“Fujichrome Fortia 50” frame 18 of 36 — Fujifilm X100V
I shot a 36-exposure roll of Fujichrome Fortia 50 on my Fujifilm X100V.
Right now you are thinking one of a few things. What is Fujichrome Fortia 50?Fortia was discontinued a long time ago, and is well expired now and difficult to find.Anyway, you can’t shoot film in a Fujifilm X100V!There’s not a Fujichrome Fortia 50 Film Simulation Recipe, is there? All of that and more will be explained in this article!
Note: This was a Creative Collective article, but now it’s available to everyone.
“Fujichrome Fortia 50” Frame 5 of 36 — Fujifilm X100V
Fujifilm made Fujichrome Fortia 50 color reversal (slide) film from 2004 to 2007, and was only available in Japan (although it did manage to slip out of the country). It was their highest saturation emulsion, even more wild than Velvia 50!
An urban legend says that someone at Fujifilm messed up a batch of Velvia 50; when it didn’t pass quality control, instead of tossing it into the trash, Fujifilm decided to package it as a new film—Fujichrome Fortia 50—and sell it during the Japanese cherry blossoms when photographers might want an extra boost in color vibrancy. It was a hit! So they brought it back the next three years during the cherry blossom season; however, it was sold under the name Fujichrome Fortia SP 50 (SP might mean “SPecial” or “Saturated Palette” or something like that). This new run of Fortia was a little different than the original, presumably because the first one was a complete accident, and the second was an attempt to recreate that accident. While Fortia was discontinued in 2007, apparently there was enough supply that it could be found fairly easily in 2008. If you are lucky to find an unexposed roll today, it will be well past the expiration date and I’m sure very expensive. If you don’t know what Fortia looks like, click here, here, and here to get an idea.
Fujifilm doesn’t have a Fortia film simulation in their cameras. The closest is Velvia, and if you go wild with it, such as The Rockwell Film Simulation Recipe, you can approach but not quite reach a Fortia look. It’s not possible to truly get a Fujichrome Fortia 50 aesthetic from your Fujifilm camera. Or is it?
The Rockwell is left, revealed by moving the slider right; Pop Color (a.k.a. Fortia) is right, revealed by moving the slider left — frame 20
Most Fujifilm cameras have what they call “Advanced Filters” which aren’t really advanced, but are instead kind of gimmicky. I’ve used Toy Camera, High Key and Low Key. They’re ok, but not something that I would choose often. There’s another that’s called Pop Color, which I never paid much attention to, until recently. Fujifilm claims that Pop Color “emphasizes contrast and color saturation.” If you want to learn more about Advanced Filters, Fujifilm has a video that you can watch about this topic.
Fortia 50 is like Velvia 50 on steroids; Pop Color is like the Velvia film sim on steroids—is Pop Color basically a built-in Fortia film simulation? Actually, yes! It’s not a perfect replication, but it’s not all that far off, either. Unfortunately, you cannot customize any aspect of Pop Color, so it’s not possible to add Weak/Small Grain, for example, or Color Chrome Effect. You get what you get, but (fortunately) what you get is actually kind of good if you are after wild colors. The best part is that it doesn’t use up a C1-C7 Custom Preset, so you can use the Pop Color Advanced Filter as a bonus option in addition to whatever Film Simulation Recipes that you have programmed.
Recently I shot 36 exposures (simulating a roll of film) of Fujichrome Fortia 50—I mean, Pop Color—on my Fujifilm X100V. Below are some of the pictures:
“Fujichrome Fortia 50” Frame 1 of 36 — Fujifilm X100V
“Fujichrome Fortia 50” Frame 4 of 36 — Fujifilm X100V
“Fujichrome Fortia 50” Frame 7 of 36 — Fujifilm X100V
“Fujichrome Fortia 50” Frame 8 of 36 — Fujifilm X100V
“Fujichrome Fortia 50” Frame 9 of 36 — Fujifilm X100V
“Fujichrome Fortia 50” Frame 13 of 36 — Fujifilm X100V
“Fujichrome Fortia 50” Frame 16 of 36 — Fujifilm X100V
“Fujichrome Fortia 50” Frame 23 of 36 — Fujifilm X100V
“Fujichrome Fortia 50” Frame 24 of 36 — Fujifilm X100V
“Fujichrome Fortia 50” Frame 25 of 36 — Fujifilm X100V
“Fujichrome Fortia 50” Frame 26 of 36 — Fujifilm X100V
“Fujichrome Fortia 50” Frame 29 of 36 — Fujifilm X100V
“Fujichrome Fortia 50” Frame 30 of 36 — Fujifilm X100V
“Fujichrome Fortia 50” Frame 31 of 36 — Fujifilm X100V
“Fujichrome Fortia 50” Frame 32 of 36 — Fujifilm X100V
“Fujichrome Fortia 50” Frame 34 of 36 — Fujifilm X100V
“Fujichrome Fortia 50” Frame 35 of 36 — Fujifilm X100V
“Fujichrome Fortia 50” Frame 36 of 36 — Fujifilm X100V
If the Velvia film simulation isn’t quite vibrant enough for you, Pop Color might just be a solid solution. If you have C1-C7 already set with your favorites, but want a colorful 8th option, give Pop Color a try. It’s not as gimmicky as I thought it would be, and (surprisingly) the results retain an analog soul despite not being a Film Simulation Recipe. I don’t think Pop Color is for everyone or every situation, but in the right situations it can look quite good. For those wanting to mimic Fujichrome Fortia 50 on their Fujifilm camera, Pop Color is as close as you’re going to get.
