camera news

Where Nikon Went Wrong with the Zf

Posted on by Ritchie Roesch

I have to admit that the announcement of the Nikon Zf has given me G.A.S. (Gear Acquisition Syndrome). The camera looks stunning! And it seems to be nicely equipped, spec-wise.

There are some who will say that the 24mp sensor is unimpressive—and, yes, it’s not—but it’s all that most will ever need. Some cars have a powerful turbocharged V8, but do you really need it? It might be a whole lot of fun on occasion, but not likely a necessity, unless you’re towing something heavy or maybe on a raceway. That fuel-efficient V4 is a lot more practical, and probably plenty for your purposes. Similarly, the 24mp sensor in the Zf is more than enough resolution, unless you plan to crop deeply or print posters. On Fujifilm, I actually prefer the 26mp X-Trans IV sensor to the 40mp high-resolution X-Trans V sensor, just because more resolution is more cumbersome and can create storage issues, and I simply don’t need that much resolution. I think, for most people and purposes, the 20mp to 30mp range is ideal, and 24mp to 26mp seems like a sweet spot. More than that is overkill for the majority of photographers.

The problem, though, with the Zf is fundamental: there’s no aperture ring on Nikkor Z lenses. Because the lenses don’t have an aperture ring, Nikon was forced to include PASM. Just like the Zfc, the Zf has a shooting mode (a.k.a. PASM) switch, which enables and disables the knobs on top of the camera. For example, if the switch is set to A, the shutter knob doesn’t do anything, and is there only for looks. Of course it makes sense that it does this, but if designed correctly, the step of moving the switch to the correct position in order to activate the knob so that the shutter speed can be adjusted is unnecessary. Also, it’s unintuitive. No aperture control on the lens means that it can’t be set when the camera is powered off. Oftentimes, when I am photographing a scene, as soon as I see what it is that I’m going to capture, I have an idea what I want the aperture to be, and I’ll set it even before I power on the camera. Can’t do that on the Zf or Zfc. Just like the Zfc, the Zf makes the most sense when used in Manual mode, and especially when paired with a third-party lens with an aperture ring.

If you want the full Fujifilm experience, you’d better get a Fujifilm, as the Zf won’t deliver that. The Zfc couldn’t match it, and the Zf won’t be able to, either. That doesn’t mean the Zf isn’t an excellent camera, because I’m certain that it is very good, maybe one of Nikon’s best ever (I’m saying this having never used it personally). I would certainly love one myself, just because I’m a sucker for beautifully designed digital cameras that look and handle retro-like. I think the Fujifilm X-T5 and Nikon Zf will be compared very closely by reviewers and YouTubers, and, in my opinion, the X-T5 wins for several reasons, including size, weight, price, JPEG output/Film Simulation Recipes, and user experience (no PASM); however, the Zf will have strengths that beat Fujifilm, so it depends on what’s most important to the user as to which one wins, as I think they’re very comparable. If you’re in the Fujifilm system, you’re not likely to jump ship for the Zf, but if you’re in the Nikon system, the Zf will be quite tempting, and maybe it will convince you to stay with Nikon instead of switching over to Fujifilm, if you were considering that.

I want the Nikon Zf, but $2,000 could fund a nice weekend getaway somewhere. I think experiences matter much more than gear, and oftentimes it’s better to invest in using what you have in an epic way than to buy something new and miss out on the adventure. G.A.S. is an unfortunate problem, especially when combined with F.O.M.O. (fear of missing out); however, the best way to overcome it is to accept that what you have is plenty good enough—simply use it to the best of your ability whenever the opportunities come, and see what happens.

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
Nikon Zf:  Amazon   B&H
Nikon Zfc:  Amazon   B&H

Report: Fujifilm will Announce a “Very Small” Digital Camera THIS Month!

Posted on by Ritchie Roesch

According to Fujirumors, there is a brand-new rumor that Fujifilm will announce a “very small” digital camera within the next couple of weeks, sometime before the end of the month. No other details were provided, so our imagination can run wild with what exactly it is.

While this is certainly exciting news, I think it’s important to keep our expectations in check. There’s no X Summit to go along with this announcement, which means that it’s not a camera that Fujifilm deems as a significant model. Fujifilm typically makes a big fuss when they reveal a new camera, but they don’t always; however, those cameras tend to be low-end budget models. There wasn’t an X Summit back when the XF10 was announced, for example.

What, then, will this camera be? Nobody yet knows, but my guess is a low-end model, most likely a Bayer camera. I thought Fujifilm was done making these, but maybe they believe there’s a market after all?

The upcoming model might be an X-A8. The X-A series was a popular line—especially in Asian countries—for many years, but the X-A7 had disappointing sales numbers, and was abruptly discontinued not long after release. The X-A7 and X-T200 were basically competing against each other, and it might have been a case of Fujifilm offering two models that were too similar. Both lines had been axed, but maybe Fujifilm feels there’s enough demand that they can resurrect one; since the X-A line was smaller than the X-T000 series, I could see it qualifying as a “very small” model.

Another possibility is something that probably nobody is thinking of: pocket digicam zoom. Something like the XF1 and XQ2 would be intriguing, but it could also be more along the lines of the FinePix T400, since there has been renewed interest in those types of cameras. Perhaps it’s a successor to the XP140 waterproof camera? That’s actually the most likely option, as unexciting as it might be.

Of course it could be an XF20, a followup to the XF10. The XF10 had mediocre sales, but with the Ricoh GR III being almost as in-demand as the X100V, Fujifilm might possibly see an opportunity. Strike while the iron’s hot, as they say—and the iron for that type of camera is certainly hot right now. Even better would be an X80, the long-hoped-for successor to the X70. I think an X80 would get an X Summit, so I’m less hopeful for that, but you never know. A lot of people wish for that camera, so I will keep my fingers crossed.

Could “very small” be in reference to an X-E5? Probably not, unless they shrunk it a bunch. Also, they’d announce it at an X Summit, I’m certain. It could be an Instax Mini EVO 2, which would technically be a digital camera, and is quite tiny in the world of Instax. Don’t be surprised if it’s this. I’ll certainly be disappointed, as it wouldn’t fit my personal definition of “very small” or “digital camera.”

Most likely, the new camera will be a FinePix XP150 (or whatever they’ll call it). If so, it’s not something I have any interest in buying. I think an XF20 or X-A8 are small possibilities, but I would be shocked, since Fujifilm has seemingly moved beyond releasing those types of cameras. Even less likely are are an X40 or XQ3, since Fujifilm hasn’t made 2/3″ sensor models in a long time. An X80 would be most ideal, and a camera that a lot of people would celebrate—I would be at the front of the line to buy it—but I don’t think Fujifilm would announce it without fanfare, so I highly doubt that is it.

Since there’s not going to be much fanfare, it’s not going to be a camera that you’ll probably get excited for. Because we don’t know what it will be—only that it’s coming, whatever it is—our imaginations can run wild, and the possibilities, no matter how unlikely, give us some excitement. Just keep your expectations low, or else you’ll probably be disappointed.

Do 7 out of 10 Fujifilm Photographers Prefer PASM?

Posted on by Ritchie Roesch

More Than Double Wide – Arlington, AZ – Fujifilm X-T5 – 1970’s Summer Recipe

Once the upcoming GFX100 II is announced tomorrow, seven of the last 10 Fujifilm models will have been PASM cameras. First was the X-S10 in fall 2020, then the GFX100S in early 2021, followed by the GFX 50S II in mid-2021, then the X-H2s in mid-2022, followed closely by the X-H2, then the X-S20 back in May, and now the GFX100 II. The three non-PASM cameras released during that time are the X-E4 (which has since been discontinued despite more demand than supply), the X-T30 II (which was mostly just a firmware update to the X-T30, and has also been discontinued), and the X-T5, which has been out for a little over nine months now.

PASM cameras have a shooting-mode dial on top for Program, Aperture-Priority, Shutter-Priority, and Manual modes—most cameras by other brands have this dial. Traditionally, most Fujifilm cameras don’t have a PASM dial because the retro tactile controls found on most Fujifilm models make it unnecessary. It used to be that only the low-end entry-level models had PASM, and the rest did not. Beginning with the X-S20, Fujifilm began placing PASM dials (in lieu of the traditional knobs) on cameras that weren’t entry-level. Now, the highest-end models all have PASM.

