Stop Time – Buckeye, AZ – Fujifilm X-T5 – Summer of ’59
This Fujifilm Recipe began as an attempt to recreate the aesthetic of some of Saul Leiter’s color photographs from the 1950’s and early-1960’s, particularly images like Paris 1959, Foot on El 1954, Bus 1954, San Carlo Restaurant 1952, Taxi 1957, Near the Tanager 1954, Phone Call 1957, and Pipes 1960—among others—with the greatest emphasis on Paris 1959. While I don’t think it’s possible to faithfully reproduce that look exactly on Fujifilm cameras, this Summer of ’59 Recipe is definitely at times pretty darn close. Also, some of Saul’s other photographs from that same era had a divergent aesthetic, and this Recipe isn’t good for replicating those.
During this time, Saul Leiter was using the first era of Kodachrome film. Something interesting that I learned while researching this is that Saul preferred shooting Kodachrome that was past the expiration date. He liked the way the film looked when expired, and especially the serendipity of not knowing what the precise aesthetic was going to be. An alternative name for this Fujifilm Recipe could be Expired Vintage Kodachrome.
Fountain at Dusk – Buckeye, AZ – Fujifilm X100VI – Summer of ’59
Saul Leiter liked reflections, shooting through glass, and using layers. He kept his eyes out for catchy colors. He wasn’t afraid of shadows. His favorite lenses were telephoto, particularly 90mm and 150mm. If you are really trying to replicate his look, those are things you’ll want to consider. Vintage lenses will likely help, too (although I didn’t use vintage glass for these images).
This Summer of ’59 Recipe isn’t new—it was an App Patron Early-Access Recipe, and Patrons have had access to it for the last two years. Now that it has been replaced by a different Early-Access Recipe, it’s freely available to everyone. I really like this one, personally, and use it from time-to-time. My wife, Amanda, used it recently, too, and she seemed to really like it. I never intended for Summer of ’59 to be unavailable to everyone for so long, and I’m working to improve that going forward. In the meantime, I hope that you enjoy this Recipe.
Mint Chocolate Shake – Avondale, AZ – Fujifilm X-T5 – Summer of ’59
This Recipe is fully compatible with all fifth-generation cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III. It can also be used on the latest GFX models: GFX100 II, GFX100S II, and GFX100RF. You can also use this on “newer” fourth-generation cameras (X-T4, X-S10, X-E4, and X-T30 II), but it will render very slightly different (try it anyway!). One consideration is White Balance Shift: I wen’t back-and-forth on both Red and Blue, and I think +5 Red could alternatively be used, and/or -7 Blue could be alternatively used. All of the sample pictures in this article are with the WB Shift as published, and not the divergent options mentioned above.
Film Simulation: Eterna Grain Effect: Strong, Small Color Chrome Effect: Weak Color Chrome FX Blue: Strong White Balance: Auto, +4 Red & -8 Blue Dynamic Range: DR400 Highlight: +3 Shadow: +0.5 Color: 0 Sharpness: -1 High ISO NR: -4 Clarity: -3 ISO: Auto, up to ISO 6400 Exposure Compensation: -2/3 to +1/3 (typically)
Example photographs, all camera-made JPEGs using this Summer of ’59 Film Simulation Recipe on a Fujifilm X-T5 and X100VI:
All Way Stop – Phoenix, AZ – Fujifilm X100VI
Hanging Glass – Buckeye, AZ – Fujifilm X-T5
Falling Water in a Fountain – Buckeye, AZ – Fujifilm X-T5
Lion Water – Buckeye, AZ – Fujifilm X-T5
Pet Waste Station – Buckeye, AZ – Fujifilm X-T5
Red & White Blooms – Buckeye, AZ – Fujifilm X-T5
Bougainville & Palm Tree Trunk – Buckeye, AZ – Fujifilm X-T5
Summertime Feelings – Buckeye, AZ – Fujifilm X-T5
Founder’s Day Weekend – Buckeye, AZ – Fujifilm X-T5
Blue Flags – Buckeye, AZ – Fujifilm X-T5
Power Lines – Avondale, AZ – Fujifilm X-T5
An Arizona Home – Buckeye, AZ – Fujifilm X-T5
Corner – Buckeye, AZ – Fujifilm X-T5
Yellow Car – Buckeye, AZ – Fujifilm X-T5
Bougainvillea Along a Sidewalk – Buckeye, AZ – Fujifilm X-T5
Santa Coffee – Buckeye, AZ – Fujifilm X100VI
Jogger – Buckeye, AZ – Fujifilm X-T5
CVS Pharmacy Sign – Buckeye, AZ – Fujifilm X-T5
Next Time – Avondale, AZ – Fujifilm X-T5
Sunlit Lamp – Buckeye, AZ – Fujifilm X-T5
Fake House Plant – Buckeye, AZ – Fujifilm X-T5
Bedroom Plant – Buckeye, AZ – Fujifilm X-T5
1000 Record Covers – Buckeye, AZ – Fujifilm X-T5
Fountain Pot – Buckeye, AZ – Fujifilm X-T5
Jo in the Backyard – Buckeye, AZ – Fujifilm X-T5
Bench End – Goodyear, AZ – Fujifilm X-T5
Twin Seats – Goodyear, AZ – Fujifilm X-T5
Fashion – Buckeye, AZ – Fujifilm X-T5
Outdoor Potted Plant – Buckeye, AZ – Fujifilm X-T5
Desert Cactus Landscape – Buckeye, AZ – Fujifilm X-T5
The Boys – Buckeye, AZ – Fujifilm X-T5
Red Hots – Avondale, AZ – Fujifilm X-T5
Protection – Avondale, AZ – Fujifilm X-T5
Pick Up – Avondale, AZ – Fujifilm X-T5
Find this Fujifilm Recipe and over 400 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
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Blooms by the Pavilion – Buckeye, AZ – Fujifilm X100V – Kodak Emulsion Recipe
I love this Kodak Emulsion Film Simulation Recipe, even though it was a happy accident. I was trying to replicate the aesthetic of some Kodak ColorPlus 200 film scans that someone shared with me, but I was unsuccessful; however, in the process of failing, I discovered these settings, which are absolutely great! Even though this Recipe doesn’t accurately mimic any specific emulsion (as far as I’m aware), it still looks very analog-like, and highly reminiscent of a few different Kodak negative stocks. I bet you could convince some people that you actually shot with film, and not a modern digital camera. While I used my Fujifilm X100V to capture these pictures, if I were to choose an interchangeable-lens model paired with vintage glass, I’m certain it would be even more convincing.
This was a Fuji X Weekly App Patron Early-Access Recipe, but now it’s freely available because a new Early-Access Recipe has replaced it. So this isn’t a new Recipe, only newly available to everyone. Patrons help support Fuji X Weekly and, really, without them there would be no App. So I want to give a special “thank you” to all of the Patrons!
This Kodak Emulsion Recipe is compatible with all “newer” fourth-generation Fujifilm cameras (X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II; however, not the X-T3 or X-T30). Technically it is compatible with fifth-generation models, but, because X-Trans V renders blue more deeply on some film simulations, it will look very slightly different (probably not a big enough difference that you’ll notice or care, so give it a try!). This Recipe is best for sunny daylight conditions, but it can be good in other natural light situations, too.
Film Simulation: Classic Chrome Grain Effect: Strong, Large Color Chrome Effect: Strong Color Chrome FX Blue: Off White Balance: Shade, -2 Red & +2 Blue Dynamic Range: DR400 Highlight: -2 Shadow: -2 Color: +3 Sharpness: -2 High ISO NR: -4 Clarity: -3 ISO: Auto, up to ISO 6400 Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs using this Kodak Emulsion Recipe on my Fujifilm X100V:
Autumn Sun – Buckeye, AZ – Fujifilm X100V
Autumn Tree Leaves on a Shrub – Buckeye, AZ – Fujifilm X100V
Minolta SLR – Buckeye, AZ – Fujifilm X100V
Homework – Buckeye, AZ – Fujifilm X100V – Flash On
Vines Along a Shaded Wall – Buckeye, AZ – Fujifilm X100V
Sunlit Table & Chairs – Buckeye, AZ – Fujifilm X100V
Potted Flowers & Pavilion – Buckeye, AZ – Fujifilm X100V
Flowers at a Neighborhood Park – Buckeye, AZ – Fujifilm X100V
Palm Tree & White Building – Buckeye, AZ – Fujifilm X100V
Hanging Lightbulbs – Buckeye, AZ – Fujifilm X100V
Flag in the Wind – Buckeye, AZ – Fujifilm X100V
Bougainvillea Branch on a Bright Day – Buckeye, AZ – Fujifilm X100V
Yellow Wildflowers in the Desert – Buckeye, AZ – Fujifilm X100V
Yellow Flowers Blooming – Buckeye, AZ – Fujifilm X100V
Tall Saguaro Behind Dead Tree – Buckeye, AZ – Fujifilm X100V
Reaching Saguaro Fingers – Buckeye, AZ – Fujifilm X100V
Damaged Saguaro – Buckeye, AZ – Fujifilm X100V
A Desert Landscape – Buckeye, AZ – Fujifilm X100V
Dirt Road After Rain – Buckeye, AZ – Fujifilm X100V
Find this Film Simulation Recipe and over 400 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
I wanted to give a heads up that something big is coming very soon. This is something I’ve been working on for over a year, and it’s finally nearly ready. Within the next few days, I will make an announcement and publish it. This will require that I post a bunch of articles nearly all at once. I know that some of you receive email notifications whenever new articles are posted, so I’m warning you now: you’re going to get inundated with emails. It will be a massive content dump, but that’s just the way it has to be. My apologies in advance, to anyone who might be annoyed by that. Hopefully the content itself will make it worthwhile.
What is this upcoming thing? Well, you’ll just have to wait a bit longer to find out. I don’t know if everyone will appreciate it, but I think some of you will be thrilled. It’s something I’ve wanted to do for probably four or five years now, and it took 14 months from start-to-finish once I began working on it. It was a team effort, with eight people involved in one way or another. I can’t wait to share it with you!
In unrelated news, I’ve experienced something unusual lately, and I’m not sure what to do with it, but I feel the need to share this story. To start, let’s go back in time six years. This was about four years after I first began to make Fujifilm Recipes, and a handful of months before I launched the Fuji X Weekly App. Recipes were just starting to gain popularity within the community. It was before Fujifilm was even aware that their users were creating, sharing, and using camera setting combinations that were being dubbed “recipes”. Fuji X Weekly was (by far) the main source of Recipes back then, but others began to make and publish their own. One day I received a message from someone accusing me of copying another person’s recipes, only changing the names. As it turned out, the exact opposite was true: I created those Recipes and published them months or even years before the other person. They were copied from Fuji X Weekly and the names were simply changed. This was not the first or (anywhere near) the last time that happened, but it was the first time that I was accused of stealing my own creations. I think it happened because the accuser visited that other person’s website prior to discovering this one, so the order in which they saw the Recipes made them believe that I had copied them instead of vice versa, and they didn’t pay attention to the dates.
