Fuji blog

Reggie’s Portra in X-Trans V Cameras

Posted on by Ritchie Roesch

A Girl and Her Horse – Litchfield Park, AZ – Fujifilm X-T4 – Reggie’s Portra

It’s been interesting to watch Reggie’s Portra Recipe grow in popularity over the years. It was created by Reggie Ballesteros (website, YouTube, Instagram), and I published it in the summer of 2022 with his permission. I’m not sure where it ranked in 2022, but it didn’t crack the Top 10. In 2023 it was the 9th most popular. It climbed to #3 in 2024. This year, Reggie’s Portra is the number one most popular Film Simulation Recipe on Fuji X Weekly, just edging out Kodachrome 64, which was the long-time reigning champion.

A few days ago, Reggie posted a video on YouTube explaining what changes, if any, he has made to the Recipe for use in 2025. When it was made, Reggie’s Portra was for X-Trans IV cameras, but now we’re well into the fifth-generation. So what adjustments did he make? I’ve included the video below, so that you can watch it for yourself.

Not trying to give away the answer, but the short of it is that Reggie doesn’t adjust anything. He uses the same exact Reggie’s Portra settings on fifth-generation models as he did on fourth-generation X-series cameras. He doesn’t make any adjustments whatsoever. The only change is the diffusion filter that he often uses.

On the Fuji X Weekly App, I’ve only included Reggie’s Portra as compatible with X-Trans IV models, specifically the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II (as well as the GFX100S). I didn’t include fifth-generation cameras (X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III, as well as GFX100 II, GFX100S II, and GFX100RF) because, on those cameras, there are some aesthetic differences—the largest being how deeply the color blue is rendered on certain film simulations, including Classic Chrome. It’s quite similar, but not identical; however, there is a simple fix to get them to be more similar: reduce Color Chrome FX Blue by one.

Jon Dressed Up – Buckeye, AZ – Fujifilm X-T4 – Reggie’s Portra – by Amanda Roesch

The difference between Color Chrome FX Blue Weak and Off is pretty subtle. If you’re not comparing photos side-by-side, you probably won’t even notice (even when directly comparing, you still might not see the difference immediately). It’s honestly not a big deal, but, if you’re trying to get Reggie’s Portra to most closely match the X-Trans IV results on a fifth-generation camera, then adjusting Color Chrome FX Blue from Weak to Off will do that. This is an adjustment that I make personally, and one that I recommend; however, there’s nothing wrong with not making that small change. Feel free to set Color Chrome FX Blue to Weak (as called for in the Recipe and as Reggie himself does it) or Off (as I do) on the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III cameras, as well as the GFX100 II, GFX100S II, and GFX100RF. Either way works.

People have asked me why I haven’t updated Reggie’s Portra in the App for X-Trans V cameras, and the answer is simple: it’s not my Recipe to make a change to. It belongs to Reggie Ballesteros, and I certainly didn’t want to step on his toes by modifying it. Now that he has clarified how he uses it on fifth-generation cameras, I have updated the App to reflect that. It now shows in the Fuji X Weekly App as compatible with the latest cameras. It won’t render exactly the same as on X-Trans IV, but pretty similar—not enough of a difference to be concerned about (only very subtly divergent). I want to close this out by giving a shoutout to Reggie. His Recipe is great—both my wife and I use it ourselves. It’s a real honor to have it available to you on Fuji X Weekly. If you’ve never tried it, well, it’s almost a right of passage at this point, so be sure to program it into your camera today.

Dodge – Boulder, CO – Fujifilm X100VI – Reggie’s Portra

Fujifilm Photographers are the Best

Posted on by Ritchie Roesch

Fujifilm Photowalk – Ann Arbor, MI – Fujifilm X-T50 – Fujicolor PRO 160C Warm – by Dave Geffin

There’s a temptation in the photography world to paint Fujifilm photographers as a single, uniform type—a caricature built from assumptions about retro dials, film simulations, or a supposed obsession with nostalgia. They’ll say that Fujifilm photographers dress a certain way, with a particular look or style. Even though they’re not “real photographers” (they are only pretending for TikTok or Instagram fame), they’re a pretentious bunch, with a subtle smugness—an air of superiority simply from the gear they own. But anyone who has spent even a moment around the Fujifilm community knows how wildly inaccurate that is. Fujifilm photographers aren’t a stereotype—they’re a vibrant, diverse group of caring creatives who share a love of making meaningful images, each in their own unique way. Anyone who perpetuates the obviously false caricature has never spent any amount of time around Fujifilm photographers. Most likely, they’ve never met one in real life.

One beautiful thing about the Fujifilm community is how kind and helpful its members tend to be. Whether you’re new to photography or a seasoned professional, there’s always someone willing to share a tip, explain a setting, or offer thoughtful encouragement. Spend even just a few minutes with these photographers, and you’ll see it: generosity, enthusiasm, and a genuine desire to lift one another up. There’s a shared excitement about creating something special.

Above: Photographs from various Fujifilm photowalks and events across America.

No two Fujifilm photographers look alike—not in personality, style, workflow, or creative goals. Some are brand-new to photography with their first “real” camera; some are seasoned and successful professionals. Some are street photographers, some are portrait photographers, some are landscape photographers, etc., etc.. Some shoot straight-out-of-camera JPEGs using Film Simulation Recipes; others shoot RAW. Some do both, depending on the circumstance. Some use Recipes even though they are strictly RAW photographers because they found one similar to their own style, which helps them to pre-visualize the final result while in the field. Some only use Fujifilm gear; some use many different brands. Some are strictly digital; some mostly use film, and only occasionally digital. There’s no right or wrong way to do photography, only what works best for each individual person. Fujifilm photographers are united by their passion for photography, not by any single behavior, camera setting, style, or picture aesthetic.

That diversity is one of Fujifilm’s greatest strengths. Their cameras invite experimentation—color, tone, mood—and they meet people where they are. They don’t demand a specific style; they encourage discovery. The Film Dial, for example, encourages you to try something other than Provia/STD. One person might like a particular Film Simulation Recipe for cityscape photography, while another might find it perfect for snapshots of their kids. The same settings can lead to completely different results because the photographer matters more than the settings. The tool supports the artist’s vision. Fujifilm cameras are artist tools, and there are a variety of options for diverse customers.

Above: Photographs from various Fujifilm photowalks across America using my Fujifilm X-T4 ES infrared camera.

When people try to reduce Fujifilm photographers to a single stereotype, it misses the real heart of the community. Fujifilm users aren’t defined by any cartoonish characterizations. They’re defined by curiosity, creativity, and kindness, which is what makes them special. It’s what some other brands are trying hard to corporately foster within their own communities; with Fujifilm, it’s just natural, it’s organic. The Fujifilm community cannot be summarized by a caricature because it’s too broad, too generous, and too diverse. That’s something to celebrate. Photography is richer when everyone is welcomed, and when every photographer feels free to create in the way that’s most meaningful to them. If anything, the Fujifilm community has been shunning the pesky gatekeepers—those who say that “real photographers” must do photography a certain way, and other paths are less legitimate—and are more open to new ideas or unorthodox methods. That’s a good thing.

Over the last two years I’ve met hundreds and hundreds of you—probably thousands—at various photowalks and Fujifilm events across the country, from San Diego to New York City and many places in-between. I wanted to include in this article a lot of pictures from those events (captured by my wife, Amanda, and I), to demonstrate who the community is (hint: it’s you!). Do these photos resemble the caricature that is too often portrayed across the internet? I’m sure that most stereotypes have an once of truth to them, but they’re broad strokes that are often misrepresentations of the broader group. In the case of the Fujifilm community, it’s easy to see just from these photographs that anyone and everyone is welcomed, and broad strokes don’t come anywhere close to telling the real story of who these people are. The one broad stroke that seems to apply is this: the Fujifilm community is the best in all of photography. And it’s a real honor to be a part of it with you.

Above: Photographs from various Fujifilm photowalks and events across America.

The most stolen from photographer in history?

Posted on by Ritchie Roesch

I might be the most stolen from photographer in the history of the world. This might seem like a strange claim, but it’s potentially true. It might not be true, but it certainly could be, so let’s dig into it. To clarify, I’m not claiming to be the victim of the most egregious thefts. I’m not claiming that the monetary value is anywhere near the most. Specifically, what I’m wondering is if I’ve had more photographs stolen than anyone else. In other words, am I the most stolen from photographer by total number of photographs stolen? I think it’s also important to clarify what “stolen” means: unauthorized use or reproduction of my pictures that violate my copyright. As the photographer, I own the rights to my pictures, and if someone uses them without permission outside of “fair use” circumstances, that’s theft. Maybe they’re attempting to earn money, or maybe they’re attempting to gain notoriety, but they’re doing it with my photos and not their own.

I think there are a couple of unique circumstances that make this claim possibly plausible. First, I publish more pictures than most photographers. Because I make hundreds of Film Simulation Recipes, and those Recipes require a lot of sample images (at least 15, and up to 50, per Recipe), I share far more than most. That might be to my disadvantage, because, while the majority of photographers only post their best work, I show you a lot of mediocre pictures along with the good ones; if I only showed my portfolio-quality images, you might think that I’m more talented than my so-so pictures seem to indicate. Second, one theft can be many photos—not just tens of photos, not just hundreds of photos, but thousands of them.

The most egregious example is when someone hacked the Fuji X Weekly App and made a clone of it, which they uploaded to the app store, and made money on until it was (thankfully) removed for copyright violations. I sure hope none of you fell victim to that, and I’m really sorry if you did. The Fuji X Weekly App had about 350 Recipes on it at that time (now there are over 400), and with five pictures per Recipe, that’s about 1,750 copyright violations just in that one circumstance alone. But that’s not the only circumstance, not even close.

Above left: My photo, entitled Morning Mist, captured using my Fujicolor 100 Gold Recipe; Above right: that same photo and Recipe in an app that isn’t mine used without permission.

Aside from some other apps that have my photos in them without permission, there are tons and tons of websites. Today, I did a reverse Google search on 30 of my photos, and 16 of them had at least one circumstance of theft. I don’t know how many pictures are on fujixweekly.com—I estimate that it’s over 10,000—if half of those have been stolen somewhere and are being used illegally across the internet, that’s a massive amount. Some photos have multiple examples of theft just from one image (I counted eight on one of those 16 pictures).

This isn’t anything new. I remember about 12 years ago reading my small town local newspaper, and being shocked to find one of my pictures being used in an advertisement. Over the years I’ve seen several of my photos on the front banner of corporate websites. I’ve tracked down hundreds of thefts and requested they take down my photos, but it’s only a tiny dent in the overall problem. This could be a full-time job, except that it doesn’t earn any money—in fact, it can be quite expensive, especially if attorneys have to get involved. I would quickly go broke if I pursued all the theft.

I think some of it is innocent enough. For example, someone is excited to share their favorite Film Simulation Recipe, so they do—only, instead of using their own photos captured with the Recipe, they use mine, and perhaps “forget” to even give me credit (which wouldn’t make it any less illegal, but perhaps more understandable). Some circumstances are fair use, especially if it’s only one or two picture and I’m given credit and linked back to. There’s definitely instances where the unauthorized use of my picture isn’t theft, and there are examples of it being grey areas, where it could be argued either way. But I’m not talking about that, I’m specifically talking about indisputable examples of blatant theft. Like right now, a large number of my pictures can be printed on t-shirts; I didn’t give permission for that, and I won’t receive a penny of profit should someone order one of those shirts.

Above left: My photo captured about 25 years ago on Kodachrome 64 film; Above right: that same photo can be printed on a t-shirt, without permission or compensation.