Have you ever wondered about the story behind Fuji X Weekly? How did it all began? What’s behind the curtain? The April issue of FXW Zine is for you!
This never-before-told journey is something that I’ve been wanting to share with you for awhile now. I had to be a little vulnerable, because some of the details are personal. I hope that you find it inspirational to you and your personal journey, whatever that is. Ultimately, this journey isn’t so much about me as it is about you.
If you are a Creative Collective subscriber, the latest issue of FXW Zine is available for you to download now! If you are not a subscriber, consider joining the Fuji X Weekly Creative Collective to gain access to all of the issues plus other bonus articles.
I’m really excited for the March 2023 issue of FXW Zine. You see, my favorite genre of photography is abandoned buildings, sometimes called urban exploration (or urbex for short). I don’t get to do this type of photography as often as I’d like, but every once in awhile the opportunity comes. I think it is important to document these dilapidated structures, because they represent what once was—plus how society deals with that—and they’ll eventually be gone. I like how Troy Paiva put it, “accepting loss and finding beauty and nobility in decay.” This issue celebrates abandoned building photography, taking a look at four different locations.
Obviously this type of photography is risky. You have to consider property laws such as trespassing—many abandoned buildings are on private property—and what kind of dangers one might encounter, such as broken glass, crumbling structures, asbestos, lead paint, transients, etc., etc.. I’m not encouraging you to break laws or enter sketchy abandoned buildings, but if you should decide to do it on your own accord and at your own risk, I do encourage you to use extreme caution. Now that the disclaimer is out of the way, let’s get to Issue 16!
The March issue is 20 pages long and features 26 pictures. The FXW Zine is a part of the Fuji X Weekly Creative Collective, so if you are a Creative Collective subscriber you can download it now! If you haven’t joined the Creative Collective, consider subscribing today to get access to bonus articles and the FXW Zine—not just this issue, but the first fifteen issues, too!
I love making retro faded-film-like looks on Fujifilm cameras using the multiple-exposure feature. I have created a number of Film Simulation Recipes which utilize double-exposures to achieve a faded aesthetic. Some of these Recipe are Faded Negative, Faded Color, Vintage Color Fade, Faded Monochrome, and Split-Toned B&W. This type of Recipe isn’t nearly as popular as the “regular” ones that don’t use multiple exposures, and I’m pretty sure it’s because these are a lot more difficult to use. They are way less convenient and practical; however, they can be a good challenge and a lot of fun, and you’ll achieve results that a fairly unique.
I didn’t come up with a new double-exposure Recipe, but I did come up with a slight variation to this concept that I thought I’d share with you. If you are looking for something creative to try, this might just be what you are looking for. In any event, you’re sure to make some interesting images.
Note: this was a Creative Collective article, but now it’s available to everyone.
The concept of this project is pretty simple, and can be done with most Fujifilm cameras. I used my Fujifilm X100V, but you certainly don’t need that model for this project. As long as your Fujifilm camera has a multiple-exposure mode—and most do—you can join in on the fun.
Step one is to choose a Film Simulation Recipe. I went with Kodachrome 64 simply because I like that recipe. While you can use any Recipe, I find that ones with mid or high contrast tend to work better than low-contrast Recipes. So pick your favorite Recipe, whichever one that is, and let’s see what happens.
The second step is to set your camera to capture double exposures. Look for Multiple Exposures in the Drive Menu or on the Drive selector on the top-plate (depending on your camera model). For newer cameras, make sure that you have Average selected in the Multiple Exposure Control submenu. Refer to your camera’s manual if you are not sure.
After that, you’ll want to tape two colored pieces of paper together (I used simple construction paper—see above). You can use any two colors. I chose blue and yellow because they are contrasting colors, and thought it might make it more dynamic. Be creative or thoughtful with whichever colors you choose. A problem you will encounter is that the line between blue and yellow is fine and not feathered. It goes sharply from one color to the other, which is not what you want. We’ll address this in a moment, but for now keep it in mind.
Next, capture the first exposure. The subject can be whatever you want it to be. The camera will ask you if you are satisfied with the exposure or if you want to try again. If you are happy with it, press OK and get ready for the second exposure.
For the next step, which is the second exposure, you will capture an image of the two-colored paper, including a bit of both colors in the frame—it can go straight across or diagonal. You want the picture to be blurry, so flip the camera to manual focus and ensure that it is out-of-focus. This will make the sharp line fuzzy, and will blur out the paper’s texture. I also used a slow shutter speed and moved the paper during the exposure, to further grade the transition between yellow and blue. The camera will allow you to make multiple attempts until you are satisfied, so don’t be afraid to redo the second exposure if you aren’t happy with the results.
