camera gear | FUJI X WEEKLY

Fujifilm X30 — Fujifilm’s Forgotten Retro Compact Zoom

Posted on August 5, 2024 by Ritchie Roesch

The Fujifilm X30 is an amazing and fun little camera. All it does is create wonderful pictures. It was quite surprising, and just blew away my expectations! I bet some of you aren’t even aware that this camera exists.

MPB is the sponsor of this article. They loaned me a Fujifilm X30 to try out for a couple of weeks. For those who don’t know, MPB is an online platform where you can buy, sell, or trade used photo and video gear. “At MPB, there’s something for everyone who wants to try something new, hone their skills, or pursue their passion—and it won’t cost the earth.” If you’re in the market for used camera gear, be sure to check out their platform—you can learn more about MPB here. Thank you, MPB, for making this article possible!

The Fujifilm X30 is a compact fixed-lens zoom camera with a tiny 12MP X-Trans II sensor. The third iteration in the series, the X30 was already a bit dated when it was released in 2014. With its discontinuation in 2016, Fujifilm abandoned the series altogether. The camera has a 28mm-112mm full-frame-equivalent f/2-2.8 lens, so it covers a lot of focal lengths. It has pretty good close focus capabilities and even optical image stabilization. There’s a lot to like on paper, but the 2/3″ CMOS sensor is just really small, and I think it’s hard to take a camera seriously with such a tiny sensor—especially when that tech is a decade old or more. That’s all on paper, of course, and real world use is what actually matters.

Despite the tiny sensor, the Fujifilm X30 is actually a similar size (just a tad smaller) to the Fujifilm X-E4 with the Fujinon 18mm f/2 pancake. The camera is not nearly as compact as I had expected. I had anticipated the dimensions to be more similar to the Fujifilm X70—perhaps even be pocketable—but it’s actually noticeably larger. In place of the usual Shutter Dial is a PASM Dial (which was common on Fujifilm’s lower-end models at the time); otherwise, the X30 looks and functions like many other Fujifilm X-series cameras. Because of the tiny sensor, it has significantly lower high-ISO capabilities than the APS-C models—I think it’s best to keep the camera at ISO 800 and below, but I did use ISO 1600 in some low-light situations and it was ok enough.

I programmed seven Film Simulation Recipes into the camera’s C1-C7 Custom Presets: Classic Kodak Chrome, Kodachrome 64, Pro Film, Lomography Color 100, Provia Negative, CineStill 800T, and Monochrome Red. This is a good set that covers most situations. Also, because each one uses a different White Balance type, the camera will remember the White Balance Shift for each. On the older cameras, which aren’t capable of saving a WB Shift within the C1-C7 presets, the experience is much improved if each Recipe uses a different White Balance type. I used Kodachorme 64 the most, and Classic Kodak Chrome second most—at one point or another, each of the seven came in handy.

*Fujifilm X30 – Classic Kodak Chrome Recipe*

*Fujifilm X30 – Lomography Color 100 Recipe*

The pictures from this camera are amazing! They have a ton of character—I especially love the lens flare. I think the photographs are the selling point of the X30. It doesn’t have a ton of resolution, so you probably can only print up to 11″ x 14″ and not likely any larger; however, the files are plenty large enough for web and social media use, which is how most pictures are seen nowadays. I could see myself using this as an everyday-carry. Just grab it while heading out the door on ordinary outings.

Once again, a big “thank you” to MPB for loaning me a Fujifilm X30. It definitely is “outdated” in 2024, but the images that it creates are surprisingly wonderful, which makes it worthwhile to own and use. I think this could also be an excellent option for someone just learning photography. Even though the X30 is an easy to overlook model—especially since compact zooms have largely been forsaken by the industry—the retro design of this camera and especially the nostalgic photographs that it makes are easy to love.

Example photographs, all camera-made JPEGs captured on a Fujifilm X30:

Previously in this series:
Fujifilm X-Pro2 — The camera that got away (again)
Fujifilm X-T50 + Fujinon 23mm F/2 = Interchangeable-Lens Fujifilm X100VI??
Leica Q2 from the perspective of a Fujifilm photographer

Up next: Close Up with the Fujinon XF 30mm F/2.8 R LM WR Macro

BTW, in the top picture the camera is sitting on Kyle McDougall’s book An American Mile. An excellent photoessay, and great for inspiration—I highly recommend it.

Fujifilm X-T4 ES Available Now (sort of….)

Posted on July 29, 2024 by Ritchie Roesch

I have a limited edition Fujifilm X-T4 ES (Extended Spectrum) camera that I purchased from Fujifilm a month ago (but arrived a couple weeks ago). It was briefly sold directly from the Fujifilm website, but only for a handful of days. Right now, the Fujifilm X-T4 ES is available for purchase from B&H as a special order. You have to agree to some terms and restrictions and be a resident of the USA; one such term is to be a “professional” photographer or videographer with the express purpose of creating “fine art” content. I don’t know what their definition of a “professional” is, but if you’re in America and want this camera, you should at least inquire about it. I don’t believe that there are very many copies of the Fujifilm X-T4 ES, so if you want one, you should definitely act fast, as it won’t last long, I’m certain.

*Red Founders* – Buckeye, AZ – Fujifilm X-T4 ES – Aerochrome v1

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

Fujifilm X-T4 ES (Extended Spectrum)
B&H

What are Advanced Filters? Plus, what Fujifilm should do to make them better

Posted on July 22, 2024 by Ritchie Roesch

Fujifilm X-T50 – Advanced Filters – Pop Color

There’s a feature on most Fujifilm cameras that few use—you might not even be aware that they exist—called Advanced Filters. Fujifilm introduced it in 2013 with the X100S and X20 models. With the exception of a few early models, your Fujifilm camera has Advanced Filters—find it on the Drive Dial or Drive Menu (depending on the specifics of your model). For older models, Advanced Filters are JPEG only; however, on newer models, you can save a RAW file in addition to the JPEG.

So why are the Advanced Filters so obscure and not widely used? Worse, why is it actually detested by some who have tried it? Well, the short answer is that Advanced Filters aren’t “advanced” at all, and are probably the most gimmicky and sometimes cringy thing Fujifilm has included in what are otherwise sophisticated cameras. My personal opinion is that some of the Advanced Filters aren’t half bad, and some are indeed bad and definitely out-of-date; none are especially good (although a couple have potential). Below I’ll briefly explain what each one of the Advanced Filters do. Also, this will serve as an open letter to Fujifilm, with suggestions on how to improve this feature for future cameras.

Here we go!

Toy Camera

Fujifilm describes this Advanced Filter as “a retro toy camera effect”, which is to say that it is roughly modeled after a Holga or Diana film camera aesthetic. The Toy Camera Advanced Filter is ok, but the big issue—and this is a problem with all the filters—is that it cannot be customized. You get what you get, and what you get is mediocre. I have used Toy Camera several times over the years because I like the idea, but I’m always a bit disappointed in the execution.

Fujifilm could make the Toy Camera filter much better by allowing it to be customizable. First, you should be able to choose any film simulation to use with it. Second, the vignetting should be adjustable, such as Weak or Strong, with the current amount being the Strong option. You should be able to add Grain (Weak or Strong, and Small or Large). Soft Focus—which we’ll talk more about in a moment—should be merged into Toy Camera, with the options of Off, Weak or Strong (Strong being the current Soft Focus, and Off being default). You should be able to adjust the contrast: Low, Standard, and High. Finally, Fujifilm should allow you to use any White Balance that you’d like, so that you can control the tint.

Miniature

This filter adds blur to the top and bottom of the frame, similar to using a tilt-shift lens. When you are photographing from an elevated vantage point, this Advanced Filter can give the illusion that the subject is a miniature model. It’s better to use an actual tilt-shift lens to get this effect, but if you don’t own one, this is an easy way to approximate it.

The Miniature filter, along with many of the others, are modeled after photography trends that were popular 15 years ago. By the time Fujifilm introduced Advanced Filters in 2013, these trends were already on their way out. Now, eleven years later, they’re very dated. While I don’t have any issues with Miniature being included, I also don’t think anyone would mind of Fujifilm axed it, or replaced it with something different entirely. How about a filter that gives an Aerochorme-like infrared aesthetic?

Pop Color

Pop Color is my favorite Advanced Filter; however, it suffers from the same problem that they all do—it cannot be customized. The solution for Fujifilm is quite simple, actually: make Pop Color the next film simulation. Obviously it wouldn’t be called Pop Color; instead, Fujifilm should call it Fortia, as it resembles Fujichrome Fortia 50 film. Perhaps they’ll need to fine-tune some aspects of it in some way in order to make it a film simulation—whatever it is that they need to do, I believe that Pop Color absolutely should graduate from Advanced Filters into the film simulation list as Fortia.

High Key / Low Key

Fujifilm X-T50 – Advanced Filters – High Key

Fujifilm X-T50 – Advanced Filters – Low Key

There’s nothing especially special about the High Key and Low Key Advanced Filters—both can be easily replicated using the Provia film simulation. You might occasionally use these two in lieu of having a Film Simulation Recipe programmed into C1-C7 with a similar look, but I don’t believe many people are doing that. Instead, you could use Recipes like Bright Kodak or Low Key for better results.

Fujifilm should replace these two Advanced Filters with something else entirely. How about a split-tone effect? Select any of the film simulations, have three-to-five different split-tone options (highlight and shadow with a different tints), plus have grain and contrast options for further customization.

Dynamic Tone

“Dynamic tone expression is used for a fantasy effect,” is how Fujifilm describes it. What it reminds me of is HDR photography with aggressive tonemapping, which was all the rage 15 years ago despite being hideous. This is one that Fujifilm should definitely axe, in my opinion. They could replace it with something like a high-contrast effect, where you can choose any film sim, but where the contrast is stronger than Highlight and Shadow set to +4 (Dynamic Range, White Balance and Grain should be customizable).