Unfortunately, some people think that if they can download a picture from the internet, it’s theirs to freely use. If it’s on the internet, it’s finder’s keeper. Legally that’s not true, but it is true in a practical sense. Who’s going to stop them? I would like to, but that’s a really tough hill to climb. It’s rare that they’re caught, and even if they are, it can very difficult to do anything about it, especially depending on the country where the theft happens in. It’s very easy for them to get away with it.

I posted a video to YouTube once, and it recognized a song in the background that was playing on the radio. I was flagged with a copyright violation, and I had to either silence that section of the video, or else I couldn’t monetize it (this is back when I was monetized on YouTube). Why can’t something like that exist for other art mediums? The technology obviously exists… I was able to reverse-search my photos, but that’s a slow and tedious manual process. Why can’t it be continuously running in the background, with copyright violation notices sent to the offending website owners automatically? I understand that such a service does exist for a fee, but it requires you to manually identify which photos are yours so that it can search for them, and it isn’t always accurate. It would take a long time for me show them all of my pictures, because there are so many. Again, this would be a full time job that doesn’t pay anything.

So far we’re just talking about my pictures. I’ve had entire articles ripped off many times. I’ve seen people post a Recipe that they “created” (sometimes claiming to have spent hours making it), and gladly accepting the praise for how good it is, except that all they did was copy-and-paste it from my website. The argument will be: “Well, sometimes great minds think alike, and it’s only by happenstance that they’re identical.” This ignores that there are 1,418,895,421,643,700 possible JPEG setting combinations (Recipes) on the latest Fujifilm models. That means every person in the world who owns a Fujifilm camera can have their own unique Recipes in each of their C1-C7 Custom Settings presets, and it would still not come anywhere close to exhausting all of the potential Recipes for Fujifilm cameras. ChatGPT says that the odds of two people independently creating the same exact Recipe are about 1-in-4-billion (that’s accounting for how common and uncommon certain settings are). If I were to make four billion Recipes and someone else were to make four billion, one would likely be identical (I’ve only made a little more than 400, not 4 billion). That’s not to say it’s impossible; however, it is extraordinarily unlikely (to put it mildly)—yet I’ve seen it probably close to a hundred times now, which is mathematically impossible. This is plagiarism, which is a type of theft: intellectual theft. We can go back to the guy who hacked my app and created a clone app with over 300 of my Recipes. Or we can look at other apps that use my Recipes without permission or even give credit. That’s a lot of theft, although plagiarism and not pictures.

Above left: My photo, entitled Evening at a Pond, captured using my Kodachrome 64 Recipe; Above right: that same photo and many more of my pictures posted by someone without permission or credit.

For this article, though, I mostly want to focus on the theft of my photos. If only 2,000 of my pictures have ever been stolen (which is the base minimum, it’s probably a lot more), AI says, “That is a huge number, far beyond what most photographers ever experience. For most photographers, the number of confirmed stolen photos is usually single digits to low dozens over a career. Photographers with big online presences sometimes report dozens, maybe a few hundred images, being misused. But that’s typically the ceiling—and even those numbers are considered very high. From a copyright-lawyer perspective, for 2,000+ confirmed infringements, that volume of theft would be considered: ‘Severe, widespread infringement.’ Most photographers will go their entire lives without reaching even 20 verified infringements, let alone 200… let alone 2,000.”

It could certainly be a lot more than 2,000—it could be as high as 10,000! I would have to dig deeply and spend probably months and months tracking it all down, while ignoring everything else in life. When I asked ChatGPT about that amount of image theft, it replied, “It’s extreme, near-unprecedented, and would put that photographer in the top fraction of a fraction of a percent of most-stolen photographers on Earth. Most photographers with decades of work will never have 10,000 confirmed distinct images stolen—even if they are famous.” I don’t know if it has reached that “extreme, near-unprecedented” level yet, but it’s got to be somewhat close, especially if the “grey area” instances are included, where it may or may not be a copyright infringement, just depending on who you ask.

Potentially being the most stolen from photographer in the world means something. If my photos weren’t worth stealing, they wouldn’t be stolen. Same for the Recipes. I never expected this website to grow as large as it has. I never thought I’d be asked to lead photowalks across the country, or give presentations on photography, or be a speaker at camera events. Just recently a Japanese camera company (who wishes to remain anonymous) asked what my most ideal compact camera would be like, and even paid me for my opinions. If having the “most stolen from” trophy is the price to pay for that, it was worth that price. Obviously, most ideally, I would like the thefts to stop. It does real harm. Some people are making money off of my photos right now, which I’ll never see. We are all people, and we need to act kindly to each other. The “golden rule” that I tell my children constantly is to treat others as you want to be treated. If you don’t want people to steal your work, don’t steal theirs. The truth is that most of the theft happens because some people can’t or won’t create their own stuff, so instead they take it from those who can and do. Sadly, this is just a reality of our current world, and there’s not much anyone can do about it.

10 Fujifilm Recipes for a 1980’s Aesthetic

Posted on by Ritchie Roesch

Red Barn – Ronks, PA – Fujifilm GFX100S II – Kodachrome 64

Last week I published 10 Fujifilm Recipes for a 1970’s Aesthetic, which I think a number of you appreciated. It seemed to be an especially well-liked article. Thomas H commented, “This theme of a collection using the look of films from a certain era or decade is very inspirational. Somehow for me this approach unlocks the mood of film looks in a more ‘accessible’ way by showing the style of a decade rather than as before showing lots of different looks that are possible with a particular sensor generation.” Well, let’s do it again!

This time we’re going to look at the 1980’s. It will require as to hop into our DeLorean, put Huey Lewis in the tape deck, and hit 88 miles per hour. I was born in 1980—great Scott!—so I have a lot of memories of the decade, especially the latter half, but I was not a photographer yet—not for awhile. I only have family photo albums, vintage magazines, and internet archives to guide the way.

Outatime – Buckeye, AZ – Fujifilm X-T5 – Kodak Royal Gold 400

You’ll notice that the majority of the Recipes below use Classic Chrome, and that’s because Classic Chrome is intended to replicate documentary photography found in photojournalism publications in the ’80’s and ’90’s. Fujifilm looked very closely at Kodachrome and Ektachrome photographs. Because of this, Classic Chrome has a distinct Kodak palette. Kodak dominated film sales during the 1980’s, so it makes sense that this film simulation would dominate Recipes intended to mimic the look of that era.

There’s a lot of Film Simulation Recipes that could potentially give an ’80’s look. The list below is not intended to be comprehensive, nor is it intended to be the “best 10” or a ranking of Recipes. It’s simply 10 that I believe will give you a 1980’s aesthetic, if that’s something you’re looking for.

Kodachrome 64

Across the Grand Expanse – Grand Canyon, AZ – Fujifilm X-T5 – Kodachrome 64

Kodachrome 64 was the iconic film of the 1980’s. It’s the third (and final) era of Kodachrome, introduced in the mid-1970’s and discontinued in 2009. That means it’s just as much a 1970’s, 1990’s, and 2000’s look as it is a 1980’s; however, it would be wrong to exclude it from this era, in my opinion, so that’s why it’s here. I shot many rolls of Kodachrome 64 in the late-1990’s and early-2000’s. It was a very sad day when Kodak announced its discontinuation. The Recipe linked above is specifically for fifth-generation X-Trans and the latest GFX, there’s also a version for X-Trans IV, the X-T3/X-T30, and X-Trans II.

Urban Dreams

Protect our Wildlife – San Simeon, CA – Fujifilm X100V – Urban Dreams

This one might initially seem odd because 1) the Recipe has a weird name and 2) it’s not specifically intended as a 1980’s look. So why is it here? Urban Dreams produces a look somewhat similar to Kodachrome 200, a high-ISO version of Kodachrome introduced in 1986 and discontinued in 2006. It was never as popular as Kodachrome 64 or even Kodachrome 25, but it was certainly a well-used film during the latter half of the 1980’s.

Kodacolor

Jon’s ’80’s Era – Buckeye, AZ – Fujifilm X-T30 – Kodacolor

Probably the most obvious 1980’s Film Simulation Recipe is Kodacolor. Kodak used the Kodacolor name for many different emulsions beginning in 1942 and continuing to today. While not nearly as recognizable as Kodachrome or Tri-X, it’s just as historic, if not more so. In the 1970’s and 1980’s, Kodacolor was the most popular line of color films in the world. Kodacolor II (early in the decade) and Kodacolor VR (beginning in 1982) were common in the 1980’s. This Recipe is reminiscent of Kodacolor VR. The Kodacolor Recipe is for X-Trans III cameras plus the X-T3 and X-T30, but there’s also a version for X-Trans II.

Kodacolor VR

Ken Rockwell at the Coast – Morro Bay, CA – Fujifilm X-E4 – Kodacolor VR

This is similar to the Kodacolor Recipe above, but more resembles Kodacolor VR that’s expired or has been improperly handled.

Kodacolor VR 200

Toyota – Buckeye, AZ – Fujifilm GFX100S II – Kodacolor VR 200

This Recipe, which was created by Thomas Schwab, resembles faded prints captured with Kodacolor VR 200 film. Kodak introduced Kodacolor VR 200 in 1982 and discontinued it in 1986, when it was replaced by Kodacolor VR Plus 200, which was only slightly different.

Kodak Gold 200

Field of Gold – Flagstaff, AZ – Fujifilm X-T5 – Kodak Gold 200

Kodak introduced Gold in 1986 as Kodacolor VR-G. They changed the name to Kodacolor Gold in 1988, and it wasn’t until the 1990’s that they dropped the “Kodacolor” name from the packaging. Kodak still makes Gold 200, but the emulsion has been updated many times since 1986. While this Recipe isn’t intended to replicate “Kodacolor VR-G” or “Kodacolor Gold” specifically, it nonetheless produces an aesthetic that can be convincing as a late-1980’s look.

1981 Kodak

Founders – Buckeye, AZ – Fujifilm X-T5 – 1981 Kodak

The 1981 Kodak Recipe was modeled after some old family pictures found in a photo box. These prints were made in July of 1981—a date stamped on the back—and printed on Kodak paper. The other technical details are unknown, but most likely they were captured with a cheap point-and-shoot of some sort with Kodacolor II film. Due to age and improper storage, the prints are faded, with a pronounced warm cast, and colors overall less vibrant than they once were.

Emulsion ’86

Don’t Climb on the Bikes – Oceanside, CA – Fujifilm X-T5 – Emulsion ’86

This Recipe produces a picture aesthetic that is reminiscent of photos of Expo ’86, a World’s Fair that was in Vancouver, Canada (interestingly, that was the last World’s Fair in North America). I actually went to it, but only remember a little because I was six-years-old. For some reason, the floating McDonald’s is what I remember the most.

Fujicolor Super HG

Beached Ship – Fort Stevens SP, OR – Fujifilm X-E4 – Fujicolor Super HG

Fujifilm introduced Fujicolor Super HG in 1986, and discontinued the film in the 1990’s. This Recipe was invented by Thomas Schwab, and it does an excellent job at replicating the look of Fujicolor film from that era.

Kodak T-Max 100

Power, Lines – Nashville, TN – Fujifilm X100VI – Kodak T-Max 100 Hard Tone – Photo by Jon Roesch

I didn’t include any B&W films in the 1970’s article, which was a massive oversight on my part. Not wanting to make that same mistake, I made sure to include one in this list. Actually this is two Recipes, both made by Dan Allen: Kodak T-Max 100 Hard Tone and Kodak T-Max 100 Soft Tone. Kodak introduced T-Max in 1986, and it was immediately a huge hit. The film is still manufactured today, so it could just as easily be a 1990’s, 2000’s, 2010’s or 2020’s aesthetic.