Fast forward to 2026, and it’s happened twice this year, just within the last couple of months. What I’ve come to realize is that whenever I publish a new Recipe, it’s being republished on different websites and/or uploaded to different apps within days, sometimes within hours. Often enough, it’s with my own photos, used without permission. This happens constantly. Sometimes the Recipe has the same name; sometimes the name has been changed. The uninitiated, who is maybe new to Fujifilm and the whole Recipe thing, knows nothing about the history. Maybe they’re getting their settings from a different website or app and aren’t very familiar with Fuji X Weekly. They just see the same settings that they found elsewhere, and make the (false) assumption that I copied it from that place whenever they find it here, instead of the correct answer, which is that it was copied from Fuji X Weekly.
After the most recent accusation, I looked at one app, and found my Kodak Portra 400 v2 Recipe listed 15 times. Sometimes it was under that name, but a lot of times the name was changed. In one instance it had my photos. Twice there was a setting that was different, and I’m not sure if that was a tweak or a typo (how could anyone know?). In none of the 15 examples was my name or this website mentioned, each time the credit was given to someone else instead. I repeated this for a handful of other Recipes, and the results were similar.
In the article, The Evolution of Fujifilm Recipes, I stated, “Credit isn’t about ownership, it’s about storytelling. It helps to trace how an aesthetic came to be, and it honors the shared journey that got us there.” I wrote that before these recent incidents. It demonstrates very clearly why it’s important. Apparently it needed to be said, and it bears repeating. It’s frustrating to spend hours—if not days, weeks, or (on a rare occasion) even months—getting the settings “just right” for a new Recipe, thinking of all the work and care that oftentimes goes into it, only for someone else to take credit whose only effort was copy-and-paste. And it’s incredibly disheartening to be accused of stealing your own Recipes and photos.
Like I said, I don’t really know what to do with that, other than to emphasize the quote in the last paragraph. When you see the same Recipe listed across the internet or in various apps, and you don’t have any idea who actually created it or why (because a lot of different people are listed as the creator), that history, journey, and deserved honor are lost. I’m far from the only one affected by this, because I found several other people’s Recipes (and photos) in the same boat. If you’ve ever created and shared a Recipe, there’s a reasonable chance it has happened to you, too, and maybe you’re not even aware of it. The creators deserve the credit, and those discovering Recipes should have the opportunity to join the journey, and learn the backstory. Both sides are shortchanged, and that’s unfortunate.
I don’t want to end what started out as an exciting and positive article on a sour note, so let me circle back to the top. And maybe this ties the two points together: when the upcoming thing is announced in the coming days, please don’t take credit for it as if you were the creator. I know it’s not you all, that this is preaching to the choir, but maybe one of the people involved will read this by chance (because they obviously come to this website sometimes), and—if so—I hope that it causes a change of heart. Anyway, coming very soon is something that I’m extremely excited to share. I hope that you’re a bit curious, and perhaps a little excited, too. Within a few days, the mystery will be revealed.
Just a couple of years ago, a friend of mine (who’s not a photographer) asked me what camera he should buy. He wanted something with better image quality than his phone, something that he could possibly learn on and grow with, should he decide that he wants to pursue photography as a hobby. I asked him what his budget was, and he told me, “$500 max, preferably less.” When I told him that there’s nothing brand-new, and slim pickings on the used market (I suggested a few options), he was very surprised and disappointed. He ended up not buying a camera.
I mention this because maybe it’s a more common problem than some realize. There seems to be a disconnect among the price expectations of some potential first-time buyers and the actual cost of cameras nowadays. Once upon a time you could walk into Costco and buy a DSLR bundled with a lens for $500. Of course a lot of things were cheaper back then, but finding a brand-new camera body and lens together for under $1,000 isn’t easy. In the Fujifilm world, there’s only one: the X-M5 bundled with the 15-45mm f/3.5-5.6 zoom, which retails for $999. That’s it.
If you’re on a tight budget, you are really limited, and you might have to stretch the budget to even afford a basic camera. Not terribly long ago, Fujifilm offered the X-M1, X-A1, and X-A10 as low-budget models. The X-M1 was $800 when bundled with a lens, the X-A1 was $600 with a lens, and the X-A10 was only $500 with a lens. The fact that Fujifilm can offer the X-M5 with a lens for only $200 more than the X-M1 is quite remarkable. Where is the lowest-budget, bottom-floor, base-level model? The X-M5 is currently serving that purpose (just like the X-E4 did in the previous generation), but what’s missing is something even lower, something just a little more affordable as an entry into the X-series for those on a tight budget.
From what I’ve heard from camera stores, some folks I know at Fujifilm, online reports, and even Fujirumors, the X-T30 III is currently Fujifilm’s top-selling camera. It’s their second-cheapest interchangeable-lens model, retailing for $1,000 for the body-only, and $1,150 with a lens. Back in October, before it was officially announced, I stated, “Fujifilm will quietly sell a whole lot of these. It’s not going to go viral like the X100VI. It’s not going to make major headlines. It’s not going to be a hot topic on Reddit or Facebook groups. But Fujifilm will sell a bunch of X-T30 III cameras, more than most other models offered by the brand.” It turns out that I was understating the point, because the camera isn’t outselling most other Fujifilm models, it’s outselling all of them.
Not far behind is the Fujifilm X-M5, which is the lowest budget APS-C option. In some markets this camera is hotter than others, but overall it might be Fujifilm’s second or third best-seller, depending on who you ask. It goes to show that there’s plenty of room for the X-T30 III and X-M5 to coexist—they aren’t eating away at each other’s sales.
Fujifilm’s lowest budget X-series camera is the X half, which is a fixed-lens 1″ sensor camera intended for fun more so than as a serious photographic tool (although it can be in the right hands). I love my X half, but it’s not a camera for everyone, and probably a bit overpriced for what it is (despite being the cheapest X-series model). This is Fujifilm’s most polarizing camera, with so-so sales in some markets, while being the hottest camera from any brand in other markets. Overall worldwide, it’s one of Fujifilm’s best sellers, but just not everywhere.
What I think is missing from the lineup is an interchangeable-lens camera that’s even more affordable than the X-M5, something that is $100 or $200 cheaper, for those who find the more expensive cameras just out of reach. Maybe an X-T300, a plasticky Bayer-sensor model? Another 1″ sensor camera, maybe with a fixed zoom lens along the lines of the XQ2 or X30, would be good, too. There is an obvious market for lower-tier budget-friendly models, but there aren’t many options anymore. If those who have an interest in photography don’t explore it because it’s financially out of reach, the industry will slowly whither away, becoming smaller with each generation. An affordable camera with a low (or even non-existent) profit margin can turn into significant profits in the long run, by bringing new people into the fold, who maybe someday will have more to spend. How many people got into Fujifilm with an X-A camera who now own an X-T30 III or X-E5 or another newer model? Probably more than a few.
I’m not surprised in the least that the Fujifilm X-T30 III is selling so well. It’s not surprising to see it outsell the X-T50, which is a wonderful camera, and technically better. Not every camera needs the greatest specs or the latest technology in order to be successful. Sometimes it’s having just enough with a price tag that isn’t too high. A 20mp Bayer APS-C camera with lesser specs and cheaper build but with Fujifilm’s renown Film Simulations would sell like hotcakes. Not because it’s the best, but because it’s attainable.
Someone pointed out something interesting to me: the new DJI Osmo Pocket 4 has “Film Tones” that take close inspiration from Fujifilm. Specifically, CC Film and NC Film are “Fuji-inspired” (as DJI puts it), and are obviously similar to Fujifilm’s Classic Chrome and Classic Negative Film Simulations (apparently, CC Film more so than NC Film). These are intended to give a finished look straight-out-of-camera.
First, as Oscar Wilde famously stated (or maybe he didn’t, it’s apparently debatable), “Imitation is the sincerest form of flattery that mediocrity can pay to greatness.” That’s not a dig on DJI, but simply noting that 1) Fujifilm’s Film Simulation are both great and popular, and 2) someone’s approximation of it will never be quite the same as the real thing (but maybe it doesn’t need to be). If something is successful, there will be copycats—sometimes close copies and sometimes more of an “inspired by” situation. I’m not sure what type of copyrights and trademarks Fujifilm may have for (say) Classic Chrome, or if DJI infringed on it, but my guess is that legally speaking, it’s all ok (I’m not an attorney, though).
I personally don’t take issue with DJI copying Fujifilm; however, maybe they should have been more discrete about it. As Albert Einstein famously stated (or maybe he didn’t, it’s apparently debatable—a theme in today’s post), “The secret to creativity is knowing how to hide your sources.” Flaunting it is a little brash. Call it Chrome Color Film and Negative Color Film and don’t mention that it’s trying to emulate Fujifilm’s Film Simulations. Or, the other option is to be upfront and honest about the origins and intentions, giving Fujifilm credit for the inspiration. I like that better, actually. And maybe there’s a point to it.
The problem when you use multiple camera brands to record clips that will be included in the same video is that they look different. With enough grading, you can get them to be similar enough, but that’s a lot of work. Now imagine that you have an X-H2s or X-S20 or some other Fujifilm camera, and you’re using the Classic Chrome Film Simulation to record clips (so as to reduce or eliminate color grading) for a YouTube video; you also have the DJI Osmo Pocket 4 for some clips, and on it you’re using the CC Film Tone. In that situation, you’re going to spend less time in software because all of the clips are going to have a similar aesthetic out of the camera.
So, if you’re a videographer that uses Fujifilm cameras and Film Simulations, you might find the new DJI camera to be an intriguing option for certain situations, as a companion to your larger gear. Perhaps that’s their point: not necessarily to convince people to buy their camera instead of a Fujifilm model, but as a potentially complimentary tool for Fujifilm photographers. At least that’s my take on it. The addition of Fujifilm-like profiles is appealing to me as a Fujifilm photographer; however, at least for the time being, the DJI camera is not available in the US.
Does 2026 feel different to you? I mean, as far as Fujifilm X and GFX cameras are concerned, it’s been quiet. Really quiet. In most years, by the end of March there’s already been one camera announcement. Last year it was the GFX100RF. The year before it was the X100VI. Not every year has an announcement within the first three months (neither 2022 nor 2023 did), but in 12 of the last 16 years Fujifilm announced a camera sometime between January 1st and March 31st.