Soft Focus

This is kind of like setting Clarity to -20 and Sharpness to -10 on your Fujifilm camera. Obviously that’s not possible, but it it were, Soft Focus is what it would look like. Aside from being much too strong generally speaking, Soft Focus should be integrated into the Toy Camera filter instead of being standalone. A better Advanced Filter might be a faded effect similar to my Film Simulation Recipes that utilize double exposures like Faded Color, Vintage Color Fade, Bleach Bypass, and Faded Monochrome.

Partial Color (Red, Orange, Yellow, Green, Blue, Purple)

Fujifilm X-T50 – Advanced Filters – Partial Color Red

Fujifilm X-T50 – Advanced Filters – Partial Color Green

The six Partial Color filters are the Monochrome film simulation (with everything set to factory defaults), but with one color recorded (either red, orange, yellow, green, blue, or purple—the singular color is the Provia film simulation). This is another effect that was popular 15 years ago, and I’m sure very few utilize it in 2024. If Fujifilm wants to keep Partial Color, they should allow it to be customized similar to how I described for the other effects; however, I doubt that many would miss it if Fujifilm got rid of it entirely. I think a cross-process filter would be much more interesting—perhaps like cross-processed Velvia, with deep contrast, vibrant colors, pronounced grain, and shifted hues. Something along the lines of the picture below, which is actual cross-processed Velvia 50 film.

*FED 5c & Industar 61 lens – Fujichrome Velvia 50 cross-processed*

To conclude, your Fujifilm camera has something called Advanced Filters that are rather mediocre at best and cringeworthy at worst. Pop Color is my personal favorite—it’s the closest your camera can get to straight-out-of-camera Fujichrome Fortia 50—and it should be made into a film simulation so that it can be customized with Grain, Color Chrome Effects, Highlight, Shadow, etc., etc.. Most of the Advanced Filters should be replaced with something else entirely, and I think I offered a number of good suggestions for that (for those keeping score, that’s Aerochrome, Split-Tone, High Contrast, Faded, and Cross Process, plus an improved Toy Camera). If you find yourself bored one day, perhaps try out some of the Advanced Filters for yourself—Pop Color is my recommendation if you’re only going to try one; otherwise, just know that you’re not missing out on much. If you are Fujifilm reading this, I would suggest working right away on new-and-improved Advanced Filters for the next generation of Fujifilm cameras.

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

Fujifilm X-T50 in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-T50 in silver:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-T50 in charcoal:
Amazon, B&H, Moment, Wex

Fujifilm X-T4 ES (Extended Spectrum) Infrared Camera

Posted on July 16, 2024 by Ritchie Roesch

Fujifilm quietly released a special edition of the Fujifilm X-T4, and nobody noticed. Specifically, it’s the X-T4 ES (“Extended Spectrum”), which is a full-spectrum infrared camera. Digital camera sensors are sensitive to light outside of what humans can see, and a filter is added to the top of the sensor to block those wavelengths so that you get normal-looking colors. The Fujifilm X-T4 ES is an ordinary X-T4, just without the infrared filter over the sensor, allowing the camera to capture invisible light, which dramatically transforms an ordinary scene into something dreamlike.

I’ve wanted to try infrared photography for decades. A long time ago I shot one roll (I believe it was Ektachrome EIR, but I don’t remember for certain); however, none of the frames turned out—mostly because I really didn’t know what I was doing way back then. More recently, I learned that many Fujifilm cameras have some IR sensitivity, so I made several infrared photographs with a non-converted camera; however, that was only a tease.

The problem with modern infrared photography is that (with a few exceptions) it requires you to ship out your old gear to have an expensive and invasive procedure performed in order to remove the IR filter. There are a couple of places that will do it, and at a few different times I strongly considered sending out my old X-T1 to be converted to full-spectrum. You can also buy one that’s already done, but it will either be a used model with a roughly $500 premium, or a new model with that same premium and without a warranty. Two years ago I suggested that Fujifilm should offer an IR camera, and now they have, so I bought it!

The Fujifilm X-T4 ES is not the first infrared camera made by Fujifilm. The first was the S3 Pro UVIR in 2006, followed by the IS-1 (infrared version of the FinePix S9100) in 2007, then X-T1 IR in 2015, then GFX100 IR in 2020, and finally the X-T4 ES in 2024. However, the X-T4 ES is the first made available to the general public, as the others were specifically for “forensic, scientific, and cultural preservation applications.” Fujifilm very quietly released the X-T4 ES only on their website and with almost no promotion. Nobody even noticed it! Well, almost nobody—the camera was sold out within about a week. I’m not sure how many copies were produced—whatever the number, they were gone very quickly. I think it goes to show that there is a demand for such a camera, and Fujifilm should do something similar soon, but have more units available for purchase.

Yesterday a Fujifilm X-T4 ES arrived at my doorstep. I’m very underprepared, and excitedly waiting for some infrared filters to arrive in the mail (you need various filters to control the light to achieve different outcomes) within the coming week; however, I was surprised to learn that my old color filters for B&W film photography work for infrared. Also, unfiltered full-spectrum pictures can be quite interesting, too. I have so much to learn, and a ton of experiments to do, but so far I’m thrilled and amazed by the results—there’s a ton of potential!

I’ve only captured a small number of photographs with the new camera, and just right around the house—nothing even remotely series. The general rule of thumb that I have seen online is that IR pictures require significant editing (including color channel swaps) to get good results, particularly for color images. Of course—you know me—I’m interested in straight-out-of-camera pictures that don’t require editing, so my goal is to create Film Simulation Recipes for use with the full-spectrum Fujifilm X-T4 ES. I have a long ways to go, so it will likely be awhile before I publish anything. With that said, the pictures below are all unedited camera-made JPEGs that I’ve captured with my Fujifilm X-T4 ES, so maybe it won’t take so long afterall.

Infrared with Fujifilm

Posted on July 12, 2024 by Ritchie Roesch

*A straight-out-of-camera B&W IR picture from my Fujifilm X-E4*

I’ve had a fascination with infrared photography for a very long time. Using light beyond the visible spectrum to create pictures often produces unusual results—an ordinary scene can become extraordinary with infrared photography. While I’ve been interested in this type of photography for awhile, I’ve not experimented much with it. Many years ago I shot a roll of IR film, but it didn’t turn out very well; that’s mostly my entire IR experience. I’m an infrared novice.

Even though digital cameras have a filter to block infrared light, many cameras are still IR sensitive. You can test your camera by pointing a TV remote (which works via infrared light) at it. When you press a button on the remote, if your camera is IR sensitive, you’ll see the infrared light in the LCD or electronic viewfinder. It turns out that my Fujifilm X-E4 is indeed IR sensitive (I believe that many Fujifilm cameras are). A few years ago I experimented using a non-IR converted X-E4 with a 720nm IR filter, and I indeed got some infrared pictures.

The big problem with IR photography, of course, is that—at least for color pictures—it requires significant editing, including swapping color channels. If you are a JPEG photographer who doesn’t want to hassle with all that, your options are quite limited. Black-and-white IR is a completely different story; you can get dramatic results out-of-camera without much trouble. For color, either you’ve got to be happy with a red picture, or you’ve got to edit. If you have a full-spectrum camera, there is one option that doesn’t require editing, but it does require that the camera be full-spectrum and not just IR converted.

*SOOC JPEG from my Fujifilm X-E4 using a 720nm IR filter.*

*Same picture after a crude R/B color channel swap and a quick edit*.

Anyway, I’m writing all of this because I told you that I’d update you regarding the Fujifilm X-T4 ES (Extended Spectrum) camera that I ordered from the Fujifilm website. Right in the middle of my move, I received an email from Fujifilm (the “monthly content roundup” email that many of you might also receive), and towards the bottom of it was an add for the Fujifilm X-T4 ES. “Look into the infrared extended spectrum and document the results in beautiful detail with this specialist version of the popular X-T4.”

There was a link in the email to the official Fujifilm online store where the X-T4 ES was listed with very little information about what it is exactly. Even though I did not know much about the specifics of its IR capabilities, I decided to order the camera anyway. The link no longer works (and hasn’t for a week-and-a-half), and the X-T4 ES can no longer be found on the website. I assumed that either the listing was a mistake, or it was sold out quickly.

Then today (two weeks after ordering) I received an email stating that the camera has shipped. Apparently the Fujifilm X-T4 ES has traversed from New Jersey to Tennessee, and just departed Memphis for Arizona within the last few minutes. It’s supposed to arrive at my door on Monday. Yea!

I searched the internet, and found very little information about the Fujifilm X-T4 ES. It was briefly listed at B&H (apparently mistakenly) back in February of last year. Fujifilm has made two other IR models—the X-T1 and GFX100—but those were specifically for “forensic, scientific, and cultural preservation applications, and will not be made available to general customers for personal use.” But the X-T4 ES was made available to the general public, just in a very limited quantity and without much fanfare. I’m not sure what “extended spectrum” even means, so that’s something I look forward to finding out.

It won’t be much longer before I’m capturing infrared pictures on a dedicated Fujifilm IR camera, but in the meantime, I have a lot of questions and very few answers. Once I have the Fujifilm X-T4 ES in my hands, I’ll be able to tell you a lot more about it. Stay tuned!

Fujifilm X-T50 Firmware “Bug” Affecting a Limited Number of Cameras

Posted on July 11, 2024 by Ritchie Roesch

***Update: Well, that was fast! Fujifilm has released firmware version 1.02 for the X-T50, which fixes the issue for those who couldn’t update to version 1.01. If you are on version 1.01, version 1.02 is identical for you, so no need to update (although there’s also no harm in doing so, either). If you are on version 1.00, updating to the latest firmware fixes some small and rare bugs that are unlikely to affect you, but possibly could.

Fujifilm just recently updated the firmware on the X-T50 to version 1.01, but there’s been a small and unusual “bug” identified, which only affects certain models. The 1.01 firmware fixes some minor and rare issues; however, the firmware update itself has one issue.

