Fuji blog

Fuji X Weekly App Update — Two Big Improvements!!

Posted on by Ritchie Roesch

Earlier this week I released a new Fuji X Weekly App update, which I’m excited to share with you. I didn’t announce this right away because there was a minor bug that I wanted to fix before telling everybody about this, which has since been fixed and updated, so, as of late last night, that’s no longer an issue. There are two major new features, plus several really minor things you’re unlikely to notice—we’ll just focus on those two big things in this article.

First up is something that’s been under development in one way or another for five years. I explored many different ways to implement this idea in principal, and there were a couple failed attempts, just because of the complications in making it function smoothly. Ultimately, the approached that worked best and most consistently was less intuitive than what I would have ideally preferred, but it was the best option all things considered. I actually rolled it out first in the Ricoh Recipes App, just so I could work out any unforeseen issues before adding it to the Fuji X Weekly App. What is this new feature? Backup/Restore.

Notes, Favorites, and Custom Recipes are stored locally on your phone within the App’s data, and there has not been a way to share them among devices. If, for example, you have both an iPhone and iPad, you’d need to manually input all your Custom Recipes into both devices—they don’t synch. If you switched phones or lost your phone, it was possible to lose your Notes, Favorites, and Custom Recipes. Now, with Backup/Restore, you can save a copy, and share it among devices.

To save a backup, tap the Gear icon, then choose Back Up Data. You’ll be prompted to either Cancel or Continue. If you select Continue, you’ll have the opportunity to choose where you want the .zip file to be stored—it can be on your device or in cloud storage. Once saved, you can share this .zip file with any device that has the Fuji X Weekly App. To restore, simply choose Restore Data, locate the .zip file and tap on it (if it’s a different device, you may need to download the .zip file onto that device). One note of caution: when you Restore Data, it will override and replace whatever you may have added and/or changed since the Backup file was created. For instance, if you have a Custom Recipe on your iPad that’s not on your iPhone, but you Back Up Data on your iPhone and Restore that .zip on your iPad, you’ll lose the Custom Recipe on the iPad. It doesn’t add the backed up data on top of what’s already there; instead, it replaces it.

My recommendation is to periodically Backup the Fuji X Weekly App, even if you don’t have intentions of sharing it to another device. If you add a new Custom Recipe, or you made some changes to your Favorites, that might be a good time to select Back Up Data and create a new .zip file. Cloud storage is probably the most ideal place to keep it, just so if you lose your phone or change devices, you’ll have it available. Should something unforeseen happen, which does occur now and then, it’s better to be safe than sorry. With Backup/Restore, you can now have that peace of mind, and also match up your Notes, Favorites, and Custom Recipes between multiple devices.

The other big feature of this update is a major overhaul to Custom Recipes. Not only is adding Custom Recipes easier and more intuitive now, but they look and behave more like the 400+ Fuji X Weekly Film Simulation Recipes that come in the App. For example, you can add them as Widgets. You can Filter them, and Search them. You can add them as Favorites. If you sort alphabetically A-Z/Z-A, they will be in the correct place. This is a very significant improvement.

All of the fields (except Sensor generation) are freeform text; however, many have a dropdown menu or -/+ field for easier selection. If (for example) you type Velvia instead of selecting it from the dropdown list, the App will still include this Recipe in Filter by Velvia (just as long as it’s spelled correctly). Custom Recipes created prior to this update are fully compatible and will automatically be transformed to the new system (which was probably the trickiest part of revamping it). If you leave a field blank, that field will not appear in your Custom Recipe in the App. For instance, those with X-Trans III cameras can skip Color Chrome Effect, Color Chrome FX Blue, and Clarity, since X-Trans III cameras don’t have those options, and they will simply not show in the finished Recipe. Once you save it, at the very bottom of the Recipe you’ll notice a Notes field, which wasn’t available in the old system.

Those who use the Custom Recipes feature of the Fuji X Weekly App will absolutely love this update. This has been in the works for a long time, and I’m very happy with how it turned out. And it needed to be done prior to the implementation of Backup/Restore. In a sense, as far as the coding goes, these two features go hand-in-hand, and that’s why they were done together. While this update is mostly beneficial to Patron subscribers, there are some small under-the-hood improvements that affect everyone, so even if you are using the App for free, I do recommend updating to the latest version, if your phone did not do so automatically.

The Fuji X Weekly App is free to download and use. Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Using X-Trans IV Recipes on X-Trans V Cameras

Posted on by Ritchie Roesch

Streaming Light Through the Mountains – Phoenix, AZ – Fujifilm X-T5 – Kodak Portra 400

When Fujifilm first introduced the fifth-generation of X-series cameras, I spent some time updated fourth-generation Film Simulation Recipes for the new models. There are several small differences in how fourth and fifth generation cameras render images, most notably how deeply blue is on the Classic Chrome, Classic Negative, Eterna, and Eterna Bleach Bypass film simulations. It’s an easy fix: if a fourth-generation Recipe uses one of those four film sims, reduce Color Chrome FX Blue by one (Weak instead of Strong; Off instead of Weak) on the fifth-generation camera. Or don’t make that adjustment, because you might not notice the difference anyway, and you’re perfectly happy with the results.

After republishing a number of “old” Recipes for use on the new cameras, I began to receive some feedback: stop rehashing existing Recipes. “You’re just publishing ones you’ve already made,” is one example. So I stopped. There are about 100 Recipes that I could do this with (make an X-Trans V version of an X-Trans IV Recipe). Not only would that take a lot of time to accomplish, but it would end up constituting most of the Recipes published for a couple of years. In other words, I totally get why some people would get annoyed by it. Still, there are a lot of fourth-generation Recipes that people want to use on their fifth-generation cameras.

Uptown at Sunset – Phoenix, AZ – Fujifilm X-T5 – Kodak Portra 400

One such Recipe is Kodak Portra 400, which is quite popular. Although I prefer Kodak Portra 400 v2 just a little more (that’s just my personal taste), which I did make an X-Trans V version of, I still really like this one and use it sometimes. I never did make a fifth-generation version of Kodak Portra 400, though; however, the Recipe can be used on the new cameras simply by either 1) leaving the Recipe as-is and accepting the results for what they are (which is nearly the same), or 2) do what I do, and adjust Color Chrome FX Blue to Off instead of Weak. There are a lot of people with newer models that have no idea that they can use the Kodak Portra 400 Recipe.

In other words, if you have a fifth-generation camera, which (as of this writing) are the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III (plus the GFX100 II, GFX100S II, and GFX100RF), you can use any fourth-generation Recipe—if it calls for Classic Chrome, Classic Negative, Eterna, or Eterna Bleach Bypass, simply adjust Color Chrome FX Blue down one position (or don’t make that adjustment, it’s ok if you don’t). Even though I didn’t make an updated version specifically for the new cameras, the Recipe is still available for you to use. So, if you have a newer model, take a look at the X-Trans IV Film Simulation Recipes, because your next favorite might be found there, just waiting to be discovered.

Future Fujifilm Lens Ideas

Posted on by Ritchie Roesch

Tom’s Famous X-Pro3 – Avondale, AZ – Fujifilm X-E5 – 1-Hour Photo Recipe

Fujifilm announced that they’re hosting a “Focus on Glass” online event on March 5th at 5 AM Pacific Time, 8 AM Eastern. They’re going to highlight and discuss various Fujinon lenses. I’m sure it will be interesting. Apparently, one aspect of this event will be engaging with the community. Fujifilm stated that they’re interested in receiving input from their users regarding future lenses, which I think is great. Not wanting to wait until March, I thought I’d share some ideas today. Maybe Fujifilm will take this into consideration.

I have a few ideas for both X and GFX, but I wanted to just discuss the X-series in this article. Since GFX is much newer and niche, it obviously has a lot more holes; however, it has a lot few customers—most X-series photographers don’t own a GFX camera. To keep this most relevant to the majority of you all, we’ll stick strictly to X-mount lenses today.

If you’re a regular reader, most of these suggestions will be familiar, because I’ve said them before. For one or two, this will be my first time mentioning it. My ideas might be much different than yours, so feel free to give your suggestions in the comments, should Fujifilm read this article and take the ideas into consideration. Also, let me know which of these you’d most want Fujifilm to make.

Fujinon 12mm f/2

Barn by the Tetons – Grand Teton NP, WY – Fujifilm X-E1 & Rokinon 12mm f/2

Fujifilm has a few options for ultra-wide-angle lenses. There’s the 8mm f/3.5, which has surprisingly little distortion for how wide it is; however, it’s definitely questionable for things like astrophotography. Then there’s the 14mm f/2.8, which is not going to be quite ultra-wide enough for some, and also not quite bright enough. There are two zooms: 8-16mm f/2.8 and the 10-24mm f/4. What’s missing is a faster prime in the 10mm-12mm range, such as a 12mm f/2. There are some good third-party options (like the Rokinon 12mm f/2), but a Fujinon lens would be nice to have available.

Fujinon 15mm f/3.5 Pancake

Golden Gate – San Francisco, CA – Fujifilm X-S20 & Fujinon 15–45mm @15mm – Kodak Farbwelt 200 Expired Recipe – Photo by Jon Roesch

One advantage of APS-C over full-frame is the compact size; however (and shockingly), there aren’t a lot of pancake lenses to pair with the small camera bodies. The Fujinon 27mm f/2.8, which is one of my favorites, has become legendary. The brand-new Fujinon 23mm f/2.8 is great, and a very welcomed addition. The Fujinon 18mm f/2 is one of the original X-series lenses, and is barely a pancake (more like a short stack or Japanese pancake). In my opinion, another pancake lens or two makes a whole lot of sense, and a 15mm f/3.5 would be an excellent option that I think many would appreciate.

Fujinon 18mm f/2 II

Welcome to the Labyrinth – Litchfield Park, AZ – Fujifilm X-E4 & Fujinon 18mm f/2 – Fujicolor Superia 800 Recipe

The Fujinon 18mm f/2 is one of the oldest lenses in the lineup, and it shows. It has good character, and there’s a reason people love it, but it’s in pretty desperate need of a refresh. I hope this is the next one to receive a Mark 2 version.

Fujinon 40mm f/3.5 Pancake

Agriculture Tanks – Arlington, AZ – Fujifilm X-T5 & Fujinon 18-55mm @40mm – Kodak Vericolor Warm Recipe

This is the other pancake lens that I’d love to see added to the lineup. Just a little telephoto, but not far from a “nifty-fifty” focal length. A maximum aperture of f/2.8 would be good if they can keep it no larger than the 18mm f/2, but otherwise I’d want a smaller lens with a smaller maximum aperture. I would buy this on day one if Fujifilm made it.

Fujinon 60mm f/2.4 Macro II

From Dust To Dust – Great Sand Dunes NP, CO – Fujifilm X-Pro2 & Fujinon 60mm f/2.4 – Kodachrome II Recipe

The Fujinon 60mm f/2.4 Macro is often overlooked because it is older, not the best performer among the X-series lineup, and lacks weather-sealing. If Fujifilm modernized it, I think it would do quite well. It’s got a lot of versatility, and can serve as a walk-around lens for those who prefer telephoto focal lengths. This is my second pick for a lens refresh.