We’re here at the end of April, and it’s still really quiet. No rumblings or rumors of an upcoming camera, aside from the X-T6 in September. That’s a long ways out. This is a good indication that nothing is coming by the end of May, or else we’d likely have heard something already. If that’s true, and nothing is announced by the end of May, this would be the first time since 2011 that no new camera was announced within the first five months, and at that time the X-series had exactly one camera in the entire lineup: the original X100. There was one recent year—2022—that nearly saw no new cameras within the first five months, as the X-H2s was announced on May 31st, barely making the cutoff. This year could be similar.
It’s definitely possible that Fujifilm is trying hard to keep some forthcoming announcement under wraps. For example, it was a massive surprise when the Instax Evo Cinema was announced back in January. They did a great job keeping it a secret. A lot of people within Fujifilm’s own camera department had no idea it was coming. It could simply be a similar situation for whatever they plan to release next. It’s possible that they’ve figured out where the leaks are coming from, and have taken measures to ensure secrecy. But, then again, we already have rumors about a September release, so I’m not sure that this theory has validity.
Now mind you, I’m not complaining. Far from it, actually. I’ve been advocating for years that (generally speaking) new cameras are released much too soon. I would like to see a five-to-eight year manufacturing lifecycle for digital cameras. When a successor does come, it should be a meaningful update. The X-T5 was announced in November 2022, so I would prefer that the X-T6 not come until late-2027 or early-2028 at the earliest. Why are we so eager for a new iteration when the current one is still really good and a new version won’t be all that much better? Letting a little more time pass is not a bad thing.
And maybe that’s what Fujifilm is doing this year. The fifth-generation cameras are still selling like hotcakes. Why rush the sixth-generation? Give more time to work out kinks and bugs, finalize refinements, and build up anticipation. It wouldn’t bother me at all if Fujifilm postponed the introduction of the next generation until next year, and announced exactly zero new cameras in 2026. I doubt that will happen, I’m just saying that it wouldn’t upset me if it did.
Fujifilm could spring a surprise on us, and announce a new camera sometime next month, making 2026 similar to 2022. Or it could be the first time since the very beginning of the X-series that they don’t. All I know is that it’s been abnormally quiet, which isn’t necessarily bad. New-gear-chatter, which (don’t get me wrong) can be fun, is oftentimes a distraction to what actually matters, and that’s making meaning photographs with the gear we already have.
Flower Farm – Buellton, CA – Fujifilm GFX100S II – Vivid Chrome
Among landscape photographers, Fujichrome Velvia is legendary. This line of color slide films was introduced by Fujifilm in 1990, and quickly became the gold standard for vibrant photography. The first iteration was called Velvia RVP, which had an ISO of 50, delivering ultra-fine grain, exceptional sharpness, and intensely saturated hues (especially in greens and reds). Now it’s called Velvia 50, which is nearly identical to the original emulsion (the largest difference is the clear plastic base). There have also been two ISO 100 versions: Velvia 100 and Velvia 100F. Velvia 100, which was initially only sold in Japan before later becoming available internationally, is very similar to Velvia 50, but slightly less vivid, making it better for portraits. Velvia 100F was the most different, with the lowest saturation and leaning less warm, and overall a little more Provia-ish than Velvia 50. Mostly, when people say “Velvia” they mean Velvia 50.
One of the architects of the Velvia Film Simulation also worked on the Velvia 100 and Velvia 100F emulsions. This Film Simulation was intended to closely mimic the aesthetic of the film; however, Fujifilm has stated that technology precluded them from initially achieving what they wanted, and so Velvia has had to evolved a bit over time. While some might prefer the Velvia Film Simulation from one sensor generation over another (which is great, as each has its own charm), the current output from fifth-generation cameras is probably the most refined, the most like how Fujifilm wanted it to be in the first place. Factory-default Velvia looks nice, and seems to aim in-between Velvia 100 and Velvia 100F. With some adjustments, one can tweak it to achieve a lot of various looks, many of them only subtly different.
Factory-default Velvia Film Simulation (no Recipe)
Vivid Chrome Recipe
Vivid Velvia Recipe
I’ve published 30 Recipes that use the Velvia Film Simulation. By utilizing the Filter By Simulation feature in the Fuji X Weekly App (available for both Apple and Android), you can quickly and easily find all of them. For the sake of this article, I wanted to compare some of the most recently published Velvia-based Recipes, specifically: Velvia Film, Vivid Velvia, Vivid Chrome, Velvia Slide, and Velvia 100F. The differences between these five Recipes might not be immediately obvious, so I wanted to compare them, to provide a better idea.
Velvia Film is a part of the Film Dial Recipe set. It’s unintentionally similar to Velvia 50 with a warming filter. Because it uses the Auto White Priority White Balance, it’s an extremely versatile Recipe, and is great for night photography. Vivid Velvia is intended to be similar to The Rockwell Recipe, just slightly less extreme. It’s also very versatile, and is also along the lines of Velvia 50 with a warming filter. Those two are the most similar among these five Recipes. Vivid Chrome is the newest Velvia Recipe. It was intended specifically for colorful travel photography, and is by chance in the general ballpark of Velvia 100. Velvia Slide was an attempt to replicate Velvia 100, and it seems to do so pretty well in some circumstances and less so in others. This is currently a Patron-only Early-Access Recipe available only to Fuji X Weekly App subscribers. Last but not least is Velvia 100F, which is a part of the Universal Negative Recipe set. It’s unintentionally in the general ballpark of Velvia 100F, although not a perfect match.
Beach Chairs – Folly Beach, SC – Fujifilm X-E4 – Velvia Film
Mountain Grass & Flowers – Boulder, CO – Fujifilm GFX100S II – Velvia Slide
Small Flowing Creek – Queen Creek, AZ – Fujifilm X100VI – Velvia 100F
These five Recipes have their strengths and weaknesses. They’re good for various subjects and scenarios, and less good for others. Velvia Film and Vivid Velvia are the most colorful and warm; Velvia Film leaning slightly warmer and Vivid Velvia leaning slightly more vibrant, but overall very similar. Both are quite versatile. Vivid Velvia is the sharpest. You might find these two Recipes to be just a bit too wild sometimes, but perfect for landscapes where you want the colors to pop. Vivid Chrome is just slightly more subdued, producing bold images without being over-the-top. In a lot of ways, this is a Goldilocks option. Velvia Slide and especially Velvia 100F are less warm, with cooler cast; the Velvia 100F Recipe leans a little green. These two also are less vibrant than the others, especially Velvia 100F, which is the least saturated of these five. In situations where the others are too warm and colorful, you might like these last two.
Below are each of these five Recipes in three different scenes (the third scene was captured by my wife, Amanda). When you compare the Recipes side-by-side, the differences stand out more. Maybe you’re drawn more to one, and maybe there’s one that you especially dislike. We all have our own tastes and styles. I do think that each of these five can be excellent for the right subject and lighting. Let’s take a look!
It’s your turn! Which of these five Fujifilm Recipes was your favorite in each scene above? Which was your least favorite? Which Velvia-based Recipe do you like that I didn’t include in this exercise? Let me know in the comments!
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White Bridge across Pond – Charleston, SC – Fujifilm X-E4 – Pacific Blues
I’ve been asked a couple of times lately which Fujifilm Recipes are the best. Someone also asked which Recipes are my favorite for each Film Simulation. Of course “best” is a subjective term, making it impossible to answer; however, if you consider “best” as a synonym to “my personal favorite” then we can move forward answering these questions. Instead of compiling a list of (say) the Top 10 Best Recipes, I decided to tackle this by sharing my favorite Recipe for each Film Simulation.
Some of these were difficult decisions because I have so many favorite Recipes for Classic Chrome, Classic Negative, Reala Ace, Nostalgic Neg. and Eterna. I’m not 100% sure that I actually chose the best, and it probably depends on what day of the week you ask me. If I had written this yesterday or if I procrastinated until tomorrow, some of the selections might be different. I guess take this list with a small grain of salt.
I also included a “runners up” selection for each Film Simulation. Those Recipes were in the running as possible picks for the best, but didn’t quite make the cut. For Classic Chrome and Classic Negative, I could have made the runners up list much longer, and I still would have felt like I left some worthy contenders out. And I know that I did leave a large number of excellent Recipes out of this list, but that’s just the way it goes. So feel free to tell me in the comments what you agree with, what you disagree with, and which Recipes should have been mentioned but weren’t.
Spring Wildflowers & Dead Wood – Buckeye, AZ – Fujifilm X-Pro2 – Provia Slide
Provia Slide is a Recipe for X-Trans III cameras, plus the X-T3 and X-T30 by setting Color Chrome Effect to Off. It’s probably the most ideal Provia Recipe, just really lovely. Generally speaking, I’m not a big fan of the Provia film sim, but this Recipe forces me to like it.
Red Yucca in the White Sand – White Sands NP, NM – Fujifilm X-T4 ES – Aerochrome v2
I love Velvia for colorful landscape photography, and there are a number of excellent options. Being pressed to choose my favorite, the obvious answer is Aerochrome v2, a Recipe for full-spectrum infrared cameras, like the X-T4 ES. This Recipe is an absolute thrill; unfortunately, most can’t use it.
Astia is a Film Simulation that I have to warm up to, it’s not one that I typically choose. But there are a number of good Recipes that use Astia as the base, and my favorite is CineStill 400D v2, which was collaboratively created by Nestor Pool and myself.
Red Barn – Ronks, PA – Fujifilm GFX100S II – Kodachrome 64
Classic Chrome is the king of Film Simulations. There are probably 25 or more Recipes that could have been chosen to represent the “best” but Kodachrome 64 jumped out to me as the one I should pick. There are so many excellent ones, and I feel like the five “runners up” below is a significantly insufficient selection—lots of great Recipes were unfortunately excluded.
Service – Bisbee, AZ – Fujifilm X-T5 – Fujicolor PRO 160C Warm
Even though this is the newest Film Simulation, there are a lot of excellent Reala Ace Recipes. I went back-and-forth a bit, but decided on Fujicolor PRO 160C Warm, which is a part of the Film Dial set. The Reala Ace film sim is essentially a “better” PRO Neg.—as Fujifilm put it, a negative for the new era.
Spiky Arms – Saguaro National Park, AZ – Fujifilm X-T5 – PRO Negative 160C
Between PRO Neg. Hi and PRO Neg. Std, I tend to choose the latter much more often than the former. Now that we have Reala Ace, I don’t go for either very often anymore. But there are some good Recipes to choose from, and for PRO Neg. Hi, PRO Negative 160C is my favorite.