The problem is a weird one: on only certain X-T50 cameras, you cannot update the firmware. That’s the bug. On certain models, you’re “stuck” with version 1.00. That’s no big deal, because version 1.00 isn’t bad whatsoever; version 1.01 was basically only a minor-bug-fix type update. I think the issue must actually be with version 1.00 and not 1.01, but it will all get sorted out soon enough, I’m sure, so no worries.

Specifically, the cameras affected are the silver models (not the black or grey) that were sold with the new kit zoom lens (apparently not the ones sold with 15-45mm lens or body-only) that have these serial numbers: 4BA24662 to 4BA26561, 4BA30592 to 4BA30661, 4BA34838 to 4BA35137, 4BA35678 to 4BA35857, and 4BA37468 to 4BA37687. Fujifilm was quick to acknowledge and apologize for the issue, and they are working on a solution right now.

The Fujifilm X-T50 that’s sitting on my desk in front of me is black, so I’m not affected, personally. However, if I were affected, I wouldn’t worry much. Also, it’s always a good idea to wait at least a few days—if not a few weeks—to update the firmware, unless it is one that fixes a major bug. From my experience with apps, when you fix the coding for something, something else seemingly unrelated can be affected by it; that functionality (whatever it is) wasn’t thoroughly tested because there was no expectation that it would perform any differently than it had before. So waiting a few days or longer before updating is a good rule of thumb that can save you some heartache later.

Which of these cameras could Fujifilm release next??

Posted on July 9, 2024 by Ritchie Roesch

Fujirumors is reporting that Fujifilm is in the process of “reviving a camera line that most of us thought axed.” According to Fujirumors, the camera could be released anytime within the next six months. It’s always exciting when new gear is on the horizon, and it’s fun to speculate what it might or might not be. But, until it is actually released, it’s hard to know anything for certain, and so all speculation should be taken with a huge grain of salt.

The idea of a camera line revival made me consider which discontinued camera series could possibly be resurrected (apparently it isn’t the GFX50R). Over the years various series have become defunct, typically (but not always) due of disappointing sales figures. There are a number of options, so let’s briefly consider each.

My biggest hope is for an X70 successor, likely called X80. The X70 was Fujifilm’s closest competitor to the Ricoh GR series. It’s more-or-less a smaller and more wide-angle and less premium (a.k.a. more affordable) X100-series camera. Supposedly the X70 was discontinued (in 2016) because Sony suddenly stopped manufacturing the 16mp sensor found inside it, and the higher megapixel X-Trans sensors were too hot for such a small body, which prevented a successor from happening; perhaps they’ve finally figured out the heat issue (X-Trans IV sensor combined with X Processor 5?). I’ve been asking for an X70 successor for several years now, and with the popularity of Ricoh GR and other compact cameras, it seems like a no-brainer. I hope this is what’s coming, but it definitely might not be.

There are a few cameras that it could theoretically possibly be, but I’d be extremely shocked if it was. An X-S2, for example, which would be a DSLR-shaped fixed-lens super-zoom small-sensor Bayer+PASM followup to the X-S1, is not likely. I’m pretty certain that an S4 Pro is not coming, as the S3 Pro was built inside a Nikon DSLR. I don’t think an X-A30, a stripped down Bayer successor to the X-A20, is on the horizon, either.

Kodak (or, really, JK Imaging using the Kodak brand name) is selling cheap point-and-shoots like hotcakes right now; while a followup to the XF1 might seem strange, maybe it would actually be genius. If this is the upcoming camera, it would be a highly unexpected move, but one that might actually pay off and even possibly return this style to the mainstream. With the popularity of digicams right now, an XF2 isn’t completely out of the realm of possibilities; however, the odds seem pretty slim that this is it.

Perhaps an X40 is the upcoming camera: a pocket-sized retro-styled zoom with an EVF. There’s definitely an interest in an X30 successor—I’ve heard from at least a handful of people who would really like to see one—but I’m not sure if there is enough global demand for it to be worthwhile for Fujifilm; however, I would buy one if they made it. There is certainly a chance, albeit a small one, that an X40 is coming soon.

Kind of in-between an XF2 and X40 could be an XQ3, a followup to the XQ2. I’m very doubtful that Fujifilm will make any more small-sensor X-Trans cameras; however, if they produced an XQ3 (or X40) with a 20mp 1″ sensor, that would be intriguing (outside of the XF2, I don’t think Fujifilm should go any smaller than a 1″ sensor).

I’d actually be quite surprised if they released any new X series cameras with a sensor smaller than APS-C. In all probability, whatever camera Fujifilm is working on is an APS-C model, and not one with a tiny sensor. There are several options that I believe are much more likely than the XF2, X40 or XQ3.

The XF10 was the low-budget Bayer+PASM version of the X70, and it was a bit of a flop. However, with the popularity of Ricoh GR cameras right now, it wouldn’t be surprising if Fujifilm is working on a (hopefully significantly improved) successor, likely called the XF20. While I would much prefer an X80, I wouldn’t be against an XF20, if that’s what it ends up being.

That’s it for the fixed-lens options! Let’s take a look at some possible interchangeable-lens cameras that the upcoming model could possibly be. Fujifilm is supposedly working on a future X-E5 that is not this unknown camera, so I won’t discuss the X-E series in this article.

The X-A line used to be a top seller for Fujifilm, especially in Asian markets. These cameras were low-budget Bayer+PASM models that were not actually manufactured by Fujifilm, but contracted out to a 3rd party for assembly. The last one was the X-A7, which didn’t sell particularly well, and the line was discontinued. It’s possible that Fujifilm will revive this series with an X-A8, and maybe even manufacture it in-house.

Similarly, the X-T000 line was a low-budget Bayer+PASM series not manufactured by Fujifilm. It was basically an X-A camera but in an SLR shape (instead of rangefinder) and with an EVF. It’s unlikely that Fujifilm would revive both the X-A and X-T000 series, but they could bring back one of the two, and if it’s the X-T000 line, the camera would likely be called X-T300.

Last—but far from least—is the X-M2. I think the upcoming camera is more likely to be an X-M1 successor than an X-A8 or X-T300. The X-M1 was basically an X-A1 with an X-Trans sensor; the X-M2 would be a low-budget X-E like camera (but cheaper, with a PASM dial, and without an EVF), utilizing the 26mp X-Trans IV sensor. Fujifilm is desperately missing an affordable base-level camera that allows those on a tight budget to get into the system, and an X-M2 could serve that role. A brown faux-leather version would be quite nice.

If Fujifilm is indeed reviving a once-defunct camera series, it could be any of these (or maybe one that I overlooked—who knows?). There’s not a lot that can be gleaned from this exercise, other than it’s likely to be a more affordable camera, which is great—there aren’t currently a lot of options right now if you don’t have much to spend. My personal preference would be for an X80 (I’d be first in line to buy it!), but the XF20 would be ok if that’s what it ends up being. I think an X-A8, X-T300, or (especially) an X-M2 are also strong possibilities. Basically, we know very little, and it could be just about anything.

Which of these cameras would you be most interested in? Let me know in the comments!

Is Fujifilm Purposefully Causing Shortages to Manipulate the Market?

Posted on July 8, 2024 by Ritchie Roesch

The short answer is no. The longer answer is below.

There’s a controversy that’s been brewing for awhile, but has really gained steam over the last couple of weeks, that suggests Fujifilm is purposefully crafting market shortages of products so as to create hype (or, really, FOMO), in an attempt to ensure that their products are constantly in high demand. The roots of this controversy are in the constant shortages of Fujifilm’s products. At one time, you could walk into most camera stores on any given day and buy the camera or lens that you wanted; however, over the last few years, that hasn’t always been the case. Then, just recently, Fujifilm seemed to confirm it.

*Manhattan from Pulaski Bridge* – New York City, NY – Fujifilm X-T50 – PRO Negative 160C

“The most important point is how much brand strength to create and how to maintain it,” said Teiichi Goto, Fujifilm President and CEO, in response to a question about their inventory situation and plan. “Therefore, it would be quite unfortunate to manufacture too much and lower the price. What Fujifilm has been trying to do for a long time is finally coming true now. We intend to drive the entire imaging business, including Instax, while concentrating on building brand strength and not reducing the value of the properties purchased by our customers.” When asked if the current inventory situation is normal, Mr. Goto replied, “Yes.”

A lot of people responded to this with something to the effect of: “This proves it! Fujifilm is purposefully creating camera shortages to manipulate the market.” But I think they misunderstand it. I wasn’t planning to write this article, but, since I’ve had several people ask me to comment on the controversy, I thought I’d type out my opinion.

I’m completely convinced that if Fujifilm could produce the precise number of gear (cameras, lenses, etc.) for the current demand, so that everyone who wanted to purchase something could do so without waiting, they would. But that’s nearly impossible to correctly estimate. When PetaPixel asked for clarification if they consider insufficient supply to be part of a marketing strategy, Fujifilm responded, “No. Our marketing strategy is to showcase the innovation behind our lineup of digital cameras and lenses to provide creators with a variety of options so they can choose the right tools for their craft.”

*Sign on the Roof* – Gila Bend, AZ – Fujifilm X100VI – Classic Color

It takes many months for a camera to be manufactured and end up at a camera store. Fujifilm has to secure the parts, get them assembled, and shipped across the world. They are guessing in December what the demand might be in July. And there are limited resources for manufacturing. How many parts can a supplier produce at any given time? How many cameras can an assembly line put together each day? The whole process is much more complex than I think many people assume. Fujifilm not only has to anticipate future demand, but they have to figure out how to meet that within the constrains of many and various limitations.

Demand isn’t steady, but constantly fluctuating. It can spike unexpectedly, and fall off a cliff unexpectedly. If the demand for a certain camera suddenly ceases, Fujifilm needs to anticipate that months and months in advance, or they’ll continue to manufacture tens of thousands of copies of a product that few are buying.

