close to that as you’re likely ever going to get. It’s a very nice camera.
It comes with a “nice” price tag, too. In America, it’s $1,700 for the body-only, and $1,900 when bundled with the new 23mm pancake lens. That’s pretty shocking, especially when it’s double the price of the X-E4; however, keep in mind that inflation and tariffs have impacted the price in addition to the more expensive components that Fujifilm used in the camera. Interestingly enough, the X-E1 was $999 in 2012, which is about $1,400 in today’s dollars; add to that tariffs, and you’ve pretty much got the X-E5 price tag, never mind the 40mp sensor, IBIS, and better build quality. While it seems expensive, it is not an entry-level model. And with Fujifilm raising the price (in America) of the X100VI to $1,800, the X-T50 to $1,600, the X-T5 to $1,900, the MSRP of the X-E5 makes a little more sense. I do think it’s worthwhile to buy at $1,700, which is why I have it preordered bundled with the 23mm f/2.8 lens.
Mission San Xavier del Bac – Tucson, AZ – Fujifilm X-E5 & 23mm f/2.8 – Kodak Vericolor VPS
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According to Fujirumors, Fujifilm is likely to raise the price by about 10% on most of their cameras and lenses beginning August 1st, which is Friday. It’s unclear if this is worldwide or just in America, but my suspicion is that it will just be in America, and is related to the tariffs. I also highly doubt that the X half and X-E5 will be affected, because the increase was already built into their MSRP.
Every major camera maker has either already increased their prices, or has announced that they will be soon—or both (already raised prices, but further price increases are forthcoming). While the X half and X-E5 were on the leading edge of the increase (and both were criticized for it), Fujifilm has largely delayed price increases on everything else. My guess is, with the Japan trade deal finalized, Fujifilm has something stable to determine what the increase should be, so that’s why it’s been delayed until now. I also suspect that Fujifilm will try to manufacture more of their U.S.-bound units in Japan instead of China, something they’ve already begun doing.
It’s also possible that this will be the first in a series of price increases. If Fujifilm were to raise the cost by (say) 20% all at once, that could scare off potential customers; however, by increasing it by “only” 10% now and another 10% later (perhaps on January 1st), it allows customers to acclimate more gradually to the higher prices. It’s like the frog in boiling water thing. Hopefully, though, this will be the one-and-only increase; if it is worldwide and not limited to America, I think that could possibly be an indication of it being only a one-time thing. It’s all just speculation at this point, and time will eventually tell—until then, take it all with a very large grain of salt.
Of course some will say that this is just Fujifilm being greedy or that Fujifilm has lost the plot and is out-of-touch with their customers. That’s all nonsense, spoken largely by trolls and click-bait content creators. Every camera maker is dealing with this same issue right now, and they are all raising their prices (RED is the only camera made in America as far as I’m aware, but I’m not sure how long that will last since they’ve been purchased by Nikon). I said back when the X half was announced that it was a foreshadowing of future price increases. When everyone complained about the cost, I said in time it would seem pretty normal, once the MSRP of everything else goes up. Now they’re going up. My suspicion is that we’re still five or six months out from all the dust settling, and it’s even possible that the X half and X-E5 could see a small price reduction at some point (since they were announced when there was a lot more uncertainty), who knows?
All of that is to say, if you’ve been eyeing a certain camera or lens, you might want to get your order in now and not wait until the price goes up later this week. If you delay, you may have to pay about 10% more. This is probably just for those in America, although I’m not 100% sure, and worldwide price increases are certainly a possibility, albeit a fairly slim possibility in my estimation.
Captured with a Fujifilm X-M1 camera & Fujinon 90mm f/2 lens
Fujifilm’s autofocus will never be as good as Canon, Sony, or Nikon’s, and that’s ok. I’ve explained this beforea couple of times, so forgive me for repeating myself. There are some highly unrealistic expectations that need to be put to rest, which I hope this article accomplishes.
There are a lot of comments floating around the internet along the lines of, “Fujifilm’s autofocus sucks.” And, “Fujifilm needs class leading autofocus like Sony and Canon.” And, “If Fujifilm doesn’t address AF on the next generation, I’m leaving.” And many other similar sentiments. But these comments are out of touch with reality. Let me explain why Fujifilm’s autofocus will never be as good as the Canikony brands, and why it doesn’t matter.
There are three reasons why Fujifilm’s AF isn’t as good as the three big brands. First, those companies have been making autofocus systems for much longer. Sony (through Konica and Minolta) have been making AF since the 1970’s—they were the first (via Konica), and the first to have what was considered a “good” AF system (via Minolta). Canon and Nikon have been developing AF since the 1980’s. Since they had such a big head start, it is only logical that they’re further along. Second, the Canikony brands have more R&D funds to commit to autofocus development and improvements. They have larger teams with larger budgets, and it’s probably easier for them to attract the most experienced talent. Last but not least—and this was pointed out by PetaPixel—the big three have put most of their effort over the last handful of years into AF, and have largely ignored image quality improvements; in some cases, autofocus was prioritized to the detriment of image quality. That is a path I would highly discourage Fujifilm from pursuing, personally.