When Fujifilm began to do this, a lot of the long-time loyal customers sensed a philosophy shift within the brand. Others insisted that, by offering more options, Fujifilm could attract new users, which would only be good, and those who prefer non-PASM had nothing to be concerned about. Well, actions speak louder than words, and it is clear that the shift has happened, even if it hasn’t been publicly spoken by Fujifilm (although I do believe that they have hinted at it several times).

What does all this mean? What exactly is this shift? What’s Fujifilm’s new focus?

Canikony brands—Canon, Nikon, and Sony—are focusing less on APS-C and more on full-frame. They haven’t abandoned APS-C, but are clearly spending much more R&D time and money on their higher-end products. I believe that Fujifilm sees an opportunity to position themselves as the clear leader and king of APS-C. While Canikony brands are aiming their attention towards full-frame, Fujifilm is putting their attention towards higher-end APS-C, along with the GFX line.

Evening Charge – Santa Rosa, NM – Fujifilm X-E4 – Kodak Portra 400 v2

A camera like the X-H2 can compete not just against the competition’s top APS-C models, but pretty well against their low-end full-frame and arguably even against mid-range full-frame models. A camera like the GFX100 II can compete well not only against other medium-format models, but also against high-end full-frame models. Fujifilm is clearly trying to gain market share by competing against the full-frame options from Canikony brands, both from below and above. In order to do this, Fujifilm clearly believes that they need to become more like those brands, instead of embracing what has made them successful in the past. In my opinion, Fujifilm should double-down on what is unique about their brand, and focus on better communicating why those unique characteristics are desirable. Instead, Fujifilm seems to be moving towards becoming a part of Canikony… Canikonyfilm?

I personally don’t care that GFX has gone fully PASM, as I’m not in that system. I have no skin in the game. I don’t think as many X-series photographers jumped into the GFX line as Fujifilm first thought would; the majority of those who have bought into the new system are first-time Fujifilm photographers—in other words, photographers largely coming from Canon, Nikon, and Sony. They’re used to PASM—many of them prefer it, actually—so it made sense for Fujifilm to make that change. Those hoping for a GFX 50R successor might be waiting a really long time.

I do care about X-series cameras, since I’m deeply invested into that system (more than most, I assume). Traditional tactile dial models have taken a backseat to PASM cameras. Yes, there’s the X-T5, but Fujifilm “cheapened” it just a little by not offering the battery grip like all the previous iterations of that series. The X100V replacement is supposed to be announced early next year, once the X100V is four-years-old. The X-Pro4 isn’t even visible on the horizon, despite that line being due for a successor. The X-T00 and X-E series are both in limbo, with their current versions being discontinued while the new ones are possibly far off, if they come at all (the X-T40 has been long anticipated—some people thought for sure it would come out sometime in 2022). If you want one of the two flagship models that offer the best-of-the-best, you’d better be happy with PASM. If you want IBIS but not PASM, the X-T5 is your only options (…for brand new, the X-T4 and X-H1 can be purchased used), while currently there are four PASM options with IBIS: X-S10, X-S20, X-H2, and X-H2s. Yes, the X-S10 hasn’t been discontinued, even though the two models released afterwards—one of which had a long backorder list—are no longer available.

A rumor has floated around for months that Fujifilm will announce a new X-series model sometime before the end of the year, probably in November. There’s been a lot of speculation that it will be an X-Pro4, since the X-Pro line is overdue for a new iteration, but there have been zero X-Pro leaks, so either Fujifilm is being historically tight-lipped about it, or it’s not coming until summer 2024 or sometime beyond. What, then, could this upcoming camera be? Whatever it is, it’s either inconsequential enough that it’s not worth leaking, or Fujifilm is keeping the lid on super tightly. My guess is the former. I think it will be an X-T30 III, which will be the same exact thing as the X-T30 II (which is basically the same thing as the X-T30), except with the X-Trans V processor (but still the X-Trans IV sensor), allowing for some autofocus and video spec improvements (plus Nostalgic Neg., and maybe Reala, but probably not), yet still keeping it under $1,000. Like the X-T30 II, it will probably just say “X-T30” on the body, skipping the roman numerals, because it’s basically the same camera.

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

2024 might be the year of the traditional dials. I suspect we’ll see an X100V and X-Pro4. It could be that the X-T0, X100, and X-Pro series are the last remaining without PASM. If, in fact, Fujifilm releases an X-T30 III in November, that will probably be the very last iteration of that series. If an X-E5 is ever made, it won’t likely be until 2025 sometime. I’ve heard that the X-T5 has been a smashing sales success, which I’m relieved about. I think if sales had sputtered, Fujifilm would have considered putting that series on the chopping block, too. So we’ll definitely get an X-T6 at some point. I don’t think Fujifilm will keep both the X-T00 and X-E lines, or, if they do, they won’t be available simultaneously. By the time we get to “20 years of X mount” there’s a strong possibility that only three lines remain with retro dials and styling.

Markets change. Goals change. Leadership changes. Vision changes. There are some (mostly those who own a PASM model) who will argue that Fujifilm had to pivot to survive. Maybe so. There are some (mostly those who have been in the system for less than three years) who say that no such pivot has happened, that all this is much ado about nothing. Perhaps. There are some (mostly those with PASM and who have been in the system only a short time) who will say I’m just too old and I complain too much, and that Fujifilm camera’s are now for a whole new generation of photographers with different wants and needs. That could be true, too. I’m just saying that I’ve noticed a shift, and I’m personally less excited and optimistic about Fujifilm’s direction. It’s the elephant in the room that I’ll be criticized for mentioning, but literally everyone who has been shooting with Fujifilm cameras for a long time notices.

The good news is that I already own the cameras that I need. As long as they’re operational, I don’t have a need for anything brand new. If Fujifilm releases something exciting, I’ll eagerly buy it, I’m sure. But if they never do, it’s not the end of the world. I can happily play with the toys I already have.

Interestingly, Nikon is supposedly announcing a retro-designed camera in about a week and a half. Maybe Nikon will position themselves as the next Fujifilm? I doubt it, but if they play their cards right and Fujifilm plays them wrong, it could happen. Either way, the more cameras with tactile controls the better. Unfortunately, the Nikon Zf will likely still have PASM, as Nikon won’t play their cards right. This is all, of course, my personal opinions. You might disagree with all of them, and that’s ok. I’m sure that most of us—and all of the regular readers of this website—can agree that Fujifilm cameras produce wonderful straight-out-of-camera JPEGs. Fujifilm has that right, no doubt about it! I just highly doubt that seven out of 10 Fujifilm photographers prefer PASM cameras, but maybe the user demographics have shifted by that much? I think it’s more of a reflection of who Fujifilm wants their customers to be rather than who their customers actually are, but in doing this they’ve created a self-fulfilling prophecy—if you build it, they will come. They have come and will continue to come, which is great. But I will remember when Fujifilm—back before they were a part of Canikonyfilm—made some exciting cameras that were much different and more beautiful than those from other brands—in fact, I’ll be reminded each time I open my camera case.

Report: Fujifilm X100Z (or whatever Fujifilm names it) will have a New Lens

Posted on by Ritchie Roesch

According to Fujirumors, who is rarely wrong, the upcoming Fujifilm X100V successor will have a new lens. The camera is expected to be announced sometime in early 2024, most likely late-January or early-February. I think that Fujifilm will name it X100Z, but that’s just a guess.

What’s interesting about this is that the lens was redesigned not long ago for the Fujifilm X100V, but the four prior versions—X100, X100S, X100T, and X100F—all shared the original lens. While Fujifilm improved the lens, it wasn’t a huge change. The main thing that Fujifilm addressed was corner sharpness when using a large aperture. At f/2, the old lens was a bit soft (something some people liked and others didn’t), but the new one on the X100V doesn’t have that issue. Beyond that, the update was rather insignificant.

The question is, why will the next X100-series model have a different lens than the X100V? There are a few main ideas that I think could explain it. One is that the X100Z (or whatever Fujifilm will call it) is likely to have the 40mp sensor found in the X-T5 and X-H2, and perhaps the current lens isn’t sharp enough to take full advantage of the resolution. Another idea is that, since the lens isn’t fully weather-sealed without a filter across the front, maybe Fujifilm has figured out how to fully seal it. A third possibility is that Fujifilm will include IBIS, and the lens needs to be adjusted slightly to accommodate. A final idea is that the lens redesign is to simply accommodate an improved leaf shutter. It could be a combination of those reasons or perhaps others not considered.