Urban Binding – Salt Lake City, UT – Fujifilm X-T30 – Fujicolor 100 Industrial
I have several favorite Recipes for PRO Neg. Std, but Fujicolor 100 Industrial, which is for X-Trans III cameras (plus the X-T3/X-T30), is something special.
Misty Saguaro– Buckeye, AZ – Fujifilm X-T5 – Pacific Blues
Classic Negative is one of my top favorite Film Simulations. Like Classic Chrome, choosing a top favorite and narrowing to just five “runners up” was difficult, and I’m certain I left a number of excellent ones off the list. With that said, Pacific Blues seemed like a good choice to represent this film sim as the best Recipe.
The Nostalgic Neg. film sim is one that seems to work very well or only so-so, just depending on the subject and lighting. Of the various color Film Simulations, I would probably rank this one fifth best. There are a number of excellent Recipes that use Nostalgic Neg. as the base, and 1970’s Summer is probably my top favorite.
Working – Salt Lake City, UT – Fujifilm X-E4 – Kodak Vision3 250D
The Eterna Film Simulation is probably most often used for video, but it is excellent for stills, too. It has a unique tonality that can be fun to experiment with. While I chose Kodak Vision3 250D as my favorite, it was a difficult decision, and any of the five below could have just as easily been chosen instead.
Low Sun over Tetons – Grand Teton NP, WY – Fujifilm X-E4 – Ferrania Solaris FG 400
I feel like Eterna Bleach Bypass is one of the least used color film simulations, maybe even the least used. But that doesn’t mean it’s not good, because it certainly can be great. My favorite Recipe that uses Eterna Bleach Bypass is Ferrania Solaris FG 400, but the runners up below are good, too.
Pool Remnant – Rodanthe, NC – Fujifilm GFX100S II – Kodak Tri-X 400
When people ask what my favorite Recipe is, I often tell them Kodak Tri-X 400, which was created by Anders Lindborg. This is my favorite B&W Recipe, and one of my top Recipes, period. Acros is such a great Film Simulation, and this Recipe really makes the most of it.
Horsetail Falls From Bridge – Columbia River Gorge, OR – Fujifilm X100V – Ilford HP5 Plus 400
I don’t like the Monochrome Film Simulation (which is simply Provia without color) nearly as much as Acros, but it can still be a good base for black-and-white Recipes. Ilford HP5 Plus 400, which was also created by Anders Lindborg, is my favorite that uses the Monochrome Film Simulation.
Last and least is Sepia. After Fujifilm introduced Monochromatic Color on X-Trans IV, which allows custom toning of B&W photos, the Sepia Film Simulation seemed obsolete. Still, it’s found on every Fujifilm camera. I haven’t created very many Sepia-based Recipes, but there are a few. B&W Sepia, which is a part of the Universal Negative set, is my personal favorite.
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Flower Farm – Buellton, CA – Fujifilm GFX100S II – Vivid Chrome
Fujifilm Nordic asked if I’d be interested in making a Film Simulation Recipe specifically designed for Denmark that would be unveiled at the upcoming Fujikina event in Copenhagen next month. Of course I said yes! I made three Recipes, and then traveled to Solvang and Catalina Island in California to test them out. Solvang is probably the most Danish town in America, so that was an obvious choice. Catalina Island has more of a Mediterranean vibe than Baltic Sea, but it’s colorful and leans slightly European, making it another good option. After photographing with each of the three Recipes at those two locations, the winner was obvious to me. That Recipe will be unveiled in Copenhagen in a little less than a month, and published on Fuji X Weekly a short time later. Second place was Avalon Ace, which is currently available in the Fuji X Weekly App. This Recipe, called Vivid Chrome, came in last; however, it’s very nice, and I’m sure many of you will appreciate it. Even though it didn’t win, it’s still a winner.
Vivid Chrome is probably most reminiscent of Fujichrome Velvia 100, but it’s not intended to be a replication of that or any other specific film. The idea was more to produce good results for colorful scenes. This Recipe produces punchy, vibrant colors; however, it’s also slightly restrained, and avoids being too over-the-top. This is a great option for landscape photography, and also for travel if you’ll be someplace colorful. This Recipe works best in sunny daylight, and can be ok for nighttime photography in the right lighting situations.
The Vivid Chrome Recipe is compatible with all fifth-generation Fujifilm X-series cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III. It’s also compatible with “newer” fourth-generation models: X-T4, X-S10, X-E4, and X-T30 II. Additionally, it works well on the latest GFX cameras, like the GFX100S, GFX100 II, GFX100S II, and GFX100RF.
Film Simulation: Velvia Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome FX Blue: Off White Balance: Daylight, +2 Red & -2 Blue Dynamic Range: DR400 Highlight: -1 Shadow: -0.5 Color: +2 Sharpness: -2 High ISO NR: -4 Clarity: +3 ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs using this Vivid Chrome Film Simulation Recipe on a Fujifilm X-E5, GFX100RF, and GFX100S II:
Green Pleasure Pier & Boats in the Bay – Avalon, CA – Fujifilm GFX100RF
Shoreboat – Avalon, CA – Fujifilm X-E5
Nautical Preparations – Catalina, CA – Fujifilm X-E5
Docked Boats in Avalon Bay – Avalon, CA – Fujifilm X-E5
Green Rope on a Dock – Avalon, CA – Fujifilm X-E5
Yellow Rope in the Water – Avalon, CA – Fujifilm GFX100RF
Ready for a Ride – Avalon, CA – Fujifilm GFX100S II
Avalon Morning – Avalon, CA – Fujifilm GFX100S II
Hotel St. Lauren – Avalon, CA – Fujifilm GFX100RF
Atwater Hotel at Dusk – Avalon, CA – Fujifilm GFX100RF
Christmas Window – Solvang, CA – Fujifilm X-E5
Patina Rooftop – Solvang, CA – Fujifilm X-E5
Office – Solvang, CA – Fujifilm GFX100S II
Windmill Morning – Solvang, CA – Fujifilm GFX100S II
Hamlet Square Ice Cream – Solvang, CA – Fujifilm GFX100RF
Golden Light on Windmill – Solvang, CA – Fujifilm GFX100RF
Last Light on Solvang – Solvang, CA – Fujifilm GFX100S II
Windmill Closeup – Solvang, CA – Fujifilm X-E5
Danish Design – Solvang, CA – Fujifilm X-E5
Hotel – Solvang, CA – Fujifilm GFX100S II
Green Apex – Solvang, CA – Fujifilm GFX100S II
Pinnacle – Solvang, CA – Fujifilm GFX100S II
Flower Bed – Solvang, CA – Fujifilm GFX100RF
Field of Flowers – Buellton, CA – Fujifilm GFX100RF
Flower Field – Buellton, CA – Fujifilm X-E5
Prickly Cactus – Apache Junction, AZ – Fujifilm X-E5
Superstition Mountains – Apache Junction, AZ – Fujifilm X-E5
Western Desert Girl – Apache Junction, AZ – Fujifilm X-E5
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Avalon Bay – Avalon, CA – Fujifilm GFX100RF – Avalon Ace
There was a social media post today from an account that’s not mine, that purported to be my advice for better landscape photography. It included five tips, but I never said those things, and some of them were quite antithetical to what I believe, pretty much the opposite of what I would say. I would not have given much of the advice that the post claimed came from me. When I brought it to the attention of the account holder, they were very apologetic, and rectified the situation. Most of you probably never saw it, but a few of you might have.
But that made me think: what advice would I give? What are my five tips for better landscape photography? I contemplated that question this afternoon, and the answer might surprise some of you. At least a couple of the suggestions below are probably a bit unorthodox, and not the normal advice that you’re likely to find on the internet. Let’s dive right in!
1. Carefully Choose Your Fujifilm Recipes
White Bridge across Pond – Charleston, SC – Fujifilm X-E4 – Pacific Blues
Not every Fujifilm Recipe is ideal for every subject or situation. Just like film, you should carefully consider which one(s) are best for your specific subject, light situation, and desired aesthetic. For vivid landscapes, a Velvia-based Recipe is probably what you want; however, other Film Simulations can be good, too, infusing a different feel or emotion into the image. The new Filter By Categories feature is a helpful tool if you are unsure which Recipes are especially well suited for landscape photography. Using Recipes on your Fujifilm camera will save you time, allowing you to be more productive and efficient.
Great photographs often require great light, and great light is most obvious and prevalent during Golden Hour, which is the first hour after sunrise and the last hour prior to sunset. If you look hard enough, you can find great light anytime of the day or night, or you can even add it yourself with a flash or other lighting equipment. Pay close attention to light, and recognize when it is especially good for photography. With that said, the easiest way to improve your pictures is to be out with your camera during Golden Hour.
There are a lot of “rules” in photography. A lot of people will tell you what you should or must do. You need specific cameras. You need to use certain settings. You need a particular lens. You should compose your pictures this way or that way. You should only do this and never do that. The rules are there to ensure consistently good photos; however, great photos sometimes happen when you break the rules. Carefully following the rules might prevent you from creating better images. Do photography however you want to do it, and ignore all of the gatekeepers.
Depending on where you live, there might be plentiful photographic opportunities close by, or you may need to travel someplace a good distance away. Beautiful photos are much more easy to create in beautiful locations. So, my advice is to spend less on new gear and more on going to interesting places with the cameras and lenses you already own. Invest more in experiences rather than gear.
In the September 1955 issue of Arizona Highways magazine, photographer Chuck Abbott addressed the question: how does one become a better photographer? His answer was to return to the same subject or location over and over again. Try it on a different day, at a different time, in a different season, and in a different light. Come back to it again and again, even after you create a photo that you’re satisfied with. As Chuck stated, you’ve got to go back to get the good ones.
Dark Cloud Over The Dark Mountain – South Weber, UT – Fujifilm X-T30 – Ilford HP5 Plus 400 Push-Process
Some people like grainy photos, and some people don’t. Back in the film days, there were photographers who chose their film based on the grain. Kodachrome 25 was a one of the finest-grained color films, and some liked it for the near lack of grain. Kodak Tri-X 400 had a strong grain structure, and some preferred the character of it over options with finer grain. Personally, I like grain in my photos, because it adds texture and feels more organic. Digital photography can be super clean, essentially “grain-free” (noise free, really), but to me that’s a bit clinical or sterile. With your Fujifilm camera, you can choose to keep the ISO low and Grain set to Off for a clean image, or you can bump up the ISO and select Strong/Large Grain for texture and character, or anything in-between. There’s no right or wrong approach, only what each photographer wants for their pictures.
For those who desire a lot of grain and not just a little, below are 10 Fujifilm Recipes that will produce grainy pictures. These aren’t the only ones (this is not an exhaustive list by any means), just some that I think you might like. For more, use the Filter By Categories feature in the Fuji X Weekly App, and select Grain. If grainy photos are something you’re after, take a look at these Recipes.