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

There’s a Built-In FRGMT B&W Recipe on the Fujifilm GFX100RF??!!

Posted on by Ritchie Roesch

A couple of days ago I saw that Fujifilm is releasing a limited run special-edition of the GFX100RF, designed by fashion designer, producer, and artist Hiroshi Fujiwara, called the GFX100RF Fragment Edition. It looks pretty much the same as a regular GFX100RF, except with smoother leather and a different engraving on the top plate. There’s also a few accessories, including a strap, lens hood, and more. The GFX100RF Fragment Edition will only be available in Japan. It’s pretty cool, I guess.

I didn’t think much of it until yesterday, when a reader emailed me to take a closer look. Aside from a couple of physical changes, there is one internal change to the camera. The Monochrome Film Simulation was removed, and in its place is a custom black-and-white Recipe called FRGMT BW created by Hiroshi. It’s Acros with “stronger grain, tweaked highlight and shadow tone curves, reduced sharpness, less noise reduction, more clarity, and a bit of positive exposure compensation.” This Recipe, instead of being found in C1-C7, is in the Film Simulation Menu.

This is quite interesting. First, before we let this fact slip by, the Recipe includes an exposure compensation boost, which currently isn’t possible to program. You have to adjust the exposure manually, which makes sense, but Fujifilm just demonstrated that they have the ability to include an exposure adjustment within a Recipe. Is this something we’ll see in the future? Perhaps so. Fujifilm also demonstrated that it’s possible to replace a Film Simulation with a Recipe. Maybe you don’t use PRO Neg. Std or Eterna Bleach Bypass or Sepia—wouldn’t it be nice to replace the ones that you don’t use with a Recipe? Or maybe you replace all of the Film Simulations in the Film Simulation Menu with Recipes? There’s a lot of room for customization, and Fujifilm just showed us that it’s possible for them to do it.

I think this is also an indication of what’s to come regarding the future of the Film Dial or Film Era Dial. I suspect that Fujifilm will open up the Film Dial to allow Recipes for all of the positions, and not just FS1/FS2/FS3 (on the X-E5 and X-T30 III, anyway). I suspect that the Film Era Dial will be hard-set Recipes designed by Fujifilm (or photographers they have partnered with), similar to FRGMT B&W. This is speculation, of course.

FRGMT BW Recipe — Fujifilm GFX100RF — Photo by Manabu Nakanishi via Fujifilm

I don’t want to read too much into this. It could be a one-time thing, and we’ll never see anything like this again. Nothing may come of it, other than this one special-edition model sold only in Japan. But it is intriguing to consider what it could possibly mean for future models.

So for those wondering what the FRGMT B&W Recipe is, well, here you go! It’s found on Fujifilm’s webpage for the GFX100RF Fragment Edition.

Film Simulation: Acros
Grain: Strong / Large
Highlight: +4
Shadow: +2
Sharpness: -4
High ISO NR: -4
Clarity: +5
Exposure Compensation: +1/3

Obviously not every setting is included, so let’s take a guess on the blanks. Most likely it is Dynamic Range Auto, White Balance Auto (0R & 0B for the WB Shift), Color Chrome Effect and Color Chrome FX Blue Off, Toning Off (WC 0 MG 0), and ISO up to 12800 (based on one of the sample pictures). So if you’re interested in trying it yourself, you absolutely can. In fact, here are a few of my photos, which look pretty good, reprocessed on my Fujifilm X-E5 using the FRGMT B&W Recipe (choosing DR200 in lieu of DR-Auto).

FRGMT BW Recipe — Fujifilm X-E5 — Photo by Ritchie Roesch
FRGMT BW Recipe — Fujifilm X-E5 — Photo by Ritchie Roesch
FRGMT BW Recipe — Fujifilm X-E5 — Photo by Ritchie Roesch

Is the X Half the Worst Fujifilm-Related Product of 2025?

Posted on by Ritchie Roesch

Fujirumors recently conducted a survey of the “best” and “worst” Fujifilm-related gear released in 2025. This included Fujifilm cameras—specifically, the X-E5, X-T30 III, X half, GFX100RF, and GFX Eterna 55—as well as lenses, including third-party lenses. Instax was in the list, too. The survey had two questions: which was the best, and which was the worst. The insinuation in the body of the article was that whatever product was chosen as the “worst” would be considered a flop.

No surprise to me, the Fujifilm X-E5 was ranked as the “best” Fujifilm-related product of 2025, receiving nearly 40% of the votes. It’s an excellent camera that’s been pretty well received. A strong argument can be made that the GFX100RF or Eterna 55 are technically the best, but the majority of those voting are likely not in the GFX system. The X-T30 III will probably end up selling more copies than any of the other cameras, which doesn’t necessarily make it the “best” only the best selling due to having the best value. It’s all subjective.

Above: Various pictures captured with the Fujifilm X half

The Fujifilm X half far and away received the most votes for “worst” Fujifilm-related product, receiving 50% of the responses. I’m not surprised because the survey was on Fujirumors, and the X half is largely not intended for the market that audience generally is. Just like I’d be shocked if the Instax Mini LiPlay won best product on that site, while it wouldn’t be shocking at all if it did so on an Instax-centric website.

The primary customers of the X half are not those in X-series; it’s those with an Instax camera, those who shoot film on a retro point-and-shoot, those who like digicams, and those who have an interest in photography but have no interest in using a mirrorless or DSLR model. They want film-like results without fuss. I would bet that two-thirds of those who have bought an X half don’t own and have never owned an X-series camera, aside from their new X half. If we were to revisit this in a couple of years, I would wager that the X half was the gateway into the X-series for thousands of people, which is exactly what the purpose of that camera is. Someone buys the X half today, next year they buy an X-T30 III or X100VI or something like that.

Above: Various pictures captured with the Fujifilm X half

The question, of course, is this: does that make the X half the worst Fujifilm-related product of 2025? If it’s successful at bringing in new customers, particularly an often overlook subset of potential customers, isn’t that good? I don’t know exactly how well the X half is or isn’t selling, especially since those statistics are hard to come by. Apparently, it was the number one selling camera in Japan over the summer, significantly outselling the second most popular. After talking with a few different camera stores, it seems to be doing well, but the camera is not nearly as hot as the X100VI or even the X-E5. I hear that it’s more popular in Asian markets than in Europe or America, so maybe that explains it.

I can tell you this: I have an X half, and it was my most-used camera on an RV roadtrip up the Atlantic coast over the summer. It’s fun for casual snapshots, and was perfect for documenting our journey. My wife and I both use it, and sometimes we fight over it. With that said, it will never replace my X-T5 or X-E5 or X100VI or any other model. It’s not that type of camera. It’s going to give you the “worst” image quality of any current X-series model, but in the best way possible. So maybe it is the worst Fujifilm-related product, but that’s what makes it great. And it’s definitely not a flop, it’s just intended for a different group of people than the usual suspects, which certainly can be a great way to expand market share.

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

10 Fujifilm Recipes for a 1970’s Aesthetic

Posted on by Ritchie Roesch

Corndog – San Francisco, CA – Fujifilm X100VI – 1970’s Summer

After yesterday’s post about a potential “Film Era Dial” coming to a future Fujifilm camera (probably the next X-Pro), I thought I’d showcase some Film Simulation Recipes that produce a look from a specific era: the 1970’s. I might make similar articles for other decades, probably the 1980’s and 1990’s. Today, though, we’re heading back in time to bellbottoms, tie-dye, and disco—a time when color photography was gaining popularity, largely thanks to New American Color photographers like Eggleston, Shore, Meyerowitz, Sternfeld, Misrach, Haas and others.

Most likely, a 1970’s aesthetic on a “Film Era Dial” will be based on the Nostalgic Neg. film simulation, which is specifically intended to look like prints from the 1970’s. But, there were a variety of “looks” from that period. Many different Recipes can emulate a ’70’s aesthetic, and not just those that use Nostalgic Neg.. For this article, I’ve handpicked 10 Recipes, which you’ll find below, that produce pictures with similarities to images from that era.

Kodachrome II

San Geronimo de Taos – Taos, NM – Fujifilm X-Pro2 – Kodachrome II

There are three distinct eras of Kodachrome, the most iconic film of all time. This Recipe is a facsimile of the second era, which was from 1961 to 1974. In other words, this could also be a 1960’s era aesthetic. The third era, which my Kodachrome 64 Recipe mimics, also could be a 1970’s look, although it’s just as much a 1980’s and 1990’s aesthetic. The Kodachrome II Recipe is more of an early-to-mid ’70’s look. The specific version above is for X-Trans III models; for X-Trans IV click here, and for X-Trans II click here.

Vintage Kodacolor

Don’t Approach the Great Blue Heron – Farmington, UT – Fujifilm X-H1 – Vintage Kodacolor

While not specifically intended as a 1970’s aesthetic, the Vintage Kodacolor Recipe does produce photos that have a similarity to some prints from that era. The Kodacolor II 126 is another to consider for a similar aesthetic.

Old Kodak

Holland Deere – Farmington, UT – Fujifilm X-E4 – Old Kodak

Old Kodak is another Recipe that’s not necessarily intended to specifically produce a 1970’s aesthetic, but it’s easy to see that it does. It’s also the most “Nostalgic Neg.”-like of the Recipes in this list that don’t use that film simulation.

Old Ektachrome

Desert Snow – Canyonlands NP, UT – Fujifilm X-Pro3 – Old Ektachrome

This Recipe produces an Ektachrome aesthetic that’s reminiscent of magazine photos from the ’60’s and ’70’s. It’s more of a pre-E6 look, maybe more like E3 or E4, which (like Kodachrome II) makes it an early-to-mid ’70’s aesthetic.

GAF 500

Garden Spiderweb – Buckeye, AZ – Fujifilm X-E4 – GAF 500

GAF 500 (also sold as Anscochrome 500) was an ultra-high ISO (for the time) slide film introduced in 1967 and discontinued in 1977. While it was never as popular as Kodak films (not even close), it’s still one emulsion that the 1970’s were captured on.

Nostalgic Americana

Doggles – Philadelphia, PA – Fujifilm X-T50 – Nostalgic Americana

None of the prior five Film Simulation Recipes use Nostalgic Neg., while Nostalgic Americana and the four below all do. This Recipe was modeled after photographs found in vintage Arizona Highways issues from the ’60’s and ’70’s.

Kodak Vericolor VPS

Mission San Xavier del Bac – Tucson, AZ – Fujifilm X-E5 – Kodak Vericolor VPS

This Recipe is a late-1970’s and early-1980’s color negative film aesthetic.

1976 Kodak

Rainbow over Jersey – Jersey City, NJ – Fujifilm X-T50 – 1976 Kodak

The 1976 Kodak Recipe was modeled after some of Joel Meyerowitz photographs from the mid-1970’s, especially his pictures from 1976 specifically.

1970’s Summer

Fire, Truck – Lordsburg, NM – Fujifilm GFX100S II – 1970’s Summer

This Recipe is a facsimile of New American Color style photographs, and produces a warm summertime vibe.

1971 Kodak

View of North Rim from the South – Grand Canyon NP, AZ – Fujifilm X-T5 – 1971 Kodak

1971 Kodak is a Fuji X Weekly App Patron Early-Access Recipe, which means that only App Patrons have access to it at the moment (eventually it will be available to everyone). It’s modeled after some old family prints of my dad from 1971 and 1972, likely shot on Kodacolor-X film.

See Also: 10 Fujifilm Recipes for a 1980’s Aesthetic

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

Will The Next X-Pro Have a Film Era Dial??