Fujinon 70mm f/1.4

Ramada 6 – Phoenix, AZ – Fujifilm X-T5 & Fujinon 70-300mm @70mm – BewareMyVelvia Recipe

In-between the Fujinon 56mm f/1.2 and Fujinon 90mm f/2, there’s not a fast portrait lens. Both the Fujinon 60mm f/2.4 and Fujinon 80mm f/2.8 can serve as portrait lenses, but that’s not their primary purpose. For those who find the 56mm too short and the 90mm too long, a 70mm f/1.4 would be the Goldilocks option.

Fujinon 135mm f/2.8

Ballyhoo – Childress, TX – Fujifilm X-E4 & Vivitar 135mm f/2.8 – Fujicolor Natura 1600 Recipe

There aren’t many long telephoto primes for the X-series. In my opinion, something in-between the Fujinon 90mm f/2 and the (very large and expensive) Fujinon 200mm f/2 is desperately missing. This lens should not be all that much larger or heavier than 90mm f/2, and the price needs to stay somewhat reasonable, preferably under $1,500. This would be another day-one buy for me.

Fujicolor C200 v2 — Fujifilm X100V (X-Trans IV) Film Simulation Recipe

Posted on by Ritchie Roesch

Cold Morning at the South Rim – Grand Canyon NP, AZ – Fujifilm X100V – Fujicolor C200 v2

The original Fujicolor C200 Film Simulation Recipe is great! This isn’t intended to replace that Recipe—there’s no need to replace it, since it’s excellent—but instead provide an alternative option for those looking for something slightly different. One film can produce many different looks, depending on a host of factors, including how it was shot, developed, and printed or scanned. In this case, a Fuji X Weekly reader wanted a Recipe that more closely matched his particular Fujicolor C200 scans. Oh, and it needed to be compatible with the Fujifilm X100V and X-Pro3, which the original version is not.

Fujifilm introduced Fujicolor C200 in 1990 as a low-budget, consumer-grade color negative film. I’ve shot a few rolls of it over the years, although it was never my go-to option. Fujifilm gave it a small refresh in 2017. Sadly, in late 2021, Fujifilm began selling rebranded Kodak Gold 200 as Fujicolor C200. Even though C200 is a cheap color film, it has a cult-like following, and many people enjoy its aesthetic and choose it over more expensive emulsions.

Bougainvillea Peeking over Wall – Buckeye, AZ – Fujifilm X100V – Fujicolor C200 v2

This Fujicolor C200 v2 Film Simulation Recipe was an App Patron Early-Access Recipe, but it is now available to everyone. With the exception of the X-T3 and X-T30, it is fully compatible with fourth-generation cameras: X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II. You can use it with the GFX100S, too. For fifth-generation models (plus the GFX100 II, GFX100S II, and GFX100RF), simply set Color Chrome FX Blue to Weak instead of Strong.

Film Simulation: Classic Negative
Dynamic Range: DR100
Grain Effect: Weak, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Strong
White Balance: Shade, -2 Red & +1 Blue
Highlight: -2
Shadow: -2
Color: +4
Sharpness: -1
High ISO NR: -4
Clarity: -2
ISO: Auto, up to ISO 6400
Exposure Compensation: 0 to +2/3 (typically)

Example photographs, all camera-made JPEGs using this Fujicolor C200 v2 Film Simulation Recipe on my Fujifilm X100V and Fujifilm X-E4:

Main Street – Buckeye, AZ – Fujifilm X-E4
Dim Light & Neon Reflections – Tempe, AZ – Fujifilm X100V
Coffee Shop Christmas Tree – Phoenix, AZ – Fujifilm X100V
Backlit Potted Palm – Buckeye, AZ – Fujifilm X100V
Afternoon Jo – Buckeye, AZ – Fujifilm X100V
Sitting on a Backyard Bench – Buckeye, AZ – Fujifilm X100V
Swinging Seat – Litchfield Park, AZ – Fujifilm X100V
Potted Blossoms – Litchfield Park, AZ – Fujifilm X100V
Artificial Flowers – Litchfield Park, AZ – Fujifilm X100V
AC – Litchfield Park, AZ – Fujifilm X100V
The Grinch that Stole a Golf Cart – Buckeye, AZ – Fujifilm X100V
Autumn Path – Buckeye, AZ – Fujifilm X100V
Autumn Canopy – Buckeye, AZ – Fujifilm X100V
Bird on a Cross – Litchfield Park, AZ – Fujifilm X100V
Icy Morning at the Rim – Grand Canyon NP, AZ – Fujifilm X100V
Canyon Between the Pines – Grand Canyon NP, AZ – Fujifilm X100V
Morning Shadows – Grand Canyon NP, AZ – Fujifilm X100V

Comparison:

Original Fujicolor C200 Film Simulation Recipe (Fujifilm X-E4)
This new Fujicolor C200 v2 Film Simulation Recipe (Fujifilm X-E4)

Find this Film Simulation Recipe and over 400 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

The Story of Two Zoom Lenses

Posted on by Ritchie Roesch

Hound – Phoenix, AZ – Fujifilm X-T5 & 70-300mm – BewareMyVelvia – Triple Exposure

I’ve never clicked with zoom lenses. For the last—oh, geez, it’s approaching 30 years now, going back to the film days—I have been using prime lenses almost exclusively. I’ve dabbled with zooms here and there, but invariably they end up collecting dust, and oftentimes eventually sold. I love my primes.

The reasons why I prefer primes over zooms are 1) they’re almost always sharper, 2) they typically have more good character and less bad characteristics, 3) they usually have larger maximum apertures, 4) they’re often smaller, and 5) they force you to remain within the constraints of that focal length. Composer Igor Stravinsky famously stated, “The more constraints one imposes, the more one frees oneself of the chains that shackle the spirit.” Pablo Picasso said, “If you have five elements available, use only four; if you have four elements, use three.” For me, prime lenses help with that; however, it doesn’t mean I’m anti-zoom, only that most of the time I prefer primes. Ideally, I’d purchase two or three primes instead of a single zoom that covers those focal lengths.

Fujifilm has an obvious hole in the prime-lens lineup: long telephoto. There’s the wonderful Fujinon 90mm f/2, which is one of my favorite lenses. The 135mm full-frame equivalent focal-length used to be quite common, but it’s not nearly as popular nowadays. After that there’s the 200mm f/2 and the new 500mm f/5.6, both of which are bulky and expensive (although I’m sure they’re quite excellent). What’s missing are a couple of smaller, more affordable options. Something like a 135mm f/2.8 (or f/3.5) that’s not more than 20% larger and heavier than the 90mm f/2, and not more than $1,500—the smaller, lighter, and less expensive the better. I’d also like to see something around a 330mm (500mm full-frame equivalent) f/4 (or f/4.5) that’s maybe roughly around the same size of the 70-300mm zoom, and under $2,000. But those two lenses don’t exist.

I’m strongly considering purchasing something more telephoto than the 90mm f/2, and the 200mm f/2 and 500mm f/5.6 are not an option. So that leaves me with zooms. I used to own the 100-400mm f/4.5-5.6, and as much as I tried to like it because I spent a lot of money on it, I just couldn’t. It was a disappointment, so I sold it. Last weekend, at a local Fujifilm event, I was able to try out two zooms: Fujinon 70-300mm f/4-5.6 and Fujinon 150-600mm f/5.6-8. I want to briefly talk about those two, and at the end I’ll tell you what I decided.

The first lens that I tried was the 70-300mm f/4-5.6. It’s very lightweight for what it is. I was quite impressed with the image quality and overall performance. At the long end, there’s some obvious vignetting when wide open that seems to improve but not completely disappear as you stop down. I noticed some minor chromatic aberrations in a couple instances. It does seem slightly softer at 300mm than 200mm, but I didn’t use it enough to feel confident in that judgement, and it was still more than sufficiently sharp at 300mm. I feel like this lens isn’t perfect, but it significantly outpaced my expectations for a $950 zoom.

Above: Fujifilm X-T5 & Fujinon 70-300mm lens — BewareMyVelvia Recipe

The second lens that I tried was the 150-600mm f/5.6-8. This lens is much larger, heavier, and more expensive than the 70-300mm. I was impressed by the reach. I was able to photograph mountains that were far away. I wasn’t close to downtown, but I was able to photograph it nonetheless. It was definitely more difficult to use than the 70-300mm because oftentimes one doesn’t need 150mm, let alone 600mm. Still, the pictures are beautiful, and the overall sharpness and IQ seems to be just a little better than 70-300mm; however, at the longer end, say beyond 400mm and getting increasingly worse as you reach 600mm, the pictures become softer. Some reasons for this might be 1) atmospheric haze and heatwaves, 2) higher ISOs to compensate for the smaller maximum aperture and faster shutter speeds necessary, and 3) diffraction from the smaller apertures. I liked the image quality from the 70-300mm more at 300mm than the 150-600mm at 600mm; however, the 150-600mm seems to have slightly better IQ at 300mm than the 70-300mm has at 300mm. I also noticed some vignetting at 600mm.

Above: Fujifilm X-T5 & Fujinon 150-600mm lens — BewareMyVelvia Recipe

The lens that I decided on is the Fujinon 70-300mm. I’m also planning to purchase the 1.4x TC to occasionally give it just a little more reach when needed. I’ve heard good things about that combination. It seems like it will be more than good enough for what I need it for. If Fujifilm ever made that 135mm f/2.8 and 330mm f/4, I’d prefer that over the zoom. With the options available, the 70-300mm appears to be the best choice for me. It’s surprisingly good, and a bonus is that it’s reasonably affordable.

Ricoh just Announced a GR IV Monochrome, Fujifilm Should Release a B&W Camera, Too

Posted on by Ritchie Roesch

Ricoh just announced the GR IV Monochrome, a black-and-white-only version of their recent GR IV release. It seems like a really cool camera, except for the price. Because the menu must be customized and the market for it is extremely niche, a premium is expected. The Ricoh GR IV is already a bit overpriced at $1,500 (seems more like a $1,200-$1,300 camera, even when considering inflation and tariffs), so I was pretty shocked to see the $2,200 MSRP for the Monochrome version. Monochrome-only cameras are pretty rare—Leica is the most renown manufacturer of them—so it’s good to see another option, even with the steep cost.

The benefits of a monochrome-only sensor are more detailed-rich images, higher dynamic range, and better high-ISO performance. Because only half of the “pixels” in a Bayer camera are recording luminosity information (the other half are recording color; for Fujifilm X-Trans, it’s 55% luminosity and 45% color information), the true resolution of the sensor is not achieved. Pictures from black-and-white-only cameras seem sharper, as if they were captured with a higher-resolution camera. Because there is less noise, the cameras are capable of more dynamic range in the shadows, and are notably better at high ISOs. If you are not doing color photography, there is a significant benefit to a monochrome-only camera. You can use traditional color filters for B&W film with these cameras, and really get a film-like experience.