While Canon, Sony, and Nikon have put a lot of their eggs in the AF basket, we’ve long surpassed the point of diminishing returns—the Inverted U Curve, for those who have read Malcolm Gladwell’s David & Goliath (a book I definitely recommend). How good does AF really need to be? At what point is it good enough for almost everyone? I think we passed that point years ago. For almost the entire history of photography and videography, there was no autofocus. It was manual focus only. Yet today’s photos and videos aren’t necessarily better than they were then (in some ways, they might be subjectively worse). If we compare Minolta’s first “good” AF to the AF of any camera made in the last 25 years, it’s clearly not as good as even the worst examples you could find. In other words, we’re really spoiled today with incredible gear. Fujifilm’s so-called “sucky” AF is better than the best AF from 15 years ago, maybe even 10. Were we incapable of creating good photos and videos then? Are photos and videos captured today using the latest Canikony cameras better than anything previously? Of course not! Some people seem to think that photography has only been around for a few years.
It was never about the gear, it has always been about the one using the gear. Yes, some tools make it a bit easier to achieve your desired results, but if you really want a certain result, you can do it no matter your camera. You might have to try a little harder, you might have to learn a new skill, or you might have to practice a skill you’ve gotten rusty at, but you can still do it. My guess, though, is that for 98% of people, Fujifilm’s AF is more than good enough just as it is, as was Canikony’s five or ten or even 15 years ago. So does it actually matter that Fujifilm’s autofocus isn’t as good as the three big brands? It might matter to some, but it shouldn’t matter to the vast majority. If you can’t get the job done with the gear you have, the problem isn’t the gear; however, that’s a bitter pill that people don’t want to swallow. Nobody wants to hear that they’re the problem, but without introspection there’s no opportunity for growth.
With all of that said, Fujifilm has done an amazing job creating and improving the autofocus on their cameras, all things considered (aside from that infamous firmware bug last year). With a smaller budget and smaller team (and with a lot less time), they’re not terribly far behind Nikon. I’m sure they will continue to make strides, and—who knows—with AI they might have some breakthroughs that would be difficult otherwise, and which might level the playing field a bit. For most people, these improvements will have little-to-no practical benefit because the AF is already more than sufficient—we’re near the top of the upside-down U. Seriously, how good does it need to be? It’s been more than good enough for me since X-Trans III, and even the older models are decent in daylight situations. Only in extreme cases do the Canikony brands have a clear advantage, yet even those situations aren’t insurmountable if the one behind the camera doesn’t allow them to be. While I’m sure Fujifilm’s autofocus will continue to improve, the difference it will make for most people is very small. Yes, we’re rooting for Fujifilm to be at the head-of-the-pack in every aspect of camera-making, but it’s important to keep expectations realistic, or else we’ll inevitable be disappointed, which will lead to unnecessary resentment—something that’s easy to spot all over the internet.
Right now, people are talking about Fujifilm Recipes. Thanks to models like the new Fujifilm X-E5, which is the first camera to use the term “Recipe” inside the menu, more and more people are discovering the joys of Film Simulation Recipes. Interestingly enough, not only are camera-made JPEGs no longer stigmatized, they’re actually “in” right now—they’re cool.
Yesterday, DPReview posted an article by Mitchell Clark entitled Why the Fujifilm X-E5 turned me into a film recipes fan. The article specifically mentions two Fuji X Weekly Recipes: Ilford HP5 Plus 400 that Anders Lindborg created and 1976 Kodak that I created. Interestingly, it’s written from the perspective of someone who’s always dismissed camera-made JPEGs and Recipes. But, after trying some while preparing for an upcoming Fujifilm X-E5 review, not only did the author have a change of heart, but it also affected how he thought about the scene he was photographing (in a positive way). This article makes it ok for those who have never tried Recipes to do so, and explains that you might not realize what you’re missing out on.
“Photos look great right out of the camera,” Ben wrote. “Strange as it may sound to seasoned photo nerds, I went into my trip with the GFX100RF with the intention of shooting JPEGs—essentially using this $5,000 camera the way my parents documented family vacations with their film point-and-shoots. And guess what? It worked spectacularly well.” He went on to specifically mention my Kodachrome 64 and Kodak Portra 400 v2 Recipes.