Pickup Truck Taillight – Litchfield Park, AZ – Fujifilm X-T5 – Ilford HP5 Plus 400 Push-Process
The Ilford HP5 Plus 400 Push-Process Recipe is super grainy not only because Grain is set to Strong, but also because it requires ISO 25600 or 51200. It’s a combination of the Grain setting, the built-in Grain that the Acros Film Simulation has (which increases as the ISO increases), and the digital noise from the ultra-high ISO that makes it especially grainy, the most of any Recipe. It’s not the easiest to use in sunny daylight (an ND filter helps), but it produces a lot of texture, if that’s something you want. Besides, it can come in handy in low-light situations. This Recipe is specifically for the X-T3 and X-T30; to make it compatible with newer cameras, set Grain size to Large, Color Chrome Effect and Color Chrome FX Blue to Off, and Clarity to 0.
Fujifilm’s first official Recipe, FRGMT B&W—created by fashion designer, producer, and artist Hiroshi Fujiwara—was included in a limited edition of the GFX100RF. I asked for and received permission to publish it on Fuji X Weekly. This is a contrasty and grainy black-and-white Recipe that produces dramatic results. It’s compatible with fourth and fifth-generation X-series cameras, as well as newer GFX models.
The Kodak T-Max P3200 Recipe was a collaborative effort between Anders Lindborg and the lateJohn Sevigny. This is one of the best black-and-white Recipes, producing dramatic and grainy images. For more grain, use ISO 3200 and higher. It’s compatible with fourth and fifth-generation X-series cameras, as well as newer GFX models.
Low Clouds Over Manhattan – New York City, NY – Fujifilm X100VI – Kodak Tri-X 400
My personal favorite B&W Recipe is Kodak Tri-X 400, which was created by Anders Lindborg. This Recipe requires a minimum ISO of 1600, and the higher you go the grainier it gets. It has compatibility with X-Trans III, X-Trans IV, and X-Trans V cameras, as well as GFX. It can be modified a few different ways, which is discussed in the Recipe article.
Classic B&W is a newer monochromatic Recipe that I really like. For grainer photos, increase the ISO (all the way to 12800 if you’d like). It’s compatible with fourth and fifth-generation X-series cameras, as well as newer GFX models.
Orange Lighter & Abandoned Home – Phoenix, AZ – Fujifilm X-E4 – GAF 500
Mimicking the aesthetic of the highest ISO color slide film of the ’60’s and ’70’s, the GAF 500 Recipe requires using an ultra-high ISO: 12800! This Recipe is compatible with fourth-generation X-series cameras; for fifth-generation, simply reduce Color Chrome FX Blue to Weak (instead of Strong). You can use it on newer GFX cameras, too.
Protect our Wildlife – San Simeon, CA – Fujifilm X100V – Urban Dreams
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 due to its pronounced grain. This Recipe is not an exact match for that film, but not terribly far off, either. It’s for fourth-generation models; while it can be used on fifth-generation cameras, the results will be just slightly different.
Fujicolor Natura 1600 is a Recipe that mimics one of the highest ISO color films. I really like this one, personally. The Recipe linked above is for fourth-generation cameras; however, there is a version for fifth-generation models.
Corndog – San Francisco, CA – Fujifilm X100VI – 1970’s Summer
One of my personal favorite Recipes is 1970’s Summer. It seems to either work really well or only ok, but when it works really well it is absolutely fantastic! It’s compatible with fifth-generation cameras and the latest GFX models.
Church – Litchfield Park, AZ – Fujifilm X-E4 – Pacific Blues
Last but certainly not least is Pacific Blues, another personal favorite Recipe. While intended for a sunny day at the beach, this one delivers dramatic photos in a variety of situations. The Recipe linked above is for fourth-generation cameras; however, there is a version for fifth-generation models.
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Pal2Tech posted a video entitled Fujifilm Settings That Work Against You, and one of the settings he mentioned is Clarity. Specifically, he notes that Clarity set to anything other than 0 causes a short “Storing” pause. His recommendation is to keep it at 0 so as to avoid the delay. When Fujifilm debuted Clarity on the X-Pro3, their official recommendation was (likewise) to keep Clarity at 0, and if you really want Clarity, add it after-the-fact by reprocessing the RAW file in-camera or with X RAW Studio.
My take is a lot different than Pal2Tech and Fujifilm. While I would like Fujifilm to address and improve the Clarity pause on future models, things that slow me down help me to better anticipate the decisive moment and be better prepared for when it comes. In other words, if I slow down a little, I’m a better photographer, and I create stronger images. The Clarity pause, which is about the same amount of time as advancing to the next frame on a film camera, forces me slow down. It doesn’t have to be viewed negatively. Still, Fujifilm should work on shortening or eliminating it, because sometimes you do need to be quick. In the meantime, switching the camera to either CL or CH burst modes disables Clarity (sets it to 0), and when you do need speed, that’s an easy way to get it; switch back to S when it’s time to slow back down.
Misty Saguaro– Buckeye, AZ – Fujifilm X-T5 – Pacific Blues (-3 Clarity)
I published an article six years ago explaining Clarity, but I think a lot of people don’t know what it is, and why you might want to use it. Most of my Recipes have Clarity set to either a positive or negative value, and only a small number have it off (set to 0). I thought I would briefly go over it again, for those who are unaware. So let’s dive into what Clarity is and why you should use it in your photography.
Clarity is a micro-contrast adjustment that concentrates on the mid-tones. It affects highlights and shadows, but it primarily affects the various zones in-between, with only small changes to highlights and shadows. Increasing this micro-contrast (positive Clarity value) makes the image appear more crisp; decreasing this micro-contrast (negative Clarity value) makes an image appear more soft. Most simply, it either increases or decreases the contrast; however, it’s very sophisticated, changing how neighboring tones separate from one another within the photo rather than the global tonal map, which is largely—but not completely—untouched. Let’s take a look at some examples:
Clarity +5
Clarity +2
Clarity 0
Clarity -2
Clarity -5
I’m sure you were able to spot the differences in the above images, especially +5 Clarity compared to -5 Clarity. You might think of positive Clarity as similar to a dehaze tool in software. Or you could consider it like using a lens with strong micro-contrast, such as Leica Summicrons. I’m reminded of sharp slide films like Kodachrome 25. Whichever way you want to think of it, the important thing to know is that using a plus-Clarity setting will produce more definition, providing a “pop” or crispness to your pictures.
You might think of minus Clarity as similar to a diffusion filter (like CineBloom or Pro Mist). It’s also along the lines of using a vintage lens. Some might describe it as taking the digital edge off your pictures. However you want to think of it, the important thing to know is that using a minus-Clarity setting will produce less definition, providing a softer picture aesthetic. A 5% CineBloom or 1/8 Pro Mist diffusion filter is roughly similar to -1 or -2 Clarity, a 10% CineBloom or 1/4 Pro Mist is roughly similar to -3 or -4 Clarity, and a 20% CineBloom or 1/2 Pro Mist is roughly similar to -5 Clarity. It is certainly ok to use a diffusion filter in lieu of minus Clarity, or even in conjunction with it for a more pronounced effect.
Pool Remnant – Rodanthe, NC – Fujifilm GFX100S II – Kodak Tri-X 400 (+4 Clarity)
There are times when adding Clarity is most appropriate. There are times when reducing Clarity is most appropriate. It all depends on the feeling you want: hard or soft, gritty or dreamy, punchy or smooth. And, of course, Clarity set to 0 is right in the middle. There’s no right or wrong answer, but Clarity does have a notable effect on the image, so it does matter what you choose. The majority of Fuji X Weekly Recipes use minus Clarity, to add a little retro analog softness. There are some that use plus Clarity, either to replicate sharp slide film or gritty black-and-white. A smaller number use Clarity set to 0, which some prefer because there is no processing delay.
I’m not sure exactly what causes Clarity to take so long to process. Fujifilm has kept it all quite secret. Obviously it takes a lot of processing power, and is (by far) the most taxing of all the JPEG options. It’s clearly a complex application, whatever the camera is doing. Anything that Fujifilm can do to speed it up will be seen as positive, so I hope that is something they’re addressing for the next generation of X and GFX cameras. Clarity is one of my favorite JPEG tools; however, the Storing pause catches a lot of people by surprise. You can do what Pal2Tech and Fujifilm recommend (set it to 0), or you can accept it and use it to slow yourself down, which is what I do. There’s no right or wrong approach, only what works best for you and your photography.
I just moved into a new house. My office is full of unopened boxes with vague labels like Office and Books. I did manage to get the computer unpacked last night, so hopefully I can keep up with Fuji X Weekly while also unpacking the office and the rest of the house, too. Thankfully we’re still in the same neighborhood, so the kids aren’t losing any of their friends. I want to apologize for any delays responding to your comments and emails—I’ll do my best to catch up on everything over the coming week or so.
Did you know that the Fujifilm X half isn’t the first to feature a tall-oriented sensor? I didn’t. I researched it when the camera was released, and didn’t find anything. Still, I’m glad that I typed the phrase “as far as I know” when stating that the X half was the first with a vertical sensor, because there’s one that predates it: Sony C200X, a digicam from 2003. Never heard of the C200X? That’s because it was specifically intended for passport and ID photos, and not sold to the general public. It’s a surprisingly massive camera for only having a 1/1.8″ 4mp sensor. It also has a 36-95mm (full-frame equivalent) f/2.8-4.8 zoom lens. Anyway, if you are looking for something to do this weekend, check out a video about the Sony C200X on the snappiness YouTube channel.
Tom’s Famous X-Pro3– Avondale, AZ – Fujifilm X-E5 & Fujinon 23mm f/2.8 – 1-Hour Photo
PetaPixel published These Are the Worst Designed Cameras We’ve Ever Used, and I was surprised to see that the Fujifilm X-Pro3 made the list. Essentially, Chris and Jordon are not big fans of the hybrid OVF/EVF, they think the X-Pro series is too big and bulky, and in particular they don’t like the backwards-mounted rear LCD, which is prone to break due to a faulty cable. I agree that the cable itself was a poor design choice (something more robust was needed), and the rear screen is unusual and thus polarizing (some love it, some hate it). But the X-Pro3 is beloved by a lot of photographers. I know several who use it daily and you couldn’t pry it out of their hands. The X-Pro series, which includes the X-Pro3, is one of the most beautiful series in all of digital photography—it’s iconic. By including the X-Pro3, I have to wonder about their other selections. Perhaps none of them “stink” (as they put it). Maybe they’re all great cameras with a quirk that some people love and some just don’t get. That’s ok, because no camera is perfect, and we’re all different anyway.