Posted on by Ritchie Roesch

Fire, Truck – Lordsburg, NM – Fujifilm GFX100S II – 1970’s Summer Recipe

Fujirumors just posted today that Fujifilm is working on “a dial that lets you choose an era-inspired look for your images.” This will be for some upcoming camera. It sounds like this new dial might be similar to the Film Dial, except instead of Film Simulations (and Film Simulation Recipes on FS1/FS2/FS3 for the X-E5 & X-T30 III), it will be aesthetics that mimic specific eras of photography, presumably something like 1950’s, 1980’s, etc.. So not a Film Dial, but a Film Era Dial.

My best guess is that this will be on the next X-Pro camera, which Fujifilm is working on. I suspect that this camera will be the next model that Fujifilm announces, and it will come early next year. This is simply the first of many rumors we can expect for the X-Pro4 (I’m predicting that it will be called X-Pro5) over the next few months. This is merely speculation, of course, and I have absolutely zero inside information. I do know that Fujifilm wants to do something unique and unexpected with the next X-Pro (they’ve said so a few times now), and this would certainly qualify as that.

I can only guess how the Film Era Dial might work, but it will likely be similar to the Film Dial on the X-E5. Perhaps it will have nine or ten or eleven “eras” plus an Off position. These eras, which will likely be divided by decades, will probably be similar to Recipes, except designed by Fujifilm and not customizable. In this way it could be more like Advanced Filters, which aren’t customizable—you get what you get—but probably more refined and sophisticated, something you’d definitely want to use (in other words: built-in—but not customizable—Recipes). Maybe it’s also a bit X half-ish, with the idea being that it’s super easy to get great retro-like looks straight-out-of-camera. If that’s all true, I’m disappointed to not have been invited to be a part of the creation process; however, I do trust that Fujifilm will do an excellent job with it.

So what does “Film Eras” look like on Fujifilm cameras? It can be different things, but I do have an idea. For example, Sepia prints were popular in the 1920’s; Faded Monochrome gives a nod to really old B&W prints; Vintage Kodachrome mimics an early version of Kodachrome film; Vintage Agfacolor has a 1950’s look; 1960’s Chrome resembles pictures found in magazines during that era; 1976 Kodak is similar to some Joel Meyerowitz photographs from the mid-’70’s; Kodacolor has a distinct ’80’s vibe; Kodachrome 64 was an extremely popular (and iconic) film in the 1990’s; Fujicolor Superia 800 has a 2000’s disposable-film-camera quality; Kodak Portra 400 v2 mimics a Portra 400 aesthetic, a popular film in the 2010’s; and the new Reala Ace film sim has been called the “negative for the new era” so it makes sense to use a Recipe like Fujicolor Film for the 2020’s. I could make probably four or five unique lists like this that demonstrates “photography through the decades” aesthetics using my different Film Simulation Recipes.

1920’s

Espresso Yourself – Layton, UT – Fujifilm X100V – Sepia Recipe

1930’s

Urban Escape – SLC, UT – Fujifilm X-T30 – Faded Monochrome Recipe

1940’s

Onaqui Horses – Dugway, UT – Fujifilm X-T30 – Vintage Kodachrome Recipe

1950’s

Always Moving Ahead – Rawlins, WY – Fujifilm X-Pro2 – Vintage Agfacolor Recipe

1960’s

Bell & Cross – Tumacacori, AZ – Fujifilm X-T5 – 1960 Chrome Recipe

1970’s

Rainbow over Jersey – Jersey City, NJ – Fujifilm X-T50 – 1976 Kodak Recipe

1980’s

Jon’s ’80’s Era – Buckeye, AZ – Fujifilm X-T30 – Kodacolor Recipe

1990’s

Red Barn – Ronks, PA – Fujifilm GFX100S II – Kodachrome 64 Recipe

2000’s

Hello, I am at Disneyland – Anaheim, CA – Fujifilm X100VI – Fujicolor Superia 800 Recipe

2010’s

Sunset Photography – Laguna Beach, CA – Fujifilm X100V – Kodak Portra 400 v2 Recipe

2020’s

Saltwater Marsh – Plymouth, MA – Fujifilm X100VI – Fujicolor Film Recipe

I like the general idea of a Film Era Dial, and if anyone can pull it off it’s Fujifilm. I’ll reserve my full judgement until it is released, presumably on the upcoming X-Pro5 early next year. I don’t anticipate it being perfect; the Film Dial isn’t perfect, but it is good, adding aesthetic versatility if you know how to get the most out of it (tune into SOOC Live this coming Monday, as this will be the topic of our conversation). I wonder if the Film Dial will be unique to fifth-generation cameras, and the Film Era Dial will be unique to sixth-generation models. Time will tell.

If you like the idea of the Film Era Dial, you don’t have to wait for it. Simply program into your C1-C7 Recipes for different decades. I gave you some ideas above; perhaps this could turn into a series of articles. Maybe I can give some specific recommendations for each era. What do you think? Is a Film Era Dial a good idea? Let me know your thoughts in the comments!

Film Simulation Dial — Your New Best Friend?

Posted on by Ritchie Roesch

***Correction: Note the new times. The show will now be at 9:00 AM Pacific, 12:00 noon Eastern.***

Wow, it’s been 11 months since the last episode of SOOC Live! Time sure does fly. It’s not for lack of trying that so much time has passed; our schedules just didn’t work out for most of 2025. But, as a holiday gift to you, Nathalie Boucry and I will be hosting a live broadcast on Monday, November 24th, at 9:00 AM Pacific Time, 12:00 noon PM Eastern. I really hope you can join us!

In this episode, we’ll be discussing one of Fujifilm’s most controversial features: the Film Dial. We’ll talk about the good and the bad, and—much more importantly—how to get the most out of it. If you own a Fujifilm X-T50, X-M5, X-E5, or X-T30 III, this is a must-watch episode; if you don’t own one of those models, but are curious about the Film Dial, be sure to tune in. I look forward to chatting with you live on November 24th!

In other news, I just released an update to the Fuji X Weekly App on Android, which fixes the bug that the app will crash when tilted vertical (landscape) on some operating system versions. It was a weird bug that I believe may have been introduced on version 14. Basically, some coding that worked flawlessly on earlier versions no longer worked on newer operating systems. Usually when a new OS update is released, it screws something up unexpectedly. Sometimes it’s a little thing that’s not a big deal; other times it’s a major problem. It took some serious troubleshooting to find and fix this particular issue. This was only for Android, and did not affect iPhones. A special “thank you” to those who reported the problem and helped troubleshoot it!

I’m also working on a fairly significant app update that hopefully will be ready next month sometime. I can’t give away the details yet, but I think many of you will really appreciate aspects of it. I’m constantly working on updates to the Fuji X Weekly, Ricoh Recipes, and RitchieCam apps (even though it may not always seem like it)—between the apps and this website, I stay really busy. I have a lot of various things in the air, which I can’t wait to share when the time is right—hopefully some will be sooner than later. Some things may not ever work out, that’s the way it goes sometimes and that’s ok. Anyway, if you have time on Monday, be sure to join Nathalie and I on YouTube, I’m really looking forward to chatting with you!

Fujifilm Found in Unexpected Places

Posted on by Ritchie Roesch

Refine – North Salt Lake, UT – Fujifilm X-T30 – Urban Vintage Chrome

Most people think of Fujifilm as a camera or film company, but that’s not their main business, and it hasn’t been for awhile now. When film sales collapsed on the early 2000’s, Fujifilm diversified into many different industries: medical, pharmaceutical, cosmetic, tech, and chemicals. While photography is a big part of Fujifilm’s heritage and identity, it is only a small part of their company overall nowadays.

At a recent photowalk, someone asked me if I had seen a large building in Mesa, Arizona, with Fujifilm’s name on the side, and wondered if I knew what it was for. I hadn’t seen it, and I had no idea what it was for. I didn’t think much about it, but then it showed up in my news feed. Curiosity got the better of me, so I did a little research. Fujifilm Electronic Materials in Mesa, is quietly an industrial powerhouse. The facility is not dedicated to film or sensors, but to the ultra-pure chemicals that make modern semiconductors possible. It’s a different side of Fujifilm, one that most photographers never hear about. Yet this plant plays a key role in the digital world.

Sunset Glow & Salt River – Mesa, AZ – Fujifilm X-T5 – Astia Azure

Inside the Mesa facility, Fujifilm produces high-purity solvents, developers, cleaning agents, and slurries used by chip fabricators to polish, pattern, and prepare silicon wafers. These aren’t camera-sensor chemicals specifically; they’re the chemicals needed for nearly every chip you can imagine: CPUs, GPUs, memory, mobile processors, automotive controllers, and, yes, even camera sensors (although only indirectly). Fujifilm is one of a couple handful of companies that supply ultra-clean chemistry for chip manufacturing, and one of a few in Arizona.

Fujifilm expanded the Mesa site only a few years ago, and they’re planning to significantly expand again, due to exploding demand for semiconductors. The CHIPS Act, combined with billions of dollars in private investment, has turned Arizona into one of the fastest-growing semiconductor hubs in the world. Intel has a large footprint, including the massive Ocotillo campus in Chandler. TSMC is building multiple fabrication plants in Phoenix, including a huge campus in north Phoenix. Amkor, Microchip, and more are found in the area. All those fabricators need chemicals—lot’s of chemicals—and Fujifilm is scaling up to meet that demand.

Irrigation Pipe – Buckeye, AZ – Fujifilm GFX100S II – Kodak Plus-X 125

To me, Arizona seems like an odd choice for chip manufacturing. It’s a desert, which means it’s hot and dry, and water is somewhat scarce. Apparently the reasons why Arizona is booming for this industry are available land, business-friendly environments, stable geology, talent (ASU, UofA, and other universities nearby), and—perhaps counterintuitively—the water situation, which is extremely controlled and can support the ultra-pure water required. The dry climate helps with contamination control, and the lack of natural disasters is apparently a big appeal. What was once a small tech outpost has been growing into a full-blown semiconductor ecosystem. Arizona is apparently a new Silicon Valley.

For photographers, this might feel like a distant subject, yet it’s a big part of the larger Fujifilm story: a diverse and resilient company that would not likely be making cameras today if not for things like high-purity solvent manufacturing for microchips. While we’re out with our X100VI or X-T5, Fujifilm is making the unseen materials that help power the digital world our pictures live in. If you happen to pass by that building in Mesa, Arizona, with Fujifilm’s name on the side, you’ll see a facility that helps to shape the silicon heartbeat of modern technology. It’s another reminder that Fujifilm is bigger than cameras. Sometimes the most important parts of a story happen in places we don’t expect.

Just Learn to Shoot & Edit RAW (say the gatekeepers)

Posted on by Ritchie Roesch

Fire, Truck – Lordsburg, NM – Fujifilm GFX100S II – 1970’s Summer Recipe

There’s a frustrating comment I receive every now and then. It’s been going on for years and years—pretty much since I started making Film Simulation Recipes—and it continues to this very day. It goes something like this: “If you just learned to edit RAW, you wouldn’t need Recipes.” It can be said many different ways, but that’s always the gist of it. Sometimes it’s stated a bit nicer with a beating around the bush, and sometimes it’s said more harshly, occasionally with swearing. I’ve even been told once that I’m doing much harm to photography. Someone even threatened me physically, should they ever see me on the streets.

All of that is crazy wild. It’s bananas. Did Edwin Land get this reaction with the Polaroid? Maybe, I don’t know. It just seems like a weird response to someone else’s personal workflow choice. It’s gatekeeping.