Above, clockwise from top-left: Kodachrome 64, Kodak Portra 400 v2, 1976 Kodak, and Ilford HP5 Plus 400 Recipes
Of course, it’s not just large photography sites or major newspapers that are talking about Fujifilm Recipes. I’ve had the privilege of visiting many camera stores recently, from the small but up-and-coming Nuzira that’s local to me in Arizona, to B&H in Manhattan, and a whole bunch of others in-between. I was even interviewed recently by Mike’s Camera. No matter the store, the story is the same: people are interested in Recipes, and they’re being talked about by both customers and employees. As one sales representative told me at a major store, “Half of my sales of Fujifilm cameras are a direct result of your App.”
I didn’t make Film Simulation Recipes to sell cameras, but nonetheless it has become a major selling point, and now even an official feature. I made Recipes to help people—including myself—more quickly and easily achieve desired picture aesthetics, in a way that’s often more fun and authentic. It’s simply a way to help others, and be a positive part of the photography continuum. As I wrote last week: Shoot more, edit less, and let your camera become your darkroom.
Fujifilm just released some firmware updates today for a bunch of cameras. We need to talk about this right now, because there are reasons why you may not want to update your camera.
The specific models with firmware updates are Fujifilm X-T5, X100VI, X-T50, X-S20, X-M5, GFX100RF, and the X half. For all of these updates, “Wireless communication security is enhanced while camera is connecting with a smartphone application or external device wirelessly.” Extra security is good, although I’m not too worried about the wireless communication security of my camera, personally. But, then we find out that if you do this update (aside from the X half, which is a different story), your camera will no longer work with the Cam Remote app, and it won’t work with any of the Instax Share SP printers, either. This update removes some functionality from the cameras, and doesn’t add anything other than a more secure connection.
I never update to the latest firmware right away. It’s always a good idea to wait a few days, if not a few weeks, just in case there’s some bug. It’s happened before with Fujifilm cameras—most famously the autofocus bug last year—but also with other brands (including Canon just last week), and even non-camera products; it’s not a Fujifilm issue, but a tech issue in general. If there is a bug in the firmware, let someone else discover it first. You can save yourself a major headache sometimes just by waiting. The X half update is probably fine (just make sure you also update the X half App), but I’d still wait a few days just in case.
223 – Savannah, GA – Fujifilm X half
The problem is that this particular firmware might shy you away from updating your camera ever again. For example, I don’t use the XApp; instead, I use the old Cam Remote app. Why? First, the XApp is only compatible with the newer cameras, and since I have older models, I have to use the Cam Remote app for those—I’d rather have just one app for all of my Fujifilm models, for the sake of simplicity and consistency. Second, I’ve figured out how to make the Cam Remote app work quite well for me. I know that it’s rated very low in the app store, but once I figured out how to get it to consistently connect to my cameras without trouble, it’s become easily four stars in my book. If it ain’t broke, don’t fix it; since it’s working really well for me right now, I’m not going to update my cameras, which will force me to use the XApp. Now if Fujifilm updated the XApp so that older cameras could connect to it, that’s a different story entirely. Fujifilm: if you really want everyone to migrate to the new app, make it compatible with more cameras.
You may or may not feel similarly about the Cam Remote app. Maybe—like me—you still use it, even though it’s not the latest. Maybe you don’t have any older models, the XApp works great for you, and you hated the Cam Remote app anyway when you did use it a couple years ago. But, perhaps, you do connect to an Instax Share SP printer sometimes, and maybe that’s a reason not to update the firmware. Honestly, instead of taking away compatibility with Instax, Fujifilm should add it to all the cameras. There’s no good reason why you cannot print on an Instax Link directly, and it’s a shame that you cannot on most models. Now, if you update the firmware, you can’t print directly on a Share SP, either.
This security firmware update takes away functionality, so you may want to consider avoiding it if you use the Cam Remote app or print to Instax Share SP printers. Maybe you are concerned about how secure the wireless communication is on your camera, and the improved network security level is worthwhile to you. In that case, I’d still wait a few days, but then update. Since I’m not all that concerned about it personally, I’m not updating my cameras, except for the X half probably this weekend.
Savannah Central 7069 – Savannah, GA – Fujifilm X100VI – Retro Color
When Fujifilm released the X half last month, it included some brand-new filters, including Light Leak, Expired Film, Halation, and many more. One of my personal favorites is called Retro. Fujifilm doesn’t say exactly what the Retro Filter is supposed to resemble, but it’s an obvious vintage aesthetic. It reminds me a bit of Ormond Gigli’s color work of the late 1960’s and early 1970’s, although I’m sure the similarities are coincidental. I do think the filter was inspired by 1960’s era Ektachrome, especially when push-processed, something Kodak began offering in 1968.
The one and only X-series camera that has the Retro Filter is the X half. You won’t find it on the X100VI or X-E5 or any other model; however, it is on Instax Evo cameras. This filter, plus a number of others on the X half, were inherited from the Instax department. In my opinion, Fujifilm should add the Retro and Expired Film Filters to the Advanced Filters section of X-series cameras. Light Leak and Halation should be added as JPEG options that can be applied to Film Simulation Recipes. I hope they do.