I haven’t done a whole lot to explore this concept. I’m sure there are a ton of creative possibilities. Use your imagination, and you are likely to capture some intriguing images.
In the February issue, we take a look at 10 different Film Simulation Recipes for use on dreary, overcast days. If you aren’t sure which recipe to use when the sky is grey, this issue is intended to be helpful. Also, my wife, Amanda, contributed six pictures to this publication, including the cover image.
If you haven’t joined the Creative Collective, consider subscribing today to get access to bonus articles and the FXW Zine—not just this issue, but the first thirteen issues, too!
Above-Left: Kodak Portra 400 v2 recipe — Above-right: same recipe, but slightly modified.
Film Simulation Recipes are one way to replicate the look and feel of traditional film on your Fujifilm camera. You can do something like this by editing RAW files and applying Alien Akin, VSCO, RNI, etc., presets during post-processing; however, using recipes cuts out this step, saving you a lot of time and hassle. One-step photography (as discussed by Ansel Adams in his book about Polaroid photography, which he was fascinated with) is an easier approach. Some advantages of using recipes on Fujifilm cameras are simplicity (quickly and easily achieve a desired aesthetic with little or no editing), authenticity (film-like quality that doesn’t appear heavily manipulated), consistency (a single recipe over a series of pictures produces a cohesive visual style), and productivity (not editing pictures saves a lot of time). There are over 250 Film Simulation Recipes published on Fuji X Weekly, which are also available on the Fuji X Weekly App.
Even though there are a lot of recipes to choose from, you may not always find one that’s the perfect fit for your personal style, subject matter, or lighting condition. I’ve often said that it is fine to “season to taste” any recipe to make it work for you, because making it work for you is preferable to rigidly adhering to a recipe and being dissatisfied with the results (the notes section in the App underneath a recipe is an excellent place to keep track of your modifications). In this post, we will discuss some reasons why someone might choose to modify a Film Simulation Recipe to suit their personal style.
It’s 2023! That means the 14th issue of FXW Zine is out now, and if you are a Fuji X Weekly Creative Collective subscriber, you can download today!
What’s in the January issue? My top 50 favorite photographs of 2022. There are 50 pictures, including the cover, across 32 pages.
If you haven’t joined the Creative Collective, consider subscribing today to get access to bonus articles and the FXW Zine—not just this issue, but the first thirteen issues, too!
I made a really interesting discovery: if you tilt a diffusion filter and spin it, you can control the lens flare and bloom. For example, in the pictures above, I twisted the tilted filter, and the flare and bloom around the street lamp go from sideways to diagonal. There are several creative applications of this!
Below, I’ll explain how I made this filter (it’s simple!), and what you can do with it.
There’s a feature on Fujifilm cameras that I don’t utilize often enough: Film Simulation Bracket. This processes one exposure as three different images, each with a different film simulation applied. You cannot change any other parameters—only the film sim—so you cannot use three different Film Simulation Recipes, only one recipe, but with three film simulations. It would be great if Fujifilm made a Custom Preset Bracket where you could choose three C1-C7 presets to process the exposure with, but that unfortunately doesn’t exist. Another limitation worth noting is that on newer cameras, Film Simulation Bracket disables Clarity, which is a shame.
I already discussed Film Simulation Bracket in a previous Creative Collective article, so I’ll try to take a slightly different approach with this one, and not rehash everything that’s already been said. When is Film Simulation Bracket a useful tool? Read on to find out!
What’s in the December issue? The cover story is about nighttime street and urban photography in Phoenix, Arizona, with a Fujifilm X100V. There are 29 pictures, including the cover, across 20 page.
If you haven’t joined the Creative Collective, consider subscribing today to get access to bonus articles and the FXW Zine—not just this issue, but the first twelve issues, too!
I love using vintage lenses because they often have character. Modern lenses are often technically perfect (or close to it), but they usually lack the character that is a hallmark of analog photography—perhaps the precision engineering makes them too good. The imperfections of old glass is what gives them their unique qualities. One of those qualities is sometimes interesting lens flare. Some people love lens flare and some people hate it—if you are one of those who loves it, I discovered a trick that you might appreciate. It is simple (yet can be tricky), and you probably already have what you need to do it.
The 12th (yes, 12th!) issue of FXW Zine is out, and if you are a Fuji X Weekly Creative Collective subscriber, you can download it now!
What’s in the November issue? The cover story is about embracing blur! Have you noticed the recent blurry picture trend? In this issue we dive into the what, how, and why of it all. There are 22 pictures, including the cover, across 16 page.
If you haven’t joined the Creative Collective, consider subscribing today to get access to bonus articles and the FXW Zine—not just this issue, but the first eleven issues, too!
This Creative Collective article is a followup to Comparing 10 Recipes For Indoor Photography and Fujifilm X-T30 & X-T3 Film Simulation Recipe: Cinematic Negative. Specifically, I’m going to discuss light rendering in a practical sense, color casts, and mood; how all of that relates to Film Simulation Recipes and photography, and how you can use it to your advantage to better control your images, and the emotions that they convey to those viewing them.