Gold Coast Blooms – Laguna Beach, CA – Fujifilm X100V – upcoming Recipe

There are also some wild ideas that are much less likely to be the case, but you never know. One is that Fujifilm will increase the maximum aperture to f/1.7 like the Leica Q3. Another is that Fujifilm will change the focal length to be more wide—perhaps 18mm (27mm-equivalent) or 20mm (30mm-equivalent)—or more telephoto—maybe 25mm (37.5mm-equivalent), 27mm (40.5mm-equivalent), 30mm (45mm-equivalent), or 33mm (50mm-equivalent). A third idea is that Fujifilm is working to make the next iteration more pocketable, and the lens will be slightly slimmer. The wildest idea might be that the X100Z will have a zoom lens instead of a prime (while some might like that, overall I think it would start a riot…). With how things have been going in Fuji-land, it could even be that the shutter dial and aperture ring will be removed in favor of a PASM dial. A final idea is that the redesign will remove the IR hotspot, and Fujifilm will offer a full-spectrum version. I don’t think any of these will be the case, but I’ve certainly been wrong before.

An interesting thought is that the X100V won’t actually be replaced, per se, especially since it is currently so popular, but that Fujifilm will simply introduce an alternative version with a different focal-length lens. In other words, Fujifilm could manufacture the X100V for another few years (and maybe introduce a firmware update to make it more fresh), and offer an 18mm or 20mm version that is otherwise identical. Sigma had [three or] four versions of their DP cameras, which were identical except for the focal-length of the lens: 14mm (21mm-equivalent), 19mm (28mm-equivalent), 30mm (45mm-equivalent), and 50mm (75mm-equivalent) options. Ricoh has two versions of the GR III: 18.3mm (27.5mm-equivalent) and 26mm (39mm-equivalent). Maybe Fujifilm could do something similar? Perhaps have two or three X100V options, each with a different focal-length lens? I highly doubt that Fujifilm will do this, but it would be intriguing if they did.

Time will tell what exactly the lens redesign is, but I don’t anticipate it being anything particularly revolutionary. I think it will be a mild refresh to what is already an excellent lens. Most likely it will be made a hair crisper so that it can fully resolve the 40mp sensor. At this point, though, anything is possible, so it’s fun to consider what it could be, no matter how unlikely.

Why the Upcoming Nikon Zf won’t be a “Fujifilm Killer”

Posted on by Ritchie Roesch

Apparently, Nikon is about to announce a new retro-style full-frame camera called the Zf. The phrase “Fujifilm killer” has been floated around as if this camera will strike at the heart of Fujifilm’s market share. Let me give you a few reasons why this won’t be the case.

Before I begin, I want to applaud Nikon for creating a new retro-style camera. I believe the Zfc—their APS-C retro-looking model—has been a commercial success. I own one, although I almost never use it (the last time was on a trip to Sedona in May). Nikon hopes to build on the success of the Zfc with the upcoming Zf. Most camera companies don’t have the guts to create a beautifully designed body, so it’s great to see Nikon do it. I probably won’t buy a Zf personally (Nikon, if you want to send me one, I won’t say no!), but I’m sure it will be a very tempting camera for many.

Supposedly, the Zf will be a 24mp full-frame model with two memory card slots (one SD, one Micro-SD). It will be less plasticky than the Zfc, but it is unknown if it will be weather-sealed. Apparently, it will have IBIS and even pixel-shift. While I’m sure the Zf will generate plenty of excitement, it won’t be a “Fujifilm killer” for a few reasons.

First—and this is Nikon’s mistake—is there aren’t any Nikkor Z-mount lenses with aperture rings. I do believe that some of their lenses can be customized to make the manual-focus ring an (unmarked) aperture ring, but then you don’t have a manual focus ring. That’s not an ideal setup. Because the lenses don’t have aperture rings, Nikon will likely include a PASM dial or switch (like on the Zfc) to toggle on-and-off the knobs on the top plate, which is awkward and seemingly unnecessary. The best solution is to use a third-party lens that has an aperture ring and shoot in manual mode. Nikon should released a series of prime lenses with aperture rings along with the Zf (or, even better, back when they announced the Zfc), but I don’t think that will happen. This oversight means that you’ll have a really hard time replicating the Fujifilm shooting experience; if you want that, you’d better buy a Fujifilm camera instead.

Nikon Zfc + TTArtisan 35mm f/1.4 + Vintage Color Recipe – Sedona, AZ

Another important piece of the puzzle that Nikon lacks are JPEG Recipes. A lot of people buy Fujifilm cameras for Film Simulation Recipes, which can save you a lot of time and frustration while providing a more enjoyable experience. There are some Recipes for Nikon Z cameras (here, here, and here), but nothing like what’s available for Fujifilm. A community has even sprung up out of these Recipes, with photographers that are often extremely kind and welcoming. I don’t think there’s a better community in all of photography!

A number of people have said, “If only Fujifilm made a full-frame camera!” With Fuji, there’s either APS-C or medium-format, but not full-frame. At one time APS-C was for amateurs or hobbyists, while full-frame was for professionals and advanced enthusiasts, but that time has come and gone (yet the stigma doesn’t easily disappear, despite being outdated). Nowadays, there are tons of amazingly talented photographers who shoot with APS-C cameras.

The advantages that a 24mp full-frame sensor provides over Fujifilm’s 26mp or 40mp APS-C sensors are improved high-ISO performance and increased dynamic range, but it should be noted that Fujifilm’s cameras are quite excellent at high-ISO and dynamic range, so it only matters in extreme circumstances—and even then, only a little. People will mention depth-of-field (due to the crop factor), but that’s a bit overstated, as it depends on the lens focal-length and aperture—it’s possible to get a narrow depth-of-field on APS-C similar to full-frame, but not with identical focal-lengths and apertures.

Fujifilm X-T5 + TTArtisan 35mm f/0.95 + 1970’s Summer Recipe – Sedona, AZ

This isn’t to say that APS-C is just as good or better than full-frame. There are some advantages and disadvantages to both sensor sizes, but overall those advantages and disadvantages aren’t huge. In my opinion, the advantages of APS-C (which are size, weight, and cost) outweigh the advantages of full-frame, but each has to determine what makes the most sense to their unique desires and needs. My only point is that full-frame isn’t massively better (if better at all) than APS-C, so just because Nikon offers a similarly-styled model with a full-frame sensor doesn’t mean that Fujifilm should be quaking in their boots.

A fun side-by-side experiment would be the Fujifilm X-T5 with the Fujinon 33mm f/1.4 and the Nikon Zf with the Nikkor 50mm f/1.8. The Fujinon lens is 2/3-stops brighter, while the Nikkor has about 1/3-stop less depth-of-field (f/1.4 on APS-C has a depth-of-filed more similar to f/2 on full-frame, everything else being equivalently equal). Both offer the same field-of-view. While the Zf is full-frame, on paper the X-T5 has several spec-sheet advantages. The X-T5 is smaller, lighter, and cheaper; however, since the Fujinon lens is more expensive, the cost of these two kits will be similar. The “winner” of this experiment would likely depend on the photographer (one might lean Fujifilm while another might lean Nikon), but I bet it would be a very close call.

The yet-to-be-announced Nikon Zf will certainly be an excellent camera, and I think it’s smart for Nikon to make it. I don’t believe it will have any significant impact on Fujifilm sales. In fact, if it does well enough, it could even boost Fujifilm’s sales (similarly to how the X100V’s success has caused a spike in Ricoh GR III sales). Most of those who buy the Zf will likely be those already in the Z system. There might be some disgruntled Sony or Canon shooters who are considering switching brands who could be attracted to Nikon by the Zf. There might even be some Fujifilm X-T3 owners who are peeved that Fujifilm left their camera on an island who take a long look at the Zf. Overall, though, I don’t think the Zf will be a “Fujifilm killer” because—while it might have some lovely retro styling similar to what Fujifilm has become known for—it doesn’t offer the same shooting experience, due to the lack of an aperture ring, the inclusion of a PASM switch or dial, and the small number of JPEG Recipes available for it (plus the community built around that). The Nikon Zf will certainly be a popular model, but so is the Fujifilm X-T5—they both can exist simultaneously, and not step on each other’s toes.