Above: Retro Filter on the Fujifilm X half
While the Retro Filter on the X half was the initial inspiration for this new Recipe, I leaned more heavily into a different (yet similar) picture aesthetic that I really like: the Retro Style Smart Filter on my Samsung ST76 digicam. This little pocket point-and-shoot is from 2012, and it’s not particularly great, but I really like the Retro Style Smart Filter on it, which is pretty much the only reason why I use that old digicam. The filter is intended to produce a vintage ’60’s and ’70’s look, although (again) the specifics aren’t identified. While it has some similarities to the Retro Filter on the X half, it is notably divergent—a bit softer, less bold, and more subtle (yet still pronounced). To me, it looks more like prints from that era, more so than push-processed slides.
I did consider both of these picture aesthetics when created this Retro Color Film Simulation Recipe, but I spent more time comparing my X100VI and X-E5 photos to the Samsung ST76 than the X half. That was the vibe that I wanted to emulate, more so than the X half images. I think this Recipe nails the look in certain situations, and is pretty close (but not perfectly matched) in others. I’m pretty satisfied with the end result.
Above: Retro Style Smart Filter on a Samsung ST76
You might ask why I replicated the Retro look from a cheap digicam over the Retro look from the X half. Initially, I was attempting to replicate the X half aesthetic, but I encountered some difficulties early in that process. If I kept at it, perhaps those things could have been overcome. My hope is that Fujifilm brings the Retro Filter to X-series cameras, which might make the Recipe obsolete if I made it. Aside from that, while the Retro aesthetic from the Samsung ST76 and Fujifilm X half both have their positive and unique characteristics, overall I prefer Samsung’s version, as Fujifilm’s can be a little too strong sometimes for my tastes. I like both, and they’re both somewhat similar, but the one that I like best is what I ended up mimicking.
This Recipe produces an aesthetic reminiscent of some photo prints from the 1960’s and ’70’s, maybe captured using Ektachrome X or Ektachrome 200. I did find a few examples of Ektachrome prints from the 1970’s (for example, this one), which aren’t terribly dissimilar, and maybe sit halfway in-between the Retro Color Film Simulation Recipe and the X half‘s Retro Filter. As with anything in film photography, there are a lot of variables that can significantly affect the outcome. I would say that it is the “general aesthetic” that the Recipe recreates more so than a specific film or process.
Triton – Tonopah, AZ – Fujifilm X100VI – Retro Color
This Retro Color Recipe looks great on sunny days, and can be especially nice during golden hour. Try both a slight underexposure and overexposure—the results are notably different, and you might prefer one over the other. It produces a certain look with overcast sky, which you could either love or hate (most people probably won’t like it). I would avoid this for nighttime situations, but early blue hour is fine. This Recipe wouldn’t be my first choice for portrait photography, although situationally specific, it might be ok for that. If you appreciate a warm, vintage aesthetic, give the Retro Color Recipe a try, as you might really like it.
This is a Patron Early-Access Recipe. If you are a Fuji X Weekly App Patron, you have access to it right now. If not, no worries, as it will eventually be made available to everyone, once it is replaced by a new Early-Access Recipe. It is compatible with all fifth-generation X-Trans cameras, which (as of this writing) are the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, and X-E5. It can also be used on the latest GFX models, including the GFX100 II, GFX100S II and GFX100RF.
Example photographs, all camera-made JPEGs using this Retro Color Film Simulation Recipe on a Fujifilm X100VI and X-E5:
7 Eleven – Phoenix, AZ – Fujifilm X100VI
Dusty Steering Wheel – Buckeye, AZ – Fujifilm X-E5
Sparkless Plug – Buckeye, AZ – Fujifilm X-E5
Eye Closed – Buckeye, AZ – Fujifilm X-E5
Inspection – Arlington National Cemetery, VA – Fujifilm X100VI
The Porter Machine – Savannah, GA – Fujifilm X100VI
2715 – Savannah, GA – Fujifilm X100VI
Mission Arch – Tucson, AZ – Fujifilm X-E5
Storm over Mission San Xavier – Tucson, AZ – Fujifilm X-E5
Treasury Department – Washington, DC – Fujifilm X100VI
Big Flag – Phoenix, AZ – Fujifilm X100VI
Bashas on Main Street – Buckeye, AZ – Fujifilm X-E5
Vacancy at the Motor Hotel – Buckeye, AZ – Fujifilm X-E5
Afternoon Palm – Buckeye, AZ – Fujifilm X-E5
Craftsman – Buckeye, AZ – Fujifilm X-E5
Bougainvillea Sunset – Buckeye, AZ – Fujifilm X-E5
Tire Pile – Waddell, AZ – Fujifilm X-E5
Fireplace – Scottsdale, AZ – Fujifilm X100VI
Fading Sunset – Somewhere over Arizona (I think) – Fujifilm X100VI
Find this Film Simulation Recipe and 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.