Horsetail Falls from Bridge – Columbia River Gorge, OR – Fujifilm X100V – Improved Velvia Recipe

Gatekeeping, which says that only photography done the “right” way is correct and all other methods are incorrect, is a big problem. To be clear: there’s no right or wrong way to do photography, only whatever works for you personally. Anybody who says otherwise is flat out wrong, and couldn’t be more wrong. But there are, unfortunately, many people who will tell you that photography must be done a certain way or else it’s less legitimate. There are a several reasons why people gate keep, so let’s look at some.

Photography is deeply personal, and many people tie their identity to how “skilled” they think they are. When someone else succeeds with a different method—shooting JPEGs, iPhone photography, etc.—it threatens the fragile belief that their way is the only legitimate path. It’s a defensive shield: If you do it differently and are successful, then my choices—and hence myself—might be less special.

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

Kind of similarly, people who learn a lot can mistake knowledge for superiority. You’re doing it wrong is a shortcut to feeling important. Unfortunately, this kills community. You see it all over the place in forums and comment sections of many websites. This is also used by trolls, who may think they’re knowledgable while oftentimes being quite ignorant.

Photography has a long, technical history. Many photographers were taught rigid rules, such as shoot RAW, use full frame, manual-mode is the only real mode, rule-of-thirds, sunny 16, and many, many more. These types of rules evolve over decades, but they always seem to exist. They serve a purpose: give structure to those early in their journey; however, over time, these types of rules tend to harden into what some believe to be absolute truths. Instead of guidelines that helped for a time, they become laws that must be followed. But, remember, in art rules are meant to be broken.

Barn by the Tetons – Grand Teton NP, WY – Fujifilm X-E1 – RAW edit from 2016

Photography used to be expensive, slow, and technical, which meant that only some people were photographers, and most were not. Now everyone has a camera in their pocket, and everybody’s making pictures. For some, that democratization feels like a loss of status. Gatekeeping is a way of preserving a hierarchy that no longer naturally exists. I’m a real photographer because I do it this way, and you’re not because you don’t. It’s a game of king-of-the-hill, except nobody else is playing.

Some photographers confuse process with vision. They think creativity comes from the mechanical steps—RAW workflow, layers and curves, editing rituals—rather than from seeing the world in a certain way. When someone simplifies the process, it feels like “cheating” to them. In the end, what matters is if the photo fulfills the photographer’s vision, not what specific steps it took to get there.

McWay Falls View – Big Sur, CA – Sigma DP2 Merrill – RAW edit from 2014

Gatekeeping in photography is almost always born from fear—fear of losing relevance, fear of being wrong, fear of being overshadowed, fear of loss of control, fear of competition, etc.. Creativity, on the other hand, comes from curiosity, play, and the freedom to break rules—rules that gatekeepers cling to as if they define the medium.

Getting back to the original statement that inspired this post—if I just learned to edit RAW—well, I shot and edited RAW for years. There are several pictures I’ve included in this article from that era of my photography when I did shoot and edit RAW. I know how to do it, I just don’t enjoy it, so I no longer choose to do it. I don’t personally find any fulfillment in sitting at a computer for hours making all sorts of various adjustments to my pictures. After doing it for years, I realized that it’s just not for me. And that’s ok. There’s no right or wrong way to do photography. I don’t feel that my photography suffers from a lack of RAW editing; actually, I feel that the restraint produces a more authentic result, which I’m quite pleased with.

Red Chairs – Cambria, CA – Nikon D3300 – RAW edit from 2015

Invariably, someone will drag Ansel Adams into this argument. Adams spent hours in the darkroom developing film and printing enlargements, with masterful dodging and burning. That’s how photography should be done, except now it’s Lightroom and not a darkroom. All of this ignores Adams’ love for Polaroid photography, which he called one-step photography. Typically, the first step is image capture, and the second is image development, but Polaroids only required the first step (hence, one-step photography). Adams wrote, “The effect of one-step processing on both amateur and professional creative photography has been revolutionary.” One of his well-known Yosemite pictures was captured on a Polaroid, and most who view it are unaware. He wrote a whole book about this topic. Using Film Simulation Recipes is a type of one-step photography, and it can indeed be revolutionary.

Anyway, just because someone chooses to shoot JPEGs on their Fujifilm camera with Film Simulation Recipes does not mean they don’t know how to edit a RAW file. And even if they don’t, that doesn’t make them any less of a photographer. It’s not how you arrive at the destination, it’s the destination itself—the photograph—that matters, and whether or not it fulfills the vision of the photographer.

3 Forgotten Fujifilm Cameras Worth Remembering

Posted on by Ritchie Roesch

With so many exciting cameras released over the last couple of years, it’s easy to forget some of the lesser-successful models from the early days of the X-series. With each new announcement, it seems that Fujifilm has hit-after-hit, and it can seem unthinkable that some of their cameras have been sales disappointments. The latest releases have features and advancements that may make older cameras seem obsolete, but they’re not. And why are they not obsolete? It’s because Fujifilm has infused each generation with its own unique charm. If you especially like that charm, the camera can never be obsolete because you need that camera in order to experience it. These three forgotten Fujifilm cameras are full of charm, and are worth remembering.

Fujifilm XF1

If you’re looking for a compact digicam that fuses vintage charm with capable image quality, the Fujifilm XF1 is an excellent choice. Announced in September of 2012, it put the X-series into your pocket. It featured a 12-megapixel 2/3-inch EXR-CMOS sensor (not X-Trans), which was larger than many compact sensors at that time, and a very useful 25-100mm f/1.8-4.9 zoom lens. The XF1 invited photographers to carry something small while still achieving good image quality.

Two things ultimately made the XF1 flop, and hence forgotten. First, it required a somewhat awkward twist of the lens to power on. Second, it was released at a time when pocket digicams were going out of style, particular thanks to advancements in cellphone cameras. Fujifilm never made a followup. Thanks to a resurgence in digicam popularity, cameras like the XF1 are cool again. In fact, this camera is recently seen in Ballad of a Small Player on Netflix. While the XF1 is a compact digicam, the character is very much Fujifilm—yet it has a unique quality that I haven’t found on any other X-series model. If you want a stylish pocketable camera that delivers enjoyable images with personality, the XF1 is definitely worth considering.

Above: Fujifilm XF1 photographs using the Golden Negative Recipe and Provia/STD Recipe

Fujifilm XQ1

Another pocketable X-series camera similar to the XF1 is the Fujifilm XQ1. Announced one year later in 2013, it has a 12mp 2/3-inch X-Trans II sensor. It also has a 25-100mm f/1.8-4.9 zoom lens. In a lot of ways, the XQ1 is the same as the XF1, but it is notably updated and improved, and feels more refined. The XQ1 was a bigger success than the XF1, but it also came during a time of market declines for its class. One-and-a-half years later Fujifilm released a nearly identical successor: the XQ2. After that, the line was discontinued. If Fujifilm has ever considered resuscitating this series, now would be a great time—people would buy it up in droves.

Above: Fujifilm XQ1 photographs using the Astia Recipe, Lomography Color 100 Recipe, and Cross Process Recipe

Fujifilm X-M1

For an interchangeable-lens APS-C model, the Fujifilm X-M1 deserves a look. Announced in June of 2013, it has a 16mp X-Trans I sensor combined with the X-Processor 2, but scaled back as an entry-level model—yet with some advancements like tilting LCD and WiFi. It was a unique model in the X-series, but sales were sluggish, and it was soon discontinued and forgotten.

If not for the X-M5 released last year, which has been quite popular, the X-M1 might still remain largely lost to time. Nobody expected this camera to ever have a successor—it was a shock! It goes to show that 1) timing is everything and 2) any camera line can be revived at any moment. The X-M1 is still surprisingly decent in 2025 considering it was a low-budget model when it came out more than 12 years ago. I can certainly understand while some still use the X-M1 all these years later.

Above: Fujifilm X-M1 photographs captured using the Vivid Color Recipe, Reminiscent Print Recipe, and Monochrome Recipe

10 Underrated Film Simulation Recipes You Probably Skipped (but should try)

Posted on by Ritchie Roesch

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

Some Film Simulation Recipes are extremely popular. Some are classics. Kodachrome 64, Reggie’s Portra, Vibrant Arizona, Kodak Portra 400 v2, Pacific Blues, and many others, are frequently used by a lot of photographers. But there are some others that just seem to get used a lot less. Website page-view statistics indicate that the 10 Recipes below are less popular, which I think is confirmed by the infrequency that I’ve seen them mentioned on social media. Just because they’re not as popular doesn’t mean they’re not good—in fact, some of them are my personal favorites.

The list below does not represent the least popular Recipes on Fuji X Weekly. A few of them are in the Top 50 (out of more than 400), which puts them in the Top 12%-15% or so. Compared to the most popular, though, they’re overshadowed. The 10 Recipes below are often overlooked, and they deserve a bit more attention. If you’ve not tried them yourself, I invite you to load them into your camera and create some photographs—perhaps one or two of them will become favorites for you, too.

Fujicolor Super HG

Beached Ship – Fort Stevens SP, OR – Fujifilm X-E4 – Fujicolor Super HG

The Fujicolor Super HG Recipe was created by Thomas Schwab, who has made many fantastic Recipes, including a few on this list. This Recipe, which uses Classic Negative, resembles an older Fujifilm emulsion from the mid-1980’s through the late-1990’s. While it is very similar to Fujicolor Super HG v2, which was a collaborative effort between myself and Thomas, this v1 isn’t nearly as popular, probably because the v2 Recipe is more versatile (due to its white balance); however, this version is really good, and deserves more attention. Fujicolor Super HG is compatible with most X-Trans IV cameras (X-Pro3, X100V, X-T4, X-S10, X-E4 & X-T30 II); for fifth-generation models, set Color Chrome FX Blue to Weak.

Fujicolor NPS 160 Pulled

First Dance – Laguna Beach, CA – Fujifilm X100V – Fujicolor NPS 160 Pulled

Another Recipe by Thomas Schwab, Fujicolor NPS 160 Pulled is simply fantastic for indoor and artificial light situations. It’s been one of my personal favorite Recipes for years. I highly recommend it if you’ve never tried it. This Recipe, which also uses Classic Negative, is compatible with most X-Trans IV cameras (X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II); for fifth-generation models, set Color Chrome FX Blue to Weak.

Timeless Negative

After Thanksgiving Dinner – Buckeye, AZ – Fujifilm X100V – Timeless Negative

For whatever reason, Timeless Negative has been my go-to Film Simulation Recipe for holiday snapshots during November and December. It’s quite versatile, so it can be used in a variety of lighting conditions. This particular version uses Eterna and is for most X-Trans IV cameras (X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II); for fifth-generation models, set Color Chrome FX Blue to Off. There’s a version of Timeless Negative that uses Nostalgic Neg., which is also really good, for those who have X-Trans V cameras.

SantaColor

11th Avenue – New York City, NY – Fujifilm X100VI – SantaColor

The SantaColor Recipe, which uses Eterna, is a fun one. It doesn’t always work well, but sometimes it works really well. It’s another Recipe that’s for most X-Trans IV cameras (X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II). You can use it on fifth-generation models, but just note that it will render slightly different.

Ferrania Solaris FG 400

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

The Ferrania Solaris FG 400 Recipe is simply Kodak Portra 400 v2 with Eterna Bleach Bypass instead of Classic Chrome. Most Recipes don’t look particularly good when you change the film simulation, but in this case it does. This Recipe is compatible with most X-Trans IV cameras (X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II); for fifth-generation models, set Color Chrome FX Blue to Off.

CineStill 400D v1

Cactus in Golden Light – Buckeye, AZ – Fujifilm X-T5 – CineStill 400D v1

Definitely not a Recipe for every subject and situation, but CineStill 400D v1 can produce really striking results sometimes. It’s the only Astia-based Recipe in this list. CineStill 400D v1 is for the X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III cameras.