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
Nikon Zfc:  Amazon   B&H

The new Film Simulation will be…

Posted on by Ritchie Roesch

On Top of the World – Farmington, UT – Fujifilm X100V – Fujicolor Reala 100 Recipe

Fujirumors is reporting that the new film simulation that will be announced—along with the GFX100 II camera—on September 12 will be called Reala.

Fujicolor Reala 100 was Fujifilm’s first Superia film, even though initially it did not have Superia in the name. Superia films shared Fuji’s “4th layer technology” and Reala was the first to have it, but Reala was marketed towards “pro” photographers while Superia was marketed towards “consumer” photographers. Eventually Fujifilm added Superia to Reala’s name. There were several different versions of Reala manufactured, including a high-ISO Tungsten one made for motion pictures, but Reala 100 was the most popular. Reala was very similar to Superia, but Superia was intended for “general purpose” photography while Reala was intended for portrait and wedding photography. Colors are rendered a little differently between the two films, especially blue, which is deeper and more saturated on Reala, despite Reala being overall slightly less saturated than Superia 100. Fujifilm discontinued Reala in 2013.

When I read that Reala would be the name of the new film sim, I wondered how Fujifilm would differentiate the rendering of it from Classic Negative, which is closely modeled after Superia emulsions. Would it be a slight tweak with deeper blues and slightly lower vibrancy? After given it some thought, I believe that the Reala film simulation won’t be an accurate facsimile of Reala film, but something else entirely.

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

Some film sims are meant to be somewhat accurate reproductions of specific emulsions, such as Classic Negative and Acros. Some are meant to be general representations of certain groups of films but not accurate to any specific, such as Classic Chrome (Kodak slide film) and Eterna (motion picture emulsions). Others are just brand names, and aren’t meant to accurately replicate the films they’re named after, such as Provia and Astia; in the case of Astia, Fujifilm says it renders the ideal of the emulsion—what the film would have looked like if they could have done it—but not the actual aesthetic. In the case of Nostalgic Neg., it’s meant to replicate an era of American film, and not any specific stock. Eterna Bleach Bypass emulates a darkroom process.

I have zero inside knowledge, so I can only speculate what the new Reala film simulation will look like. Come September 12th, we’ll have a much better idea. What I think you can expect is a neutral rendering. I believe that it will be low-contrast with accurate-yet-muted colors.

Almost – Farmington, UT – Fujifilm X100V – Fujicolor Reala 100 Recipe

A few weeks ago, a Fujifilm manager stated, “…it’s important for us that we have an image that is very clean. Because of course for editing in post-production, you can do anything, right? As long as the original image is very clean and has the best image quality.” The interviewer responded, “I guess my ideal would be if the camera could even save, say, an ‘undisturbed’ JPEG. It’s kind of funny thinking of a JPEG as some sort of a RAW format.”

That’s what I think the new Reala film sim will be: a very clean, “undisturbed” look as a foundation for editing. Maybe Eterna-like low-contrast toning with PRO Neg. Std-like colors, and maybe even more muted than that. From there, you can manipulate the file however you wish using your software of choice. I know there are people who want that, but probably most of those who read this website regularly will be disappointed if it’s true. I’ll hold out judgement until I see it, but I’m crossing my fingers that the Reala film simulation will be a tweak of Classic Negative that will more closely mimic Reala emulsions. If it does not end up replicating the film, I’m sure I will still be able to make some interesting Film Simulation Recipes with it, no matter how it looks. But… I’m sure it won’t be given to any currently existing cameras, only those models that come after September 12th, so it will likely be awhile before I get a chance to try it.

Report: Fujifilm will Introduce a New Film Simulation on September 12

Posted on by Ritchie Roesch

According to Fujirumors, Fujifilm plans to introduce a new film simulation on September 12, the same day they will announce the upcoming GFX100 II camera. It’s assumed that the new film sim will be found on the new GFX camera, although the rumor doesn’t state that outright.

I’m always excited when Fujifilm introduces a new film simulation, which should be pretty obvious. But I do wonder why Fujifilm has decided to introduce new film simulations on GFX models. Let me explain.

From the data I have, only a small number of people shoot Film Simulation Recipes on GFX cameras. The vast, vast majority do so on Fujifilm X-Trans cameras, not Bayer (GFX or APS-C). Most do so on X-Trans III or newer models, with the majority on X-Trans IV. While some people use film simulations on GFX cameras, most keep it in Provia/STD and adjust the color profiles in Lightroom to whatever they want. The film simulations are mostly for JPEG photographers (yes, Lightroom, Capture One, etc., have their own versions of them), and most GFX owners are not shooting straight-out-of-camera JPEGs, but instead are RAW editing.

Fujifilm introduced the Nostalgic Neg. film simulation, which is the latest film sim, on the GFX 50S II, and Fujifilm used it to promote that camera. Nostalgia Neg. didn’t become available on X-series models until the X-H2S, which was released a whole year later, and it wasn’t even mentioned in any of the promotional material for that camera or the one that followed. It was barely mentioned in the promotions for the X-T5, but at least they talked about it a little. By far, most of those using Nostalgic Neg. are doing so on the X-T5, X-H2, X-H2S, and X-S20, and only some are using it on the GFX 50S II and GFX100S.

Stop for the Sunset – Surprise, AZ – Fujifilm X-T5 – Emulsion ’86 Recipe – Nostalgic Neg.

Even though Fujifilm didn’t really use the new film sim to promote the X-Trans V models, I know that it was a significant reason why many have purchased and love the new cameras. Obviously it’s not the only reason or probably even the main reason for many, but an important reason nonetheless. The new film sim—despite Fujifilm doing so very little to get the word out about it—has been a fairly significant selling point for those buying X-Trans V cameras. Similarly, Classic Negative was a big selling point for many X-Trans IV models.

The lesson here is that new film simulations don’t do a whole lot to promote GFX camera sales because, for the most part, GFX owners don’t care about them. Obviously not all, but definitely the majority. On the flip side, new film sims are an important aspect of X-Trans buying decisions, as many X-series photographers use them regularly, yet Fujifilm ignores this potential opportunity. It just makes no sense to me, and I think it’s a pretty significant mistake by Fujifilm.

I don’t know what this new film simulation will be. I have many ideas on what it could be, but I have zero inside information on what it will be. It could be PRO Neg. Z, based on the Fujicolor Pro 800Z film stock. Another idea is PRO 400H, based on Fujicolor Pro 400H, which should produce pastel colors when overexposed like the film does. How about a super vibrant option based on Fortia 50? Or a film sim that replicates IR? Cross process? Instax? There are a lot of potential options.

I do hope that Fujifilm will give this new film simulation, whatever it is, to the current X-Trans V lineup via firmware updates, but I don’t think they will. They absolutely should, though. My guess is that the X100Z (or whatever they will call it) or X-Pro4—whichever model comes next—will be the first X-series camera to get it.

What do you hope the new film simulation will be based on? What are some good ideas for future film sims? Let me know in the comments!

Fujifilm X100-? — What Should Fujifilm Name the Upcoming Model?

Posted on by Ritchie Roesch

Fujifilm will be announcing the upcoming X100V replacement in early 2024, according to Fujirumors. What will be different on the new model is unknown, but most likely it will be nearly the same, and will probably be a little more expensive. It will be interesting to see what exactly Fujifilm changes and what they keep the same. Will it have a 26 or 40 megapixel sensor? XPan aspect ratio? IBIS? NP-W235 battery? Anything is a possibility right now, but historically the X100-series doesn’t change a whole lot with each new iteration.

I hope that Fujifilm—and it would be really smart for them to do this—introduces a brand-new film simulation with this model. Yes, it will have Eterna Bleach Bypass and Nostalgic Neg., but it should have one more fresh film sim. I have no idea if that’s in the plans or not, but it should be.

Probably the least important aspect of any new camera—from a usability perspective—is the name; however, from a marketing perspective, the name is fairly important. If the camera is called something awkward or uninspiring, it might mean fewer sales, while if it is called something catchy and cool, it could increase camera sales. Fujifilm likely has a shortlist of potential names written on a board in Japan right now, and they’re trying to decide which one to pick.

Fans of Fujifilm are—just for fun—also contemplating the new name. I correctly picked the name of the X100V well before it was announced, and I’m hoping to go 2-0 with the upcoming version. It’s not important in the scheme of things, but I do enjoy guessing. Others have taken a stab at it, too. Let’s discuss some of the potential options.