Small Clouds Above the Roof – Buckeye, AZ – Fujifilm X-T30 – Pro Neg Recipe
I worked on this Film Simulation Recipe for some time. It wen’t through a lot of iterations, with small tweaks here and there over a few month period, before I landed on the final settings. The idea was to create a generic Kodak-ish color negative film aesthetic, perhaps something similar to ColorPlus 200 or Pro Image 100. While I did look at both of those emulsions a number of times during the development of this Recipe, I didn’t set out to strictly emulate either of them. I think there can be similarities at times to both of those film stocks, but generally speaking this Recipe isn’t a replication of either—or any—film. I hope that makes sense. I do think it does a good job at producing a generic color negative film aesthetic that is by-and-large Kodak-esque, with occasional similarities to both ColorPlus 200 and Pro Image 100.
Pro Neg was a Fuji X Weekly App Patron Early-Access Recipe. The Fuji X Weekly App is free, yet becoming a Fuji X Weekly Patron unlocks the best App experience! One benefit of being a Patron is you get early access to some new Film Simulation Recipes. These Early-Access Recipes will eventually become available free to everyone in time. This one was just replaced by another, so now it’s available to everyone. Patrons help support Fuji X Weekly and, really, without them there would be no App. So I want to give a special “thank you” to all of the Patrons!
Beautiful Bougainvillea Blooms – Buckeye, AZ – Fujifilm X-T30 – Pro Neg Recipe
This Pro Neg Film Simulation Recipe is compatible with the Fujifilm X-T3 & X-T30, plus all X-Trans III cameras, which are the X-Pro2, X100F, X-E3, X-T2, X-T20, and X-H1. For newer cameras, you’ll have to decide on a Grain size (Small or Large), set Color Chrome FX Blue to Off, and Clarity to 0. This Recipe is also compatible with the GFX100; it can be used on “older” GFX models (50R and 50S), but will render slightly differently (try it anyway).
Film Simulation: PRO Neg. Hi Dynamic Range: DR400 Grain Effect: Weak Color Chrome Effect: Off/NA White Balance: 9100K, -7 Red & +7 Blue Highlight: +1 Shadow: +1 Color: +1 Sharpness: -1 High ISO NR: -4 ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs captured using this Pro Neg Film Simulation Recipe on my Fujifilm X-T30:
Empty Schoolyard – Buckeye, AZ – Fujifilm X-T30
Backyard Wall View – Buckeye, AZ – Fujifilm X-T30
Hidden Triangle – Buckeye, AZ – Fujifilm X-T30
Gila River Hat – Buckeye, AZ – Fujifilm X-T30
Tree by Field 4 – Buckeye, AZ – Fujifilm X-T30
Bougainvillea Petals – Buckeye, AZ – Fujifilm X-T30
Little Cloud Between the Trees – Buckeye, AZ – Fujifilm X-T30
Twin Palms – Buckeye, AZ – Fujifilm X-T30
Palm Behind Bougainvillea Blossoms – Buckeye, AZ – Fujifilm X-T30
Suburban Colors – Buckeye, AZ – Fujifilm X-T30
Bougainvillea in the Sky – Buckeye, AZ – Fujifilm X-T30
Basketball Hoop at Dusk – Buckeye, AZ – Fujifilm X-T30
Hoop & Tree – Buckeye, AZ – Fujifilm X-T30
Court Cycle – Buckeye, AZ – Fujifilm X-T30
Dusk Saguaro – Buckeye, AZ – Fujifilm X-T30
One Fallen, One Standing – Buckeye, AZ – Fujifilm X-T30
Window Reflection – Buckeye, AZ – Fujifilm X-T30
Yellow Trumpet – Buckeye, AZ – Fujifilm X-T30
Backyard Rose Blossom – Buckeye, AZ – Fujifilm X-T30
Sony surprised the photographic world with the announcement of the RX1R III, a full-frame fixed-lens compact camera. It’s a followup to the RX1R II, which was released 10 years ago. I wasn’t intending to write about it, but a couple people asked for my opinions, so I thought I’d chime in. If you’re interested to know what I think, read on.
Whenever I write these types of articles, invariably someone will get upset. If I criticize any aspect of any camera that’s not Fujifilm, people will say that I’m a hater. If I don’t criticize Fujifilm cameras enough, I’m accused of being a fanboy (meant negatively; I consider it positive). For some people—and they’re found all over the internet but very rarely in real life—I (and other Fujifilm bloggers) must speak only positively about other brands, but at least 50% negative about Fujifilm, or else the opinions expressed are to be disregarded as rubbish. It’s weird. So I think it’s important for me to state right up front where I’m coming from, and if your perspective is similar to mine, maybe you’ll appreciate this article; if not, take all of this with a very large grain of salt, and don’t let it bother you. I like retro-styled cameras (preferably with traditional exposure controls and not PASM) that are compact and lightweight, and that produce excellent straight-out-of-camera pictures that have an analog-like look to them and don’t need to be edited. Fujifilm cameras are by far my favorite, but I have used (and occasionally still use) other brands, including Sony (among others).