Let’s look at the Fujifilm X100V. It was released in early 2020, and, for about two-and-a-half years, Fujifilm was more-or-less manufacturing the number of copies it needed in order to meet the demand for that camera. Then, suddenly, demand spiked, due to several viral TikTok videos. Fujifilm did not ramp up production (or, if they did, it wasn’t nearly enough) of the X100V, likely because they assumed the hype would quickly dissipate, especially since the camera was approaching three-years-old at the time; however, they guessed wrong.

Sentinel & Merced – Yosemite NP, CA – Fujifilm X100V – Vintage Color

For the X100VI, Fujifilm assumed that doubling the production of the X100V would be enough to meet the anticipated demand for it. Fortunately or unfortunately, depending on your perspective, the demand for the X100VI was historic and unprecedented. There were more preorders for the X100VI in China alone than there were X100V’s manufactured in total. Fujifilm has said that they will be increasing production of the X100VI, but I’m not certain to what extent exactly (I’ve heard that it could be 30,000 units per month by sometime in the summer, but I have no idea what the precise numbers are right now).

This is uncharted territory for not just Fujifilm, but for any camera maker. Fujifilm has to try to meet steep current demand while being hyper alert for any changes in future demand. If, for example, they are actually making 30K cameras per month, and suddenly the floor drops and nobody wants one, and they’ve already set in motion the manufacturing of 150K cameras, that could be enough to bankrupt the company (at least the camera division).

Another example is the Fujifilm X-E3 and X-E4 cameras. Fujifilm anticipated that demand for the X-E3 would be greater than it actually was, and made too many copies. Fujifilm had to discount the X-E3, and sometimes significantly, to clear the warehouse. You could still find brand-new (and discounted) X-E3 bodies 18 months after it had been officially discontinued. Fujifilm used the sales figures of the X-E3 to estimate the demand for the X-E4; however, the X-E4 was much more in-demand than the X-E3 was (largely because it was viewed as a top alternative to the impossible-to-find X100V in the aftermath of the viral videos). Fujifilm did not secure enough parts to manufacture nearly enough copies to meet the demand of the X-E4, and likely assumed (incorrectly) that the spike in demand would be short-lived. If you look at eBay, X-E4’s are listed for double the price of X-E3’s, and much higher than the MSRP when they were brand-new.

*Low Sun over Tetons* – Grand Teton NP, WY – Fujifilm X-E4 – Ferrania Solaris FG 400

I bring that up for a specific reason. While consumers prefer over-manufacturing (especially since it usually means one can find bargains, and you can readily buy what you want), producers prefer under-manufacturing. Most ideal is precise-manufacturing, but that is really difficult to achieve; between over and under, every company—including Fujifilm—would much prefer to err on the side of making too few of something than too much. And, if you want the gear that you spent a lot of money on to retain its value, you, too, will prefer them to err on the side of caution.

Toyota created the Toyota Production System in the aftermath of WWII. This system invented what is now referred to as Lean Manufacturing (or Lean Business Philosophy or Lean Strategy Process). Many books have been written on this topic—I have a few on my library shelf, although I’ve only actually read one. To understand Fujifilm’s approach to manufacturing and inventory means understanding the Lean approach, which is used worldwide, especially in Japan. This Harvard Business Review article gives a very brief synopsis of what the Lean strategy is, just to give you an idea; even better, I’m sure your local bookstore has a few books on this topic.

The conclusion is that Fujifilm (along with all manufacturers) is in the tough position of trying to accurately gauge demand for each product they offer, and attempt to produce just the right amount; if they are going to err on one side or the other, they much prefer to err by producing too few copies than too many. Making too many of something reduces its value, while making just the right amount or too few does not. They have to guess what the demand will be many months from now, not just what the current demand is. The current demand might be an indication of future demand, but it also might not. Fujifilm would love to make and sell 50,000 copies of something, but just because they make 50,000 copies of something doesn’t mean that they will actually sell them all. A much better position for Fujifilm is to make 30,00 copies of something, and sell them all. That’s not manipulating the market, but simply good business strategy that provides some stability in a turbulent market.

My Fujifilm X-E5 Wish List

Posted on July 6, 2024 by Ritchie Roesch

The Fujifilm X-E4 is one of my absolute favorite Fujifilm cameras. There was a lot of demand for it, then, inexplicably, Fujifilm discontinued the X-E4 while there was still a fairly lengthy backorder list. According to Fujirumors, Fujifilm is working on the X-E5 right now, possibly to be released sometime in 2025. There’s a reasonable chance that Fujifilm will read this, so I thought I’d take the opportunity to express my wish-list for the camera.

The Fujifilm X-E1 was my gateway into the Fujifilm system. The camera, which was released in 2012 and was Fujifilm’s second interchangeable-lens X-series camera (only preceded by the X-Pro1), was praised for its beautiful retro rangefinder design (nicknamed “Sexy One”), but also criticized for its sluggish performance (some of which was rectified in firmware updates). The X-E1 was fairly quickly replaced by the X-E2, and a minor updated version called the X-E2s was released at the end of the X-Trans II lifecycle (beginning the pattern of X-E cameras released near the end of a sensor generation). While the X-E series has a history of somewhat slow sales, the cameras tend to be much beloved by those who own them. The X-E4 did not experience sluggish sales (in fact, Fujifilm was unable to meet the strong demand); however, it was discontinued anyway, presumably because Fujifilm did not secure enough parts to produce more.

I love the Fujifilm X-E4 because it is small and lightweight, which makes it more pleasant to carry around as an everyday camera. When traveling, there’s limited space for gear in the bag, and tough choices must be made; the X-E4 takes up less room than other bodies, so it’s more likely to be chosen over larger and heavier cameras. In fact, the X-E4 and X100V (and now X100VI) have been my go-to travel cameras since 2021. I also appreciate its clean minimalistic design of the camera.

*Pacific Poppies* – Montaña de Oro SP, CA – Fujifilm X-E4 – Pacific Blues Recipe

Fujifilm could simply engrave “X-E5” on the new camera and include the X-Processor 5, but keep everything else completely identical to the X-E4, and it would sell. If it ain’t broke, don’t fix it. People wanted the X-E4 but simply couldn’t get it. An X-E5 that is just an X-E4 with the new processor and the new film simulations would do quite well, I’m certain of it. The less Fujifilm changes, the better.

With that said, there are some things that would make the X-E5 even better than the X-E4. I do feel the minimalistic approach was perhaps a bit too minimalistic. The five key changes that I would make if I were one of the designers are: 1) bring back the M/C/S switch, 2) add an ISO Ring around the Shutter Knob like the X100 and X-Pro series have, 3) add back the rear command dial, 4) improve the EVF resolution, and 5) add a small grip to the front like the X-E3 has.

These might be unpopular opinions, but I would use the “old” 26mp X-Trans IV sensor in combination with the X-Trans V processor (like the X-S20); IBIS is unnecessary, and should be avoided for weight and cost reasons; the camera doesn’t need to be weather-sealed. Keep the X-E5 as similar to the X-E4 as possible, just refine it a little with a handful of small improvements.

*Fujifilm X-E4 + Fujinon 27mm f/2.8 + Kodak Vision3 250D Recipe*

There’s a massive opportunity that I believe Fujifilm has largely ignored. One of the biggest advantages of APS-C over full-frame is size/weight. There are tradeoffs with anything, and APS-C seems to strike a near perfect balance of size/weight, performance, image quality, and value. While full-frame cameras have been shrinking lately, APS-C has not; instead, the APS-C advantage has been shrinking. This is easily rectified, though, and the X-E5 is one step towards that, but it needs to be kept small, light, and affordable. The other key piece that’s missing are pancake lenses.

Yes, there’s the exceptional Fujinon XF 27mm f/2.8 R WR; however, it’s not often readily available for purchase. Likely, you have to add yourself to a backorder list and wait awhile. There’s also the sort-of pancake (Japanese pancake?) Fujinon XF 18mm f/2 R, but it is old, overpriced, and in desperate need of an update. Otherwise, there aren’t many options—at least not natively; however, there are some 3rd-party pancake lenses that have recently appeared, which is good. Fujifilm needs to add a few more pancakes to the Fujinon lineup, and not be satisfied with just two.

I think a total of five pancake lenses would do the trick. The 27mm f/2.8 already exists, but simply needs to be made available. The 18mm f/2 also already exists, although I would strongly encourage Fujifilm to update it. The three lenses that, in my opinion, Fujifilm should add to the pancake lens lineup are 15mm f/3.5, 23mm f/2.8, and 40mm f/2.8. That gives a good variety, and all five would together make for a fantastic kit.

*Fujifilm X-E4 + Fujinon 18mm f/2 + Fujicolor Superia 800 Recipe*

Since Fujifilm already has two 23mm lenses—the 23mm f/2 and 23mm f/1.4—they might consider something else that they don’t have, perhaps 20mm or 25mm, but definitely something in-between 18mm and 27mm. Instead of 40mm, a longer focal-length could alternatively be chosen, such as 45mm f/3.5 or 55mm f/4. The point is to have something wider than 18mm, something more telephoto than 27mm, and an option in-between the 18mm and 27mm.

A small and lightweight camera—such as the X-E5—combined with a handful of small lenses would make an ideal kit for travel and walk-around photography. It would clearly illustrate a significant advantage of APS-C over full-frame—imagine a camera and five-lens kit that could all fit into a small camera bag! I have no doubt that it would be successful, but it would require that Fujifilm clearly articulate why a small camera with small lenses should be desirable.

I don’t know if the “right” people at Fujifilm will read this, or, if they do, if they’ll listen. But, just in case, I wanted to make sure to get my opinions out there. Now it’s your turn! What would you like to see in a Fujifilm X-E5? What pancake lenses do you think that Fujifilm should make? Let me know in the comments!

Leica Q2 from the perspective of a Fujifilm photographer

Posted on July 4, 2024 by Ritchie Roesch

Leica is the camera brand that everyone desires, but few can afford. Premium is the word that best describes Leica. Crème de la crème, or perhaps Beste der Besten. If you can afford a Leica you buy a Leica, because every real photographer wants a Leica. It’s a status symbol, and it shows that you’ve arrived.