My best guess is that Fujifilm will name the new model X100Z. Why Z? First, it sounds cool (think Nissan 350Z). Second, “Z” (Zeta) is the sixth letter in the Greek alphabet, and this will be the sixth iteration of the camera. Third, Fujifilm used Z in some of their film emulsion names, such as Fujicolor Pro 800Z (if they did introduce a new film simulation, it could be based on Pro 800Z and called PRO Neg. Z). It makes a lot of sense to me, and seems to check a lot of boxes that I imagine Fujifilm has for any potential name.

In the original X100 naming system, S stood for Second, T for Third, and F for Fourth. Once number five came around, the naming system no longer worked, so Fujifilm jumped to Roman Numerals for the current model. V not only means Five, but there’s also a V in the word. Some people think that Fujifilm will continue with Roman Numerals, and the next version will be X100VI. This is likely high on Fujifilm’s list of possibilities, but it just seems so Sony, and not so much Fujifilm; however, Fujifilm has been trying to be more like Sony lately, so maybe they’ll go this route. I personally would be surprised if Fujifilm uses another Roman Numeral until the tenth model, which will surely be called X100X, but I have no doubts that this option is on their list.

Another possibility—and this one seems to be the most popular among Fuji fans—is R, because that’s the sixth letter in the Japanese alphabet. The letter is pronounced Roku, which you might recognize as a well-established brand name for streaming television. If Fujifilm went this route, surely there will be plenty of jokes (for example, watch your favorite YouTuber right on your camera…). I could see Omar Gonzalez or Kai Wong having a field day with this! I would think that Fujifilm would avoid this option simply for the name association, but they could say that R stands for Rangefinder or Resolution (if they choose the 40mp sensor), but of course we’ll all know what it really means: plug the X100Roku into your TV for streaming made easy!

Some have speculated that Fujifilm will start over, going with X200 (followed by X200S, X200T, etc.). I don’t think this option makes much sense. I imagine that a full-frame X100 model would be called X200, but I don’t see Fujifilm completely renaming an established and popular line. If they were to go this route, the X200 would have to be significantly different than the X100V to justify such a dramatic name change, and I don’t see that happening.

If Fujifilm keeps everything pretty much the same and only makes minor modifications to the new model, I could see X100Vs (like the X-E2s, or if they use the stacked sensor of the X-H2s) or X100V II (like the X-T30 II) as the name. I think a lot of people will be disappointed that the new camera is pretty much the exact same thing as the (at the time of the new announcement) four-year-old X100V; however, if it ain’t broke, don’t fix it, right? So if not much changes, X100Vs and X100V II are both possibilities, but I imagine that enough will be different that Fujifilm won’t choose these options.

Another one I’ve seen floated around is X100H, where H stands for Hex, which means Six in Latin. It also means curse in English, so I’d be really surprised if Fujifilm made a bewitched model. I think this one will be avoided like the plague!

Of course, the one I’d really like to see is the X100-Acros, a monochrome-only version. I think there would be a lot of buzz surrounding that, and would be a “wow” camera. I hope that Fujifilm is at least considering such a version—I’d be first in line to buy it!

Now it’s your turn: what do you think Fujifilm will name the sixth edition of the X100-series? Let me know in the comments!

Report: Fujifilm X100Z to be Released in Early 2024 — Now Let’s Dream

Posted on by Ritchie Roesch

Fujirumors is reporting that the Fujifilm X100V successor, which I’m calling the X100Z, will be announced in early 2024 (and they’re almost always right). Going by previous models, that means Fujifilm will announce the camera in either late-January or early-February, and it will likely ship in late-February or early-March.

That’s good news, especially if you’ve been trying to get an X100V but just can’t. Reinforcements are coming soon enough, and the wait will be over before you know it.

Here are some issues, though. If you’ve been patiently waiting for an X100V, and you’ve been on a backorder list for months and months—are you going to be happy when your X100V ships just a little prior to the announcement of the new model? The X100V is great, so I hope that the timing won’t sour your opinions or experience, but it might. Or this: will those on the waitlist for the X100V be given priority for the X100Z? Let’s say you’ve been waiting six months for your X100V and it hasn’t shipped. Suddenly the X100Z is announced. Will the store offer to bump you to the top of the preorder list for the new model? I know of one store that told me this will be their plan. Is it fair to those who don’t have an X100V on backorder but who preorder the X100Z within minutes of its announcement, but can’t get their camera shipped timely because others jumped the line from the X100V? It could be that you’ll have to cancel your long-awaited order and place a new one for the new camera, getting in a whole different line, possibly not at the top. Is that fair? I don’t have any answers, I’m just posing the questions—it’s something that Fujifilm and camera stores will have to carefully consider and tread lightly with.

I don’t know what Fujifilm will call the next X100-series model, but I’m betting on X100Z. Why? First, it sounds cool. Second, “Z” (Zeta) is the sixth letter in the Greek alphabet, and this will be the sixth iteration of the camera. Third, Fujifilm used Z in some of their film emulsion names, such as Fujicolor Pro 800Z. It makes a lot of sense to me, so that’s why I think it’s what they’ll choose. But I have no idea.

I don’t believe Fujifilm will bring very many changes to the new model. The X100-series doesn’t evolve much. I do believe it will include the 40-megapixel X-Trans V sensor and processor. Some want the 26mp stacked sensor of the X-H2s, and some want the X-Trans IV sensor of the X100V. While anything is possible, I would be pretty darn surprised if it isn’t the 40-megapixel sensor. Due to the fixed-focal-length limitation, having more resolution offers more versatility. Also, Fujifilm could give us the X-Pan 65:24 aspect ratio (Fujifilm: hint, hint)….

Speaking of that, the Digital Teleconverters will benefit from the 40mp sensor, and Fujifilm could even include a third option, something like 80mm or possibly 85mm. I hope, though, that they fix the problem of the faux Grain not scaling. As it is now, the Grain appears huge when using the 70mm Digital Teleconverter; however, it should scale so that it is the same size as when not using the Digital Teleconverter.

Another potential benefit of the 40mp sensor would be digital image stabilization for video. Some sort of hyper-smooth digital cropping that still renders 4K would make the camera more useful for videography. I know that a lot of people want IBIS, but I’d be surprised if Fujifilm put it into this model. Who knows, maybe they will (and it would certainly make the new model an upgrade), but if I were betting money, I’d say that the X100Z doesn’t have IBIS.

I think bringing back the four-way D-Pad on the back would be a nice touch. I believe that Fujifilm was trying to move away from it, but there was a lot of outcry from the community. That’s something Fujifilm could do to differentiate the X100Z from the X100V and make a lot of people happy.

I suspect that whatever part or parts Fujifilm was having difficulty securing in order to manufacture more copies of the X100V, will be replaced by some alternative(s) that will more easily be available. How that affects the camera, I have no idea. Maybe a slightly different rear LCD? I’m sure I’m in the minority here, but I’d actually prefer no rear screen, or maybe just the little box-top rear screen like on the X-Pro3. Maybe a slightly different viewfinder? Whatever it is, I’m sure there will be something different that allows the camera to be more readily produced.

The most obvious thing that Fujifilm could do—and they absolutely should do—with the X100Z is introduce a new film simulation. I don’t know if Fujifilm realizes just how important film sims and Film Simulation Recipes are for camera sales and customer retention. If they do end up naming the camera X100Z, then a Fujicolor Pro 800Z-inspired (maybe called PRO Neg. Z) film sim would make a lot of sense; otherwise, Fujicolor Pro 400H (that with overexposure behaves similarly to the film), Fujichrome Sensia, Fujichrome Fortia, cross-process, infrared, Instax, and Neopan 400CN are a few other ideas. Obviously, Eterna Bleach Bypass and Nostalgia Neg. will also be included in the new camera.

Beyond that, I don’t think there will be a whole lot of differences between the X100V and X100Z. They will be much more alike than dissimilar. I said, though, that we were going to dream, so let’s throw some wild ideas out there, and see if any of them happen to come to pass.