Thommy’s Ektachrome

Wildflower Spring – Sun City, AZ – Fujifilm X-T5 – Thommy’s Ektachrome

As you might have guessed, this is another Recipe by Thomas Schwab. I find that it works well for both sunny and dreary weather. Thommy’s Ektachrome uses the Nostalgic Neg. film simulation, which makes it compatible with fifth-generation cameras.

Kodak Vision3 250D v2

Cold Rim, Warm Light – Grand Canyon NP, AZ – Fujifilm X-T5 – Kodak Vision3 250D v2

This is an updated version of the Kodak Vision3 250D Recipe, but using Nostalgic Neg. instead of Eterna. This is one of those Recipes that doesn’t always work well, but when it does, it really does! Kodak Vision3 250D v2 is compatible with all fifth-generation models.

Vintage Color

Windmill – Prefumo Canyon, CA – Fujifilm X-E4 – Vintage Color

Some of my favorite photographs were created using the Vintage Color Recipe. It’s another one that doesn’t always work well, but when it does, it’s really good. This Recipe, which uses Eterna, is for most X-Trans IV cameras (X-Pro3, X100V, X-T4, X-S10, X-E4 & X-T30 II); for fifth-generation models, set Color Chrome FX Blue to Weak.

1960 Chrome

Bell & Cross – Tumacacori, AZ – Fujifilm X-T5 – 1960 Chrome

Last—but far from least—is 1960 Chrome, which uses Eterna Bleach Bypass and has compatibility with fourth and fifth generation models. The aesthetic comes from several photographs in various issues of Arizona Highways magazine from the 1960’s. If you’re looking for a vintage aesthetic, this is a great option.

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

California Coast in Infrared

Posted on by Ritchie Roesch

I just uploaded a brand-new video to YouTube. Some of you are probably unaware that there even is a Fuji X Weekly YouTube channel because I post so infrequently to it. This is only my second long-form video this year; last year I had two, and the year before that I uploaded three. Still, somehow, the channel has nearly 18,000 subscribers, and most of my videos top 10,000 views. I’d love to create a lot more long-form video content in the future, but it takes a lot of time that is just so hard to come by right now.

This video was filmed a few months ago. Initially I felt bad that it took so long to get it put together and finished, but then Preston Summorrow posted a video a week or so ago that was filmed back in July. If it was alright for him to have a large gap between start and finish, then it’s alright for me, too. I hope that you enjoy my video—I included it below.

I love infrared photography! It is so much fun. The results are just incredible. I have a handful of Infrared Film Simulation Recipes, and my personal favorite is Aerochrome v2. If you are interested in infrared photography, be sure to check back often to follow my personal journey. I know this is a niche genre that most people have a passing interest in at most, but even if you don’t care to try it yourself (or don’t have the opportunity to try it), maybe you’ll enjoy the photographs nonetheless.

My wife, Amanda, is the one who filmed and edited the video. She’s a lot better at it than I am, and she enjoys the process a lot more than I do. I think she did a great job! If you appreciate the video, be sure to leave a nice comment for Amanda. I know she would be encouraged by your gracious feedback.

Has Fujifilm Regained its Soul?

Posted on by Ritchie Roesch

Fujifilm Photowalk – Ann Arbor, MI – Fujifilm X-T50 – Fujicolor PRO 160C Warm – by Dave Geffin

A little over three years ago, I published Is Fujifilm Losing Its Soul?, which was my personal criticism of the direction the brand seemed to be heading at that time. “Fujifilm has already lost its soul,” I wrote. “It’s done gone. Elvis left the building awhile ago.”

In that article, I argued, “Fujifilm’s philosophy for their X-series cameras was analog-inspired innovations with a focus on the photographer’s experience (both while using the camera for photography, and as customers of the brand). This was their soul. That philosophy, which seemed to be clearly understood, is what drove the camera department of the company. From the design decisions to the Kaizen firmware updates and everything in-between, this philosophy oozed out—it was both obvious and attractive, and is why Fujifilm was suddenly successful….”

Photowalk in Infrared – Ann Arbor, MI – Fujifilm X-T4 ES – Aerochrome v2

My two main arguments were that Fujifilm had abandoned Kaizen (which, for a time, they had… hello, X-T3, and even X100V and X-Pro3), and they were more focused on attracting new customers from Canikony brands than they were on making their long-time loyal customer base happy. There was a time when that seemed to be very true. But we’re more than three years since now, is it still true today? Or has Fujifilm regained its soul?

While I’d love to see even more Kaizen (such as giving the X-T50 and X-M5 the ability to save Recipes in FS1/FS2/FS3), Fujifilm did show some love when they gave the X-H2s, X-H2, X-T5, and X-S20 the Reala Ace Film Simulation. After a pause, Fujifilm did bring back Kaizen, but it’s time for a little more of it. I understand that the firmware department is probably swamped, and providing updates for older models probably isn’t as large of a priority as making firmware for upcoming cameras, but this should still be an important aspect of the brand, and not neglected. So I would say that progress has been made on this front, but there’s room for improvement.

Camera Conversations – Ann Arbor, MI – Fujifilm X-T50 – Superia Negative

As for the types of cameras that Fujifilm makes and what the intended customer base is for those models, I think Fujifilm has done a great job over the last couple of years with this. They listened to their customers, and took some risks. I think they have begun to realize what their actual advantage is over the other brands, and have done a much better job communicating why that might be preferable. Again, there’s definitely room for improvement, but they seem to have pivoted slightly, and they’re on a better course now, in my opinion.

Fujifilm’s largest asset is not a product—it’s the community that has sprung up around straight-out-of-camera photography from their cameras (think Film Simulations and/or Film Simulation Recipes). This community is passionate, helpful, and kind—generally, just good people. And this community, which has grown and grown and grown, has done far more to sell Fujifilm cameras than any marketing campaign could ever dare to achieve. Fujifilm could do more to support and facilitate the growth of this community, but 1) they recognized the existence and importance of this large group and 2) they’re doing a heck-of-a-lot more now than three years ago. Fujifilm has made large strides, and are even making products and design choices with these people in mind. This community is an important part of the brand, and Fujifilm finally figured that out. Much of the success that Fujifilm has experienced over the last few years has been because of these people.

Photowalk Discussion – Ann Arbor, MI – Fujifilm X-T5 – Fujicolor Negative – by Amanda Roesch

The question is: what should Fujifilm do moving forward? I already mentioned more Kaizen. An X-Pro3 successor is already in the works, so I’ll skip past that. I think a flagship model with retro styling and traditional tactile controls should be high on Fujifilm’s to-do list… that could be the upcoming X-Pro, an upgraded X-T6, or a brand-new line—the long-time loyal base shouldn’t have to settle for PASM (I know that some people prefer PASM) in order to have the best-of-the-best X-series camera. The GFX100RF shouldn’t be the only retro-styled GFX offering, either. Fujifilm should make programming Recipes into their cameras easier (I’m happy to help with that, btw, if Fujifilm is interested). There are probably a thousand ideas that I could propose, these are just scratching the surface—hopefully someday I’ll have the opportunity to share them with the company.

To answer the question asked in this article’s title, Fujifilm has taken many steps towards regaining its soul in the three years since I wrote that article. Elvis has returned for an encore, and what an encore it has been! But there’s certainly more that they could and should do. It’s not all rainbows and lollipops, but I’m quite happy with the path that Fujifilm currently seems to be heading down. In my opinion, I think they briefly lost their way, but they’re back on track, and have been for a couple of years now.

Why IBIS is Good to Have

Posted on by Ritchie Roesch

Fujifilm X-E5 & Fujinon 23mm f/2.8 – 1/6 second exposure handheld – Vivid Velvia

I’ve never been a staunch advocate of In Body Image Stabilization (IBIS). For the 25+ years that I’ve been creating photographs, only in the last four or five years have I even owned a camera with IBIS, and it has had only a minimal effect on my photography. So I’ve had a take it or leave it attitude towards it—nice to have sometimes, but far from essential. Nowadays, most of my cameras have built-in stabilization, including my X-E5, X-T5, X100VI, GFX100S II, X-T4 ES, Ricoh GR IV, and more. I still have many without IBIS, including an X-E4, X-T30, X100V, and some others. Yes, I own way too many cameras.

For the most part, the inclusion or exclusion of stabilization hasn’t had any significant impact on my photography. I’m not much of a videographer; if I were, I’d want IBIS—in fact, my wife is a videographer, and IBIS is essential for her. With that said, I know of several people who have done amazing video work on non-stabilized cameras. If I used long telephoto lenses, I’d want IBIS. I used to own the Fujinon 100-400mm, but I rarely used it, so I sold it—for that lens, IBIS can be helpful. The longer the lens, the more camera shake is exaggerated, and the more important IBIS is for handheld photography; the wider the lens, the less you need the camera to be stabilized.

Fujifilm X100V at 1/3 second exposure handheld

The picture above is nothing special, but, at 1/3 second, I do believe it is the longest I’ve successfully handheld a non-IBIS camera. The leaf shutter in the X100V certainly helped, but mostly I just utilized good techniques, including bracing myself and slowly exhaling as I lightly pressed the shutter release button, which was set on a two-second self-timer. It took several tries to get one sharp result. It was more work than that particular picture was worth, but it does demonstrate that the lack of IBIS isn’t necessarily a major deal.

Aside from that, I could always carry a tripod with me. Even a monopod will potentially offer the stabilization necessary for slow shutter speeds, but a tripod ensures the camera is perfectly still and I’ll get a sharp picture. Before I had cameras with IBIS, I would usually use a tripod for any shutter speed as long as or longer than half the reciprocal focal length of the lens. For example, with a 50mm lens, I can, with good techniques, get a sharp photo as slow as 1/30; anything slower than that needs a tripod. Even in that example, using 1/30th shutter speed with the 50mm lens is definitely pushing the envelope of what I can do, and it might depend on how much coffee I’ve had that day. If the lens is wider, the shutter speed can be slower. For a 12mm lens, 1/8 might not need a tripod, but 1/6 probably does.

Fujifilm X-T30 & Rokinon 12mm f/2 + tripod – 0.4 second exposure – Kodak Gold 200

I hate carrying tripods. Especially when traveling, or if I have to hike somewhere, the last thing I want is a tripod. When I was younger, carrying a tripod was less of a big deal (and I’m sure they were heavier back then, too), but now that I’m in my mid-40’s, it’s annoying, and I’d rather avoid it. That’s where IBIS comes in handy. I can go slower and not think twice about it. I don’t have to utilize crazy techniques. I can leave the tripod at home, and just enjoy photography—the camera will take care of my shakiness.

So even though I’m not a big IBIS advocate, and it’s still a feature that 99% of the time I see as nonessential for me, it can certainly be quite handy. It was definitely nice to have on my recent trip to The Great Smoky Mountains National Park, where I utilized it a number of times for flowing streams and waterfall pictures. I don’t think that every camera needs to have IBIS; however, when I’m packing my camera bag for an adventure, if I think I might be shooting in low-light situations or want a slow shutter speed for effect, you better believe that at least one of my bodies will be stabilized. Having at least one camera with IBIS is good to have.

New: Fujifilm X-T30 III & Fujinon XC 13-33mm lens

Posted on by Ritchie Roesch

Last night Fujifilm announced the brand-new X-T30 III camera and Fujinon XC 13-33mm f/3.5-6.3 lens. That’s a lot of threes! I’m not going to spend much time talking about either of these products, but I did want to briefly mention their existence.

The X-T30 III is almost identical to the X-T30 II, which was pretty much identical to the X-T30, launched in early 2019. The big changes for the third iteration are: X-Processor 5 and Film Dial. All of the other changes are directly related to those two.