Sunlit Table Corner – Avondale, AZ – Fujifilm X100V – “Kodak Royal Gold 400”
You might have a favorite Film Simulation Recipe, but when the light changes you’re disappointed with the results. This is a pretty common problem, and not unique to Fujifilm or even a new issue to photography. This happens because many of my recipes are modeled after or are inspired by analog film, and this is a long-time film problem.
With a few rare exceptions, film is either daylight balanced (usually around 5500K) or tungsten balanced (typically 3200K)—one for use in daylight, and the other for use in artificial light. If you encountered light outside of the temperature that the film was intended to be shot in, you would either accept the results or use a color correction filter (described in this article) to fix the imbalance. Many Film Simulation Recipes have this same issue: they’re intended to be used in a specific light condition, and outside of that they might not produce the best results.
When shooting film, your best option is to use the correct film for the situation; with recipes, I think this is also the best solution. Sometimes this isn’t practical, and so you could use color correction filters (both with film and film simulations), although carrying around a bag full of filters isn’t an especially convenient option. With digital, you have an added solution: adjust the white balance, which is essentially the digital equivalent of using color correction filters. For the sake of this article, we’ll focus on the first option, which is selecting a Film Simulation Recipe that does well in the light situation that you find yourself shooting in.
With over 250 Film Simulation Recipes on this website (and the Fuji X Weekly App), it can be hard to know which ones perform best in which light. In this article (and hopefully additional articles in the future), we’re going to compare how 10 recipes perform in various light conditions. It should be enlightening, and hopefully you’ll have a better understanding of when to use which recipes.
Same picture, different recipes
Before we jump into it, I think it’s important to briefly discuss Kelvin. The measurement of the temperature (warm or cold) of light is called Kelvin, and the scale is pretty large, ranging from 0 to 20000—the lower the number, the warmer the light, and the higher the number, the cooler the light. The typical temperature of a candle flame is 1900K. Artificial light (incandescent lights, halogen bulbs, fluorescent tubes, etc.) is usually between 2800K and 4300K, depending on the specific bulbs being used. “Golden Hour” light (sunrise and sunset) is around 3500K. Morning and afternoon sunlight (outside of golden hour) is typically between 4500K and 5000K, while midday sunlight is typically 5600K. Overcast sky often ranges from 6000K to 9000K, and shade can be 8000K to 10000K. Your camera’s white balance is designed to “balance” these temperatures so that white is white—a warm light will need a cool white balance, and a cool light will need a warm white balance.
With that prerequisite understanding, let’s take a look at how 10 different Film Simulation Recipes handle various Kelvin temperature light conditions.
Note: This was a Creative Collective article, but now it’s available to everyone.
I photographed a little scene illuminated by one Phottix Nuada R3 II LED lamp (which has an adjustable temperature), plus one warm incandescent bulb that was both dimmer and further from the scene (its impact was very minimal, but still worth noting). The Phottix light can be set from 3200K to 5600K. I attached my Fujifilm X100V to a tripod, and photographed the scene over and over, adjusting the Kelvin temperature of the lamp in-between shots.
We’re going to look through a whole bunch of pictures, then we’ll analyze the results afterwards, making a few observations and conclusions at the end. We’re going to start with the coolest light and end with the warmest. The Kelvin value above each set is the temperature of the light source.
5600K
“Kodak Royal Gold 400”
“Agfa Vista 100”
“AgfaChrome RS 100”
“Melancholy Blue”
“Fujicolor NPL 160T”
“CineStill 800T”
“Serr’s 500T”
“Fujicolor NPS 160 Pulled”
“Reggie’s Portra”
“Everyday Astia”
4700K
“Kodak Royal Gold 400”
“Agfa Vista 100”
“AgfaChrome RS 100”
“Melancholy Blue”
“Fujicolor NPL 160T”
“CineStill 800T”
“Serr’s 500T”
“Fujicolor NPS 160 Pulled”
“Reggie’s Portra”
“Everyday Astia”
4200K
“Kodak Royal Gold 400”
“Agfa Vista 100”
“AgfaChrome RS 100”
“Melancholy Blue”
“Fujicolor NPL 160T”
“CineStill 800T”
“Serr’s 500T”
“Fujicolor NPS 160 Pulled”
“Reggie’s Portra”
“Everyday Astia”
3700K
“Kodak Royal Gold 400”
“Agfa Vista 100”
“AgfaChrome RS 100”
“Melancholy Blue”
“Fujicolor NPL 160T”
“CineStill 800T”
“Serr’s 500T”
“Fujicolor NPS 160 Pulled”
“Reggie’s Portra”
“Everyday Astia”
3200K
“Kodak Royal Gold 400”
“Agfa Vista 100”
“AgfaChrome RS 100”
“Melancholy Blue”
“Fujicolor NPL 160T”
“CineStill 800T”
“Serr’s 500T”
“Fujicolor NPS 160 Pulled”
“Reggie’s Portra”
“Everyday Astia”
I’m going to give a quick word about each Film Simulation Recipe, although I’m sure you’ve drawn some of your own conclusions already just from observing the pictures.