I’ve been advocating for a monochrome-only Fujifilm camera for years now. Most likely it would be an X100-series model, but I would love for it to be an interchangeable-lens camera, like maybe the next X-Pro. There would need to be some modifications to the menu. First, Acros is the only Film Simulation needed. I would like to see the Tone Curve get some new options, like -3 to +6 Highlights and Shadows. Because of the extra dynamic range, DR800 should be added. I think a Push-Process feature would be cool, where contrast and grain are increased (Off, Push 1, Push 2—should be easily accessible via a button or switch). Vignetting might be nice (Off, Weak, Strong). Split toning for Monochromatic Color would be nice, too (basically, choose a color for Highlight and a different color for Shadow). I think a Faded Blacks option would be interesting (Off, Weak, Strong). Increase the top ISO to 25600, and make ISO 51200 and 102400 the extended ISO options. Remove Advanced Filters, White Balance, Color, and Color Chrome Effects. Maybe add light leaks and/or some fun film-strip boarders. Boom, you’re done.

If Fujifilm made such a camera, they would quickly sell every single one. My hope would be that they could do this and keep the premium to no more than $500 more than the regularly version. For example, if Fujifilm made a monochrome-only X100VI, which has an MSRP of $1,800 for the normal version, I would hope that the black-and-white version would be no more than $2,300. People would absolutely pay that price for it—heck, they would probably pay $2,500 or more. Such a camera would certainly be niche, but if Fujifilm made one, it would be awesome, and would make people say wow!

BewareMyVelvia — A Fujifilm Film Simulation Recipe for X-Trans IV & V

Posted on by Ritchie Roesch

Never be Invisible – Phoenix, AZ – Fujifilm X-T5 – BewareMyVelvia Recipe – Triple Exposure

I first met Tom Baumgaertel, a.k.a. bewaremyfuji, in 2024 at a Fujifilm creator’s retreat in New York. In the time since, we’ve been a part of a few other Fujifilm events, including leading a photowalk together in San Diego. We’ve kept in touch, and even met up for some street photography in L.A. once. Tom just drove out to Arizona this last weekend to lead two photowalks in Phoenix. We’ve wanted to do some sort of collaboration for awhile now, but it just wasn’t the right timing; however, we were able to get this project sorted out while Tom was out here.

Let’s get to some important notes right off the top. First, this is a two-part article—you’re reading Part 1 right now. You’ll find a Film Simulation Recipe below that Tom created and uses for his iconic multiple-exposure images, but Part 2 will explain how to use it to actually make multiple-exposure photographs. Second, this Recipe is intended as the ground floor. You are highly encouraged to experiment with it, modify it, and make it your own. Tom doesn’t strictly stick to it, but makes changes sometimes depending on the exact situation. His Recipe has evolved over time, and will likely continue to evolve. You are not only welcomed to make changes to it, but it is recommended that you do, as you practice more and more with multiple-exposure photography, so that it reflects your style and matches your specific photographic situations. All of the pictures in this article were made with the Recipe as-is, unmodified.

Lime City – Phoenix, AZ – Fujifilm X-T5 – BewareMyVelvia Recipe

You will notice that most of the example pictures are not multiple-exposures, but single-exposure images. This Recipe, which I’ve named BewareMyVelvia in honor of Tom’s social media handle, was created for and is intended for multiple-exposure photos; however, it works well for regular pictures, too. You don’t have to use it for its intended purpose. I saved most of the multiple-exposure images for Part 2, and that’s where you’ll find more example pictures.

Tom’s Recipe reminds me a lot of cross-processed Fujichrome Velvia 50, a low-ISO slide film made by Fujifilm. Cross-processing is developing film in chemistry other than what it’s supposed to be developed with. It can mean a lot of different things, but most commonly it’s E6 slide film developed in C41 negative film chemistry. Results can vary greatly, but Velvia 50 becomes more grainy and contrasty, with a strong color cast that is often yellow or green. I’ve included some examples of actual cross-processed Fujichrome Velvia 50 below, which I photographed way back in 2014.

Above: Fujichrome Velvia 50 35mm film that’s been cross-processed.

If you are after that cross-processed look, one modification that you might consider is increasing Grain to Strong/Large—or, at the very least, using higher ISOs (like 3200 or 6400), which can make the picture appear more grainy (see Abstract Reflections in the example images). Tom sets Grain to Off; personally, I like the texture of film grain, so I set it to Weak/Small. It’s completely up to you, though. Also, Tom prefers more Noise Reduction than I do, so he sets High ISO NR to 0; I set it to -4 because I want less of it. Again, feel free to choose whatever you want.

This Recipe is intended for night photography. Most commonly (but not exclusively), Tom begins shooting as the sun is going down, continues through “blue hour”, and goes well into the night. But you can use it in sunny daylight, too. There are many examples in this article of daytime use, such as the picture below. In my short experience with this Recipe, I find that it oftentimes works best for multiple-exposures near or after sunset, and it oftentimes works best for single-exposure images during daylight.

Ramada 6 – Phoenix, AZ – Fujifilm X-T5 – BewareMyVelvia Recipe

If you have a fourth or fifth generation X-series camera, which (as of this writing) are the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III, I invite you to give this Recipe a try today. You can also use it on the GFX100, GFX100S, GFX100 II, GFX100S II, and GFX100RF (for the GFX50S II, I recommend increasing Shadow by +0.5). Regarding typical exposure compensation, for multiple-exposure images, you’re likely to be more in the -1 to -3 range, but we’ll talk about that in Part 2.

Film Simulation: Velvia
Dynamic Range: DR200
Grain Effect: Weak, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Strong
White Balance: 6590K, -9 Red & 0 Blue
Highlight: +2
Shadow: +2
Color: +4
Sharpness: +1
High ISO NR: -4
Clarity: 0
ISO: Auto, up to ISO 6400
Exposure Compensation: 0 to +2/3 (typically)

Example photos, all camera-made JPEGs using this BewareMyVelvia Film Simulation Recipe on my Fujifilm X-T5:

Jaywalk – Phoenix, AZ – Fujifilm X-T5
Empty Parking Lot – Phoenix, AZ – Fujifilm X-T5
Downtown Police – Phoenix, AZ – Fujifilm X-T5
Tom at Night – Phoenix, AZ – Fujifilm X-T5 – Triple Exposure
Bar – Phoenix, AZ – Fujifilm X-T5 – Triple Exposure
Electric Train – Phoenix, AZ – Fujifilm X-T5 – Triple Exposure
Squares – Phoenix, AZ – Fujifilm X-T5
Window Reflection Abstract – Phoenix, AZ – Fujifilm X-T5
Walking Reflection – Phoenix, AZ – Fujifilm X-T5
Composing on the Rear Screen – Phoenix, AZ – Fujifilm X-T5
Just Have Fun – Buckeye, AZ – Fujifilm X-T5
Stripes – Phoenix, AZ – Fujifilm X-T5
Abstract Reflections – Phoenix, AZ – Fujifilm X-T5
Urban Patios – Phoenix, AZ – Fujifilm X-T5
Unit – Phoenix, AZ – Fujifilm X-T5
Electric Towers – Phoenix, AZ – Fujifilm X-T5
Broken Saguaro – Phoenix, AZ – Fujifilm X-T5
Saguaro Behind Yellow Blossoms – Phoenix, AZ – Fujifilm X-T5
Abstract Palm Tree Reflections – Phoenix, AZ – Fujifilm X-T5
Tiny Hiker, Large Rocks – Phoenix, AZ – Fujifilm X-T5
Oasis – Phoenix, AZ – Fujifilm X-T5
Tom’s Silhouette – Phoenix, AZ – Fujifilm X-T5
Lime Mountains – Phoenix, AZ – Fujifilm X-T5
Southwest – Phoenix, AZ – Fujifilm X-T5
Sky Harbor Tower – Phoenix, AZ – Fujifilm X-T5
Urban Power Lines – Phoenix, AZ – Fujifilm X-T5
Uptown Sunset – Phoenix, AZ – Fujifilm X-T5
Tower Against the Yellow Light – Phoenix, AZ – Fujifilm X-T5
Last Light Over the Smoky Mountain – Phoenix, AZ – Fujifilm X-T5

Part 2

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

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This Doesn’t Have To Be A Problem

Posted on by Ritchie Roesch

There’s something I’ve noticed, and I want to talk about it. I’ve already discusses this at length multiple times, but this is a slightly different take on it, so I hope you’ll forgive me for bringing it up again. I hate talking about it because it will invariably offend someone, but I think it’s important to bring some clarity to this. What is the subject? Autofocus, of course.

Fujifilm has been much maligned over the last few years—especially the last two—for their autofocus, with many on the internet using words like “trash” and “sucks” and other adjectives along those lines. There’s been an excessive amount of negativity. Of course it’s hyperbole; however, there is a small kernel of truth. So let’s discuss it.

For the first handful of years of this blog, autofocus wasn’t a major topic within the community. I think everyone recognized that X-Trans II and earlier models had some low-light difficulties, but otherwise the AF was sufficient for most people and circumstances, and most everyone seemed ok with that. Then, in late-2022, something seemed to shift, and I noticed a significant increase in AF complaints. The discontentment grew much larger around the spring of 2024 when Fujifilm released a firmware update with an autofocus bug—it took six to eight months for them to get that resolved.

What I noticed all the way back in late 2022 is that when the complainer mentioned their camera, it was almost always an X-H2 or X-H2s. Throughout most of 2023, whenever someone made the complaint, I would ask them which camera they own, and it was almost always an X-H2 or X-H2s (you could bet on it). Even today, when you look at the comments where people complain about the AF, they usually admit that they have an X-H2 or X-H2s, typically along the lines of: “If Fujifilm doesn’t have Sony-level AF on their next camera, I’m selling my X-H2s and switching brands!” Probably 75% of the complaints come from those with an X-H2 or X-H2s, while the X-T5 is in a very distant third place. Once you notice this, you cannot unsee it.

Fujifilm X-T30 & Fujinon 90mm f/2

The X-H2s has Fujifilm’s best and fastest autofocus, while the X-H2 has the second best and the X-T5 has the third best. So why do the majority of the complaints come from those with the best autofocus? Shouldn’t most of the complaints come from those with an X-T30 or X-E4 or a lower-tier camera like that?

One explanation might be that those who use the X-H2, X-H2s, and X-T5 are more likely to do types of photography that stress the AF capabilities. That’s a valid point, and I’m sure there is truth to it. These particular models are more likely to be purchased by those doing bird or sports photography, videography, and things like that. What it doesn’t explain are all those who have much success with those same models doing those same types of activities. How is one person doing great with it and for another it “just sucks”? Or how about all those who are doing it with gear that has inferior AF? It just doesn’t make sense, so I don’t believe this holds much weight as an explanation, but it does hold some weight, at least a little.

What I have steadfastly maintained for the last two years is that Fujifilm’s AF isn’t as good as the Canikony brands, but it’s plenty good enough as long as the one behind the camera is good enough. Of course nobody wants to hear that they’re the problem, so they don’t listen to this; instead, they get offended, and disregard the obvious truth. If the person claiming that Fujifilm’s autofocus is bad wants it to work well for them, they have it within their power to make it so. I 100% believe that the camera is capable, and the photographer has the ability to learn and grow and become capable, too. As Ansel Adams famously said, “The single most important component of a camera is the twelve inches behind it.” But, it’s so much easier and more satisfying to blame the gear, so that’s what most people do.