X-Processor 5 brings with it more computing power and more efficient processing, which allows for autofocus and video improvements (including 6K Open Gate), as well as the Nostalgic Neg. and Reala Ace Film Simulations. Probably better battery life, too. The Film Dial replaces the Drive Dial, which has now been relocated to a button on the back, similar to the Fujifilm X-E5, X100VI, and X-Pro3. Some people are greatly offended by this, but the Drive button has worked quite sufficiently on those popular models and has been a complete nonissue, so there’s no reason to believe it won’t be the same for the X-T30 III. Some people like to complain for the sake of complaining. The benefit of the Film Dial is that it can store up to three Film Simulation Recipes, bringing the total possible Recipes that can be programmed into the camera at any one time up to 11 (certainly Nigel Tufnel would buy this camera just for this). As of right now, the X-T30 III and X-E5 are the only two cameras capable of 11 Recipes; however, I hope that Fujifilm brings the FS1/FS2/FS3 Recipe option to the X-T50 and X-M5, and any future models with the Film Dial.

The one negative with the Film Dial on the X-T30 III is that—like the X-E5—it’s limited to only six hard-set Film Simulations. Unfortunately, Classic Negative and Nostalgic Neg. were both excluded. For Classic Negative, that’s inexplicable, as it’s one of the most popular and iconic options. I think if Fujifilm had used the same Film Dial found on the X-T50 and X-M5, that would have been better. While the Film Dial isn’t perfect and certainly can be improved, it’s still a feature that I love, and I’m happy to see it on this camera.

The lens? I personally don’t use zooms very often. I’m more of a prime guy myself. It seems like a budget-friendly alternative to the 10-24mm f/4. I’m sure it’s sufficiently good, and a decent starter kit lens. I have no intentions of owning it, personally. Sold with the X-T30 III, I’m sure it’s worthwhile for $150; I definitely wouldn’t spend $400 on one.

There are two (very annoying) complaints that I’ve seen regarding this announcement: Fujifilm should not release any camera until they have Sony-like AF, and where’s the X-Pro4? Let’s discuss both.

I’ve talked about autofocus at great lengths (just type “autofocus” in the search bar), so I won’t spend much energy on it. My basic argument, though, is that Fujifilm’s AF is pretty good, better than what’s existed for the vast majority of photography, and if you can’t make it work for you, it’s largely user error. Yes, your fault. People are offended by that, but sometimes the truth hurts. Once you accept that truth, it reveals a path forward so that you can move beyond your AF obstacles. It might take learning some new skills and/or learning some new things about your camera that you didn’t realize. Fujifilm’s AF is more than sufficient for 99%+ photographers and situations if you know what you’re doing. Those who constantly complain about it have 1) unrealistic expectations (Canikony brands have been making AF for much, much longer, have larger R&D budgets, and larger teams, so it stands to reason that theirs is and always will be better), 2) an unwillingness to accept that they are a part of the problem (more so than the gear), and 3) no motivation for self-improvement.

Can and will Fujifilm improve their AF? Absolutely. I have zero doubts that they’re working hard on that right now and have been for years. Will those improvements have a practical benefit for most of their customers? Probably not, because we’re nearing the peak of an inverted U curve, which means that each improvement will have a smaller and smaller and smaller impact (this is true for every brand, especially Sony and Canon, who might actually be nearing the back side of the curve). Also, realize that any obstacle—including AF woes—can be overcome if you are willing to self-reflect and put in the work. Those who constantly complain about this topic are unwilling on both accounts.

As for the X-Pro4, which I’m predicting will be called X-Pro5, I’m somewhat confident that it will arrive within the next six months, probably announced in January or February. It will likely kick off X-Trans VI, and the X-T30 III will mark the end of the fifth-generation. In other words, the next X-Pro is coming, just have a little more patience.

Anyway, the Fujifilm X-T30 III will hold the important role of budget-friendly non-PASM model with an EVF. The X-T30 II and the X-T30 before it served this purpose very well, and, despite less fanfare, sold a heck-of-a-lot of copies. The X-T30 III will quietly be a major success, too. At only $999, it’s probably the best value camera in the lineup. Yes, some models are cheaper. Yes, some are better. But none quite offer the bang-for-the-buck that the X-T30 III does.

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-T30 III in black:
Amazon, B&H, Moment, Nuzira
Fujifilm X-T30 III in silver:
Amazon, B&H, Moment, Nuzira
Fujifilm X-T30 III in Charcoal:
Amazon, B&H, Moment
Fujinon 13-33mm f/3.5-6.3:
B&H, Nuzira

Most ideal Film Dial ideas

Posted on by Ritchie Roesch

I just got back into town from an epic 10-day trip. I’ve been up since 1:30 AM, so I apologize for the typos that will inevitably be found in this article. This is a followup to my last post, which I wanted to write while traveling, but it just didn’t work out. The basic premise of this is simple: if I were to design the ultimate Film Dial for Fujifilm, what would that look like?

Fujifilm introduced the Film Dial on the X-T50 about a year-and-a-half ago. They included one on the X-M5. The upcoming X-T30 III will apparently have one, too. The Fujifilm X-E5 also has one, although implemented slightly differently. It’s safe to say that the Film Dial is sticking around for awhile, and for good reason: it places one of Fujifilm’s most important and beloved features in a highly visible and easily accessible position on the camera. The initial implementation of it is good, but certainly not perfect. There’s room for improvement, and I believe Fujifilm is working towards that. As they make it better, don’t be surprised to find it on more and more models in the future.

Going forward, I believe there will be two variations of the Film Dial: knob and wheel. The knob version is found on the X-T50, X-M5, and the upcoming X-T30 III; the wheel version is currently only on the X-E5, but it could be included on the eventual X-Pro3 successor, as well as the someday X100VII. They’re similar, but not identical—the knob version has eight Film Simulations (plus three custom slots, as well as “C” which is Off), while the wheel version has only six Film Sims. The wheel Film Dial has the ability to save Recipes into FS1/FS2/FS3, and hopefully that functionality comes to the knob version at some point.

Fujifilm X-E5 & 23mm f/2.8 – Great Smoky Mountains NP, TN – Velvia Film (Film Dial Recipe)

Whether we’re talking about the knob or wheel Film Dial, very simply it could be made much better. Perhaps this is something Fujifilm will consider for X-Trans VI, which will likely debut next year. The Film Dial should have the ability to save Film Simulation Recipes for each Film Simulation, and not just FS1/FS2/FS3. Undoubtedly, it can be done. It could even be done retroactively for the X-T50, X-M5, X-E5, and X-T30 III via a firmware update, probably somewhat easily.

For the most ideal setup, though, I would take it a step further. Each Film Simulation should have the ability to store up to three Recipes. You could program three different Velvia Recipes into the Velvia slot, for example. To select which one of the three you want would be via a switch, maybe around the knob (for the knob version) or on the back of the camera (for the wheel version). It would have Recipe 1, 2, 3, Off as the options. Recipe Off would simply mean that the Film Dial would function as it does now, where it changes the Film Simulation and nothing else. Whatever JPEG parameters are programmed into the IQ Menu set is what it would default to, aside from (of course) the Film Simulation. Recipe 1, 2, 3 would be which of the three Recipes you want to use. If a Recipe hasn’t been programmed into that slot, the camera would prompt you to add one. These Recipes should have the ability of a custom name, so you can remember which is which.

FS1/FS2/FS3 would no longer need to take up three positions on the Film Dial; instead, you’d have FS-C, and the Recipe 1, 2, 3 switch would determine which FS1/FS2/FS3 you have selected (Recipe Off with FS-C selected would default to whichever Film Simulation you have set it to be within the camera’s menu). Also, the C position would no longer be necessary, opening up three Film Dial positions for Film Simulations that were previously left out. For the knob version, that might be PRO Neg (selecting either Hi or Std from within the menu), Eterna Bleach Bypass, and Monochrome; for the wheel version, it would likely be PRO Neg (again, selecting either Hi or Std from within the menu), Classic Negative, and Nostalgic Neg..

Fujifilm X-E5 & 23mm f/2.8 – Great Smoky Mountains NP, TN – Kodak Pro 400

Since this setup would allow users to program up to 30 Recipes on the wheel Film Dial, and up to 36 Recipes on the knob Film Dial, Custom Settings presets (C1-C7 on most cameras, C1-C6 on some, and C1-C4 on others) would no longer be necessary for Recipes. In other words, Fujifilm should not include the IQ Menu options within Custom Settings presets. You’d still have C1-C7, for example, but it would be focus settings and sound settings and things like that, and not Recipe settings. This would solve an issue that a lot of people have vocalized about how Custom Presets currently work, while also greatly increasing the number of Recipes that can be programmed into the camera at any one time. It’s a big win-win.

There are a few other things that Fujifilm should do. First, when it comes to Acros and Monochrome, there needs to be a way to switch between the +Ye, +R, and +G filter options quickly and easily when using the Film Dial. Maybe a customizable Fn button? Second, the camera should come factory-default with Recipes programmed into the Recipe 1 position for all of the Film Simulations (except, perhaps, for FS1). It could be Recipes that Fujifilm themselves have created, or they could tap into the community for this (I’d be happy to help). Lastly, there should be a way to transfer Recipes directly from your phone to the camera (again, I’d be happy to help).

That’s how I believe the Film Dial should most ideally be implemented. It would greatly increase the number of potential Recipes available in-camera, and it would solve a menu problem that many have complained about. Not everyone will love it (particularly the anti-Film Sim, RAW-only, JPEG-never types), but I’m confident that most people will appreciate it, and it would certainly be a major selling point for whichever cameras have the Film Dial.

The Film Dial is Awesome

Posted on by Ritchie Roesch

Fujifilm’s Film Dial is probably the third most controversial design decision from the brand. First is the entirety of the X half camera, which has a vertically orientated sensor and frame advance lever. Second is the backwards-mounted rear LCD on the X-Pro3. Unlike the other controversies, the Film Dial is not just found on one model, but three (soon to be four) with certainly more to come in the future. With these contentious features, it’s understandable that people have mixed reactions.

Some people love the Film Dial. Some people could take-it-or-leave-it and its inclusion or exclusion is unimportant. Some people don’t mind it, but would prefer a different dial instead. And some people just loathe it.

Fujifilm had sent me an X-T50 to try out prior to its announcement. I didn’t know what the Film Dial was—it looked cool, but how do you use it? Initially, I didn’t really like it. I shoot with Film Simulation Recipes, and most Recipes work well with one specific Film Simulation and not nearly as well with others. Since the Film Dial (except on the X-E5… we’ll get to that later) only changes the Film Simulation and nothing else, it seemed like a useless feature to my photography. But then I had an epiphany: what if there was a “universal” Recipe or two, which was specifically designed for use with any and all Film Simulations? The Film Dial would become an important tool for maximizing in-camera picture aesthetics. So I went from disliking it to loving it rather quickly.

I think some of the criticisms are valid. Is a Film Dial more useful than a Drive Dial or ISO Dial? Fujifilm has never replaced an ISO Dial with a Film Dial, and I hope they never do. Complaining that a Film Dial was implemented instead of an ISO Dial is a little silly since the camera lines in question never had an ISO Dial in the first place. Still, of the two potential knobs, many people would prefer ISO over Film Simulation, and perhaps that is something Fujifilm should take into consideration. Fujifilm has replaced the Drive Dial with the Film Dial, and, for those who commonly use the Drive Dial, I can see how that might be annoying. Instead of a knob on top, Drive is now a button like on the X-E, X100, and X-Pro series. Most ideal might be to use a dual knob like the ISO/Drive dial on the X-T series (except Film Simulations instead of ISO), but Fujifilm hasn’t tried that yet—who knows, they might at some point. I don’t think this is a big deal for most people, but it is understandable. There was a similar sentiment when the four-way D-Pad was removed on most models, and it turned out that the majority acclimated without much heartache. My guess is that the lack of a Drive Knob on certain models will prove to be rather trivial in the long run.