The Kodak Royal Gold 400 recipe is warm. It’s intended to produce warm results in daylight (which, remember, is actually a cool light). If you are photographing in cool light and want to combat that (or “balance” it), this recipe is a good choice. Look carefully at the picture at the very top of this article, and you’ll note that this recipe wasn’t quite warm enough to prevent all of the shadows from rendering blue. This recipe isn’t a good match for warm light situations, and is probably best avoided when photographing with artificial lights.
Agfa Vista 100 is another recipe intended for daylight photography. It’s not quite as warm as Kodak Royal Gold 400 (so it does a little better in warmer light), but it’s definitely meant to be used in cool light. If you (for some reason) encountered purple light that you wanted to “balance” (not render purple), this would be a good recipe to use due to its green cast. I wouldn’t choose this recipe for warm light situations.
Because the AgfaChrome RS 100 recipe has a slight cool cast, even though it is meant for daylight photography, it does well in some warm light situations, although it certainly depends on just how warm the light is. This wouldn’t be my first choice for artificial light, but it’s definitely not the worst recipe to use, either.
Melancholy Blue is similar to AgfaChrome RS 100 in that, while it is intended for daylight photography, because it has a cool cast, it does well in artificial light, even more so than the AgfaColor recipe. I wouldn’t purposefully set out to use this recipe in artificial light, but if I were using it in daylight and then the light changed, I wouldn’t likely be too disappointed with the results.
You might be surprised by the red cast in the Fujicolor NPL 160T recipe. After all, isn’t it supposed to be Tungsten balanced? This recipe is intended for and really shines in “blue hour” light, and that’s when I recommend using it.
CineStill 800T is a great option for artificial light (particularly in the 3700K and 4200K examples above). It has a strong blue cast when used in daylight situations.
Serr’s 500T is similar to CineStill 800T: great for artificial light (particularly in the 3200K and 3700K examples above), but it has a very strong blue cast in daylight situations.
I’m going to lump the last three recipes—Fujicolor NPS 160 Pulled, Reggie’s Portra, and Everyday Astia—together in one paragraph. What these three recipes have in common is that they use Auto White Balance, which adjusts to the light, whatever the light is. If you use an Auto White Balance recipe, you can know that the results will be good whatever light you encounter because it has that versatility. If you are a Patron on the Fuji X Weekly App, you can find these recipes quickly and easily using the Filter by White Balance tool.
You can choose a recipe to match the light, such as Kodak Royal Gold 400 in daylight or CineStill 800T in artificial light. You can choose a recipe and just accept the results you get with it, even if they look a little strange. You can use an Auto White Balance recipe and not worry about the light. There’s nothing wrong with any of these approaches—find the one that works best for you, or maybe use each of them at different times and in different scenarios. If you are not sure which recipe to use, I recommend either using it as an opportunity to experiment, or take the less risky route of selecting a recipe that uses Auto White Balance.
What’s in the October issue? The cover story is an ode to the Classic Chrome film simulation, perhaps the most beloved film simulation created by Fujifilm. There are 20 pictures, including the cover, across 16 page.
If you haven’t joined the Creative Collective, consider subscribing today to get access to bonus articles and the FXW Zine—not just this issue, but the first ten issues, too!
Fujifilm X-E4 with Xuan Focus Free 30mm F/10 Body Cap Lens
With film photography, there are more-or-less two groups: those who used rangefinders, SLRs, TLRs, etc., and those who used cheap point-and-shoots and disposable cameras. Generally speaking, pros and hobbyists used SLRs, while novices who didn’t have much interest in photography primary used point-and-shoots (my parents’ and grandparents’ photo albums are full of these pictures). Of course, there are always exceptions, such as the novice who insisted on using their SLR despite not understanding how it worked, or the artist who used cheap gear for artistic effect.
As you probably know, I like to create approximations of classic analog looks on Fujifilm cameras with Film Simulation Recipes. Much of the time, the facsimile aesthetic is based on film shot on SLRs, etc., but occasionally I like to replicate the look of cheaper gear, such as disposable cameras, Holga, pinhole, 126, light leaks, etc.. I do crazy things occasionally—like when I distressed a camera or when I used tiny lenses—so I’m not afraid to try something that’s a bit unconventional. In the case of this article, it’s the Xuan Focus Free 30mm f/10 Body Cap Lens.
Rain, Not Rhein – Buckeye, AZ – Fujifilm X-E4 + Xuan 30mm – “Nostalgia Color“
What is the Xuan Focus Free 30mm f/10 Body Cap Lens, you ask? Well, someone took a cheap third-party Fujifilm body cap, drilled a hole in it, and attached (via glue) a recycled 30mm f/10 lens from a Kodak Funsaver disposable camera. They’re selling them for $26 each. You can actually do this yourself without too much trouble, but for such a cheap price (and with free next-day delivery), it made sense to go the easy route.