Those who insist that Fujifilm’s autofocus must become “class leading” or “as good as Sony’s” have unrealistic expectations. Fujifilm’s AF will never catch up to their’s, or Canon’s or Nikon’s (perhaps AI levels the playing field a bit… maybe). Why? Because all of those companies have been making autofocus since the 1980’s or earlier. They all have much larger R&D budgets than Fujifilm, and are more likely to attract the best engineering talent. Those companies have also ignored image quality improvements and focused (pun intended) almost solely on AF over the last handful of years (as reported by PetaPixel), and even to the detriment of IQ in some cases. So, yeah, they’re ahead of the curve; however, they’re at the peak of an inverted U curve, and each improvement means less and less and less in any practical sense.

Fujifilm X100VI

Fujifilm’s AF is more than good enough for most photographers and situations, and anyone who says otherwise isn’t being honest. But there is definitely some room for improvements, and I’m sure there will be improvements in the near future. I’m certain that Fujifilm is working hard right now at this very moment to get the most out of their autofocus. So why all the negativity, then?

It’s taken awhile for me to come to this conclusion, but I’m pretty sure the AF issue (outside of that one firmware bug that has long been resolved) has little to do with the actual technical capabilities of the camera, and more to do with the intuitiveness of it. The Canikony brands tend to assume that their users just want the camera to work great straight out of the box (ironically, many of these same people insist that they must have full control over a RAW file…). They assume their users don’t want to—and most likely won’t—dig deeply into the menu to customize their experience. On the other hand, Fujifilm (for better or worse) expects that their customers will dig deeply into their camera’s menu and customize the experience. Fujifilm’s cameras aren’t intended to give you peak performance straight out of the box—you must set it up yourself for your preferences and needs. That’s the biggest difference. I know this because I own a Sony a7 IV, and its AF isn’t all that much different than my X-T5; however, I have the X-T5 customized for my photography, and that’s why it does so well for me. Camera Conspiracies had a similar epiphany, and now no longer believes that Fujifilm’s AF is junk.

In my opinion, the reason why the X-H2 and X-H2s receives the most autofocus complaints (despite having the best AF) is because these two cameras were specifically intended to attract Canikony photographers. Since these photographers are not used to the philosophy difference, they don’t realize that they need to customize their camera to the extent necessary to achieve their desired results; even if they become aware, they are likely unsure how to do it. Thankfully, there are plenty of resources. Pal2Tech has several excellent videos (here, here, here, here, and here), and is a great channel in-general. Walter Lyle’s video is pretty good, too. That’s just the tip of the iceberg, you can find tons of help if you look for it.

So, if you’re struggling with Fujifilm’s autofocus, my advice is to spend some time figuring out how to best customize the settings for your needs, and perhaps look for some techniques that might help you overcome the obstacle. Aside from that, the Fujifilm community is always eager to help. Don’t be afraid to talk with other X-Series photographers, and ask how they’re achieving success. Find some local Fujifilm events, and speak with a Fujifilm representative—if they’re unsure how to help, they certainly know who can. This doesn’t have to be a problem, and it only is a problem if you allow it to be one.

Is my Camera X-Trans IV or X-Trans V??

Posted on by Ritchie Roesch

A question that I get asked a lot is whether or not a certain Fujifilm camera model is X-Trans IV or X-Trans V. Mostly, this is about the X-S20, X-M5, and X-T30 III, but not exclusively. In the months that followed each of those three releases, I would get a lot of questions along the lines of, “I see that you list the X-S20 as X-Trans V but it has an X-Trans IV sensor, so which is it?”

For the most part, Fujifilm generations have been defined by the sensor. There were certainly some exceptions, but those were rare enough that you could say (for example) X-Trans III and everyone would know what you’re talking about, and there was no confusion. With the latest generation, though, it’s a little more muddy, because the X-S20, X-M5, and X-T30 III cameras have an X-Trans IV sensor paired with the X-Processor 5. So are they X-Trans IV or X-Trans V? Yes, they are.

Because of this confusion, I started saying “fourth-generation” as a synonym to X-Trans IV and “fifth-generation” as a synonym to X-Trans V. Even though the X-S20, X-M5, and X-T30 III cameras have an X-Trans IV sensor, they are fifth-generation models, and not fourth. That simple change in language clears it up significantly. However, I’m not going to edit years and years of articles to reflect this change (that would be quite the task!), so the confusion still lingers.

Whether or not those three cameras are fourth-generation or fifth-generation only matters for Film Simulation Recipes, and not much else. Does someone with the X-T30 III use X-Trans IV Recipes or X-Trans V Recipes? I think it’s perfectly fine to say either will work; however, the most correct answer is X-Trans V. Why? Because the X-T30 III, despite the sensor, has the JPEG options and JPEG rendering of fifth-generation models, and not fourth. The difference in how the X-T30 III will render a picture compared to the X-T30 II when using the same Film Simulation is very minor; the largest difference is how deeply blue is rendered on Classic Chrome, Classic Negative, Eterna, and Eterna Bleach Bypass, which you might not care about or even notice. So the short answer is to use X-Trans V Recipes on the X-S20, X-M5, and X-T30 III; however, you’re perfectly fine to use X-Trans IV Recipes if you want. If the X-Trans IV Recipe uses one of those four Film Simulations, I recommend dropping Color Chrome FX Blue by one (Weak instead of Strong; Off instead of Weak).

Fourth-generation Fujifilm cameras are the X-T3, X-T30, X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II. While the X-T3 and X-T30 are technically fourth-generation, they are (unfortunately) on an island by themselves when it comes to Recipes, having more in common with third-generation models than their fellow fourth-generation cameras that came afterwards. Fifth-generation models are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III. It’s possible that Fujifilm could release another fifth-generation camera, but I believe that the X-T30 III is the last one, and the sixth-generation will arrive sometime later this year.

Fujifilm Announces Instax Mini Evo Cinema (leaves more questions than answers…)

Posted on by Ritchie Roesch

***Edit/Update: Apparently, the Instax Mini Evo Cinema can indeed print Instax prints. It wasn’t stated or shown in the announcement, but you can see it clearly in this promotional video.***

Fujifilm just announced the Instax Evo Cinema camera, which will be released in Japan on January 30th. I assume that it will become available worldwide at some point, but that information isn’t included in the announcement. In fact, a lot was left out. Let’s talk about it.

I guess first thing’s first: I don’t write a lot about Instax on this blog, despite it being a bigger business than X and GFX combined. I do mention it here-and-there. Dan Allen‘s fascinating project shooting Instax film on a 100+ year old camera was one of my favorite Instax-related articles. The Instax camera that Fujifilm just announced is quite interesting, so I thought it worthwhile to write about.

The Instax Mini Evo Cinema is a digital camera, and not film (I’m pretty sure of this, but it wasn’t explicitly stated in the announcement). This isn’t the first all-digital Instax—there’s the weird Instax Pal; the Fujifilm X half, which is half X-series and half Instax, could also be considered one, but Fujifilm classifies it as X-series and not Instax. Although not mentioned in the announcement, the Mini Evo Cinema has a vertically-mounted sensor, which makes it the second camera to have one (the X half being the other).

According to Matthew Allard, the Mini Evo Cinema has a 5MP 1/5″ sensor and a 28mm full-frame-equivalent f/2 lens. Since the entirety of the sensor is not used, it apparently becomes 35mm full-frame equivalent. I believe it is the same sensor and lens from the Instax Mini Evo. The maximum resolution for video is 2.5K (1080 x 1440), but I don’t expect the IQ will look good on a large screen TV—it’s probably more intended for social media (Reels and TikTok) than anything else. Of the 5mp sensor, 4.9mp are used for still images, which is plenty of resolution for Instax Mini prints and Instagram, but not much else. You do need an Instax Mini printer to make Instax prints, as the camera itself cannot make them (from what I can tell).

So, this new camera is essentially an Instax Mini Evo, but with a vertically-mounted sensor, and in a shape inspired by the Fujica Single-8 8mm camera from the 1960’s. While it is for both stills and video, the Instax Mini Evo Cinema is a video-centric camera, and the first video-centric Instax. One interesting limitation is that clips cannot exceed 15 seconds; using the new app that’s specifically for this camera, individual clips can be combined into one larger clip that is limited to 30 seconds.

Back in November I speculated that a “Film Era Dial” would be coming to the X-series (probably the next X-Pro); however, it was later reported as coming to an Instax camera instead. Well, the Mini Evo Cinema is that camera. It has an Eras Dial, which allows you to select a decade that you want the picture or video aesthetic to resemble, anywhere from the 1930’s to the 2020’s. I’m not sure exactly what each era will look like, but overall I like the general concept. I think it’s cool. Interestingly enough, Fujifilm says, “Audio is also processed with the Eras Dial effects, adding distinctive sound characteristics, while certain effects even play nostalgic sounds—such as the whir of film reels—during shooting, creating an immersive experience that feels like stepping back in time.” Unfortunately, no video examples were included in the announcement.

The reason why this camera is coming to Japan only (at least initially) is, in my opinion, due to the massive success of the X half in that country. Outside of Japan, the X half has done alright for the most part, but in Japan it’s been a major hit, and was the 5th best-selling digital camera in the country in 2025, outselling even the X100VI. The Instax Mini Evo Cinema is likely to be another sales success in Japan, while worldwide it might be received less enthusiastically. Letting it become trendy in Japan first might help it when it’s later released elsewhere.

Fujifilm didn’t specify the MSRP. My guess is that it will be around $250-$300, maybe a little less. It seems like a camera that could be a lot of fun, just as long as expectations aren’t too high. I think younger people, like Gen Z and Gen A, will be especially interested in it. An Instax-less Instax video camera with a vertically-mounted sensor was not anything I expected to wake up to this morning, but it makes a lot of sense as a fun toy. It would make an excellent birthday or Christmas gift for the kids, so I’m pretty excited for this one, although it’s unlikely that I’ll ever use one myself.

My 2025 Photography Recap

Posted on by Ritchie Roesch

Golden Appalachian Light – Gatlinburg, TN – Fujifilm X-T5 & 90mm f/2 – Classic Amber

It’s New Year’s Eve, the very last day—the very last few hours—of 2025. Very, very soon it will be 2026. For the last article of the year, I thought I’d simply share some of my favorite photographs of 2025, choosing three from each month. Some months were more prolific than others—for a few, it was difficult to narrow it down to just three; for other months, it was challenging to find three that I could classify as a favorite. There were certain days where I made more good photographs than I did over the course of several months. That’s just the way it goes.

I hope you all had a very merry holiday season. I wish you much luck and success in 2026! Now, to the photographs….