My first wild idea is that Fujifilm uses an APS-H sensor instead of APS-C. I have no idea if the camera’s lens has APS-H coverage—my guess is that it does not—but if by chance it does, I believe that the current 40mp chip cut to APS-H size would be about 60mp (that may not be accurate… let me know if I got my calculation wrong). The 1.3 crop factor would make the lens 30mm full-frame equivalent. On paper the X100Z would be more similar to the Leica Q3, but at a fraction of the cost—it would be the Q3 killer!

Next, an interesting idea someone suggested was that the IR filter, which normally is directly on the sensor, could be moved next to the ND filter, and—like the ND filter—it could be enabled and disabled. In other words, with the push of a button, your X100Z could convert to full-spectrum! The lens has, apparently, an IR hot-spot in the center, but maybe it’s something Fujifilm could correct in-camera (similar to vignetting). It’s a crazy idea, but would be super cool!

I mentioned IBIS already, stating that I don’t think it’s likely to happen, but if Fujifilm can include it on the X100Z with minimal effect on size, weight, heat, and cost, that would be amazing! I hope they can, but I doubt they will. We can dream, though, right?

Of course, I’d love to see a monochrome-only version. If Fujifilm doesn’t do it with an X100-series body, they should do it with an X-Pro model. In other words, Fujifilm should definitely make an Acros-version of one of their cameras, and the X100 is a logical option.

How about three different versions, each with a different focal length? Sigma did something like this with their DP line. There could be 18mm, 23mm, and 33mm options, each identical, except for the focal length.

Fujifilm could also make special edition models, like Dura Silver or brown leather or something like that. It would have to be really well done and not cheesy. Charge a little extra for these variations.

That’s all I have. What crazy ideas can you think of for the upcoming X100Z (or whatever Fujifilm will call it)? Let me know in the comments!

Let’s talk about the upcoming Fujifilm X100Z

Posted on by Ritchie Roesch

The Fujifilm X100V was an overnight sensation two-and-a-half years after it was released. Yes, it sold well for Fujifilm during those 30 months prior to the explosion in demand, but, beginning last fall, the X100V was suddenly the one camera model that everyone wanted, yet few could get.

Fujifilm couldn’t make enough copies of the camera to keep up with the newfound demand. The X100V was out-of-stock everywhere. The backorder list quickly grew long. A large camera store told me months ago that if there were no new orders, and at the current rate that Fujifilm was manufacturing the X100V, it would take them six months just to fulfill all of those backorders; however, the backorder list was growing faster than Fujifilm was delivering new cameras.

Some of those who did have an X100V—even a used one—were selling them at significantly inflated prices. I saw one listed at $1,000 above MSRP in one instance. And people were actually buying them! The price for older versions, such as the X100F, but going back all the way to the 12-year-old original X100, also increased and became more difficult to find. Even other Fujifilm series, such as the X-E line (and even Ricoh GR), saw a bump in demand as people looked for alternatives to the X100V.

Yellow Kayaks, White Trucks – Pismo Beach, CA – Fujifilm X100V – Superia Premium 400

It’s been about nine months since the craze began and it hasn’t slowed. The X100V has been an in-demand model during that time, but Fujifilm just can’t keep up with it, due to things like parts shortages and balancing manufacturing demands with the also-hot-selling X-T5. Ideally Fujifilm would have been able to truly capitalize on their fortuitous situation, but they really haven’t. Perhaps the only thing that Fujifilm has been able to do is continue to limp the manufacturing of this model a little longer than they originally anticipated, delaying the discontinuation date by as much as a year.

When you look at the history of the X100-series, a release pattern emerges. The X100S came out about two years after the original X100, the X100T came out about two years after the X100S, and the X100F was released about two years after the X100T; however, the X100V was released three years after the X100F, and we’re already beyond the three-year-mark since the X100V came out. I believe that Fujifilm would have liked to have announced the next X100-series camera, which I’ll call the X100Z, back in February, but that obviously didn’t happen. I anticipate that it will be February 2024.

Why didn’t it happen in 2023? The X100V is selling faster than they can be made. What’s the hurry in releasing a successor? I do believe the issues that plagued not only Fujifilm but also most of the tech industry are still problematic to an extent, and this gives Fujifilm more time to get their parts supply and manufacturing operations back on track. I bet Fujifilm is hoping to make just enough copies of the X100V to give a glimmer of hope that one can be obtained with enough patience—and that the buzz continues for a bit longer—but not so many that the demand is deflated when the X100Z (or whatever Fujifilm will call it) is announced in eight months or so. Honestly, Fujifilm should release one or two limited-run special-edition X100V versions between now and then.

Flare over a Log– Prefumo Canyon, CA – Fujifilm X100V – Fujicolor 100 Gold

The X100-series doesn’t change much with a new release. The improvements are just enough to make you desire the new model, but are never groundbreaking. There’s not going to be a redesign. If it ain’t broke, don’t fix it. What can we expect in an X100Z? What do I wish for?

I do believe the biggest “upgrade” will be the 40-megapixel X-Trans V sensor and processor. While I actually prefer the 26-megapixel sensor in general (as 40mp is overkill for most people), as I’ve thought about it, this sensor makes a lot of sense in an X100 because of the Digital Teleconverter, something I used far more frequently on my recent trip to California’s Central Coast than I had at any point in the two years prior. The X100V has 35mm full-frame-equivalent lens, and the Digital Teleconverter, which is a digital zoom with some smart upscaling, produces a 50mm-equivalent or 70mm-equivalent picture, adding versatility to the fixed-lens camera. There is a noticeable loss in quality when set to 70mm, but it’s still surprisingly good; however, the 40mp sensor would make this feature better and more practical for routine use. In fact, Fujifilm could even add 80mm if they wanted. The one thing I’d like Fujifilm to fix with regards to the Digital Teleconverter is scale the faux Grain, because Strong/Large Grain looks massive when using the 70mm option, but it should appear to be the same size as if the Digital Teleconverter wasn’t used.

The new sensor and processor will bring several improvements to the spec sheet for both stills and video. Autofocus will see a boost. In an age of diminishing returns, I don’t think any of that makes a big difference, but the marketing department will still use it to promote the camera and reviewers will still use it to get clicks and likes.

Playing with Waves – Cambria, CA – Fujifilm X100V – Kodak Tri-X 400

Will the X100Z have IBIS? Fujifilm has made some significant strides with their In-Body-Image-Stabilization, but I’d be mildly surprised if the new model has it. The argument is that the Ricoh GR III has IBIS, and it’s a much older and smaller camera, so why can’t the X100-series? First, IBIS isn’t really needed in the GR III and it’s pretty mediocre anyway, so it’s often overstated as a feature in that model. I do think it makes more sense in the X100-series than in the Ricoh, but if it makes the body larger or more expensive, Fujifilm will have to carefully consider the potential consequences of that. I think, with the higher-resolution sensor, a digital stabilizer for video would be sufficient.

What I would love to see in the Fujifilm X100Z are more film simulations and JPEG options. Of course that’s what I’d love to see, since I make Film Simulation Recipes. What I don’t think Fujifilm or the photography community in-general realizes is that the ability to get analog-like results straight-out-of-camera is what’s largely driving the interest in the X100V. While many long-time Fujifilm photographers purchased the X100V, for a lot of people the camera is (or would be if they could find one in stock) their first Fujifilm—whether they mainly shoot Canon, Sony, Nikon, etc., or it’s their first “real” camera—and it makes a lot of sense because it doesn’t require investing in a whole system. They can get their feet wet with something fun, and maybe later they’ll jump into the deep end. In the meantime, they’ve got a cool camera that doesn’t require sitting in front of a computer to get great results. Not only does this drive camera sales, but it is also a big reason why many end up sticking around and not moving onto something else.

Spooner Cove – Montaña de Oro SP, CA – Fujifilm X100V – Fujicolor 100 Gold

So what would I like Fujifilm to add to the X100Z? Obviously Eterna Bleach Bypass and Nostalgic Neg. will be included, but I think Fujifilm should strongly consider introducing a new film sim with this camera. Some ideas are Fujicolor Pro 400H (that with overexposure behaves similarly to the film), Fujicolor Pro 800Z (would make a lot of sense if they name the camera X100Z), Fujichrome Sensia, Fujichrome Fortia, cross-process, infrared, Instax, Neopan 400CN, etc.—there are still a ton that Fujifilm could and should do. Some JPEG options that I’d like to see are mid-tone adjustments (additional to Highlight and Shadow), black-point (a.k.a. fade, to lift blacks), split-toning (for both B&W and color pictures), more Grain options (Weak, Medium, Strong; Small, Medium, Large, Extra-Large; plus maybe various patters?), and maybe even a tint slider for the major colors to tweak their rendering? I think Fujifilm has to be careful balancing new features with simplicity, so that the many options don’t become overwhelming—in other words, pick a couple of things to add and not everything, as much as I’d love to have everything.