The reason why it’s called a “focus free” lens is because it’s pre-focused, and you cannot adjust it (nor can the aperture be changed). I don’t think the distance from the lens to the sensor on my Fujifilm X-E4 is exactly the same as the lens to the film on a disposable camera, so the focus point is slightly different. Xuan claims that from roughly 5′ to infinity is in focus, but that’s not my experience. I believe the focus point is set to about 11′, and the depth-of-field is more like 6.5′ to 37′, and 8′ to 15′ seems to be the sharpest zone.
Bougainvillea Day – Buckeye, AZ – Fujifilm X-E4 + Xuan 30mm – “Nostalgia Color”
If you want to shoot with a pancake lens on your Fujifilm X camera, your options are limited. You have options—some excellent options, in fact—but only a handful in total. The Xuan Focus Free 30mm F/10 Body Cap Lens is another pancake choice, but is it good? Is it even worth $26? I used this lens recently on my X-E4, attempting to capture beautiful LoFi pictures—more resembling those found in picture albums, and less like those printing in magazines and hanging on gallery walls. How was my experience? What do I think of the Xuan 30mm lens? Read on to find out!
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
Note: This was originally a Creative Collective article that required a subscription, but now it is available to everyone.
Fujifilm X-E4 with Xuan Focus Free 30mm F/10 Body Cap Lens
The Xuan Focus Free 30mm F/10 Body Cap Lens is surprisingly good and unsurprisingly terrible at the same time. The center is sharper than I anticipated—a little soft, yes, but not any less than many kit zooms or even the Nikkor 28mm pancake. The lens is noticeably softer as you move towards the corners, and is especially soft in the corners and along the edges, none of which is surprising. I think if the subject is in the middle of the frame and anywhere from 8′ to 15′ from the camera is where you’ll achieve the sharpest results. There’s vignetting in the corners, which is sometimes obvious and sometimes not. The 35mm-equivalent focal-length is 45mm, making it a “standard” lens on Fujifilm X cameras.
Bokeh is the quality of the out-of-focus area of an image. The depth-of-field of the Xuan 30mm is pretty large, and where you’ll find it out-of-focus are close foreground objects and distant background objects. Bokeh is not especially great, but it’s not typically a distraction, either, so I don’t think it even matters. I had a hard time achieving lens flare, but when I did I thought it was interesting. I did notice some chromatic aberrations, but nothing terrible.
Because of the fixed f/10 aperture, the lens isn’t a good option for low-light or indoor situations, unless you use a flash with it—something that I didn’t do, but that’s how the disposable camera that the optics came from worked. Or use a tripod (I didn’t do that, either).
Wet Sidewalk– Buckeye, AZ – Fujifilm X-E4 + Xuan 30mm – “Nostalgia Color”
What I enjoy about the Xuan 30mm is that it is literally point-and-shoot. No focusing. No adjusting the aperture. I set both Shutter and ISO to Auto, and walk around snapping pictures whenever I think there might be an interesting image. In a way, it’s similar to using Snap Focus on Ricoh GR cameras. As Rob Morgan put it, “See a moment, grab the camera, snap the shutter, put it down, and get back to rocking out.” Well, maybe “rocking out” won’t apply to you, but you get the idea. The only real consideration is where the subject is, because there’s a somewhat narrow window where the subject is sharp, and is otherwise soft, and can sometimes be almost painterly or impressionist, which could be good or bad.
I’ve had a lot of fun with the Xuan 30mm lens, and very quickly got my $26 worth out of it! It’s not something I’d want to use all of the time—only when I’m in the “right” nostalgic mood. I think it would be interesting for a project, such as using one camera, this one lens, and one Film Simulation Recipe to photograph a singular subject over a period of time. Maybe I’ll do that, but I’m not sure what the subject should be.
Example pictures:
Trumpets & Bougainvillea – Buckeye, AZ – Fujifilm X-E4 + Xuan 30mm – “Nostalgia Color”
Garden – Buckeye, AZ – Fujifilm X-E4 + Xuan 30mm – “Nostalgia Color”
Wicker Chair Through Window – Buckeye, AZ – Fujifilm X-E4 + Xuan 30mm – “Nostalgia Color”
Triangle & Stones – Buckeye, AZ – Fujifilm X-E4 + Xuan 30mm – “Nostalgia Color”
Window Rain – Buckeye, AZ – Fujifilm X-E4 + Xuan 30mm – “Nostalgia Color”
Dark Tree – Buckeye, AZ – Fujifilm X-E4 + Xuan 30mm – “Nostalgia Color”
Sunlight & Tree Branches – Buckeye, AZ – Fujifilm X-E4 + Xuan 30mm – “Nostalgia Color”
Tree, Clouds & Blue Sky – Buckeye, AZ – Fujifilm X-E4 + Xuan 30mm – “Nostalgia Color”
Two Dark Trees – Buckeye, AZ – Fujifilm X-E4 + Xuan 30mm – “Nostalgia Color”
Backyard Playing – Buckeye, AZ – Fujifilm X-E4 + Xuan 30mm – “Nostalgia Color”
Not Another Picture, Dad – Buckeye, AZ – Fujifilm X-E4 + Xuan 30mm – “Nostalgia Color”
Teeter Totter – Buckeye, AZ – Fujifilm X-E4 + Xuan 30mm – “Nostalgia Color”
Puddle Field – Buckeye, AZ – Fujifilm X-E4 + Xuan 30mm – “Nostalgia Color”
Abstract Sky – Buckeye, AZ – Fujifilm X-E4 + Xuan 30mm – “Nostalgia Color”
The Xuan Focus Free 30mm F/10 Body Cap Lens is a super-cheap LoFi pancake option that produces soft Lomo-like pictures reminiscent of images captured with disposable cameras. It’s not something to use all of the time, but for only $26 it doesn’t need to be. I’ve had a lot of fun with it, and I plan to use it even more, perhaps for a personal project of some sort.