My two photowalks next month in Copenhagen are already sold out, but you can still attend the Fujikina event on May 9th and 10th. I’ll be hanging around both days, and even doing a short talk on Film Simulations and Fujifilm Recipes in Studio 4 at 11:30 AM on May 9th and 11:00 AM on May 10th. Stop by and say hi! I would love to meet you and chat cameras, Recipes, or whatever you’d like. Also, Fujifilm just announced Fujikina Warsaw on June 12th and 13th. I won’t be able to make that one, but if you live in or near Poland, I’m certain that it will be well worthwhile to attend.
That’s all I have for now. Because of the move, it might take me a little while to catch up, but hopefully by the end of next week things will be back to normal. I appreciate your patience. I hope you all have an excellent Easter weekend!
Red Barn – Ronks, PA – Fujifilm GFX100S II – Kodachrome 64
I get asked fairly regularly which Fujifilm Recipes are the most popular. For me, this is a fascinating topic, but it’s definitely hard to know definitively. While I get a glimpse on social media, my best gauge is the Fuji X Weekly website statistics; specifically, which Recipe articles are viewed the most. I don’t collect any data on the Fuji X Weekly App, so that’s no help—although, if I did, it would likely offer the most accurate picture; however, it would still be impossible to know which Recipes people programmed into their Fujifilm cameras, or how often they used each. Perhaps a survey would be particularly useful, yet even it has its limitations. While certainly a flawed method, page-view website statics offer the best glimpse at which Film Simulation Recipes are the most popular, so that’s what I’m using for this article. These are simply the Top 26 most-viewed Recipes on the Fuji X Weekly website through the first three months of 2026.
For awhile I was doing these “25 Most Popular Recipes” type articles monthly, but the month-to-month movement is often predictable. A longer gap is more revealing. So let’s try quarterly in 2026, and see how that goes. And just for fun, I included a bonus 26th Recipe, because it’s 2026. If you’d like, you can compare these results to the 25 Most Popular Recipes of 2025.
Misty Saguaro– Buckeye, AZ – Fujifilm X-T5 – Pacific Blues
While the order changed a little, it’s almost entirely the same group. The usual suspects made the list. The top few results remained in their same positions, but those a little lower moved around. As usual, those Recipes with Kodak brand names in the title—Kodachrome, Portra, Gold, Tri-X, etc., etc.—are typically the most popular. Classic Chrome is the king of film simulations, as the majority of the most-viewed Recipes are based on that Film Simulation. Classic Negative, Reala Ace, Acros, Eterna, and Nostalgic Neg. are neck-in-neck for the second, third, fourth, fifth, and sixth positions.
Without any further delay, below are the most popular Fujifilm Recipes of 2026 through the first quarter!
Top 26 Most Popular Film Simulation Recipes of 2026 So Far
Reggie’s Portra, which uses Classic Chrome, is the number one top Film Simulation Recipe on Fuji X Weekly. Reggie Ballesteros created it in 2022 by modifying my Kodak Portra 400 Recipe to better suit his style and needs. Of the various Portra Recipes, this is the most versatile, and the most popular for portrait photography. Reggie’s Portra is compatible with X-Trans IV and X-Trans V cameras. Also, take a look at his latest Recipe: Reggie’s Superia.
A Classic Chrome based Recipe for X-Trans IV cameras that was the long-time most popular Film Simulation Recipe for Fujifilm cameras on this website. It’s a lot of people’s favorite.
This is the X-Trans V version of Kodak Gold 200; the X-Trans III/IV version is found later in the list. The Kodak Gold 200 Recipes uses the Classic Chrome Film Simulation.
The Kodak Tri-X 400 Recipe, created by Anders Lindborg, is the long-time most popular B&W Recipe on Fuji X Weekly. It’s based on the Acros film simulation, and has compatibility with X-Trans III, X-Trans IV, and X-Trans V models. This is one of my absolute top-favorite Recipes.
This is the X-Trans V version of Kodak Portra 400 v2; the X-Trans IV version is found below. This is another of my personal favorites. It uses Classic Chrome.
It’s probably unfair to include this Recipe in the list because it’s not one, but 14 Recipes. It’s intended to be used with the Film Dial, or with any X-Trans V camera by mapping Film Simulation to a customizable button. I have no way of knowing which of the 14 are the most used.
Pacific Blues is currently the most popular Classic Negative Recipe. This particular version is compatible with X-Trans IV models, but there’s also an X-Trans V version just below. This is another of my personal favorite Recipes.
This is currently the highest-ranked Recipe that uses the Nostalgic Neg. Film Simulation (not including Universal Negative). It’s compatible with X-Trans V cameras.
This version of Kodak Portra 400, which uses Classic Chrome and is compatible with X-Trans IV cameras (although it can be used on X-Trans V), was once commonly the third most popular Film Simulation Recipe on Fuji X Weekly. While it doesn’t rank nearly as high as it once did, it’s still quite popular.
The Film Dial Recipe, which is for X-Trans V cameras with a Film Dial, is another one that’s a bit unfair to include since it is actually 14 Recipes. I have no idea which of them are the most used. This is another personal favorite.
Vintage Kodachrome, which is based on Classic Chrome, is one of the older Film Simulation Recipes on Fuji X Weekly (it was the fifth one published), and is compatible with X-Trans III cameras. This might be the most pivotal Recipe.
This Recipe, created by Anders Lindborg and the late John Sevigny, is reminiscent of scanned Kodachrome 64 slides, and is compatible with X-Trans IV cameras. It’s another Recipe that uses the Classic Chrome film simulation.
Fujirumors posted a poll asking which future sixth-generation camera would excite you the most. As I looked at the list, I had to ask myself: what would make me buy that camera? For example, I have an X-T5 that I’m very happy with, what feature upgrade would make me buy an X-T6? I did that with the X100VII, X-E6, etc., and each time I had trouble answering the question. What would make me buy an X-Trans VI camera when I’m very happy with X-Trans V?
The obvious pick from the poll, which is the current frontrunner (by far), is the X-Pro4, and that’s because the X-Pro3 was discontinued several years back, and now there’s a significant hole in the lineup left by its absence. Over 40% of people who voted are “most excited” for this camera, but I highly doubt that the next X-Pro will account for anywhere close to 40% of sixth-generation camera sales. That model would simply fill an obvious hole, and that’s why so many voted for it.
One potential camera left off the list is an X70 successor. That’s a notable hole, and it might have even received more votes than the X-Pro4 had Fujirumors included it in the survey (I understand why they didn’t). The GFX100RF is essentially a medium-format X70, and it is apparently doing quite well for Fujifilm. I hope they can see that the market is ripe for an X-series version. If there’s a sixth-generation camera that I’m most excited for, this is it, if only Fujifilm would make it.
But let’s move away from specific models for moment. My original question was: what would make me buy an X-T6 when I already own an X-T5? The obvious answer is that I shouldn’t. It is generally good advice to skip a generation, and this is because successors come too quickly. I’ve advocated for longer gaps between new models for awhile now, but you can do this yourself by simply skipping every other version. For example, if you purchased an X-T1 twelve years ago, you would have skipped the X-T2 and bought an X-T3 six years ago, then you would have skipped the X-T4 and gone for the X-T5 instead, and you will pass on the X-T6 and wait for the X-T7, whenever that eventually comes.
Let’s just say, though, that some feature will be included on the next generation of X-series cameras that will entice you to buy. What would that be? The top answer you are likely to find on the internet, of course, is autofocus, but the AF is already plenty good enough for most people, and those who do complain, most of them could fix their AF woes themselves if they wanted to (how else do you explain those using the same exact gear in the same situations and aren’t having trouble?). I’ve already talked too much about AF, so I’m not going to go deeply into it, other than Fujifilm will improve it on the next generation of cameras; however, if they don’t make it more intuitive and work well straight-out-of-the-box without requiring the user to adjust settings in the menu, then the complainers are still going to complain. The issue isn’t so much the AF itself; however (and specifically), a lot of people don’t realize that they’re expected to do some work in order to get the most out of it, and even if they do realize, they may not know how. Solve that, and you largely solve AF, without any other improvements. For myself and the majority of customers, AF improvements are nice, but that alone isn’t enough to justify an upgrade; however, for some, an intuitiveness improvement might just do the trick.
Fujifilm Recipes sell Fujifilm cameras. I cannot tell you how many people have told me that the top reason they purchased a Fujifilm model was to use Recipes. Over the last two years, doing photowalks from coast-to-coast, to my surprise many of the sales people at various cameras stores (including some very big ones) told me that the top tool they use to sell Fujifilm cameras is the Fuji X Weekly App. They pull out their phone and show potential buyers what’s possible straight-out-of-camera, and that seals the deal (it would be nice if I got a little kickback…[insert winking emoji]). New Film Simulations and JPEG options will convince some—including myself—to buy a new camera. There are those who purchased an X-Pro3 simply for Classic Negative, when it was the only camera available with it for about four months. I would hope that Fujifilm fully realizes this, and it’s a part of their X-Trans VI plans.
The number one thing, though, that would make me purchase a sixth-generation model when I already own a fifth-generation iteration of that camera is fixing the Clarity pause. Clarity, which is a micro-contrast adjustment, is a great tool. Using plus-Clarity makes an image appear more crisp, kind of like using a Summicron lens, or like shooting with a sharp slide film such as Kodachrome. Using minus-Clarity is like a built-in diffusion filter, which makes an image appear more soft, and often more negative-film-like. It’s one of my favorite JPEG tools; however, it has an annoying side effect. Whenever Clarity is set to anything other than 0, it causes a short storing pause. It’s about the same amount of time as advancing to the next frame on a film camera. Things that slow you down can be good sometimes; however, if Fujifilm could reduce or even eliminate the Clarity pause, that would be awesome. I would consider upgrading for this alone.
Fifth-generation X-series cameras are excellent, and it’s hard to imagine improvements that are so dramatic that it would convince me to upgrade. Yes, there’s certainly room for improvement—no camera is perfect. But a new Film Simulation (maybe based on Fujicolor Pro 400H that turns pastel with overexposure), a new JPEG option (such as Light Leak from the Fujifilm X half), and especially a long-overdue fix to the Clarity pause, would go a long ways towards convincing me that I should.
The answer is both simple and complicated. Back in 2012, Eastman Kodak went through bankruptcy, and in order to survive, the company split parts of its business. One result of that was Kodak Alaris (a brand-new company that began in 2013), which took over much of the consumer side of film, including distribution, sales, and branding. Meanwhile, Eastman Kodak retained manufacturing. This meant that the film itself was made by one company named Kodak and sold by another named Kodak. The name printed on the box wan’t entirely controlled by one single Kodak company.