The X100Z will be a very successful camera for Fujifilm, and for a lot of people standing in the long line for an X100V, this new model can’t get here fast enough. There won’t likely be a huge difference between the two versions—just the new sensor and some new features, but it will nonetheless be a nice refresh. While it might seem to be a long ways off, Fujifilm will announce this camera in the not-too-distant future, and it will be here before you know it. In the meantime, I’ve included below a video published today by Leigh & Raymond Photography that discusses this very topic.

DPReview is Back from the Dead

Posted on by Ritchie Roesch

Digital Photography Review’s demise was short lived. Amazon was going to close it down, but now they’re selling it to Gear Patrol.

I had never heard of Gear Patrol before, so I had to look them up. Even though DPReview’s traffic has been shrinking (well before the announcement from Amazon, but especially after), they still have more visitors—and those visitors view more pages and stay longer—than Gear Patrol. Obviously they hope that this acquisition expands both audiences with crossover between the two websites.

When I was on the Central Coast of California tour two weeks ago, DPReview was brought up several times. There were a few interesting points made and insights that were discussed. I don’t have any inside information into the business dealings of any of these companies, but I do know a little about the industry in general, so I thought it would be worthwhile to talk about it here on Fuji X Weekly. It’s a hot topic, so perhaps you’re interested in my opinions—if not, that’s ok, just ignore this article.

Pacific Poppies – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues

Amazon conducted a financial audit of their company, as they routinely do, and some alarming statistics were discovered. In response, Amazon looked closely at their divisions that were not profitable (or were perhaps trending towards and forecasted to be not profitable), and made determinations on layoffs, selling “assets” that were no longer so, and shuttering departments. DPReview, which was owned by Amazon, was chosen to close.

Two points that I believe are important, but I think were overlooked in the emotion of the closing news, are: 1) DPReview was either not profitable or was trending in that direction and forecasted to be that soon, and 2) Amazon did make some effort to sell it before deciding to close it. I don’t have any personal information on either of those two points, but it only makes sense, and thinking otherwise doesn’t make any sense. No matter how “evil” or “heartless” you think Amazon is, they wouldn’t close a profitable division—they are much more business savvy than you or I, and profits are profits, and an “asset” that’s losing money isn’t one. I doubt Amazon put much effort into selling DPReview, but they probably sent out a handful of inquiries to some companies within their circle to see if any would take the bait, and apparently none bit, so they decided instead to turn out the lights. They must have thought that there wouldn’t be much interest in it.

But then there was a huge outcry from the photo community. I believe that some offers to buy DPReview began to come in, including from Gear Patrol, so Amazon decided to keep it running for a couple months longer as they worked out the details. For Amazon, it makes a lot more sense to sell than to close, so they were quite happy to have a buyer, and probably sold DPReview at a discount.

So why would DPReview, which has a very large and devoted audience, have trouble turning a profit? The answer is simple: cost. The biggest expense for every company is almost always employees. I don’t know how many work for DPReview, but Google says that it’s at least 11 (I have no idea if that’s accurate). Ken Rockwell, for example, only employs himself, so even though he has a significantly smaller audience than DPReview, he’s able to turn a profit. Another big expense for DPReview is data storage and hosting. Now obviously they use Amazon Web Services (AWS) for this, which means they’ve either received this service for free or at a significant discount as a perk of being owned by Amazon. I use AWS for a couple of really small things, and I pay monthly for it. I can only imagine how expensive it would be for something as huge as DPReview! Not to mention that it’s constantly expanding daily (particularly thanks to the forums). Finally, DPReview is headquartered in an high-cost city, which in prosperous times is no big deal, but in lean times might make a significant difference.

Exchanging Money – South Weber, UT – Fujifilm X-T30 & Asahi Pentax 55mm f/2.2 – Ilford HP5 Plus 400 Push-Process

I imagine that Gear Patrol negotiated (as a part of the sale) the inclusion of AWS for DPReview, and probably for a specific time. It could be three months, it could be six, but more likely it’s at least 12, if not up to 36. That gives Gear Patrol time to figure out how to run DPReview leaner before having to absorb that big expense.

What’s in it for Amazon? Well, first, there’s however much money Gear Patrol is paying them to buy DPReview. All of those affiliate links are still there, too, bringing customers to Amazon. And if DPReview can stay afloat, there will be the AWS money, too. Even if Amazon practically gave away DPReview (which they might have), it’s still better for them than to just close it down.

What’s in it for Gear Patrol? Suddenly their audience has more than doubled. If they can incorporate some crossover, there’s a real opportunity. However, they have to be careful, and it’s possible they’ve bit off more than they can chew. The challenge will be running DPReview leaner while not degrading the experience, and not making the crossover off-putting to visitors.

What’s in it for DPReview? The people who work there don’t get a pink slip—at least not everyone, and not right away. People who have worked hard for years to build the website and brand will be able to keep doing so. For those at DPReview (and their families), this must feel like a huge relief, although I’m sure there will still be a lot of stress with the transition.

Open Window Reflection – Pawhuska, OK – Fujifilm X-Pro2 & Fujinon 60mm – Kodachrome II

What’s in it for the photography community? DPReview has been around for a really long time, and there are so many resources on their website, which almost completely disappeared. Now—and at least for now—those resources will still be available to the photography community for some time to come.

Unfortunately for DPReview and Gear Patrol, the very best part of DPReview is now at PetaPixel: Chris and Jordan. That’s a huge win for PetaPixel!

So it seems like a win-win-win-win-win situation. Amazon won. Gear Patrol won. DPReview won. PetaPixel won. The photography community won. Amazing!

I doubt that Gear Patrol reads this website, but just in case, the advice that I’d offer them is this: in 2023, people are a little less interested in the fine details of the specs of camera gear than they used to be, and are more interested in how to use their gear to achieve what they want to achieve. We’ve reached a point (really, surpassed it) of diminishing returns, and the small differences between makes and models matter much less than they used to. Nowadays, anyone can achieve what they want to achieve with whatever gear they have, if only they knew how. There are people who either don’t know this, or who ignore it because it’s easier and more convenient to blame their gear than themselves, so they still get worked up over the insignificant differences, but most people are beginning to realize that the gear they own (or are about to own) is actually much more capable than they are. What they want to know is how to use their gear. They want to know how to achieve what they desire either the simplest way or the best way. If you focus more on that, you’ll find tons of success moving forward in this changing environment.

The Curious Case of the Upcoming Fujifilm X-S20

Posted on by Ritchie Roesch

Fujifilm X-S10

On May 24th, Fujifilm will announce some new products, and, according to Fujirumors, who is almost always right, the headliner will be the Fujifilm X-S20. What initially seemed like a mild update to an entry-level model is now becoming a little more interesting as details emerge of what exactly the X-S20 will be.

I had actually typed out quite a bit, but decided to delete it (11 paragraphs!) after my second cup of coffee. If you want to know the leaked specs so far, definitely visit Fujirumors. From my perspective, the biggest upgrade from the X-S10 will be the bigger NP-W235 battery. The improvements to autofocus and video specs will be nice, too, I’m sure, but probably not a big deal for a lot of people in practical use. It will have a Vlog mode complete with faux-bokeh and product-tracking-autofocus. Otherwise, there will be a lot more similar than dissimilar between the X-S10 and X-S20, but the price will be significantly divergent, as the X-S20 will be $300 more!

I realize that the X-S20 is not intended for me. It’s probably not intended for you, either. Who, then, is it for? The X-S20 is specifically for YouTubers or TikTokers who are making unboxing videos or how-to tutorials or things like that. I think Fujifilm intends the X-S20 to compete against the Sony ZV-E1, as a similar yet cheaper camera. The biggest difference between the X-S10 and X-S20 is that Fujifilm has defined a little more clearly who exactly the camera is for.

So if you are a YouTube or TikTok content creator looking for something a little more advanced than the cellphone or GoPro that you’ve been using so that you can step up your game, the X-S20 is for you, and quite a bit cheaper than Sony’s offering. Even though this camera is intended for that group, it will still be a capable photographic tool no matter who is using it.