Above: Sony a7 IV and the FL “Film Look” profile
To begin with, I think it was smart for Sony to make this camera. It will sell quite well. I have no doubts that this camera will be a hit, and will be a money-maker for them. The specific questions I received about the RX1R III were: how will it impact Fujifilm? Will people leave Fujifilm for this model? Will it affect the sales of the X100VI and GFX100RF? I want to avoid getting into the spec sheet, or criticisms of the rear LCD or things like that—plenty of other people have already discussed those things at length. I’m going to focus more on answering the questions that I was asked.
I don’t think the RX1R III is a direct competitor to the Fujifilm X100VI, but the success of the X100VI certainly influenced Sony to make this camera. And there are enough similarities on paper that one might think they’re competition; however, simply looking at the cameras, it’s obvious they’re significantly divergent in philosophy and design, not to mention price. In my estimation, not many X100VI customers will be lured away by the RX1R III, and not many RX1R III customers will be lured away by the X100VI (probably more will be attracted to the X100VI simply due to cost). I can imagine that some photographers will even have both cameras, although that’s likely going to be a pretty small number. People on YouTube will make the comparison, I’m sure, but overall I don’t see these two models as major competitors.
The RX1R III will more directly compete with the GFX100RF, even though their focal lengths are different. Do you want the bigger, heavier GFX100RF with a larger, higher-resolution sensor and wider but slower lens, or the smaller, lighter RX1R III with a tighter focal length and larger f-stop? Do you want the traditional tactile controls of the Fujifilm, or the PASM and slightly more minimalistic approach of the Sony? Do you want Fujifilm’s renown colors and JPEG engine, or Sony’s better AF and video output? Do you want a striking retro-styled camera, or a more discrete design (to put it nicely)? Do you want to pay $5,100 for the RX1R III, or $4,900 for the GFX100RF? Both have their pluses and minuses, so it really comes down to personal preferences. I’d choose the GFX100RF (and I hope to someday when my budget allows), but that’s just me, and I can see this being a tough choice for some.
Above: Sony a7 IV and the FL “Film Look” profile
Of course, the Sony RX1R III is also competing against the Leica Q3 and Q3 43. I don’t see this camera taking people out of the Leica camp, but it could certainly convince some not to get into it. I can see this as a Leica alternative for those who can’t quite afford to buy a Leica. Mostly, though, the RX1R III is simply a fixed-lens camera for those who are already in the Sony ecosystem. It’s a pocketable-ish camera that’s great for everyday carry or travel due to its compact size, when you don’t want to lug around something like the Sony a7 IV.
I’m not against Sony or the RX1R III. It’s a camera that you’re likely going to shoot RAW with and not JPEG, although Sony has made some notable strides in that department. Most of Sony’s JPEG profiles are so-so, but FL (“Film Look”) is pretty good—kind of similar to the Negative Film effect on the Ricoh GR III and GR IIIx. Apparently there are now three FL options: the original one that’s now called FL1, a more subdued and vintage-looking one called FL2, and a more vibrant and contrasty option called FL3. While these can be customized into Recipes (if someone made them), and Sony does offer interesting customizations like Fade, there’s no faux grain, which is a bit of a bummer. Also, you cannot reprocess the RAW files in-camera, should you need to boost or reduce exposure or apply a different look altogether. From my experience, Sony’s JPEGs can be a bit prone to banding, especially in clear blue sky situations. Fujifilm is a long ways ahead of Sony in regards to camera-made JPEGs, which is one reason why I’m not personally interested in the RX1R III.
I don’t have strong positive or negative opinions about Sony’s new camera. If I was offered one to try, I certainly wouldn’t say no (I doubt that will happen, though). I’m saving up for the GFX100RF, which I’m sure I would like better; however, if I were in the market for a Sony camera, the RX1R III is the only one that I’d consider purchasing right now, and I do think I’d enjoy it, especially with the three FL profiles set to the 1, 2, & 3 positions on the top dial. And that’s my two pennies, for anyone who might be interested.
Fujifilm’s Film Simulations are not mere digital filters. Harnessing more than 70 years of knowledge and experience making photographic and cinematic films, Fujifilm set out to infuse their X and GFX cameras with an analog soul. With a combination of complex elements, these Film Simulations provide a wide variety of looks inspired by film or darkroom techniques. There are 20 different Film Simulations on the latest models, and it can be overwhelming to know where to begin. I like some more than others, but which are best is personal—my preferences might be different than yours. For me, five Film Simulations have emerged as iconic, and are my personal favorites. There are others that didn’t make this cut that I also appreciate and use regularly. Each Film Simulation has its moment when it works really well.