For those with Fujifilm X-Trans cameras that are older than the X-Pro3, you cannot save a White Balance Shift within the C1-C7 Custom Presets. This means that you have to remember to adjust the WB Shift whenever you switch Custom Presets, which is inconvenient to say the least. However, I discovered a method (which I’ve shared before) that allows you to switch between your C1-C7 Custom Presets without having to adjust the WB Shift, and most of you can even have eight presets instead of seven!
Those with an X-Pro3 or newer model don’t have to worry about this, but for those with “older” cameras (X-Trans I, X-Trans II, and X-Trans III, plus the X-T3 & X-T30… Bayer models don’t have Custom Presets), this method can dramatically improve the shooting experience. In this article I will explain in a practical way how to do this on your X-Trans camera. This will be a “game-changer” for some of you!
Note: This was a Creative Collective article, but now it is available to everyone.
The concept of this is simple: while Fujifilm X-Trans cameras (older than the X-Pro3) don’t have the ability to save White Balance Shifts within the Custom Presets, the camera will remember one WB Shift for each White Balance type. For example, if you go to the White Balance Menu and enter in a Shift for Daylight, and a different Shift for Auto, and a different Shift for Kelvin, the camera will remember those. So if each of your Custom Presets uses a different White Balance type (or if two recipes use the same WB & WB Shift), there’s no need to adjust the WB Shift when changing Custom Presets.
If you are a regular reader of this website you probably know this already. This is not new news. Maybe you tried it and loved it. Perhaps you tried it and it just didn’t work out well for you. It could be that you read it but didn’t really know exactly how to do it so you never tried it. Some of you might be hearing about this for the first time. Whatever the case, I’m hoping that by providing a more practical explanation, some of you will give this a try because it really does improve the shooting experience.
I use the Filter by White Balance feature in the Fuji X Weekly App to assist in this, because it’s so much easier than going through each Film Simulation Recipe individually. It’s a great tool that I use frequently, and I hope that you find it useful, too.
On my Fujifilm X70, which is an X-Trans II camera, I have eight Film Simulation Recipes available to me through the C1-C7 Custom Presets. Yes, eight! We will get to that eighth one in a moment, but for now, let’s take a look at my C1-C7.
In the top-spot is my Kodachrome II recipe, which utilizes Auto White Balance. Since it uses Auto, we can scratch that off our list of White Balance types for the other six slots. There are currently 10 X-Trans II recipes that use Auto WB, so if Kodachrome II isn’t your favorite, there are nine others that you could choose instead. Personally, Kodachrome II is a favorite, so it happily occupies C1 on my Fujifilm X70.
Roof, Sky & Trees – Buckeye, AZ – Fujifilm X70 – “Kodak Portra 160”
Next, in the C2 slot, is the Kodak Portra 160 recipe, which utilizes Daylight White Balance. For some reason, Fujifilm calls this “Fine” and not Daylight on the older cameras—I think because of a poor translation from Japanese to English—but it is in fact Daylight, and is marked by the sunny icon. For X-Trans II there are seven recipes that use Daylight, so if you don’t prefer this one there are six others to choose from.
Six O’Clock Palms – Buckeye, AZ – Fujifilm X70 – “Kodak Portra 160”
Greenhand Club – Buckeye, AZ – Fujifilm X70 – “Kodak Portra 160”
Airplane on a Stormy Day – Buckeye, AZ – Fujifilm X70 – “Kodak Portra 160”
C3 — Kodak Color Negative
Trumpet Flower Blossoms – Buckeye, AZ – Fujifilm X70 – “Kodak Color Negative”
The next Custom Preset I have programmed into my Fujifilm X70 is the Kodak Color Negative recipe, which calls for the Incandescent White Balance. While this recipe is new (I published it a week ago), it has quickly become a top-favorite of mine for X-Trans II.
Backyard Trike – Buckeye, AZ – Fujifilm X70 – “Kodak Color Negative”
Mary, Jesus & Stinky Pete – Surprise, AZ – Fujifilm X70 – “Kodak Color Negative”
Morning Coffee – Glendale, AZ – Fujifilm X70 – “Kodak Color Negative”
C4 — Fujichrome Slide
Watching the Boat Float of Death – Buckeye, AZ – Fujifilm X70 – “Fujichrome Slide”
In the fourth spot is my Fujichrome Slide recipe, which uses the Fluorescent 1 White Balance. While the first three Custom Presets produce a Kodak-like aesthetic due to their use of Classic Chrome, this one delivers a little different look for when I want to change it up. If this recipe isn’t your cup of tea, perhaps consider Provia Negative as an alternative.