All of that is hyperbole, of course; however, there’s a good chance you’ve heard the sentiment before. An alternative yet similar statement is that Fujifilm is the poor man’s Leica. You only own a Fujifilm camera because you cannot afford a Leica model; if you could, you’d own a Leica instead.

I’ve wanted to try a Leica for some time now. The cameras are beautiful, there’s no question about it. But is it beauty over brawn? Are Leica cameras actually so good that the cost is justifiable? Would I—a long-time Fujifilm photographer—like a Leica enough to purchase one? Are Fujifilm cameras just cheap Leica knockoffs for those who cannot afford the real deal? Those are questions that I wanted to answer.

MPB is the sponsor of this article. They loaned me a Leica Q2 to try out for a couple of weeks. For those who don’t know, MPB is an online platform where you can buy, sell, or trade used photo and video gear. “At MPB, there’s something for everyone who wants to try something new, hone their skills, or pursue their passion—and it won’t cost the earth.” If you’re in the market for used camera gear, be sure to check out their platform—you can learn more about MPB here. Thank you, MPB, for making this article possible!

For those who don’t know, the Leica Q2 is a premium compact fixed-lens 47mp full-frame camera. It is simultaneously somewhat similar to the Fujifilm X100VI, Fujifilm X-E4, and Fujifilm X70, yet significantly divergent from all of those models in several aspects. It has a 28mm f/1.7 lens that is fast and sharp. The camera was released in 2019, and discontinued last year when it was succeeded by the Q3. The original MSRP of the Q2 was $5,800; the current used price is roughly $4,500 to $3,800, depending on the condition. The specific Leica Q2 that I picked from the MPB platform was exactly as described: the camera functioned like it was brand-new; the body had only extremely minor signs of wear, which I was well aware of due to the gear-specific ‘cosmetic condition’ rating (“Excellent” in this case) displayed on the platform.

Something that I was unexpectedly impressed with was the Leica box. I know this sounds strange, but Leica is head and shoulders above the other brands when it comes to packaging. I’d pay a little more to have my Fujifilm cameras come in functional boxes similar to what the Q2 came in. Sometimes the little things can be big things.

I didn’t know a whole lot about the Leica Q2 before this project. I was quite surprised by just how minimalistic the Q2 is. In this regard it is more like the Fujifilm X-E4, which is Fujifilm’s most minimalistic model in recent years, but even more so. There are not very many buttons and controls on the body. For a camera that begs to be used fully manually, it is incomprehensibly missing an ISO dial; however, it is possible to use the unmarked knob on the top plate as an ISO dial by programming the button on top of it to activate ISO. That’s not ideal, but it is certainly better than digging through the menu. On one hand I do like the clean approach, but on the other hand I found it to be a bit too minimalistic for my liking.

There’s no doubt that the Leica Q2 is a beautifully designed camera that is solidly built. While the body is just a tad larger than the Fujifilm X100VI, the lens is significantly larger, and the whole thing is definitely heavier. It’s easy to understand why it would be compared to the X100VI, but the Q2 is a little more similar to the X-E4 (just with a fixed lens instead of interchangeable, and more ruggedly built). The Q2’s 28mm lens is roughly equivalent to 18mm on Fujifilm X cameras, so that’s where a comparison to the long-discontinued X70 comes in. Probably the closest lens in the Fujifilm lineup to that of the Q2 is the Fujinon 18mm f/1.4. Overall, I think the Leica Q2 is dissimilar enough to any Fujifilm model that it’s really apples-to-oranges, yet similar enough that the correlations are understandable.

The Leica Q2 is best when used with a RAW workflow. It’s ok for straight-out-of-camera photography, but definitely much more limited in that regard than Fujifilm. The JPEG image quality is good-but-not-great. There are five profiles—three color and two B&W—which can only be customized to a small extent. For color, Standard is somewhat reminiscent of the Provia film simulation, Vivid can be made to fairly closely resemble factory-default Velvia, and Natural is like a cross between Eterna and PRO Neg. Std. I didn’t care much for Standard, and opted for Vivid the most, and Natural a distant second. For B&W, the two profiles are quite similar to each other, and are much more reminiscent of Monochrome than Acros (on Fujifilm). The High Contrast option has stronger shadows, but is otherwise similar to the standard B&W profile; it can be hard to tell the two apart sometimes. Since I stopped editing RAW files years ago, I only used the camera-made JPEGs.

Two notable issues for using the camera for JPEG photography is that it quite obviously struggles with color banding, such as with clear blue sky, and there is some pronounced distortion from the wide-angle lens that the camera doesn’t fix for you. In some situations, simply adding faux grain might be enough to cover up the banding, but other times that won’t likely be enough. For the distortion, either you have to be ok with it, or you have to adjust it in-post, and, if you are doing that, you might as well just shoot RAW.

It was definitely fun to try out the Leica Q2. I can understand why people desire it, since the camera has a lovely retro design and a minimalism philosophy, two things that I personally appreciate. I think you have to know going into it that RAW editing is more-or-less essential. I’d love to see Fujifilm create a camera that could be more of an apples-to-apples comparison to the Q2, so that you could have a similar experience but paired with Fujifilm’s wonderful JPEG output; currently, no such camera exists.

The Leica Q2 is both beauty and brawn, but not nearly as much JPEG brawn as I had hoped for. I do find the price to be very difficult to justify; however, if it’s a camera that you really want—and you buy it used—it can probably be a worthwhile expenditure. I don’t intend to purchase one, personally, particularly since the JPEG output isn’t nearly as good as Fujifilm’s. While there are certainly some similarities between Leica and Fujifilm cameras, there are plenty of differences that produce notably divergent experiences. If the Leica Q2 experience is what you are after, you’ll just have to get the Q2.

Example photographs, all camera-made JPEGs captured with a Leica Q2:

Previously in this series:
Fujifilm X-Pro2 — The camera that got away (again)
Fujifilm X-T50 + Fujinon 23mm F/2 = Interchangeable-Lens Fujifilm X100VI??

Up next: Fujifilm X30 — Fujifilm’s Forgotten Retro Compact Zoom

Community is the Recipe

Posted on June 18, 2024 by Ritchie Roesch

Take 2*.

As you probably already know, Nikon announced a new camera a few days ago, and with it they also announced a new upcoming feature called Imaging Recipes. This will apparently be used in conjunction with their new camera-to-cloud feature, and allow users to upload their custom Imaging Recipes to the cloud and wirelessly transfer them to their camera, plus Nikon will have a curated list of Recipes that can be transferred wirelessly to the camera. I’m very happy to see the whole Recipe thing catching on with Nikon and across the camera industry, and I hope that it helps a lot of photographers.

I believe that Fujifilm should use their X-App to make it easier to store and transfer Film Simulation Recipes to their cameras. Honestly, this is something that Fujifilm should have done a long time ago, but now it should be fast tracked, in my opinion.

It’s been amazing to watch this whole Recipes thing grow and grow and grow. I don’t know if people really understand just how big it is right now, or how far it has all come. Some have been around for the journey, but most probably aren’t aware of the whole story. In any event, the reason why it’s grown so much is because of you, the Fujifilm Film Simulation Recipe community. You all are programming the Recipes into your cameras and capturing wonderful pictures, sharing them with friends and family and across social media. You are inspiring more people than maybe you realize. Really, it’s been largely organically that this whole thing has become what it is. Photographers helping fellow photographers. The key to it all is community; community is the recipe. Thank you for being such an amazing group of genuinely wonderful, kindhearted, encouraging, and inspiring people!

*This is not the original article. I wrote the original article with a tone that I regret, and I’m sorry for publishing it. This article is what the original should have said, and is what I really wanted to say, setting aside the emotions that I had on that day.

Using my Fujifilm X-T30 for the first time in a long time

Posted on June 14, 2024 by Ritchie Roesch

The last time that I used my Fujifilm X-T30 was in early December. Yesterday was the first instance I had made any pictures with it in over six months, the longest time in-between use. Once it was my most-used camera; there was a time when I really, really liked the X-T30.

I purchased my Fujifilm X-T30 brand-new in 2019, right when it was announced in February. I used it extensively for about 15 months, until my wife gave me an X100V for my birthday. I still regularly photographed with it for awhile (although not nearly as much as before the X100V), until I purchased a Fujifilm X-E4 in March of 2021. Ever since then, my X-T30 has mostly sat on the shelf collecting dust. Every now-and-then I still capture some images with it. At first it was once every few weeks, then once every couple of months—the time gap has been growing longer and longer. Finally, it surpassed six months.

You might think that it’s time to sell it. If I’m not using the camera, perhaps someone else could. I’m sure there are people contemplating a used X-T30 right now. But I kind of want to hold onto it awhile longer. I have a lot of memories with the camera. In fact, just today my wife was showing me some family pictures from 2019 and early 2020, and in a number of them I have an X-T30 in my hands or around my neck. Maybe I should consider parting ways with it, but I’m not ready to do so just yet.

Especially after yesterday. I dusted the camera off, attached a TTArtisan 27mm f/2.8 lens, loaded it with my Kodacolor Recipe, and captured a bunch of pictures—I’ve included four of those images above. It was so much fun! My kids enjoyed being photographed, too. I’m not a portrait photographer, but I sometimes pretend to be one. The X-T30 is a great little camera, and I particularly appreciate the diminutive size and weight of it. The Kodacolor Recipe is one of my favorites, especially for a 1980’s vibe.

While I’d prefer a Fujifilm X-T30 II or especially a Fujifilm X-T50, the X-T30—the original one from 2019—is still very good. Just because some new camera comes along that’s “better” doesn’t mean that the camera you own and use is somehow not good. The Fujifilm X-T30 is still worth owning and using in 2024, and will be for awhile to come. I definitely need to use it more often than I have recently, and not allow so much time to go by in-between picking it up.