My five favorites are Acros, Classic Chrome, Classic Negative, Nostalgic Neg., and Reala Ace. We’ll take a look at each of them. I will also recommend a few Film Simulation Recipes, selected for those who want to experience the full power of Fujifilm’s renown JPEG engine. Recipes use the various JPEG parameters made available by Fujifilm to customize the aesthetic of the Film Simulations, producing a variety of looks that are often based off of classic film stocks.
Acros is Fujifilm’s crowning achievement in monochrome photography. This Film Simulation replicates the tonal response and grain structure of real panchromatic film. It features smooth gradation, deep blacks, and beautiful highlight roll-off. Acros is unique because Grain is applied algorithmically and varies depending on ISO and exposure, giving it an organic analog-like feel. Fujifilm offers three filter variants: Acros+R (simulates the use of a red filter), Acros+Ye (simulations the use of a yellow filter), and Acros+G (simulates the use of a green filter), further mimicking the tonal rendering of black-and-white film.
This Film Simulation shines in genres where texture and tone are essential, especially street photography, portraits, documentary, and minimalism. Acros is ideal when you want to eliminate the distraction of color and focus purely on light and form. When paired with the right Recipe, it can evoke the gritty spirit of classic film stocks like Tri-X, or deliver a softer tonality for quieter moments. The Acros Recipes below are some of my personal favorites.
Classic Chrome was modeled after classic photojournalism photographs, and produces a documentary-style look. The reference pictures were emulsions like Kodachrome and Ektachrome. While Fujifilm will never say Kodak, Classic Chrome has a distinctive Kodak-like color palette. With a slightly lower saturation and stronger contrast than many other Film Simulations, it can be used for a bold-yet-somehow-subdued look.
Classic Chrome is great for many genres. It can be adapted for landscapes, portraits, travel, street and urban scenes, or storytelling photography. It’s the most popular Film Simulation for those who use Recipes, and the most iconic Recipes use Classic Chrome as their foundation. Below are the most popular Film Simulation Recipes—not only that use this Film Sim., but out of all Recipes.
Classic Negative is based on Fujicolor Superia, a line of consumer films known for rich colors and its 4th layer technology, which provided versatility in a variety light situations. It’s a bold Film Simulation with a unique ability: the way it renders is dependent on the brightness of the picture, behaving somewhat similar to the film when overexposed or underexposed—delivering complex, sometimes unpredictable color shifts. Greens can appear silvery, reds can pop or fade depending on the lighting, and skin tones have a nostalgic rendering. The results are reminiscent of pictures found in many photo albums from the 1990’s and early 2000’s.
Classic Negative is especially well suited for snapshots of daily life and family vacations—really, any subject where you want a stylized, analog-inspired aesthetic. It exaggerates contrast in a way that feels emotionally driven, almost like how memory transforms color and mood. It’s one of the most fun Film Simulations to experiment with, and the Recipes built on it often have strong personalities.
Introduced with the GFX100S and later made available in fifth-generation X-Trans V cameras, Nostalgic Neg. was designed to mimic the aesthetic of New American Color prints from the 1970’s. It was inspired by the works of William Eggleston, Stephen Shore, Joel Sternfeld and Richard Misrach, among others. Like Classic Chrome, Nostalgic Neg. has a strong Kodak-like rendering, albeit from a different era. Nostalgic Neg. gives the feeling of looking through an old photo album filled with warm memories, especially prints from the ’60’s and ’70’s.
This Film Simulation excels in storytelling, and is especially great for travel and documentary photography. Nostalgic Neg. is an emotional Film Simulation, and Recipes built on it often lean into the sentimental, creating photos that feel more like visual poetry than true-to-life renderings.
Reala Ace is the newest Film Simulation in Fujifilm’s lineup. It blends natural color fidelity with enhanced contrast and shadow depth, aiming to strike a balance between documentary realism and artistic expression. The tones are clean and accurate, but never sterile—just enough pop to give photographs life without looking overly processed. It’s most similar to PRO Neg. Std, but isn’t exactly like it, either, with an obvious nod to Fujicolor PRO 160C color negative film.
Reala Ace is an excellent choice for all-purpose photography—whether you’re shooting travel, street, portraits, or landscapes. It can be adapted to a wide range of subjects, lighting, and moods. As a base for Recipes, it can be made to produce a variety of different looks. It’s not surprising to me that Reala Ace is becoming a go-to Film Simulation for many photographers.