Union Station – Denver, CO – Fujifilm X-T50 – Classic Negative + Film Dial Recipe

The majority of complaints are from the loathers. They really hate the Film Dial and don’t even want to see it when they look at their camera. It bothers them deeply. Some even claim that they’ll leave the brand over its inclusion. It’s like kryptonite or something. I find this very, very strange. It’s weird. The main issue seems to be that the Film Dial is something they’d never, ever use. They dislike Film Simulations so much that they don’t want anyone to even think that they might (gasp!) use one. Of course the irony is that, outside of some drastic measures, they’re using one: Provia. That’s how their camera sees the world, and where their RAW edits begin. Yes, they can manipulate the files any which way and make any number of unique adjustments, but you have to admit that using Provia has at least a small influence over the final edited photo. Almost all of the Film Simulation haters are using a Film Simulation if they shoot a Fujifilm camera, but they’re either ignorant to that fact or they’re fully aware and are just being dishonest.

For (nearly) the last 15 years, many people have been buying and using Fujifilm cameras without digging into the menus, and as such never ventured beyond the Provia/STD Film Simulation. I’ve had a number of people tell me this. They’ve owned many Fujifilm cameras over the years, and never bothered to change the various IQ Menu items like Film Simulation, Dynamic Range, Color, etc., etc., until recently. When people say that they don’t use Film Simulations, what they often mean is that they’ve never tried anything other than Provia. They don’t know what they’re missing, and perhaps they don’t realize that it can be beneficial to their photography.

For example, a strictly RAW photographer might dismiss Film Simulations (and only use Provia), but not realize that a different Film Simulation might help them to better pre-visualize the shot. Perhaps a different Film Simulation is a closer aesthetic match to their style, and seeing the scene in those colors might help them, and maybe even improve their photography. I know of several photographers—some fairly well known—that use Recipes for this purpose. They’re not JPEG photographers—they RAW edit, and a couple even sell Lightroom presets—but the Recipes help them to visualize the finished photo while in the field, which helps them produce better pictures. Those who dismiss Film Simulations forfeit this great tool.

There’s no right or wrong way to do photography. There’s no right or wrong way to use Film Simulations or Recipes (I’m surprised sometimes how people use Recipes, occasionally in very unexpected ways). Do what works best for you, whatever that is. If you only ever want to use Provia and factory-default IQ settings, that’s cool. I just don’t understand the disdain that some have for the other Film Sims, and (more importantly) for those who appreciate them. There shouldn’t be such hate. There are some buttons that I never use on some of my cameras, and I don’t look at those buttons with disgust or think less than of people who do use them—it would be ridiculous of me to do so. How silly and strange would that be! Yet there are people who do just that when it comes to the Film Dial, and are very open about it, plastering it across the internet.

Level Flight – Los Angeles, CA – Fujifilm X-E5 – Classic Negative + Film Dial Recipe

A long-time Fujifilm photographer told me recently that he never bothered with the various Film Simulations because he shoots RAW and didn’t see the point in trying them. Then he purchased a Fujifilm X-T50. Seeing the Film Dial on the top of the camera made him curious, so he began to try the different Film Sims, and he realized that he likes some more than Provia, especially Classic Negative. Eventually this led him to find Film Simulation Recipes, and he begun shooting JPEGs for the first time. He told me that none of this would have happened if the camera had a Drive Dial instead of a Film Dial. That’s why Fujifilm is putting one of their greatest assets—their amazing in-camera profiles—right on top of their cameras for all to see, and super convenient to use. It was such a great move by the brand.

The Film Dial isn’t perfect, though. First, the X-T50 and X-M5 (along with the upcoming X-T30 III) should have the ability to save Recipes into FS1, FS2, and FS3, just like the Fujifilm X-E5. I really hope Fujifilm does that. Second, why can’t all of the Film Simulations on the Film Dial have the ability to save Recipes? I should be able to program a Provia Recipe, a Velvia Recipe, an Astia Recipe, a Classic Chrome Recipe, etc., etc., into the various slots on the dial. That would be strongly welcomed by a large portion of Fujifilm’s customers. Third, Classic Negative was inexplicably left off the X-E5 Film Dial; I know that not every Film Simulation can make the cut, but Classic Negative should have been included. There’s room for improvement, and I think Fujifilm is working towards making it better.

Personally, I like the Film Dial and appreciate seeing it on more and more cameras. It can be quite useful, especially when paired with a “universal” Recipe. And it will only improve with time. Those who complain about the Film Dial, there’s validity to some of the criticisms and Fujifilm should ponder those; however, some criticisms are just plain silly. Those who say that it’s dumb or garbage or makes them feel sick or want to change brands—I just don’t get it. Nobody said that you have to use the Film Dial (simply keep it set to C), or even that you have to buy a camera with a Film Dial. Nobody is forcing you to do it. And the world doesn’t revolve around you, anyway. People use cameras in all sorts of ways, and all of those ways are valid. Fujifilm has no obligation to make a camera for your preferences and your preferences alone. To think otherwise is strange and narcissistic. The Film Dial is not kryptonite, and you’re not Superman. It can be a useful tool if you take a moment to figure out how to best utilize it for your photographic circumstances—even if you’re a strictly RAW shooter who dislikes Film Simulations, it can be used to your advantage. For the JPEG photographer, it adds significant straight-out-of-camera aesthetic versatility. In other words, the Film Dial is awesome! I think it’s quite smart for Fujifilm to prominently place it on particular cameras, like the X-T50, X-M5, and X-E5.

What Fujifilm X-Trans VI Might Look Like

Posted on by Ritchie Roesch

The sun is beginning to set on Fujifilm’s fifth-generation of X-series cameras. Soon, dawn will break on X-Trans VI. This is a much-too-early speculation on what that might look like. In other words, take all of this with a massive grain of salt, because these are merely guesses. I don’t have any inside information. Many of my prior guesses were completely wrong, but a few were spot on—I anticipate that many of these will prove to be incorrect, too, but that some will turn out to be right.

I don’t know with certainty that the upcoming Fujifilm X-T30 III will be the final fifth-generation camera. The X-T30 II was the last fourth-generation model. The X-E series has often marked the end of a generation by being the second-to-last model. So with the recent release of the Fujifilm X-E5, and the upcoming announcement of the X-T30 III, I think it’s a pretty safe bet that the fifth-generation is coming to a close, and that the sixth-generation is right around the corner.

To start with, let’s talk about a potential timeline. I think the first sixth-generation camera will be the X-Pro5 (maybe they’ll call it X-Pro4), and it will be announced in January or February, and ship in February or March. After that will be the X-H3 and X-H3s, which will come in late-spring and/or summer. I’m going to go way out on a limb, and say that an X80 (followup to the X70) will come in fall of 2026. If this all happens, next year will be a busy year for the X-series.

In 2027, I see the X-T6 arriving in late-winter or early-spring. The X-S30 will likely follow in the summer or fall. I suspect there will be a GFX release or two, but that’s it for the X-series for that year. In 2028, I anticipate the X100VII in late-winter or early-spring, followed by the X-T60 in late-spring or early-summer, and the X-M5 in the fall. 2029 will wind down the sixth-generation, with an X-HF2 (not X-Trans, but technically X-series) early in the year and an X-E6 later in the year. There will not be a followup to the X-T30 III. It’s possible that the seventh-generation of X-Trans kicks off towards the end of 2029, possibly with an Eterna 28 (APS-C version of the GFX Eterna 55) cinema camera.

A lot will look the same between X-Trans V and X-Trans VI, as it will be mainly under-the-hood changes. I don’t anticipate any major resolution bump with X-Trans VI; I think it will be more about speed and efficiency. Will Fujifilm continue to use the same sensors? They might. I can see a partially stacked 40mp sensor in the X-Pro3, X-H2, X-T6, and maybe X100VII. I can see them using the 40mp X-Trans V sensor (but paired with a new processor) in the X-T60, X-E6, and maybe X100VII (the X100VII could go either way between non-stacked and partially stacked). I don’t think that the 26mp X-Trans IV sensor will be used any longer, but a new sensor (maybe 30mp) will be added to the lineup, found in the X80, X-S30, and X-M5. The X-H3s might continue to use the same 26mp stacked X-Trans V sensor, or it might have a new-and-improved stacked sensor.

My guess is that the X-Pro5 will have an aspect ratio dial like the GFX100RF, and will be the first X-series model with the XPan aspect ratio. It will probably have the classic EVF feature like the X-E5. It might even have a Film Dial like the X-E5. I really don’t know what else will be different, but I suspect there will be a few surprises. The X-H3s will be a lot like the X-H2s, but with some speed/efficiency improvements plus the ability to use video LUTs like the Eterna 55. The X-H3 will be a lot like the X-H2, but mainly just speed/efficiency improvements. The X80—if Fujifilm decides to make it—will be a massive success, and will serve as Fujifilm’s closest competitor to the Ricoh GR IV.

The X-T6 will be a lot like the X-T5, with mainly just speed and efficiency upgrades. The X-S30 will have a new sensor, I believe, that will boost the resolution a smidge; overall, I don’t think it will be much different than the X-S20. The X100VII will have a new-and-improved lens that can better take full advantage of the 40mp sensor, but otherwise will be quite similar to the X100VII. It could have an X-E5-like Film Dial, too. The X-T60 won’t be a whole lot different than the X-T50, just small improvements. The X-M6 will likely have a new sensor, but otherwise won’t be much different than the X-M5. The X-HF2 will have a hotshoe and/or better flash, but will still be pretty much the same. The X-E6, which might just be called the X-E5s, will just see some small improvements, like Classic Negative added to the Film Dial, and other minor refreshes.

There will probably be two new Film Simulations added: one beginning with the X-Pro5, and another with the X100VII. Some potential Film Sim ideas are Fujicolor PRO 400H emulation that turns pastel with overexposure, Natura (modeled after Natura 1600), Fortia (more vibrant than Velvia), Cross Process (modeled after Velvia 50 that’s been cross processed), Instax, and a more contrasty B&W option. I think they will add a couple more JPEG options, too. I’d like to see Halation Effect (with the options of Off, Weak, Strong) and Light Leak (Off, Intermittent, On), which Fujifilm has already invented, they just need to incorporate. Faded black and vignetting are a couple other options worth considering. They should revamp the Advanced Filters, adding Retro and Expired Film from the X half, and allow Dynamic Range, White Balance, and Grain to be selected. There’s a lot that Fujifilm could do, but a suspect it will be limited to a couple of new Film Simulations, a couple of new JPEG options, and maybe some long-overdue improvements to the Advanced Filters.

Essentially, I think the sixth-generation will look a lot like the fifth, with mostly under-the-hood improvements. If Fujifilm has ever considered releasing an X80, they should probably do so sooner than later; if they do, that camera will be the X-Trans VI headliner. The X-Pro5 will probably be the most different compared to its predecessor. My guess is that there will not be an X-T30 IV or X-T40—the X-T30 III will be the final iteration of that camera; however, they will continue to sell it well into the sixth-generation lifecycle, quietly discontinuing it 2028. Of course, all of this is speculation. Fujifilm could certainly surprise us with all sorts of things—they’ve done it before, and they’ll do it again. A lot seems pretty predictable, though; however, we should expect the unexpected, at least here and there.