Thoughts on the Panasonic Lumix S9

Posted on May 22, 2024 by Ritchie Roesch

Panasonic just announced a new camera: Lumix S9. I’ve never touched or seen the Panasonic Lumix S9 in person. I’ve only seen reviews of it, such as the Chris Niccolls writeup on PetaPixel. I have a few quick thoughts that I want to share with you, before returning to the regularly scheduled programming.

Many years ago I used to own a Panasonic camera, but only briefly, because I didn’t care for it. It was one of their low-budget models, so maybe if I had something higher-end I would have liked it better. I’m sure I would think much differently about the S9; however, I don’t have much of a personal interest in the brand. If they ceased making cameras, I probably wouldn’t even notice. The S9 only crossed my radar because I might be the reason that it exists.

*I captured this on a Panasonic in 2016*

The Lumix S9 is specifically intended to appeal to those waiting for a Fujifilm X100VI, but are on a really long waitlist. There’s a vague retro rangefinder styling that might from a distance look similar to the Fujifilm X-E4. It has a 24mp full-frame sensor. More interestingly, it has LUTs, a LUT button, and a LUT app. Panasonic intended this camera for those who want straight-out-of-camera film-like results. We’ll get to that in just a moment.

There are some serious design issues that make the camera a compromise. I think they wanted it to be in a certain size and price point to appeal to potential Fujifilm customers, but they had to strip it down in order to do so. There’s no viewfinder—optical or electronic—which means you’ll have to compose everything on the LCD. That’s ok sometimes—Ricoh GR cameras are that way—but it’s definitely not ideal. There’s no grip—not even a small one—which is ok if the lens is small and lightweight, but not for most of the lenses available for the camera. You won’t find a joystick. Most severely, the S9 doesn’t have a mechanical shutter, so it isn’t a good option for artificial light or quickly moving objects. I don’t like the PASM mode dial, and wish it had retro controls.

*The Fujifilm X-A3 was the X-A5’s predecessor, but quite similar overall*

Like I said, I have not seen or touched the S9 in person, but it seems like a full-frame version of the Fujifilm X-A5; however, it has IBIS, while the X-A5 doesn’t. Still, there are enough similarities that, in my opinion, the X-A5 is the model people should be focusing their comparisons towards, and not the X100VI. Between the X-A5 and the S9, the S9 wins, but you can buy the old Fujifilm for less than $500, while the S9 will cost you $1,500.

Now back to the LUTs, perhaps the defining feature of the Lumix S9. Those who edit videos are probably quite familiar with LUTs; however, it’s not nearly as well-known or well-understood in the still photography world (and it’s not the same as a film simulation, either). LUTs are presets that overlay (preferably flat) videos or images. Let’s say you captured a photograph using the Eterna film simulation with Highlight, Shadow, and Color all set to -4, then later added a filter to that JPEG to add in contrast and color—that’s what a LUT does. The S9 has the ability to store and apply LUTs to both videos and still photographs in-camera.

*Best Burger Shack* – Tannersville, NY – Fujifilm X-T50 – Pacific Blues Recipe

This isn’t a new feature for Panasonic, but what is new is that the LUTs can now be added to the camera wirelessly via an app (Fujifilm should do this with Recipes). There’s a library of LUTs available on the app, plus you can create your own. A button on the camera activates the on-camera LUT library. This is a bold move by Panasonic, one that takes direct aim at Fujifilm, and is intended to lure potential (or maybe even current) Fujifilm customers. They want a Recipe-like movement for their own brand.

There are a few reasons why, in my opinion, it won’t catch on. First, the S9 is too stripped down to be taken seriously. Sure, people will buy it, but it won’t be a trendy camera. Second, “LUT” is far less imaginative and romantic than “film simulation”—aside from that, Panasonic doesn’t have the vast experience manufacturing analog emulsions like Fujifilm does. Third, creating your own Film Simulation Recipe is far less complicated (but can still be complicated) than creating your own LUT. Fourth, there are more Recipes available for Fujifilm cameras than there are LUTs available for Panasonic.

*Yellow Cab* – New York City, NY – Fujifilm X100VI – Vintage Vibes Recipe

With all of that said, I think it’s great that Panasonic is trying this out. More and more, photographers are relying on camera-made JPEGs, and are editing less and less. I think that’s wonderful! The stigma of “you must shoot RAW; only amateurs use JPEGs” is rightfully melting away. I think it’s only a matter of time before camera companies team up with RNI, Alien Skin, VSCO, etc., and offer film-like presets in-camera. Fujifilm has a film heritage that allowed them to build it from the ground up and achieve convincing results. They’re pioneers and leaders in all this, and now it’s catching on.

However—and I had a conversation with someone about this today—would film simulations be the big deal that they are today if not for Fuji X Weekly and Film Simulation Recipes? Would the Panasonic Lumix S9 exist without this community? Probably not. That’s an incredible honor! It goes to show that there’s something to all this—a rising tide that is affecting all of photography, and not just those with X-series models. It will definitely be interesting to see what happens in the next few years: with Fujifilm, Panansonic, and all the other brands who are sure to try their own take on film simulations and Recipes.

My Fujifilm Camera Recommendations

Posted on April 14, 2024 by Ritchie Roesch

Recently, a lot of people have asked me which Fujifilm cameras do I recommend. Should they buy an X100VI? X-T5? X-H2? X-S20? You get the idea. This is an impossible question for me to answer because it is personal; what I might like in a camera you might dislike, as each person’s needs, experiences, and priorities are different. Still, I’ll try to give some thoughtful answers.

To make this even more challenging, some Fujifilm cameras are difficult to get. As the saying goes, a bird in the hand is worth two in the bush. Should you patiently wait for the Fujifilm X100VI? Or should you get an X-T30 II or X-T5 instead? I cannot tell you what you should or shouldn’t do, I can only offer my opinions, which should be taken with a grain of salt.

I learned photography during the film era, and used full-manual cameras for many years. Because of this, PASM mode-dial cameras never made sense to me and were always an awkward experience. Fujifilm’s retro designs and tactile controls are like home to me. For this reason, I’m not personally a big fan of the Fujifilm’s models that trade those for mode dials, such as the X-S10, X-S20, X-H2, and X-H2s. This is not to say that those are bad cameras (because they’re not), only that they’re not for me—you might, in fact, love them very much.

This article is specifically about new cameras, and not models that have been discontinued and are now only available used. I might make a part two that covers used models; there are so many to choose from, that’s a different beast altogether. For the sake of simplicity, I’m just talking about what is currently available brand-new.

Now, let’s get to it!

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

Best Overall: Fujifilm X-T5

Whether you are a photographer, videographer, or both, the Fujifilm X-T5 is the top allrounder. It’s Fujifilm’s most premium model with retro tactile controls. It has a 40mp X-Trans V sensor, IBIS, weather-sealing, dual-card slots—just excellent specs. There’s so much to love about this camera, but no camera is perfect; however, this is in my opinion the closest to perfect among the current interchangeable-lens options. I’ve been using mine for about a year-and-a-half now, and still really enjoying it.

Fujifilm X-T5 in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-T5 in silver:
Amazon, B&H, Moment, Wex, Nuzira

Best Budget: Fujifilm X-T30 II

The Fujifilm X-T30 II is currently Fujifilm’s most entry-level model, but don’t be fooled: this camera is highly capable. It has a 26mp X-Trans IV sensor, which is my personal favorite Fujifilm sensor generation. It’s not as feature rich as other models—it doesn’t have IBIS, weather-sealing, or dual-card slots—but it is more than good enough for most people, especially if you plan to use it more for still photography than video. The X-T30 II can sometimes be difficult to find—it was purportedly discontinued at one point, but new copies seem to appear now and then. If you have less than $1,000 to spend, the X-T30 II is definitely your best bet.

Fujifilm X-T30 II in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-T30 II in silver:
Amazon, B&H, Moment, Wex, Nuzira

Most Fun: Fujifilm X100VI

The Fujifilm X100VI is the camera that everyone wants but few can actually get. It’s the wildly successful successor to the X100V, which was also hard to find after it became a social-media sensation two-and-a-half years after it was initially released. The X100VI has a 40mp X-Trans V sensor, IBIS, and is (for the most part) weather-sealed. It has great stats; most importantly, it’s a lot of fun to use. The fixed lens, leaf shutter, built-in ND filter, and relatively compact size make it a joy to use. My wife gifted me an X100V for my birthday four years ago; just three weeks ago my X100VI arrived in the mail—these are my desert island cameras, and if I could only have one for the rest of my life, I’d be quite happy with either one of them. If you can get one, in my opinion it’s worth doing so; however, they’re definitely not for everyone, so only you can determine if you’ll appreciate it or not. Aside from that, the X100VI is not easy to get, and you might have to wait awhile for one to become available.

Fujifilm X100VI in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X100VI in silver:
Amazon, B&H, Moment, Wex, Nuzira

Fujifilm X100VI craze is HUGE — “Biggest launch we’ve ever seen”

Posted on February 22, 2024 by Ritchie Roesch

It’s been a whirlwind ever since Fujifilm announced the X100VI, the much-anticipated successor to the much-desired-but-hard-to-find X100V. According to Fujirumors, the X100VI has had the most preorders of any other Fujifilm camera ever. According to Sonyalpharumors, the new Fujifilm camera has 50 times more preorders than the Sony A7cII and Sony A7cR combined. Amateur Photographer states that the “Fujifilm X100VI breaks all records as sales are off the charts.” There are a couple of quotes within that article that are worth sharing:

“This is the most successful launch we’ve ever had,” a Fujifilm manager in the U.K. stated. “I’ve never seen anything like it.”

“The response has been unprecedented,” said Wex (the largest camera chain in the U.K.). “We have seen a huge surge in initial demand and are now on course to break all records for Wex.”