That arrangement worked—until it didn’t. Two separate companies with two interests that are sometimes at odds with each other working together can become tiresome, and I think that’s largely what happened. So recently Eastman Kodak began working to bring more of its film business back under its roof and control; however, one practical problem is that even though they make the film, they don’t necessarily have the rights to use the name that they invented. Some of Kodak’s trademarks are tied up in past agreements. That leaves Eastman Kodak with two options: buy back the rights to use the names, or move on from them. In the case of Portra and T-Max, they have chosen the latter.
Renaming film stocks and recycling old brandnames is not new for Kodak. Ektacolor and Ektapan are actually old names—part of Kodak’s long history—now given new life. Previously, Kodak used the Ektacolor name for color inks and paper. It’s also similar to Ektachrome and Ektar, both iconic film lines within the company. Ektapan was the name of a discontinued B&W film. Kodak has been renaming its film stocks for decades; for example, Kodacolor VR-G later became Gold and Ultramax was previously named Max Versatility.
Sunset Photography – Laguna Beach, CA – Fujifilm X100V – Kodak Portra 400 v2
The problem with this rebranding is that Ektacolor Pro is not nearly as strong as Portra. It’s like Burger King renaming The Whopper to Grilled Meat Burger. It doesn’t have the same ring, not even close. Kodak is going to have a rough transition, but maybe they see it as temporary, and they hope to get the rights to Portra in the near future. The T-Max to Ektapan transition won’t be quite as difficult, but it is certainly a step backwards, as far as branding goes.
The film itself hasn’t changed. Ektacolor Pro 160, 400, and 800 are Portra. Ektapan 100, 400, and P3200 are T-Max. It’s the same emulsions with the same rendering. The box just looks different, as does the name on it. The photographs will look just as you’d expect them to, and from a practical standpoint, that’s all that matters. From a marketing standpoint, this is a tough spot that Eastman Kodak has put themselves in. My guess is that we’re nearing the end of Kodak Alaris, which is probably the power play that Eastman Kodak intends.
For those with Fujifilm X-series and/or GFX cameras, this might not seem important. Who cares, right? I suppose there is a chance that it could cause some confusion for those using Recipes, if (say) someone is looking for an Ektacolor Pro 160 look, but doesn’t realize that it’s called Kodak Portra 160 v2 (as an example). However, the name is secondary to the aesthetic that the Recipe produces. For instance, my Kodak Pro 400 Recipe has a Portra-like look, but it doesn’t have Portra in the name. Whether it’s film or a Fujifilm Recipe, the goal isn’t to chase a label or specific brandname, it’s creating photographs that feel right to you.
In my Fujifilm said What?! article, I stated that the number one thing Fujifilm could do to quiet the autofocus critics is to make the AF settings more intuitive, and have it programmed to work well for most straight-out-of-the-box. Fujifilm offers a lot of customization to maximize autofocus performance for each person’s specific use-case and preferences; however, a lot of people are unaware that not only can they do this, but they’re expected to. Even if they are aware, they’re unlikely to know what the settings should be for their photography or videography needs. If Fujifilm never improved the AF algorithm or the hardware, and only did this one thing—make it more intuitive—it would be seen an a major improvement by many.
My epiphany came from two places: 1) Camera Conspiracies, who was highly critical of Fujifilm’s AF until he found the right settings for him, and 2) the large number of people who have stated across the internet that they just want it to “work” straight-out-of-the-box. In other words, a lot of people want to power on their brand-new camera for the very first time, and, without making any adjustments to the camera settings, want it to perform perfectly for them. They want it to be much more simple and intuitive than it currently is. In my opinion and estimation, this is where the majority of the AF complaints actually come from, the root cause.
There’s nothing wrong with Fujifilm’s current approach. It works well for a lot of people. Just because the Canikony brands do something a certain way doesn’t mean that Fujifilm should, too. There are certainly pros and cons to the implementation of anything, including AF. Obviously, the cons are not appreciated by a very vocal subset of the community, and they have made this well-known. If Fujifilm is interested in addressing the issue (and I assume they are because they’ve said so), the simplest and most affective way is intuitiveness. Make it as simple as practical.
Captured with a Fujifilm X-T1
So how would it work? There are a number of ways that Fujifilm could tackle it, and I’m sure they’ve already made some steps towards this on whatever they’ve designed for the upcoming sixth-generation X-series cameras. But, if I were a Fujifilm employee (which I’m not), I would suggest this: at initial startup, when the camera is first powered on, after prompting the date and time, I would have a short questionnaire. Skip the questionnaire, and the default autofocus behavior is as it currently is. Answer the questions, and the camera (based on those answers) sets AF up in what should be more ideal settings for that person. The questions could be: Do you usually use AF-S, AF-C or M? Are you primarily a photographer, videographer, or both? Do you most often photograph fast moving subjects, slow moving subjects or stationary subjects? Do you most often photography people, animals/birds, cars/trains/bicycles, or other objects? Do you most often use wide angle lenses, telephoto lenses, or mid-range lenses? Do you typically use zooms or primes? I’m sure they could refine that into fewer questions. A total of three sets of questions would probably be sufficient.
Whatever someone answers, that would determine the default autofocus settings. The camera could still be custom set to whatever, but it would give those who choose the questionnaire a better starting point for their specific needs. The camera’s AF would work better for them straight-out-of-the-box. That simple change would likely make many people believe that Fujifilm has improved their AF without making any other improvements. Why? Because Fujifilm’s autofocus system isn’t nearly as bad as some would have you believe—in fact, it’s pretty darn good. Yes, the Canikony brands are better, but not being super awesomely amazing doesn’t make it bad, it only makes is awesomely amazing (instead of super awesomely amazing). The main issue is that people don’t want to set up their AF parameters, they’re largely unaware that they’re expected to, and they don’t really know what settings would work best for them, anyway. Fujifilm can and should do more to help educate their customers on this. But making the camera’s AF more intuitive with a simple questionnaire at initial startup would solve this issue for many.
I remember a long time ago heading out with my old Canon AE-1 loaded with a roll of 35mm film. If I had planned ahead, I might have had a second or third roll in my pocket or camera bag. You were limited by the film you had loaded into the camera, and maybe the film in reserve. Having just a few options felt like a gift. Today, we find ourselves in a very different place. Fujifilm cameras offer a deep set of JPEG controls—there are over 400 hundred Fuji X Weekly Recipes and probably thousands available elsewhere online, so the possibilities seem nearly endless. And yet, sometimes, that abundance doesn’t feel freeing—it feels paralyzing.
Curiously, the more choices we have, the harder it can be to choose. You scroll through Recipes, finally narrowing it down to just seven—which you program into your camera—and head out to shoot. But instead of fully engaging with the scene in front of you, you find yourself wondering, is this the right Recipe? Which of these seven should I choose? Should I switch? Should I find a different Recipe entirely? Would another be better?
Misty Saguaro– Buckeye, AZ – Fujifilm X-T5 – Pacific Blues
Film didn’t work that way. When you loaded a roll of Kodachrome 64 or Portra 400 into your camera, you were committed, at least for 24 or 36 frames. Not because it was objectively the best choice for every situation, but because it was the choice you made when you loaded the roll. And in that commitment, you weren’t second-guessing, you were seeing. You worked with the light you had, the colors in front of you, and the characteristics of the film you chose. Limitations are not restrictive, they’re clarifying.
Fujifilm Recipes can function in much the same way, but only if we allow them to. The key is not to chase the perfect Recipe for every scenario, but to select a few that resonate with you and stick with them long enough to understand them. Learn how they respond to different light conditions. Discover their strengths, and (just as importantly) their weaknesses. Over time, those Recipes not only become familiar tools, but extensions of your creative voice.
Pool Remnant – Rodanthe, NC – Fujifilm GFX100S II – Kodak Tri-X 400
I think a simple approach can be helpful. Narrow your choices to just two or three Recipes. That’s it. Ideally, pick ones that complement each other, such as a versatile everyday color Recipe, a less versatile but stylized option, and maybe a black-and-white. This small set will cover most situations without overwhelming you, and it is more obvious when to choose each. Then commit to them. Don’t switch constantly. Give each Recipe time to prove itself. Use it in different lighting conditions and with different subjects. Pay attention to how it renders colors, how it handles highlights and shadows, and how it shapes the mood of your images. The goal is not to find a perfect match for every scene, but to learn how your chosen Recipes behave.
Once you’ve done that, select a different set of two or three and repeat the process. Then repeat it again. Once you’ve done it five or six times, you’ll have a really good idea of which seven Recipes are your favorites, and when each should be used. It will be second nature. And you might find yourself mostly sticking with a few of the seven, while the majority are only used occasionally when the time is right. When each Recipe has a role, the decision becomes easier because you’re no longer guessing, you’re selecting with intention.
This doesn’t mean you should ignore the wealth of Recipes available. Far from it. Exploration can be a lot of fun. But if you’re feeling overwhelmed by all the choices, consider the suggestion above. Use the tools available in the Fuji X Weekly App, such as the new Filter By Categories feature, to really narrow it down. Then choose only a few, and really get to know them before trying out others.
The question isn’t whether there are too many Recipes—maybe there are, maybe the most ideal one for you hasn’t been created yet—it’s how many you truly need, and how do you find those. For most, we probably need less than we think we do—a few really good ones that match our personal aesthetic preferences and that we’re familiar enough with to know how to get the most out of them. A few well-chosen Recipes, used consistently, will take you much further than a camera full of options you’re unsure of when and how to use. Try out a few and use them for awhile, then try out a few more, until you’ve got a set that you’re comfortable with and have confidence in.
PetaPixel published a couple of articles recently detailing an interview with Fujifilm at CP+. Phototrend also interviewed Fujifilm at this event, which resulted in some interesting answers. PetaPixel’s conversation was much different, so let’s talk about what was said and what it means.
For one article, PetaPixel asked, “How will Fujifilm fix its video autofocus woes?” Fujifilm answered, “There are two improvements we can make, one based on the algorithm and then one based on the device itself. So we have the fifth-generation device now, and so to make an improvement here, we just need to improve the algorithm. That’s the maximum we can do.”
The basic takeaway from the interview is that for fifth-generation cameras, which are the current models, Fujifilm is working on potential firmware updates for autofocus improvement. My guess is that they are taking their time to ensure there are no issues. They want to avoid something like a couple of years ago when the firmware update had a significant AF bug. Maybe this update will be released soon or maybe it will never see the light of day, who knows? Fujifilm did say, though, that they are actively working on it. Also, they are planning to improve autofocus through hardware (think faster readouts, quicker processing, increased memory buffers, better heat dispersion, etc.), which will benefit sixth-generation cameras, which will be here before you know it.