January

Balloons – Goodyear, AZ – Fujifilm GFX100S II & 80mm f/1.7 – Fujicolor PRO 160C Warm
Orange Desert – Phoenix, AZ – Fujifilm X-T4 ES & 35mm f/2 – CitrusChrome 
Tis but a Scratch– Buckeye, AZ – Fujifilm X-T4 ES & 35mm f/2 – Agfa 400S

February

Oak Creek – Sedona, AZ – Fujifilm GFX100S II & 80mm f/1.7 – Nostalgia Negative
Oak Creek – Sedona, AZ – Fujifilm GFX100S II & 80mm f/1.7 – Velvia Film
Ready to Fly – Buckeye, AZ – Fujifilm X-T4 & 90mm f/2 – Fujicolor 100 Gold

March

White Bridge across Pond – Charleston, SC – Fujifilm X-E4 & 27mm f/2.8 – Pacific Blues
Sailer on Sumter – Fort Sumter, SC – Fujifilm GFX100S II & 80mm f/1.7 – Kodak Tri-X 400
Beach Chairs – Folly Beach, SC – Fujifilm X-E4 & 27mm f/2.8 – Velvia Film

April

Church – Litchfield Park, AZ – Fujifilm X-E4 & 27mm f/2.8 – Pacific Blues
Southwind – Litchfield Park, AZ – Fujifilm X-T4 & 90mm f/2 – Kodak Portra do Sol
Rural Water – Buckeye, AZ – Fujifilm GFX100S II & 80mm f/1.7 – FRGMT B&W (originally photographed with Kodachrome 64, but later reprocessed in-camera)

May

Worn Out – Buckeye, AZ – Fujifilm X100VI – Kodak Portra 400 v2
Boulder Theater – Boulder, CO – Fujifilm X100VI – Fujicolor PRO 160C Warm
Flowers & Flatirons – Boulder, CO – Fujifilm X100VI – Kodak Tri-X 400

June

Pool Remnant – Rodanthe, NC – Fujifilm GFX100S II & 80mm f/1.7 – Kodak Tri-X 400
Low Clouds Over Manhattan – New York City, NY – Fujifilm X100VI – Kodak Tri-X 400
Red Barn – Ronks, PA – Fujifilm GFX100S II & 80mm f/1.7 – Kodachrome 64

July

All Way Stop – Phoenix, AZ – Fujifilm X100VI – Summer of ’59
Rocks in the Sky – Sedona, AZ – Fujifilm GFX100S II & 80mm f/1.7 – FRGMT B&W (originally photographed with Summer Sun, but later reprocessed in-camera)
Shadow Shapes – Sedona, AZ – Fujifilm GFX100S II & 80mm f/1.7 – FRGMT B&W (originally photographed with Summer Sun, but later reprocessed in-camera)

August

Corndog – San Francisco, CA – Fujifilm X100VI – 1970’s Summer
Pacific Vista – Elk, CA – Fujifilm X-T4 ES & 35mm f/2 – Aerochrome v2
Coastal Cove – Elk, CA – Fujifilm X-T5 & 56mm f/1.2 – Kodak Plus-X 125

September

Sky Harbor – Phoenix, AZ – Fujifilm X-E5 & 23mm f/2.8 – Kodak Tri-X 400
SoFi Stadium – Inglewood, CA – Fujifilm X-E5 & 23mm f/2.8 – Kodak Tri-X 400
Flight Watch – Los Angeles, CA – Fujifilm X-E5 & 23mm f/2.8 – Superia Negative

October

Roaring Fork – Great Smoky Mountains NP, TN – Fujifilm X-E5 & 23mm f/2.8 – Vivid Velvia
Corn Crib – Great Smokey Mountain NP, TN – Fujifilm X-T5 & 56mm f/1.2 – Classic Amber
Forest Road 3 – Great Smokey Mountain NP, TN – Fujifilm X-T5 & 56mm f/1.2 – Classic Amber

November

Autumn Trail – Sedona, AZ – Fujifilm X-E5 & 56mm f/1.2 – Kodak Farbwelt 200 Expired
Oak Creek in Monochrome – Sedona, AZ – Fujifilm X-E5 & 56mm f/1.2 – FRGMT B&W
Cheers – Scottsdale, AZ – Fujifilm X-E5 & TTArtisan 35mm f/1.8 – FRGMT B&W

December

Glowing Gold Leaves – Buckeye, AZ – Fujifilm X-E5 & TTArtisan 35mm f/1.8 – Astia Negative
Phoenix Sunset – Phoenix, AZ – Fujifilm X-E5 & TTArtisan 35mm f/1.8 – Astia Negative
Swirly – Phoenix, AZ – Fujifilm X-E5 & TTArtisan 35mm f/1.8 – Astia Negative

My Top 5 Favorite Fujinon Lenses

Posted on by Ritchie Roesch

Which lenses you should buy for your Fujifilm camera is a personal decision. There’s not a single lens that’s for everyone. One person will like one lens, another person will like a different lens. Some people prefer zooms, some people prefer primes. Some prioritize sharpness, some prioritize character. There’s no right or wrong lens, only what you personally appreciate.

I get asked fairly regularly which lenses I recommend. I’m not certain how helpful it is to know which ones I personally like, because we’re all different, and which lenses I like best could be very different from what you’ll like best. With that aside, below you’ll find my five favorite Fujinon lenses for X-series cameras. In addition to those, I also sometime use vintage and third-party lenses, but for the sake of simplicity, I kept this list strictly to Fujinon glass.

The order is widest to most telephoto. I’ll provide some brief commentary about why I like the lens, and when I use it. I will also give them a rank of one-through-five; I really like all of them, so don’t read too much into where I rank them. Let’s dive right in!

Fujinon 23mm f/2.8 R WR

Fujifilm’s latest prime lens offering is the Fujinon 23mm f/2.8 pancake. Paired with the Fujifilm X-E5, it’s the closest you’re likely to get to an interchangeable-lens X100VI. This lens is an excellent performer, and has some good close-focus capabilities (not macro, but cropping a little will get you near-macro). An advantage that APS-C has over full-frame is size and weight, so you’d think that Fujifilm would offer a series of pancake lenses to pair with their smaller cameras; however, for many years your options have been the hard-to-find 27mm f/2.8 and the 18mm f/2, which is barely a pancake and, as one of the older lenses in the lineup, in need of a refresh. So I think it was smart for Fujifilm to release a third option, and I hope that another pancake lens or two are in the works.

While I really like the Fujinon 23mm f/2.8 pancake, I don’t love it quite as much as the 27mm f/2.8 pancake. Clinically speaking, it’s probably the better of the two, but it lacks a little of the soul that makes the 27mm special. I tend to only use it when the 27mm focal length is a bit too tight, or I want to focus a little closer. It’s completely worth owning, but you’re likely to choose either the 23mm or 27mm, and not both, since their focal lengths are fairly similar. I rank the 23mm f/2.8 pancake as my fifth favorite Fujinon lens.

Fujifilm X-E5 + Fujinon 23mm f/2.8 – Astia Negative
Fujifilm X-E5 + Fujinon 23mm f/2.8 – Vivid Velvia
Fujifilm X-E5 + Fujinon 23mm f/2.8 – Kodak Vericolor VPS

Fujinon 27mm f/2.8 R WR

When I preordered the Fujifilm X-E4, I did so as a kit with the (new version) Fujinon 27mm f/2.8 pancake lens. I was hesitant to do so because the maximum aperture of “only” f/2.8 wasn’t impressive, and I was unsure if it was going to be sharp enough. At the time, the Fujinon 35mm f/2 was my favorite lens, and it has a similar focal-length, a larger maximum aperture, and, while not a pancake, is pretty small overall. After getting the 27mm f/2.8, I fell in love with the character and compact size, and it immediately became my favorite lens.

This is my most used lens over the last several years. Even after getting the 23mm f/2.8 pancake, I still use the 27mm more than any other; however, I do use it a little less than I used to. If I could only own one Fujifilm lens, it would probably be this one. I rank the 27mm f/2.8 pancake as my second favorite Fujinon lens.

Fujifilm X-E4 + Fujinon 27mm f/2.8 – Pacific Blues
Fujifilm X-T50 + Fujinon 27mm f/2.8 – Pushed Analog
Fujifilm X-T5 + Fujinon 27mm f/2.8 – 1960 Chrome

Fujinon 35mm f/2 R WR

I purchased the Fujinon 35mm f/2 lens in 2019, as a kit with the X-T30. It immediately became my most-used Fujifilm lens; however, after getting the 27mm pancake, it got relegated to secondary duty. I would only use it in place of the pancake when I needed an extra stop of light. It was barely used for a few years. Then, last year I purchased a full-spectrum infrared Fujifilm X-T4, and the 35mm f/2 lens gained new life. Since it doesn’t have any IR hotspots, it’s a great option for infrared photography. It has practically remained glued to the IR camera, which has been one of my favorites to use.

The Fujinon 35mm f/2 lens is a solid option that exemplifies everything that Fujifilm glass is renown for. It’s a great lens, and I use it often—mostly just for infrared photography nowadays. I rank the 35mm f/2 as my fourth favorite Fujinon lens.

Fujifilm X-T4 ES + Fujinon 35mm f/2 – Aerochrome v2
Fujifilm X-T4 ES + Fujinon 35mm f/2 – Cotton Candy Chrome
Fujifilm X-T4 ES + Fujinon 35mm f/2 – CitrusChrome

Fujinon 56mm f/1.2 R WR

The Fujinon 56mm f/1.2 (new version) lens is extra special. It’s mostly regarded as a portrait lens, but it is good for so much more than that. The extra large maximum aperture makes the lens super useful for low light situations, and the shallow depth-of-field and extra sharp glass gives a medium-format feel to the photographs. The 84mm full-frame equivalent focal-length is a slightly awkward for some subjects and situations, and it can take some time to get used to, but well worth the effort to get comfortable with.

My only gripe with this lens is that it’s not mine. It belongs to my wife, Amanda, but thankfully she lets me borrow it whenever she’s not using it. I don’t have access to it all of the time, but I like to use it whenever the opportunity arises. Because it’s significantly larger and heavier than the previous three lenses, I prefer to use it on my X-T5, but I’ve used it plenty of times on a X-E4 and X-E5, too. I rank the 56mm f/1.2 as my number one favorite Fujinon lens.

Fujifilm X-E5 + Fujinon 56mm f/1.2 – Kodak Farbwelt 200 Expired
Fujifilm X-T5 + Fujinon 56mm f/1.2 – Kodak Plus 125
Fujifilm X-E5 + Fujinon 56mm f/1.2 – FRGMT B&W

Fujinon 90mm f/2 R LM WR

I purchased the Fujinon 90mm f/2 lens second-hand in 2018 for a specific project. Once that project was finished, I had intended to sell it and (hopefully) get most of my money back. But I ended up loving it so much that I kept it. It’s another portrait lens, this one longer at 135mm full-frame equivalent focal-length. Back in the day 135mm was fairly common, but it’s definitely gone out of style over the last 30 or so years. Still, I really love it.

When I want a longer reach and the 56mm f/1.2 isn’t long enough or isn’t available (because my wife is using it), I will use the 90mm f/2. It’s great for landscape photography, especially when the subject is at a distance. Seven years of solid service isn’t bad for second-hand glass; that was money well spent. I rank the 90mm f/2 as my third favorite Fujinon lens.

Fujifilm X-T5 + Fujinon 90mm f/2 – Classic Amber
Fujifilm X-T5 + Fujinon 90mm f/2 – Eterna Summer
Fujifilm X-E4 & Fujinon 90mm f/2 – Ferrania Solaris FG 400

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

Fujinon 23mm f/2.8 in black:
Amazon, B&H
Fujinon 23mm f/2.8 in silver:
Amazon, B&H
Fujinon 27mm f/2.8:
Amazon, B&H, Moment
Fujinon 35mm f/2 in black:
Amazon, B&H, Moment, Nuzira
Fujinon 35mm f/2 in silver:
Amazon, B&H, Moment, Nuzira
Fujinon 56mm f/1.2 R WR:
Amazon, B&H, Nuzira
Fujinon 90mm f/2:
Amazon, B&H, Moment

Grading Fujifilm Releases in 2025

Posted on by Ritchie Roesch

I’m going to rate Fujifilm’s class of 2025 gear releases. I’ve never done something like this before. I’ve seen plenty of other people do end-of-the-year camera gear grading, which I sometimes agree with and sometimes don’t. Since 2025 is nearly over, I thought I’d try my hand at grading all the cameras and lenses that Fujifilm’s released over the last 12 months.