These five Film Simulations—Acros, Classic Chrome, Classic Negative, Nostalgic Neg., and Reala Ace—represent the heart of Fujifilm’s JPEG magic. Each offers a unique way to see the world. They allow you to create finished straight-out-of-camera photographs that look great and don’t need to be edited, especially when combined with Film Simulation Recipes. Film Simulations and Recipes are tools of expression, just like film stocks. Shoot more, edit less, and let your camera become your darkroom. Wow, I need to use that last sentence as a tagline or something.
Fujifilm has already produced and delivered more copies of the X100VI than any other previous X100-series model. There are more X100VI’s in the hands of photographers right now than X100V, or X100F, or X100T, etc.. That’s truly amazing, since the X100VI was released only about a year-and-a-half ago, while the other models had production runs closer to four years.
The reason why Fujifilm has made so many copies of this camera is because of the unprecedented historic demand for it. By far, there were more preorders for the X100VI than any other camera by any manufacturer ever. No camera in the history of cameras has had so much interest at announcement. And, if the demand doesn’t relent anytime soon, it could possibly lead to the X100VI becoming the most-sold camera of all time (not including cellphones), which would be a highly improbable achievement. I don’t think that will happen—not even close—because surely the demand isn’t that strong. At some point, it will certainly back off to a more “normal” level, right?
There are still people lamenting that they can’t get their hands on a Fujifilm X100VI. They’d like to buy one, but can’t find it in stock anywhere. As soon as a camera store lists it in-stock, which doesn’t happen often, within hours or even minutes, they’re sold out again. So it might be easy to believe that the demand hasn’t relented. But that’s mostly just in America, and it seems to be partially related to the tariffs. Worldwide, the X100VI has been becoming easier and easier to find. It’s still out of stock at a lot of places, but overall, it’s not terribly hard to get one if you want one. People are reporting walking into their local camera store and finding a few copies on the shelf. So internationally—and depending on where exactly—the situation is a bit better than here at home.
What makes me think that supply and demand are equalizing is that there are used copies available for a reasonable price, like at B&H. Scalping continues on sites like eBay, but it’s not nearly as bad as it was last year. Things are slowly returning to normal. And this is where Fujifilm needs to be very, very careful, a situation that I’ve been predicting for more than a year.
With the X100VI, Fujifilm doubled the production numbers of the X100V from the get-go, from 7,500 units per month to 15,000. At one point last year they said that they wanted to double production again, making it four times that of the X100V, but later stated that that simply wasn’t possible. My best guess is that it is somewhere around three times more than the X100V right now, which would put it at about 22,000 copies per month, or about 265,000 units per year (these numbers are just guesses). The historically “normal” demand for an X100-series camera is 90,000 per year.
At some point, demand for the X100VI will drop. Once the majority of those who want one get one, Fujifilm will sell a lot fewer of them. If the market gets oversaturated, the value will decrease, and Fujifilm will be forced to reduce the price. Those selling them used will have to drop their price, too. This is a situation that Fujifilm really wants to avoid, as it would reduce brand strength. It would be a Lean Production failure if Fujifilm produced more X100VI’s than there are customers wanting to buy them. Fujifilm must proceed with caution.
The mistake of overproduction would be very easy. Since it takes many months from securing parts and scheduling manufacturing to delivering an assembled camera to a store, the demand must be forecasted in advance, probably at least six months. If Fujifilm is making 22,000 units per month, and the total international demand right now is 130,000, in six months Fujifilm would have overproduced 2,000 copies. That’s probably not a big deal, as they’ll surely sell those cameras; however, if they’ve still got 132,000 cameras in the process somewhere, to be manufactured over the following six months, that’s a massive and possibly devastating problem. That’s something that could sink the whole camera division.
I’m just little ol’ me sitting in my office trying to stay cool from the brutal Arizona sun, but even I can see early signs that supply and demand are equalling out. That should be a huge caution flag for Fujifilm. They should strongly consider scaling back production. Perhaps drop it back to 15,000 units monthly ASAP, and work towards “only” 7,500 units monthly by 12 months from now. Obviously Fujifilm wants to capitalize on this lightning-in-a-jar situation as much as possible, and they’d love to sell a quarter-million-plus copies per year without hardly any promotion—what a dream circumstance! But they should also listen to that nagging feeling that this won’t last forever, because it won’t.
I wouldn’t doubt if the X100VI sold twice as many units as the X100V or any other prior X100-series camera by the time its production run has ended. It might even sell four times as many. At some point, though, all the people who want one will have one. Aside from that, trends change quickly. All it takes is some shift in market dynamics or some other camera to catch the attention of social media influencers for the X100VI to be yesterday’s news. Overproduction is a real problem that Fujifilm is well acquainted with and desperately wants to avoid, and no other X-series camera has had a higher risk of overproduction than the X100VI. Fujifilm should ask themselves if now is the time to scale back, because it would be very easy to overshoot this, something that they’d certainly regret doing.