Illuminated Pool Noodles – Goodyear, AZ – Fujifilm X70 – “Fujichrome Slide”
Fisherboy – Litchfield Park, AZ – Fujifilm X70 – “Fujichrome Slide”
Tree & Home Reflection – Litchfield Park, AZ – Fujifilm X70 – “Fujichrome Slide”
C5 — Lomography Color 100
Freedom – Buckeye, AZ – Fujifilm X70 – “Lomography Color 100”
Another non-Kodak-like recipe is next, and occupies C5 on my X70: Lomography Color 100. This recipe uses the Shade White Balance. If you don’t like this one, consider Yosemite Velvia as an alternative.
Bougainvillea Hiding – Buckeye, AZ – Fujifilm X70 – “Lomography Color 100”
Arizona Suburb Landscape – Buckeye, AZ – Fujifilm X70 – “Lomography Color 100”
Shasta – Buckeye, AZ – Fujifilm X70 – “Lomography Color 100”
C6 — CineStill 800T
Illuminate the Dark – Buckeye, AZ – Fujifilm X70 – “CineStill 800T”
In spot six is my CineStill 800T recipe, which uses a Kelvin White Balance. This is probably my favorite X-Trans II recipe, but because it’s best for night situations I don’t always get to use it. If this one isn’t your favorite, there are six other recipes that use a Kelvin White Balance that you could choose instead.
Dusk Rose – Buckeye, AZ – Fujifilm X70 – “CineStill 800T”
Night Light – Buckeye, AZ – Fujifilm X70 – “CineStill 800T”
C7 — Monochrome Red
Station Wagon – Buckeye, AZ – Fujifilm X70 – “Monochrome Red”
In the last and final Custom Preset slot is my Monochrome Red recipe, which just so happens to share the same exact White Balance and WB Shift as Fujichrome Slide, which sits in C4. Because these two recipes share the same White Balance and Shift, they can both be in C1-C7 at the same time.
Water Fountain – Buckeye, AZ – Fujifilm X70 – “Monochrome Red”
Sunlit Flowers – Litchfield Park, AZ – Fujifilm X70 – “Monochrome Red”
Fishing Pole on Dock – Litchfield Park, AZ – Fujifilm X70 – “Monochrome Red”
C8 — Ektachrome 100SW
Stop Then Go – Buckeye, AZ – Fujifilm X70 – “Ektachrome 100SW
I know what you’re thinking: there is no C8—there’s only C1-C7—so how is this possible? Easy! You see, the only difference between the Kodachrome II recipe, which is in C1, and my Ektachrome 100SW recipe, is the film simulation; Kodachrome II uses Classic Chrome while Ektachrome 100SW uses Velvia, and otherwise these two recipes are identical. So if I set my X70 to C1, then change the film simulation to Velvia (using a customized button on the D-Pad), then I have quick access to this recipe. So, yeah, it’s completely possible to have eight recipes, as if there were eight Custom Presets—amazing!
Buckeye Fire Dept. – Buckeye, AZ – Fujifilm X70 – “Ektachrome 100SW”
Green Trees & Blue Sky – Buckeye, AZ – Fujifilm X70 – “Ektachrome 100SW”
So this is all well and good for X-Trans II, but what about X-Trans I? What about X-Trans III? What about the X-T3 and X-T30? Is it possible to do something similar on those cameras? Absolutely!
There are, of course, so many different combinations that you could do—this is just an idea to get you started. The easiest method to find Film Simulation Recipes that use different White Balance types is via the Filter by White Balance feature of the Fuji X Weekly App. I think, once you program your C1-C7 presets like this, you’re going to find that the shooting experience is much improved, because the hassle of remembering to adjust the WB Shift whenever you switch to a different Custom Preset is gone. For some of you, this is a game-changer.
How do you get a bonus 8th recipe on the X-Pro3 and newer cameras? Set the Kodak Portra 400 v2 recipe to be one of your C1-C7 Custom Presets, and simply change the film simulation from Classic Chrome to Classic Negative to turn it into the Vintage Vibes recipe. Mic dropped.
What’s in the September issue? It’s actually a very special edition, celebrating my first six years shooting Fujifilm cameras. There are 74 pictures, including the cover, across 48 pages—this is by far the biggest issue of FXW Zine yet!
If you haven’t joined the Creative Collective, consider subscribing today to get access to bonus articles and the FXW Zine—not just this issue, but the first nine issues, too!
I like using vintage lenses because they often have character, and sometimes that character is pronounced in the lens flare. When light is scattered within the lens system, such as reflected between the elements, you get lens flare. Some people love it and some people don’t. Modern lenses are precision engineered and coated to avoid lens flare as much as possible. If you’re one of those who like it and try to incorporate it within your photography, you might be disappointed that newer glass just doesn’t produce very much lens flare; however, there’s a cheap and simple hack for increasing the flare in your photographs.
If you are using a lens that’s not especially prone to lens flare and you want a little more of it in your pictures, it’s very easy to do.