Specifically, there were five cameras—two GFX and three X-series (one is only sort-of X-series)—and three lenses, one of which is a GFX cinema lens. That’s eight items in total. For the sake of this article, I’m excluding Instax. Let’s dive in!

Cameras

Fujifilm released five cameras in 2025: three X-series and two GFX models. We’ll grade each camera individually, then each series as a whole, and finally grade all of the cameras as a group.

First up is the Fujifilm GFX100RF. This is a medium-format fixed-lens compact camera, and best thought of as the GFX equivalent of the Fujifilm X70. It’s the smallest, lightest, and cheapest medium format camera-lens combo from any brand. It’s the only retro-styled GFX camera currently being made, and only the second ever (the long-discontinued GFX 50R is the other). This camera is high on my bucket list, and I hope to someday purchase it, but at $5,600 it’s well outside of my current budget.

Common complaints about the GFX100RF are that 1) it lacks IBIS, 2) it has a maximum aperture of “only” f/4, and 3) it’s not fully weather-sealed (an adapter and filter are required to fully seal it). I’m perfectly ok with point three—it’s no problem for the X100-series, and it shouldn’t be seen as an issue for the GFX100RF. As far as points one and two, Fujifilm has said that the camera would need to be significantly larger and heavier to accommodate either of those, and especially both. Interestingly enough, the medium-format camera-lens combo that’s closest in size and weight to the GFX100RF (the Hasselblad 907X plus CFV 100C back with the 28mm lens) also lacks IBIS and has a maximum aperture of f/4 (but is much, much more expensive than the GFX). Fujifilm could certainly make a larger, heavier, and more expensive camera that’s similar in concept (just like they made both an X70 and an X100T), and I hope they someday do. Anyway, the GFX100RF deserves a very high grade, so I give it an A+.

Next is the Fujifilm X half, which is currently the smallest X-series camera; however, it’s not X-Trans. It’s a compact fixed-lens model with a vertically mounted 1″ sensor. Sitting in-between an Instax Evo and the X-M5, it’s intended to deliver an analog-like experience in a simple package. The designers took inspiration from half-frame 35mm cameras. The X half is a ton of fun, and great for snapshots of family vacations and things like that. I enjoy using it, and so does my wife.

Common complaints are that 1) it’s too expensive for what it is, 2) it has some flaws like the lack of a proper flash or hotshoe, and 3) it’s a gimmicky concept. I agree with point one, as the camera should be around $650-$700 in my opinion. I also agree with point two, and I hope those are addressed in a future iteration. As far as point three, I think it’s not really intended for the majority of people who typically buy X-series gear. Fujifilm had in mind a bridge between Instax and the X-series, a pathway for Instax customers to move up (remember, Instax is much larger than the X-series and GFX combined). From what I’ve seen, it seems to be successful in this regard, so, even though the usual crowd might bemoan it, the camera is largely a hit with those whom it was made for. I grade the X half a B-.

Third is the Fujifilm X-E5, which is the closest you’re likely to get to an interchangeable-lens X100VI. This camera is a much different model than its predecessor. The X-E4 was a minimalist low-budget model, serving as Fujifilm’s smallest, lightest, and cheapest camera with an EVF. Inexplicably, Fujifilm discontinued it when it was in high-demand, with months-long waitlists. The X-E5 is the long awaited successor; however, Fujifilm gave it many notable upgrades, and the camera is no longer minimalist or entry-level.

Common complaints are that 1) it’s so much more expensive than the X-E4 and 2) the EVF should have received an upgrade. For point one, the X-E4 was the cheapest (both in price and quality) of any X-E series model, while the X-E5 is the most premium iteration, so it stands to reason that it would be significantly more expensive. I agree with point two; however, it’s not a major issue whatsoever in practical use, only a minor point. My biggest complaint is that Classic Negative was left off the Film Dial, which is inexcusable. The X-E5 is one of my favorite cameras, and I give it an A.

Fourth is the GFX Eterna 55 cinema camera. I’ve seen it in person, I’ve talked to a couple of people who have personally used it. From what I understand, it’s not perfect, but it will likely be highly appreciated by certain segments of the professional cinema crowd. At some point in the coming few years, a major motion picture will be recorded using the Eterna 55, I’m certain. It’s Fujifilm’s most expensive model, but it’s reasonably priced for the segment that it’s in. I give the Eterna 55 an A-.

Last but not least is the Fujifilm X-T30 III, a mild refresh to the X-T30 II, which was a mild refresh to the Fujifilm X-T30, released in early 2019. It fills an important role in the X-series lineup, which is an affordable interchangeable-lens model with an EVF. While it doesn’t have all the bells-and-whistles of the more expensive models, it is very capable, and is the overall best value within the X-series. Fujifilm will sell a whole lot of X-T30 III cameras. I grade it a B+.

Now, to the overall grades, beginning with the X-series. To recap, I gave the X half a B-, the X-E5 an A, and the X-T30 III a B+, which puts the overall grade for the 2025 X-series releases as a B+. Now, to GFX. To recap, I gave the GFX100RF an A+ and the Eterna 55 an A-, which puts the overall grade as an A. That puts the total grade for both the X and GFX lines combined at an A-.

Lenses

Fujifilm only released three lenses in 2025: two X-series and one GFX. I’m not going to spend nearly as much time on this as I did the cameras. I’m going to grade each lens, and then give one overall grade for all the lenses.

First is the Fujinon 23mm f/2.8 pancake. I’ve long advocated for more pancake lenses for the X-series. The 27mm f/2.8 is one of my favorites, while the 18mm f/2 is barely a pancake, and is need of a refresh. The 23mm f/2.8 pancake has been long requested, adds a solid third pancake option for the X-series, and is a great performer; however, the 23mm focal-length is now a bit crowded with several options. That’s really the only complaint, if there is one. I grade this lens an A-.

Next up is the Fujinon XC 13-33mm f/3.5-5.6 kit zoom. I prefer primes, personally. This lens is the smallest X-series zoom, and the closest Fujifilm has to a pancake zoom, but I’m not excited about it in the least. I’m sure it’s good, and some people will really love it. I give it a C.

Lastly, we have the GF 32-90mm cinema lens. If I’m not mistaken, this is the first and currently only GFX lens offered by Fujifilm specifically for filmmaking. Unsurprisingly, this is the most expensive lens for GFX cameras. I don’t know much about it, but the little I have heard has been very positive. This rating is more of a shot in the dark, but I’ll give it an A.

To recap, I gave the Fujinon 23mm f/2.8 pancake an A-, the Fujinon XC 13-33mm zoom a C, and the GF 32-90mm cinema lens an A. Between the three, the overall grade is B+.

Conclusion

It’s also important to consider if the gear that Fujifilm released is the gear they should have released. Did they do enough? Did they introduce the wrong things? We should take that into consideration.

The largest hole is the very-long-overdue X-Pro3 successor, which probably should have come in 2023 or 2024; it’s the end of 2025, and we haven’t seen it yet. My guess is that it will arrive next year, probably within a few months, but that’s only a guess. I get that they might wait for it to be extra special, and perhaps it will be well worth the wait, but I do think some points need to be deducted for its continued absence. Fujifilm should make this camera their top priority for 2026.

The lens lineup has matured over the years, so it makes sense that they might release fewer and fewer new options each year, but there are still a few holes that I’d like to see them fill. Between X and GFX, four or five new or updated lenses each year is probably a better number than just three. I’m a big fan of one of their 2025 lenses, but overall it was a ho-hum year for glass, mostly because the class was so small.

I gave the cameras an A- and the lenses a B+. When factoring in the lack of an X-Pro and the small number of lenses introduced, overall I have to give Fujifilm a grade of B for the gear they released in 2025. Do you agree or disagree? What grade would you give Fujifilm for their class of 2025 gear? Let me know in the comments!

Top 25 Most Popular Film Simulation Recipes of 2025

Posted on by Ritchie Roesch

Golden Appalachian Light – Gatlinburg, TN – Fujifilm X-T5 – Classic Amber

I get asked fairly regularly which Film Simulation Recipes are the most popular. For me, this is a fascinating topic, but it’s definitely hard to know definitively. While I get a glimpse on social media, my best gauge is the Fuji X Weekly website statistics; specifically, which Recipe articles are viewed the most. I don’t collect any data on the Fuji X Weekly App, so that’s no help—although, if I did, it would likely offer the most accurate picture; however, it would still be impossible to know which Recipes people programmed into their Fujifilm cameras, or how often they used each. Perhaps a survey would be particularly useful, yet even it has its limitations. While certainly a flawed method, page-view website statics offer the best glimpse at which Film Simulation Recipes are the most popular, so that’s what I’m using for this article. These are simply the Top 25 most-viewed Recipes on the Fuji X Weekly website in 2025.

It’s been awhile since I did one of these articles—the last time was sixth months ago. There’s always some movement from month-to-month, but overall it’s pretty predictable. Taking a six-month view offers more clear picture than a 30-day snapshot. That’s why I waited until the end of the year before doing another. Even though it’s not December 31st, there’s unlikely to be any movement over the next two weeks, so it’s safe to conclude the order.

Pool Remnant – Rodanthe, NC – Fujifilm GFX100S II – Kodak Tri-X 400

Twenty four of the Recipes below were also in the Top 25 at the mid-point of 2025; twenty of them were in the Top 25 of 2024. The order did change a little, but otherwise it’s the usual suspects. Those Recipes with Kodak brand names in the title—Kodachrome, Portra, Gold, Tri-X, etc., etc.—are typically the most popular. Classic Chrome is the king of film simulations, as the majority of the most-viewed Recipes are based on that film simulation. Classic Negative and Reala Ace are battling for a distant second and third place. Acros, Eterna, and Nostalgic Neg. are neck-in-neck-in-neck for the fourth, fifth, and sixth positions.

Without any further delay, below are the most popular Recipes of 2025!

Top 25 Most Popular Film Simulation Recipes of 2025

#1:

Reggie’s Portra

Reggie’s Portra, which uses Classic Chrome, is now the number one top Film Simulation Recipe on Fuji X Weekly! It’s always been popular, but interest in this Recipe has soared this year. Last year it was in third place, pretty far behind first. In 2025, it edged out the long-time reigning champion. Reggie Ballesteros created it in 2022 by modifying my Kodak Portra 400 Recipe to better suit his style and needs. Of the various Portra Recipes, this is the most versatile, and the most popular for portrait photography. Reggie’s Portra is compatible with X-Trans IV and X-Trans V cameras.

#2:

Kodachrome 64

A Classic Chrome based Recipe for X-Trans IV cameras that was the long-time most popular Film Simulation Recipe for Fujifilm cameras on this website. It’s one of my personal favorites, and, really, a lot of people’s favorites. It moved down one position since 2024.