I decided to do my own sleuthing. I contacted several big camera stores, as well as a couple small local stores, and asked them about X100VI preorders. One of the big stores told me that they didn’t want to talk specifics, but that demand has been extremely high; there will be a delay in fulfilling all of the preorders, but they don’t know how long that delay will be—could be weeks, could be months.

Another big store was much more open. “We’ve never seen anything like this,” they told me. “Probably 10 to 12 times the next biggest launch we’ve ever seen.” One store’s waitlist is currently a little over two-years long (yes, two years already!), but they’re hoping that Fujifilm will increase delivery of units to them, so they can cut that time down from years to months. They also told me that Fujifilm will be shipping cameras to them on a weekly basis. If you’re not in the first batch, if you’re high on the list, you might only have to wait another week or two to receive yours.

*Gated Camera Store* – Phoenix, AZ – Fujifilm X100V – Fujicolor 100 Gold

The local stores are in a similar boat. While their waitlists have far fewer people on them, they also expect to receive far fewer copies of the camera, so it could be months before they are able to fulfill the current preorders.

“We are seeing the pent up demand from the previous model transform into strong commitment from existing customers, as well as huge levels of excitement and intrigued from new,” Wex explained in the Amateur Photographer article. In that same piece, Park Cameras gave this advice: “The sooner you get your preorder in, the sooner you’ll get your camera.”

If you weren’t super quick to preorder, you’ll likely have some wait before your’s arrives, and possibly a long wait; however, in time all of the preorders will be fulfilled. You might need to be extra patient. Just know that everyone—the camera stores and Fujifilm—are working extra hard to make sure you get it as quickly as possible. If you have yet to preorder but you’d like to, the quicker that you do so the faster the camera will be in your hands; however, be prepared that you might not get it for many months.

Where should you buy yours from? Personally, I’ve purchased gear from local stores, Amazon, B&H, Adorama, Moment, and I’m sure others. Of all of those, Moment is my personal favorite. They’re a pretty cool company, and they’re fans of Fuji X Weekly.

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

Fujifilm X100VI in black: Amazon, B&H, Moment, Wex
Fujifilm X100VI in silver: Amazon, B&H, Moment, Wex

The Connection Between Fuji X Weekly & the New Fujifilm X100VI

Posted on February 21, 2024 by Ritchie Roesch

Fuji X Weekly is intrinsically connected to the brand-new Fujifilm X100VI.

Let me explain.

This goes back about a year-and-a-half ago, when the Fujifilm X100V famously and suddenly became an instant hit, two-and-a-half years after its release. I later discovered that I played a significant role in that. You see, social media influencers on TikTok and Instagram began using the X100V, and when they shared their pictures, it caused a spike in interest in the camera, which led to an explosion in demand. As it turns out, those social media influencers were using my Film Simulation Recipes, and it was the film-like straight-out-of-camera pictures that ultimately caused the buzz.

*Autumn in a Mountain Meadow* – Flagstaff, AZ – Fujifilm X100V – Fujicolor Superia 100

Last Christmas Eve I pointed out that a number of camera stores mentioned Fuji X Weekly and my Recipes. I concluded that they were doing so because Film Simulation Recipes sell Fujifilm cameras. Many camera retailers recognize this, and so they encourage new and potential customers to check out this website.

Yesterday evening I finally had a chance to view most of the articles and videos about the upcoming Fujifilm X100VI. I caught the X Summit when it was live at 10:30 PM my time, then in the morning did a live broadcast with Fujifilm X-Photographer Nathalie Boucry discussing the event and the new camera. Then I had all sorts of things going on, and finally found some time in the late afternoon to write an article about the new camera. It wasn’t until later that I could finally take a look at what others were saying, particularly those who had early-access to the camera.

A lot of people are surprised that Fujifilm doesn’t send me their new models. This website is one of the most popular for Fujifilm (2.4 million visitors in 2023), and (as I already said) Film Simulation Recipes do more to sell Fujifilm cameras—directly or indirectly—than probably almost anyone. I pay for my gear myself, except for a few inexpensive third-party lenses that were sent to me free of charge. Fujifilm gifted me a coffee mug three or four years ago, which I still use occasionally. If I’m being completely honest, it is a little disheartening when I see others who seemingly do less for Fujifilm get the goodies; however, I never imagined that all of this would go anywhere near as far as it has (and it seems to be still growing!), so I’m just thankful to be on this ride, whatever it does or doesn’t have in store for me. If that means not getting early-access to the latest models like others did, that’s perfectly ok with me. It’s better to be grateful for what you do have than be envious of what you don’t.

*Golden Light in Abandoned House* – North Salt Lake, UT – Fujifilm X100V – Fujicolor Reala 100

As I was going through the content posted about the new camera, something caught my attention. In a number of videos, there were mentions of—or even a focus on—the JPEGs produced by the X100VI. They talked about film simulations, no need for editing (or maybe only lightly editing), and even film-like results. I didn’t catch any specific mentions of Fuji X Weekly or Film Simulation Recipes, but many hints towards it. But, in the articles, there were indeed some direct mentions, and even links to this website. The Verge said, “Ask any Fujifilm shooter, and they’ll tell you one of the company’s core strengths is JPEG processing: there are entire websites devoted to tweaking these film sims and getting the best possible straight-out-of-camera results.” They included a link to Fuji X Weekly. That’s huge! Moment stated, “If you’re interested in creating custom film recipes using film simulations, you can easily do so with the Fuji X Weekly App or by visiting the Fuji X Weekly website.” Jonas Rask wrote, “…the community that revolves around making your own custom looks from Film Simulations has exploded in popularity, largely due to the popularity of sites such as FujiXweekly.com.”

There’s a seemingly universal understanding that many of those who have already ordered (or who plan to order) the Fujifilm X100VI will be shooting straight-out-of-camera JPEGs with it. Film Simulation Recipes will be such a big part of the experience of the new camera. Even those who aren’t all that familiar with Recipes (yet) are well aware of film simulations and Fujifilm’s out-of-camera output. It’s this ability to get film-like results without the need to edit that is a big driver of all the preorders that apparently are greatly exceeding Fujifilm’s expectations. If you wanted to buy the X100VI, I hope that you ordered it quickly after preorders opened, otherwise you might have to wait a little while. I’m “sorry, not-sorry” for any role that I may have played in that. Joking aside, I hope you enjoy your new camera, for all of those who took the plunge. For those who didn’t, let’s not forget how awesome our cameras are.

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

Fujifilm X100VI in black: Amazon, B&H, Moment, Wex
Fujifilm X100VI in silver: Amazon, B&H, Moment, Wex

Find over 300 Film Simulation Recipes in the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

On being a YouTuber — Plus YOUR videos!

Posted on February 17, 2024 by Ritchie Roesch

I’m not a YouTuber.

Yes, I have a YouTube channel, but it’s a pretty minor footnote compared to everything else that is Fuji X Weekly. I’m a blogger. I’m an app developer (Sahand Nayebaziz deserves much of that credit, though). You could even make an argument that I’m a social media influencer, although that is a bit of a stretch in my opinion. I do, however, have a YouTube channel, and I do occasionally post videos—a whopping total of three last year. Technically speaking, I’m a YouTuber, but practically speaking, I’m a photography blogger who happens to have a small YouTube channel.

My definition of a YouTuber is someone who is successful at it. They post regularly, have some popularity, and earn a nice side-hustle income or even a full-time income from it. I fail at all three of those points. That doesn’t mean that it won’t ever happen, because it could. If I make a plan and work very hard at it, plus don’t give up, there’s a pretty good chance that I could find success. In time I could be a YouTuber, but right now I’m very far from it.

Making YouTube content is hard. It doesn’t have to be: strap on a GoPro and post the clips. That’s not my style, though. Many hours of recording and editing go into each minute of every video on the Fuji X Weekly YouTube channel. A two minute video might have taken eight hours or more to complete, start to finish. My wife, Amanda, does the vast majority of it. She’s busy raising our four children, and YouTube content is not at the top of her priority list. She very much enjoys doing it, though, and I’m always impressed at her skill and vision. I have a face for radio and a voice for print, yet she somehow manages to make it seem otherwise. It’s easy to understand why putting together quality videos is a near impossible task—hence, just three published in 2023—but Amanda does an amazing job, especially considering all of the challenges. She deserves a lot of credit.

*Fujifilm X-T5 + Kodak Vision3 250D v2 Recipe*

I’m surprised by the success that the Fuji X Weekly YouTube channel has had: over 14,000 subscribers, and three videos that have topped 15,000 views. 14K subscribers puts the channel deep into the Top 10%! Supposedly, only about 9% of all YouTube channels have over 1,000 subscribers, and only about 2% top 10,000 subscribers. I’m only in the Top 2% because of the popularity of this website, and not because I’m prolific on YouTube. The percentage that tops 100K subscribers is about 0.3%, so Omar Gonzales, Serr, Pal2Tech, and many others like them, are in an elite category that not very many reach, and even less surpass. Only 0.03% YouTube channels have a million or more subscribers.

What’s interesting is that the top 0.8% most-watched YouTube videos (which are ones that have at least 100K views) account for about 83% of all views on the entire platform. The inverse of this is that 99.2% of all YouTube videos (ones under 100K views) only account for about 27% of all views. Most of the videos on YouTube don’t get many views—in fact, about 88.5% have less than 1,000 views. Only 8% have more than 1,000 views but less than 10,000 (which is where most of my videos are), and only about 3.5% have more than 10K views. The percentage of videos with 100K or more views is less than 1%.

If you’re not a big channel with 100K or more subscribers, you are playing in the shallow end of the pool. There are some smaller channels that manage to break the mold, and have some success with one or two or a few videos. For most people, they’re stuck with under 1,000 subscribers, and their videos will almost always get less than 1,000 views. I feel very fortunate to have somehow moved into the Top 2% for subscribers, with most of my videos in the Top 8% for views, and a few that climbed into the Top 3.5%. Even so, I’m very small potatoes. The Fuji X Weekly YouTube channel is still much too small for me to be considered a YouTuber. Maybe someday it will get there (although that’s not currently a goal of mine). I like seeing it grow, but I have no expectations that it will ever be in that Top 0.3%, which is where one needs to be in order to eke out a living at it. Those that are getting rich from YouTube—aside from Google—are an extremely tiny fraction of the users—probably about 35,000 people worldwide (there are about 115 million channels on the platform).