Captured with a Fujifilm X-E4 in Sedona, AZ, last week using the Fujicolor Natura 1600 Recipe

Unfortunately, it won’t have the traditional tactile controls or striking retro design that Fujifilm is known for. Or, used to be known for, as six out of the last nine Fujifilm cameras will have been PASM models—X-S10, GFX100S, GFX50S II, X-H2S, X-H2, and X-S20—while one of the three non-PASM models (X-T30 II) wasn’t much more than a firmware update (so essentially 3/4 of Fujifilm’s latest releases have been PASM). The three most recent traditional Fujfilm cameras are the X-E4, which is nearly two-and-a-half years old, the X-T30 II (the firmware-update model), and the X-T5. The only retro-designed tactile control cameras currently offered by Fujifilm are the X-T5 and the three-year-old-and-impossible-to-find X100V, all the rest have been discontinued, including the X-E4 and X-T30 II. Oh, and apparently Fujifilm is experiencing a shortage of X-T5’s…. In other words, if you want to buy a traditional Fujifilm camera, good luck with that—you’ll probably have to go the used route, and even that can be tough.

Fujifilm had previously stated that they are working on some “wow” products; the X-S20 isn’t one of those—or, if it is, their idea of “wow” and mine are two entirely different things.

If you had been thinking about buying a Fujifilm X-S10, but then thought maybe to wait for the X-S20 and get that instead… unless you just need the new Vlog mode or battery life, or just have-to-have the improved autofocus and video specs (which, on paper, sound wonderful, but aren’t a huge deal in practical use for most people), I’d consider saving a few hundred bucks and buying the X-S10 instead. That’s just my opinion.

The good news, though, is that on May 24, according to Fujirumors, Fujifilm will announce a new app to replace the terrible Cam Remote app. That’s exciting! Much more exciting than the X-S20, in fact.

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-S10:  Amazon  B&H  Moment

Fujifilm Announced X-H2S + Lenses at X Summit Today

Posted on by Ritchie Roesch

Body Shop – Childress, TX – Fujifilm X-E4 & Fujinon 27mm – “Fujicolor Natura 1600“

There was a Fujifilm X Summit today? Guess I missed it.

I’m on a long road trip right now, and I was driving when the big announcements were made. That’s not entirely true. I was actually photographing an abandoned car garage in Childress, Texas, at that time. Originally a gas station built in 1940, this building spent its last active days as an auto body shop. I think it’s been abandoned for at least a couple of years. I suppose I could have tuned into the X Summit instead, but this was a better use of my time, as I prefer to invest in experiences over gear.

I’m sure you’ve heard by now, but Fujifilm announced the X-H2S. Everyone already knew this camera was going to be announced, and what exactly it is. Now it is all official. This is the first of two new “flagship” cameras that will come out later this year. If you need the fastest Fujifilm camera or the best video specs, this is the camera to buy. It’s intended to convince those who are unsatisfied with their current brand to consider Fujifilm instead. I’m not personally interested in this camera, and I already gave my opinions on it.

Ballyhoo – Childress, TX – Fujifilm X-E4 & Vivitar 135mm – “Fujicolor Natura 1600”

Apparently Fujifilm will have two different X-Trans V sensors on their future models: the fast 26mp and the high-resolution 40mp options—the 40mp sensor will be the “normal” one. I wish that Fujifilm would focus on other advancements and improvements instead of resolution. And I’m not talking about autofocus speed, either. People complain about autofocus speed, but consider all of the amazing photographs (and movies) that were made well before autofocus even existed, and in its infancy, too. The X-E1’s autofocus is plenty capable, just so long as the photographer is capable. The autofocus on my X-E4 is amazing, yet some people think it’s not all that good. I’ve come to the conclusion that this complaining is just an excuse, and doesn’t have any true merit. Autofocus could improve by 400% and somebody would complain, because autofocus isn’t the real problem. And it’s definitely reached the point of diminishing returns, as it’s already well beyond what most people need for their photography.

Fujifilm announced two new zoom lenses, too: 18-120mm F/4 and 150-600mm f/5.6-f/8. I’m sure plenty will get excited for the 18-120mm for travel and the 150-600mm for wildlife, but I don’t have a desire for either. I suppose zooms just aren’t my thing. Fujifilm did add an 8mm f/3.5 and 30mm f/2.8 Macro to the roadmap, both of which seem like interesting lenses, but no date was given for when they’ll be released. More than anything, I’m excited for an M42-mount Vivitar 135mm f/2.8 that I found at an antique store for $15. It’s been so much fun to use, yet highly challenging. I’d like to see Fujifilm release a prime longer than 90mm (but less than 200mm)—that would be something to get excited for!

Vivitar 135mm – Fujifilm X100V – “Kodak Tri-X 400“

I suppose that I should be more excited than I am at this moment. Maybe once my road trip is over and I’m all settled into my new home, I’ll feel a little more positive about these upcoming releases. I think it’s good to have options. This camera will serve many people very well. These two zooms will open up photographic possibilities for hundreds. That’s truly great! They’re just not for me, and that’s ok, because I don’t need new gear right now. What I “need” is to use what I have, which is what I’ve been doing, and the reason why the X Summit came and went and I didn’t notice.

Why even write this article? It’s 10 PM where I’m at right now. I’m spending the night in a cheap hotel. It kind of smells funny. I have to get up early in the morning and drive for a whole bunch of hours. I could be in bed, and maybe I should be. I’m writing this article because I’ve received a dozen or so messages from people wanting to know my opinions on today’s announcements. A lot has been said already by those on the internet, including those who were given a chance to use the preproduction models. I don’t think I have much to add. If something seems interesting to you, and you believe it might help with your photography (or videography), then by all means get your preorders in. But if you are on the fence, spend the money on experiences instead, and use the gear you already own as best as you can. That’s my advice. Now I’m off to bed.

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

Preorder the Fujifilm X-H2S at B&H
Preorder the Fujinon 18-120mm at B&H
Proeorder the Fujinon 150-600mm at B&H

The New Resolution Revolution

Posted on by Ritchie Roesch

Historic 25th Street Dragon – Ogden, UT – Fujifilm X-E1 – 16-megapixel

I think there’s a new resolution revolution about to be unleashed on the photography world.

Fujirumors is reporting that the X-H2S will have a 26-megapixel X-Trans V stacked sensor, which will be much like the X-Trans IV sensor but faster; however, the X-H2 will have a 40-megapixel X-Trans V sensor that’s not stacked, and the X-H2 will be less expensive than the X-H2S. My interpretation of this is that “regular” X-Trans V cameras will be 40mp. Wait, what? The upcoming Fujifilm cameras will be 40-megapixels?!

I saw today that Canon Rumors is reporting that an over-100-megapixel full-frame camera is in the works to be released next year—I also saw that Sony “may have” a 102mp camera coming later this year. Yesterday I saw that, according to 9to5Google, Motorola will release a cellphone with a 200-megapixel camera.

Morning Drive – Fort Stevens SP, OR – iPhone 11 – RitchieCam app – 12-megapixel

While many people will get very excited over this, and I do find it a bit fascinating, I’m not all thrilled about it. Why? I would prefer to see advancements in dynamic range (particularly highlights) and high-ISO performance over resolution. I haven’t encountered many situations where I found my cameras lacking the resolution required for what I needed. Honestly, 16-megapixels are more than enough for the average person, and 26-megapixels are more than enough for 99% of people. Very few people (although there are some) actually need 40mp, and even fewer (although there are some) actually need 100mp. Yeah, it’s fun to pixel-peep a 100mp picture, or even a 50mp picture, but in a practical sense, it’s not “better” than 26mp or even 16mp. And, of course, the bigger the file, the more storage is required, and the longer it takes to upload/download.

Instead of extra resolution, I’d actually prefer a new film simulation or two, and a couple new JPEG options, that allow me to achieve in-camera some things that I currently cannot. I’d get really excited for that! I bet a number of you would, too. I think there are a lot of improvements and advancements that could happen that don’t require any increase in resolution, but megapixels are easy to market—it’s the tried and true method to gain sales—so that’s what we get.

Ready or not, the next resolution revolution is here. I certainly won’t complain as I pixel-peep, but I might have to replace my SD cards, buy a larger external hard drive, and get more memory on my next iPhone….