#3:

Vibrant Arizona

A Wes Anderson inspired Recipe based on Classic Chrome for X-Trans IV and X-Trans V cameras. It moved up one position since last year.

#4:

Kodak Gold 200

This is the X-Trans V version of Kodak Gold 200; the X-Trans III/IV version is found later in the list. The Kodak Gold 200 Recipes uses Classic Chrome. Ranked #15 last year, it has moved up quite significantly.

#5:

Kodak Portra 400 v2

This is the X-Trans V version of Kodak Portra 400 v2; the X-Trans IV version is found below. This is one of my personal favorites. It uses Classic Chrome. This Recipe climbed two positions since last year.

#6:

Kodak Portra 400 v2

A Classic Chrome based Recipe for X-Trans IV cameras that was the long-time #2 most-popular Recipe on Fuji X Weekly, including in 2024.

#7:

Kodak Tri-X 400

The Kodak Tri-X 400 Recipe, created by Anders Lindborg, is the long-time most popular B&W Recipe on Fuji X Weekly. It’s based on the Acros film simulation, and has compatibility with X-Trans III, X-Trans IV, and X-Trans V models. This is one of my absolute top-favorite Recipes. In 2024 it was ranked 10th.

#8:

Kodak Portra 800 v3

A Classic Chrome based Recipe for X-Trans IV and X-Trans V cameras. It climbed one position since last year.

#9:

Kodachrome 64

This is the X-Trans V version of Kodachrome 64. I use this Recipe quite often. It moved up four positions since last year.

#10:

CineStill 800T

This is an Eterna-based Recipe for X-Trans V cameras; however, it’s simply an adaptation of the X-Trans IV version that has been around awhile. This is the first Recipe in this list that doesn’t use Classic Chrome. In 2024 it was ranked 24, so it’s moved up quite a bit.

#11:

Pacific Blues

Pacific Blues is currently the most popular Classic Negative Recipe. This particular version is compatible with X-Trans IV models, but there’s also an X-Trans V version a little further down the list. This is another of my personal favorite Recipes. It fell three positions since last year.

#12:

Universal Negative

It’s probably unfair to include this Recipe in the list because it’s not one, but 14 Recipes. Its inclusion is a little unfair, but here it is. It’s intended to be used with the Film Dial, or with any X-Trans V camera by mapping Film Simulation to customizable button. I have no way of knowing which of the 14 are the most used. This Recipe was published in 2025.

#13:

Fujifilm Negative

This Recipe uses the Reala Ace film simulation, which means that it is compatible with X-Trans V cameras. It wasn’t in the Top 25 last year; it’s position remains unchanged since June.

#14:

Kodak Portra 400

This version of Kodak Portra 400, which uses Classic Chrome and is compatible with X-Trans IV cameras, was once commonly the third most popular Film Simulation Recipe on Fuji X Weekly. While it doesn’t rank nearly as high as it once did, it’s still quite popular. Last year it was ranked #6, so it has fallen quite significantly over the last year.

#15:

14 Film Dial Recipes

The Film Dial Recipe, which is for X-Trans V cameras with a Film Dial, is another one that’s a bit unfair to include since it is actually 14 Recipes. I have no idea which of them are the most used. This is another personal favorite. It climbed three spots since 2024.

#16:

Kodak Gold 200

Another Classic Chrome based Recipe, for use on X-Trans III models, plus the X-T3/X-T30. This one fell two positions since last year.

#17:

California Summer

This is currently the highest-ranked Recipe that uses the Nostalgic Neg. film simulation (not including Universal Negative or the Film Dial Recipe sets). It’s compatible with X-Trans V cameras. It fell one spot since June; it was unranked in 2024.

#18:

Reala Ace

Reala Ace, which is for X-Trans V cameras, predates the Reala Ace film simulation, and is based on Classic Negative. This is also a personal favorite Recipe. In 2024 it was ranked #5, so it has fallen a lot over the last year.

#19:

McCurry Kodachrome

This Recipe is reminiscent of scanned Kodachrome 64 slides, and is compatible with X-Trans IV cameras. It’s another Recipe that uses the Classic Chrome film simulation. It fell five spots since 2024.

#20:

Easy Reala Ace

This Recipe, which was created by Nathalie Boucry, uses the Reala Ace film simulation, which means it is compatible with X-Trans V cameras. It didn’t crack the Top 25 in 2024; it’s position remains unchanged since June.

#21:

Pacific Blues

This is the X-Trans V version of the Pacific Blues Recipe. Last year it was unranked; it’s climbed four spots since the mid point of this year. This is another personal favorite Recipe.

#22:

Classic Color

This Recipe uses Classic Chrome and is compatible with both X-Trans IV and X-Trans V models. Interestingly enough, Fujifilm has displayed two of my images (one was displayed twice) at events, and both were created using this Classic Color Recipe. It’s position remains unchanged since last year.

#23:

Vintage Kodachrome

Vintage Kodachrome, which is based on Classic Chrome, is one of the older Film Simulation Recipes on Fuji X Weekly (it was the fifth one published), and is compatible with X-Trans III cameras. It was ranked #11 in 2024, so it’s fallen quite significantly. Just a couple of months ago I stated that this was the most pivotal Recipe.

#24:

PRO Negative 160C

This was the first Recipe I published that uses the new Reala Ace film simulation. It’s fallen three spots since last year.

#25:

Fujicolor Super HG v2

A Classic Negative based Recipe co-created by Thomas Schwab that’s compatible with X-Trans V cameras (there’s also an X-Trans IV version). It was ranked #18 last year.

Find these Film Simulation Recipes and many more on the Fuji X Weekly App!

Vanilla Ice Cream with Sprinkles — Pal2Tech Explains Film Sims & Recipes

Posted on by Ritchie Roesch

Ice Cream Trailer – Farmington, UT – Fujifilm X-T30 – Kodak Vision3 250D

What a fun surprise to watch the latest Pal2Tech YouTube video! For those that don’t know, Pal2Tech is one of the top Fujifilm-centric YouTubers, and for a very good reason: he’s awesome at explaining complex things in an easy-to-understand way (and often in an entertaining way). His library of videos is a treasure trove of information. I always recommend his channel to those new to Fujifilm. Even if you are seasoned in the X-series system, there’s a lot that you can learn. And beyond that, some of his “other” content is really cool, like the OJ Simpson video. If you’ve never watched his stuff, be sure to visit his channel today.

In his most recent upload, Pal2Tech discusses Film Simulations and Recipes. I’m not going to spoil it, you’ll just have to watch the video, which I’ve included below. For those looking for the Film Simulation Recipe specifically mentioned in the video, click here. Dish yourself a bowl of vanilla ice cream, grab a spoon, and enjoy the video.

Fuji X Weekly App Update: Introducing Categories!!

Posted on by Ritchie Roesch

There’s a brand-new Fuji X Weekly App update that I’m really excited to share with you. The main headline is a new feature called Categories, which can be interacted with in two different ways. The goal of Categories is to help you find Film Simulation Recipes for the specific situation that you are photographing in. This update is beneficial for both Patrons and non-Patrons.

The first way to interact with Categories is if you choose a Recipe—any Recipe, it doesn’t matter which one—and scroll towards the bottom just above Notes, you’ll find a Category Tag or maybe a handful of them (the amount varies from Recipe-to-Recipe). This tells you that the particular Recipe you selected has been identified as good for those specific situations and/or aesthetics. Now, tap on a Category Tag and it opens Discover Recipes, except instead of showing you all of the photos in the entire App to browse through, it shows only those that share that tag. This can help you to find Recipes based on image aesthetic. Each time you tap on a Category Tag, the order of the photos is reshuffled. For Patron subscribers, Category Tags can be used in conjunction with Filter by Sensor or Filter by Camera.

The second way to interact with Categories is only available to Patron subscribers. If you tap Filter, you’ll see By Category has been added to the list of options. You can choose one or more Categories—as many as you like, but the more you choose the fewer results you’ll get. You can Filter By Cameras (say X100VI), Film Simulation (say Classic Negative), White Balance (say Auto, Auto Ambience Priority and Auto White Priority), and Categories (say Film-Like and Street), and you’ll get a few results that match your request quite well. You can get real specific. If you are looking for (let’s say) a Film-Like Recipe that’s good for Portraits on Cloudy days for your X-Pro3, you can find that.

This is such a fun new way to interact with Film Simulation Recipes, and I anticipate that it will be extremely helpful to those who don’t know which Recipes to try. I’m really excited to introduce Categories to you because of all that, and also because so much work went into it. I didn’t keep careful tabs on the exact number of hours spent on this project, but it was a lot! The task of categorizing the various Recipes (over 400!) was pretty daunting on its own. I’m sure that it’s not perfect, and some might disagree with a certain Recipe’s inclusion or exclusion from a specific Category, but overall I think it turned out quite well. I really hope that some of you will find it to be a useful feature.

***Update: We were able to get the bug identified, fixed, and the app update submitted and approved by Apple in record time. On your iPhone, if the Fuji X Weekly App crashes immediately, make sure that you update to version 1.12.1 (and not 1.12.0) or update the iOS to the latest version (either option will fix it). I’m sorry for any trouble that this may have caused anyone.***

The Fuji X Weekly App is available to download for free from the Apple App Store and the Google Play Store! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly. If your device didn’t update automatically, be sure to update it now.

Why New Cameras Might Seem Boring

Posted on by Ritchie Roesch

PetaPixel published an article entitled If You Think ‘Cameras Have Gotten Boring’ You’re Looking at Photography All Wrong, and I’m not so much interested in talking about that article in particular as I am of the idea of why new cameras might seem boring. There are probably a thousand different ways to look at it, and they’re likely all legitimate—I’m not suggesting that my explanation is better, it’s simply my thoughts and opinions. You might agree or disagree, and that’s perfectly ok. So, why do new cameras seem boring to some people?

I read a book last year, entitled David and Goliath: Underdogs, Misfits, and the Art of Battling Giants by Malcolm Gladwell, that was quite fascinating. I’m not a mathematician by any stretch, and I’m certainly not a statistician. For those who haven’t read the book, Malcolm talks a lot about the inverted-U curve (that is to say, an upside-down U). There’s a common pattern found everywhere (that’s often ignored) where something goes up a little, then up steeply before it begins to flattens out as it nears the peak, followed by a slow decline, then a steep decline. Can you picture the upside-down U?

Above: A short excerpt from Malcolm Gladwell’s David and Goliath from Amazon’s website. Seriously, read the book if you haven’t yet done so.

Let’s take a topic like autofocus, which a lot of people talk about in the Fujifilm world, but much less so outside of that. Photographers who use Sony cameras, for example, don’t discuss AF, except to occasionally remind everyone else just how good it is. In the PetaPixel article, the author states, “Sony managed to… improve processing for better autofocus….” Do Sony photographers care? If their AF is already super-duper awesome amazing, does it matter that it just got a hair better? I’m sure that 99%+ of Sony users wouldn’t be able to distinguish a difference, and only a tiny fraction of a percent of users would note that it makes a real, practical difference to their photography. While the improved processing for better autofocus may have been a substantial technical feat, for most people who use the gear, it’s inclusion or exclusion doesn’t matter in the least.