So I went on YouTube today, and found some videos from smaller channels that posted about Fujifilm and/or Film Simulation Recipes, and included them below. I hope that in some way this helps them grow their channels. I also hope that you enjoy their content. If this can facilitate you finding someone new to follow on YouTube, then this article was a success. At the very bottom I also included my latest YouTube video, in case you have yet to watch it. Right above it is the latest SOOC Live broadcast.

My latest video:

Fujifilm X Summit is Next Week — Fujifilm X100VI to be announced soon

Posted on February 13, 2024 by Ritchie Roesch

This time next week, the upcoming Fujifilm X100VI will be official. We already know some things about it, but there’s also plenty that we don’t; however, soon we’ll know everything. Fujirumors is the place to find all the latest leaked specs. I don’t have any inside information, and Fuji X Weekly isn’t a rumor site, but I do like to talk about upcoming gear, especially if it’s a model that I am particularly interested in (such as the Fujifilm X100V successor). Fujifilm is going to announce the new camera at their upcoming X Summit on February 19th/20th, and all will be clear then.

The date of the X Summit—whether the 19th or 20th—depends on your time zone. It will be in Toyko at 2:30 PM on the 20th, which means that it will be 10:30 PM on the 19th in Phoenix. That’s 9:30 PM for those in the Pacific time zone, and 12:30 AM (just after midnight) for those in Eastern time. Preorders should be open immediately following the event, so if you want to be first in line, you might be up really late on the 19th, or up really early on the 20th if you’re in Europe or Africa.

I’m going to tune in to this particular X Summit. I don’t always watch them—in fact, I don’t catch the majority of them. This is one that I’m particularly interested in, so I’ll definitely tune in.

Then, on the 20th at 10 AM Phoenix time, which is 9 AM Pacific and noon Eastern, Nathalie Boucry and I will discuss the X Summit and the newly announced camera, plus whatever else was said—there’s some talk about possibly a new lens or major X App update or possible firmware updates. I have no idea what else besides the X100VI will be announced (if anything), but whatever it is, we’ll talk with you about it live on YouTube. This will be Episode 2 of the current SOOC Live season. I hope that you can join us!

New: Kodak Retina retro-style digital mirrorless camera!!

Posted on February 8, 2024 by Ritchie Roesch

Introducing the brand-new Kodak Retina digital mirrorless camera! Inside this retro-styled body is a 40-megapixel APS-C BSI CMOS sensor. It has eight built-in presets that mimic classic Kodak film stocks. The pictures from the Kodak Retina look great straight-out-of-camera, no editing needed! This new camera is bold yet beautiful; classic yet modern; digital yet analog.

I was given a pre-production copy of the Kodak Retina camera to try out, and used that as an excuse to visit the majestic Grand Canyon in northern Arizona! I recorded the experience, which I just published to my YouTube channel. The video is my review of the new camera, plus an epic adventure by train to one of the natural wonders of the world. I’ve included it below—you don’t want to miss this one!

The Kodak Retina

Below are example pictures that I captured on this trip using the eight built-in presets included in the Kodak Retina:

Kodachrome 64

Portra 160

Portra 400

Gold 200

Ultramax 400

Ektachrome E100VS

Vision3 250D

Tri-X 400

At this point, I’m sure you’re already aware that there’s no such thing as a Kodak Retina digital camera. Kodak made Retina film cameras from the 1930’s up to 1970. While Kodak pretty much invented the digital camera, and were an important early innovator of the technology, they never made an interchangeable lens APS-C model. They did produce some full-frame DSLRs in the very early 2000’s, and made an APS-C back for a Nikon SLR in the late 1990’s, and even sold a Micro-Four-Thirds interchangeable-lens mirrorless in 2014 (manufactured by JK Imagining under the Kodak brand name); however, nothing remotely like my faux digital Retina was ever produced by Kodak. This was all just for fun—sorry if I got your hopes up.

The camera is actually a Fujifilm X-T5. That might have been obvious to you. I put some silver tape over the Fujifilm logo, and added a Kodak decal. If you look closely, you can tell that I did that. The lens is a TTArtisan 27mm f/2.8 in their limited edition yellow/orange color scheme, which is very Kodak-like; the lens is actually what inspired me to do this project. The camera strap is something I’ve owned for years now, and a red soft-shutter-release completed the look.

The pictures that I captured with this camera/lens combo are straight-out-of-camera JPEGs using eight of my Film Simulation Recipes:

I chose those particular Recipes because they mimic popular Kodak emulsions, which seemed appropriate since the X-T5 was disguised as a Kodak camera. You can find them—and over 300 more—in the Fuji X Weekly App, available for Android and Apple. Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

My thoughts with this camera were: what if, 15 years ago, Kodak had pivoted, and began making retro-styled mirrorless cameras with built-in film emulation presets? How much different would the industry look like today if they had? While Kodak didn’t pivot, Fujifilm did. Instead of a digital Retina, we have the X-T5. You don’t need Kodak to make this camera, because it already exists. The X-T5 (or any other Fujifilm model), combined with my Film Simulation Recipes, will do what I proposed a digital Kodak Retina would do. Fujifilm is doing what Kodak should have done but didn’t.

Now it’s your turn! What do you think of this project? How much different would the camera industry look today if a digital Kodak Retina actually existed? Let me know your thoughts in the comments!

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

Fujifilm X-T5 in black: Amazon B&H Moment
Fujifilm X-T5 in silver: Amazon B&H Moment
TTArtisan 27mm f/2.8 in black: Amazon
TTArtsian 27mm f/2.8 in yellow/orange: Amazon

Report: Fujifilm X100VI will have the Old Battery

Posted on February 5, 2024 by Ritchie Roesch

Fujirumors is reporting which battery the upcoming Fujifilm X100VI will use: the old NP-W126S.

A lot of Fuji X Weekly readers frequently visit Fujirumors. There’s some crossover between the audience of both websites; however, I’m not a rumor site, and I don’t personally have inside information on upcoming gear. I can only comment about what other people report, and Fujirumors has a reputation of being correct a whole lot more than incorrect. If you want the inside scoop, that’s where you need to go. But I do get asked to comment on the things that Fujirumors reports. Just within the last couple of hours, three different people reached out to me for my opinion on the latest rumor.

I think a lot of photographers—myself included—speculated that, since the X100VI will have IBIS, it will also have the new WP-235 battery. Between the 40mp sensor and the in-body-image-stabilization, there’s a lot of potential battery drainage, so the old battery would be insufficient, and the new battery would be a requirement. In order to use the bigger battery, the camera would need to be larger, at least a little. Plus, the new battery is a tad heavier. The assumption was that the new camera would be a hair bigger and a little heavier to accommodate IBIS and the WP-235 battery.

The X100VI will indeed be a hair bigger—but literally just a hair—as apparently the lens needs to extend just 1mm further out to make room for the IBIS, but otherwise it will be basically identical to its predecessor. I’m sure the camera will be just a smidge heavier, too, but not much at all. By using the old battery—the same battery that the X100V takes—Fujifilm prioritized size and weight on the new model. It seems as though more will be the same than different between the X100V and X100VI, and that’s not bad whatsoever. If it ain’t broke, don’t fix it.

But it definitely raises some questions regarding battery consumption. The expected battery life on the X100F was 390 pictures, and it increased to 420 on the X100V. Those numbers are decent enough, but not necessarily impressive; plenty of battery life most of the time, yet occasionally insufficient. Of course, battery life depends on a whole host of factors, so your mileage might vary. I used to own a Sigma DP Merrill camera that got between 35 and 40 exposures on a battery—about as many frames as a roll of 36 exp film. So it’s nowhere near that; however, it’s also not particularly close to the 580 shots that the X-T5 is rated at. The X-S20, with the old sensor and new battery, can apparently get 750 exposures, which illustrates that the new sensor drains the battery significantly more than the old sensor. So what kind of battery life are we looking at? I’m sure that the Fujifilm programmers worked some magic to maximize efficiency, but it would be pretty shocking if the X100VI can get more than 350 shots… it might even be less than 300. I have no idea, this is mere speculation, and I could certainly be wrong. I’ve been wrong plenty of times before, so definitely take all of this with a grain of salt.

There are, of course, some things that one can do to mitigate battery drainage. For example, on my X-T5, if I know I’ll be shooting all day and need the batteries to last, I’ll turn Image Stabilization Off, and only use it when I need it (most of the time I don’t need it). On my X100V, I like to keep the rear LCD off and use the Optical Viewfinder, which not only gives a film-like shooting experience, but also saves battery. It’s possible to make the battery last quite awhile if you need it to. And, as always, you can keep a spare or two nearby. If you are in a studio, you could always use a tethered faux battery that plugs into the wall.

I think it’s clear that the X100VI—much like the X100V—is a photographer’s camera more than a cinematography tool. With the heat issues and battery drainage—sure, it’s possible to use it for video with much success, but it is far from ideal for that purpose. I don’t use my X100V for video, and don’t anticipate using the X100VI for video, either, even with IBIS. Can you? Absolutely. Is it the best option? Absolutely not.

I’m actually a little glad that the X100VI will take the old NP-W126S, and that Fujifilm prioritized size and weight over battery life. The way I use the camera, I get significantly more than 420 exposures on a fully-charged battery. I can turn IBIS off, and only activate it when I need to, which I’m sure won’t be very often. It’s good to have IBIS as an option, but the reality is that it’s not all that important on a camera like the X100. Size and weight matter more to me. I don’t think Fujifilm’s battery choice will be a big deal for most people (it won’t be for me), but for some it might make the X100V an intriguing choice over the X100VI, just depending on how long the battery will last on the upcoming camera.