The reason why it doesn’t matter is that autofocus on Sony cameras (and some other brands) is near the peak of the inverted-U curve. Each improvement has less-and-less-and-less of a practical benefit to the users, who already find it more than good enough for each and every situation. In some circumstances, AF was prioritized to the detriment of image quality. If autofocus is already amazingly incredible beyond what you even need, any improvements will seem boring. They’re more gee-whiz than anything else. It’s like the famous line from The Incredibles, spoken by the villain: “And when everyone’s super, no one will be.”

Captured using a Fujifilm X-M1

With Fujifilm, there is some room for improvement. Fujifilm’s AF isn’t trash like some have hyperbolically said, but it isn’t peak like Sony’s. Fujifilm’s AF is more than good enough for most photographers; however, it is occasionally less than ideal for some situations. If Fujifilm “managed to improve processing for better autofocus” just like Sony did, it would not be perceived as boring because Fujifilm is not at the peak of the inverted-U. The improvements would make a real, practical difference to a larger percentage of the users. But, with each improvement, they inch closer to the peak, and eventually they’ll reach it (a bet some will still complain, though).

I think digital photography technology is near the peak of inverted-U curves in most categories. This means it’s an amazing time to be a photographer. We should have a deep appreciation for just how fortunate we are to have access to the gear we have. At the same time, camera advancements are easy to take for granted. An improvement that a team of experts worked tirelessly on for years might seem ho-hum, because the usefulness of it is minor for a small percentage of people, and is otherwise unnoticeable. That’s just the way it is at the peak.

Camera-made JPEG from Sony A7 IV

New cameras aren’t boring because they’re boring; they’re boring because they’re so good they do everything we need them to and more. They’re so good that our expectations have become incredibly high, making it more difficult to wow us. And, when you’re at the peak of an inverted-U, it’s easy to step a little beyond it. Take a step forward, and you take a step down. For instance, Sony’s new Dual Gain Output technology increases the dynamic range at low ISO when using the mechanical shutter, but can give a lower dynamic range when using the electronic shutter than cameras without this technology—a step forward, but also a small step down.

I’m not picking on Sony, they were just the primary subject of the PetaPixel article. Actually, I’m pointing out that they’ve managed to get to the peak of inverted-U curves almost across the board, which is an amazing feat. It puts them in a tough position where advancements seem boring to their customers. Some areas where they’re not at or near the peak of the curve are JPEG output, color science, and stylish camera body design. If they make improvements in those areas, they’re less likely to be perceived as boring. For Fujifilm, they’re near the peak in those areas, but not in some others. In my opinion, camera manufacturers should self-identify where they are on various inverted-U curves, and put more efforts where they’re not at or near the peak, and less effort where they’ve already achieved greatness.

Kodak Farbwelt 200 Expired — A Fujifilm Film Simulation Recipe for X-Trans V Cameras

Posted on by Ritchie Roesch

Orange Rocks – Sedona, AZ – Fujifilm GFX100S II – Kodak Farbwelt 200 Expired

This Kodak Farbwelt 200 Expired Film Simulation Recipe comes courtesy of Thomas Schwab, who has created or co-created a number of excellent Film Simulation Recipes. Thomas told me that he loaded a roll of Kodak Farbwelt 200 that expired in 2004 into his Olympus Mju. After finishing the roll, he took it to a local lab, where he had it developed and printed (not scanned). He then developed this Recipe using X RAW Studio, comparing the results to the prints. “Some are very close,” he said, “others are a little off.” Either way, the results are excellent. Personally, I really love the aesthetic. Thank you, Thomas, for creating and sharing this Recipe!

I didn’t know what Kodak Farbwelt 200 was, I had to research it. Unfortunately, there’s not a lot of concrete information. Farbwelt apparently means color world, so a film like ColorPlus might seem like an obvious answer, but from what I could find, it seems that the answer is no, Farbwelt 200 is not ColorPlus 200. It likely is Gold 200, rebranded for the German market, sold mostly (but not exclusively) in Germany. It might be a slightly retooled version of Gold 200 specifically for that region, or it might be straight-up Gold 200, simply rebranded. Kodak released Farbwelt 200 in 2000 and discontinued it in 2012 or 2013. There was also an ISO 100, 400, and even 800 version of Kodak Farbwelt.

Autumn Trail – Sedona, AZ – Fujifilm X-E5 – Kodak Farbwelt 200 Expired

The Kodak Farbwelt 200 Expired Recipe looks lovely, with soft warm tones. It’s like a memory of summertime. It reminds me a little of the 1970’s Summer Recipe, which is one of my favorites. It’s compatible with fifth-generation models, which are the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III. It’s also compatible with the latest GFX cameras: GFX100 II, GFX100S II, and GFX100RF. For fourth-generation cameras, you can use this Recipe, but it will render slightly different (just a little), which you might like, so don’t be afraid to give it a try. One note I want to highlight: a little underexposure will help to keep the highlights in check.

Film Simulation: Classic Chrome
Dynamic Range: DR100
Grain Effect: Strong, Large
Color Chrome Effect: Weak
Color Chrome FX Blue: Strong
White Balance: 7500K, +1 Red & -4 Blue
Highlight: -2
Shadow: -2
Color: -3
Sharpness: -4
High ISO NR: -4
Clarity: -4
ISO: Auto, up to ISO 6400
Exposure Compensation: 0 to -1 1/3 (typically)

Example photographs, all camera-made JPEGs using this Kodak Farbwelt 200 Expired Film Simulation Recipe on a Fujifilm X-E5, X-T5, X100VI, X-S20, and GFX100S II:

Chainlink Gate – San Francisco, CA – Fujifilm X-S20 – Photo by Jon Roesch
Golden Gate – San Francisco, CA – Fujifilm X-S20 – Photo by Jon Roesch
Evening along the California Coast – Elk, CA – Fujifilm GFX100S II
Rocks over Sedona – Sedona, AZ – Fujifilm GFX100S II
Sedona Panoramic – Sedona, AZ – Fujifilm GFX100S II
Yellow Tree in Oak Creek Canyon – Sedona, AZ – Fujifilm X-E5
Flower, Fence – Sedona, AZ – Fujifilm X-E5
Dressed Western – Buckeye, AZ – Fujifilm X-T5 – Photo by Amanda Roesch
Saguaro in the Desert – Buckeye, AZ – Fujifilm X100VI
Rural Irrigation – Buckeye, AZ – Fujifilm GFX100S II
Sunlit Fountain – Buckeye, AZ – Fujifilm X100VI
Stand In – Phoenix, AZ – Fujifilm X-T5 – Photo by Amanda Roesch
Sunset over Canon Photographer – Buckeye, AZ – Fujifilm X100VI
Meeting Santa – Buckeye, AZ – Fujifilm X100VI
Suburban Sunset – Buckeye, AZ – Fujifilm GFX100S II
Christmas Train – Scottsdale, AZ – Fujifilm X-E5

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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, Nuzira
Fujifilm X-T5 in silver:
Amazon, B&H, Moment, Nuzira
Fujifilm X100VI in black:
Amazon, B&H, Moment, Nuzira
Fujifilm X100VI in silver:
Amazon, B&H, Moment, Nuzira
Fujifilm X-E5 in black:
Amazon, B&H, Moment, Nuzira
Fujifilm X-E5 in silver:
Amazon, B&H, Moment, Nuzira
Fujifilm X-S20:
Amazon, B&H, Moment, Nuzira
Fujifilm GFX100S II:
Amazon, B&H

Report: Film Era Dial not coming to the X-Series (at least not yet)

Posted on by Ritchie Roesch

Two or three weeks ago, Fujirumors reported that Fujifilm is working on a Film Era Dial that will be found on some upcoming camera. I made the false assumption that it must be the upcoming X-Pro, which is most likely the next X-series camera to be released (although it might not be), possibly early next year. I’m glad that I used words like “guess” and “suspect” and clarified that “I have absolutely zero inside information” because apparently my guess and suspicions were completely wrong. The camera that Fujifilm is going to put this new feature on, according to Fujirumors, is not an X-series model, but an Instax Evo camera.

Some of you just sighed with relief. You don’t want a Film Era Dial or even a Film Dial. Personally, I like the Film Dial. It’s not perfect, but Fujifilm has been working to improve it (and hopefully will continue to do so). I think the Film Era Dial could be a really cool concept if it’s done right. They could screw it all up and make it really cheesy, or they could do a great job with it and it becomes a beloved feature (or anything in-between). For now, it’s apparently not coming to the X-series, only to an Instax Evo model. Maybe it will be on the next X half, which is kind of a cross between Instax Evo and the X-series. It could someday find its way to the X-series, but apparently not yet. I’m probably in the minority of people who are a bit disappointed to hear this news.

The Best Fujifilm Camera to Gift this Year

Posted on by Ritchie Roesch

At this time of year, I typically get asked which Fujifilm cameras are the best to gift to someone. It’s usually like, “I want to give my spouse a new camera, but I don’t know which one.” Or, “This will be my kid’s first real camera.” Or, “He has everything, so I’m really unsure.” The future recipient of the gift is usually a spouse, child, parent, or close friend. Sometimes they’re very experienced photographers, sometimes they’re complete novices. Budgets can also vary wildly.

It’s difficult to give good advice, since every situation is different, but I do make an attempt to give what I hope is helpful suggestions. For example, last year I published Your Gift Guide for Affordable Fujifilm Gear, which was intended to help those looking for secondhand options that are fairly affordable but still excellent. That article is just as valid this year as last, so you might still find it useful.

For 2025, I have one suggestion that I think will apply to almost everyone. No matter if you are buying for your spouse, child, parent, or friend. No matter if they are a seasoned photographer or brand-new. No matter if they have everything already or no camera equipment at all. This is something that I know most would love to receive. And it’s on sale right now.

Above: Various pictures captured with the Fujifilm X half

The gear that I recommend as a gift is the Fujifilm X half. This is a super fun pocket point-and-shoot that makes unique photos instantly. It’s easy enough that anyone—even a young child—can use it, so no worries if the recipient is a novice; it’s enjoyable enough that even those with high-end expensive gear will choose to use it occasionally. I own this camera, and both my wife and I appreciate it. No matter who you are, this is a camera that people will love to find underneath the Christmas tree.

The Fujifilm X half is perfect for travel snapshots, family events, and documenting everyday moments. It’s small and lightweight, so it’s easy to have with you. It’s simply to use. It delivers film-like results, and can even give a film-like shooting experience. It’s a very unique camera that’s so much fun to use. Last summer the X half was my most-used camera while on a long RV roadtrip up the east coast.

The primary criticism of the camera has been the price, which is a bit high for what it is. I said in my review that the camera should be $650-$700, and not $850. Well, right now and until December 28th, the Fujifilm X half is $200 off in America, which places it at a more affordable and reasonable $650. That’s almost 25% off! So, if you’re seeking out a Fujifilm camera to gift someone, the X half is my top recommendation for 2025.

Above: Various pictures captured with the Fujifilm X half

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 half in black:
Amazon, B&H, Nuzira
Fujifilm X half in silver:
Amazon, B&H, Nuzira
Fujifilm X half in charcoal:
Amazon, B&H