I’m really tired of talking about Fujifilm’s autofocus. For the majority of the last 10 years, this wasn’t a top topic within the community. It’s really only over the last few years that it’s become a big deal, and I find that very odd and quite telling. I’ve discussed this all at length numerous times, so I want to avoid rehashing everything, but some things need to be re-said, I suppose. I’m sure you’ve seen the hyperbolic, troll-like statements that flood the comments section of any article or video even slightly related to this topic.
It’s important to keep expectations realistic. Let’s ground ourselves in reality. The Canikony brands had a major head start in developing AF (going back to the 1970’s), have a much larger R&D budget, can better attract the best and most experienced experts in the field, and have put the majority of their eggs in the AF basket, ignoring image quality improvements or even sometimes to the detriment of IQ (as reported by PetaPixel). Those who expect Fujifilm to have “class leading” autofocus, or at least to have it be on par with the big three camera makers, are living in a fantasy land. It’s not going to happen outside of a major paradigm shift (perhaps AI is that paradigm shift). When you buy a Fujifilm camera, it’s important to know that it’s not going to have AF as good as the Canikony brands—that should be your expectation, because it’s the truth, and it only makes sense if you think about it for a mere moment.
That doesn’t mean Fujifilm’s autofocus is bad. Of course it isn’t bad! If you were to take the lowest-end, bottom-rung, entry-level X-M5, which costs only $900, and hop into your DeLorean, blast some Huey Lewis, go back in time 10 years, and show people that this is what Fujifilm’s autofocus will be in a decade, the camera would impress a whole lot of people. The community would be all excited for the eventual autofocus performance that the X-M5 demonstrated. Hurray for Fujifilm’s future AF! For some reason, the perspective that a lot of people who complain about Fujifilm’s autofocus seem to have is that photography has only been around for a few years. Do we not remember autofocus from any brand 20 years ago? 30? 50? I guess we don’t, because we lack an appreciation for how incredibly awesome even so-called “bad” autofocus is today. That AF system that you call garbage can run circles around the best AF from not terribly long ago, and yet our photography and cinematography isn’t any better than it was back then. I think a lot of people just don’t appreciate how good they have it today.
With that said, there is certainly room for Fujifilm to improve autofocus. I think all of the Canikony brands have reached a point of diminishing returns. They are quickly approaching, are at, or are maybe just beyond the peak of an inverted U-curve. The practical benefit of an AF improvement from (say) Sony helps a tiny fraction of their customers, while for 99.99%, the AF capabilities are already beyond what they need. Now for Fujifilm, who isn’t quite as far along, an AF improvement might have a practical benefit for (say) 15% of their customers, and maybe the next improvement benefits 12%, perhaps 7% for the following one, and so forth, as they climb the inverted-U. They are working on this right now. For the majority of people, though, Fujifilm’s AF is already plenty good enough for most subjects and situations.
Fujifilm’s autofocus is nowhere near as bad as some on the internet would have you believe—not even close—but there is something that Fujifilm could do that would have an immediate major impact on this perception: intuitiveness. It took me awhile to figure out that this is likely the number one issue. People apparently want to take their camera out of the box, throw in a freshly charged battery, and shoot amazing pictures, without ever setting it up. Some of this might be explained by beginners who just purchased their first camera, but I believe the majority are not beginners. In fact, I think (quite ironically) that most are the same people who would tell you that you must shoot RAW, and only amateurs shoot JPEGs. Perhaps this is because those who use Film Simulations and Recipes are constantly in their camera’s menu, so making adjustments and customizations is normal and no big deal. Whatever the reason, there are those who just want the AF to “work” without setting any of it up first. So if Fujifilm were to make a major stride in how intuitive their AF is without improving any other aspect, it would be seen as a big upgrade.
Fujifilm allows you to customize how autofocus works on your camera; however, I think a lot of people don’t realize that not only can they do this, but they’re expected to do so. Even if someone does realize, they probably don’t know how, or what the most ideal settings are for their use case. This is something Fujifilm could have done a much better job communicating to their customers; sadly, in recent times when they have tried, they were heavily mocked for doing so. Far too often, people would rather blame something else than take any sort of responsibility for a failure. Telling people that they’re the problem is never well received. But the truth is that those who complain about Fujifilm’s AF have the power to fix most—if not all—of their woes, and they’ve had this power the whole time. An example of this is Camera Conspiracies, who constantly mocked Fujifilm’s AF until he figured out the right settings for his needs. I think there are merits to Fujifilm’s approach, but either they need to do a much better job getting the word out on how to best use their system, or they need to make it work well for everyone—no matter someone’s individual needs—as factory-default settings.
In the next PetaPixel article, Fujifilm stated, “What we want to do as a company is make sure the photography culture remains for the foreseeable future. If we don’t continue to offer something exciting, fun for the users, then people won’t be really interested in photography itself. That would be a nightmare for us, we believe photography is such an important part of everyone’s lives. We think that’s our mission, to make sure everybody understands and knows that if they ever want to try something related to photography, we’d be there to offer as many options as possible.”
I find that fascinating. If camera makers don’t offer exciting and fun-to-use gear, photography itself is in jeopardy, says Fujifilm. And that makes sense. If the pros and hobbyists get burned out because photography is no longer enjoyable, they’ll quit. If potential newcomers are satisfied with their cellphones and AI-generated images, and no “real” camera seems interesting or fun to them, they’ll never even explore photography in the first place. It’s possible that cameras like the X100VI, X half, X-E5, and GFX100RF are actually saving photography, and are not just gear existing within the industry. It’s interesting to think about, and maybe something that other camera makers should pay more attention to.
This article is already longer than I wanted it to be, so let me wrap this up real quick. The way these two topics relate is that Fujifilm could make a variety of the most exciting gear ever released, but if a bunch of trolls and Negative Nancies (my apologies to anyone named Nancy) complain about it, will those products actually save photography? Maybe, maybe not. I think it’s important for Fujifilm to address the first topic aggressively—not because their AF is bad, but because people can’t accept that it is good just because it isn’t quite as good as the Canikony brands (which apparently makes it trash). Fujifilm’s two options are to better communicate how to best use their AF, or to make it more intuitive and work better out-of-the-box at factory-default settings. The latter is the path that will be best received. The firmware and hardware refinements that Fujifilm mentioned to PetaPixel I’m sure will be welcomed and appreciated, but it doesn’t address what I think is the largest problem, which is intuitiveness. Once fixed, when the fun gear is announced, there will be fewer negative comments that unfairly scare away potential buyers. Or maybe trolls will be trolls, and none of it matters.
There’s a lot of talk within the Fujifilm community about in-body image stabilization (IBIS). Some believe that it is an essential feature that every new camera must have, and others don’t really care if their model has it or not. My position is that for most photographers and most situations, it’s far from a requirement, but it is nice to have from time-to-time. Notice that I said photographers; if you are a videographer, IBIS is much more important.
For still photography, IBIS makes no difference unless you are using a slow shutter speed or a long telephoto lens, and you don’t have a tripod. If you carry around a tripod, IBIS isn’t necessary, but carrying around a tripod isn’t fun, so if that can be avoided I will avoid it. The rule of thumb to avoid blur from camera shake (not movement within the image itself) when hand-holding, your shutter speed should be at least the reciprocal of the focal length of the lens. For example, use 1/30 for a 30mm lens and 1/200 for a 200mm lens. That’s the minimum shutter speed generally speaking—depending on how well you can hold still, you might be able to go slower or you may need to be faster.
The two photos above are great examples of when IBIS comes in handy. Both break the rule of thumb for reciprocal focal-length shutter speed by a significant margin. For myself, it’s pretty rare that I’m using a 1/6 shutter speed, or using a 600mm lens. I’m sure that for some photographers, those are both common situations; however, I would wager that it’s fairly rare for the majority of shooters. If you are not using slow shutter speeds or long telephoto lenses, you probably don’t need IBIS.
I have a number of cameras with IBIS, including my X-T5 and X-E5 that captured the above pictures. But for most of my nearly 30 years of photography, I did not have a model with IBIS. For those without it, are they tough out of luck? Is IBIS essential? Does every single camera released today need to include it?
Above left: Fujifilm X-T30 at 0.4 second exposure with tripod; Above right: Fujifilm X-T30 & Fujinon 100-400mm @400mm handheld.
Of course, the solution that we used “back in the day” (which was not long ago) was a tripod. If you have a tripod, you can use whatever shutter speed you want. Even a monopod helps in marginal situations. But obviously tripods are a pain to lug around, so if you can avoid it, that’s positive. For telephoto lenses, you can use a faster shutter speed, but that might require a higher ISO, which is less than ideal. The two photos above, which were made using an X-T30 (a camera without IBIS), are examples of achieving desired results with a non-IBIS camera—for the left image, I used a tripod; for the right picture, I used a faster shutter speed.
It’s not the end of the world if you don’t have IBIS. In fact, you are in the same situation that the vast majority of photographers have found themselves in throughout the last 200 years. You are in a very, very large crowd. But IBIS can be nice to have sometimes. For some people, it can be an especially useful feature.
The main argument for why every new camera must include IBIS is that the tool exists, so why not include it? There is no harm in having it, and it will certainly be helpful to some. Of course, this ignores that IBIS makes the camera more expensive, most likely larger and heavier (at least a little, maybe a lot), and drains the battery quicker. In the last few years there have been significant strides in minimizing the negative side effects, but it’s unfair if we ignore those aspects altogether. For example, Fujifilm stated that to include IBIS in the GFX100RF, the camera would need to be nearly double the size. I was able to get a sharp handheld image at 1/8 shutter speed (see the image above), so IBIS would only have a minor benefit, yet its inclusion would make me not want the camera due to the dramatic increase in bulk. Perhaps if they are able to engineer it so that the camera stays nearly the same dimensions (like they did with the X100VI), then it would be more practical to include.
In other words, there are tradeoffs. Some people might prefer IBIS at all costs. Some people might prefer smallest/lightest/cheapest at all costs. And most are somewhere in the middle, perhaps leaning one way or another, but overall desiring a good balance of the pros and cons. And that’s where I am. It’s nice to have IBIS sometimes, but it’s far from the end of the world if a camera doesn’t have it. Now, if I were a videographer or I frequently used long telephoto lenses or hiked to waterfalls often, I would likely feel different.
The last argument that I want to tackle for the essentialness of IBIS is that higher-resolution cameras will more easily show camera shake—more megapixels means more need for stabilization. There is some logic to this. It actually has more to do with pixel density than resolution. When more densely packed, a given amount of camera movement shifts the image across more pixels, making small motion blur more noticeable when viewed at 400%. For example, people will say that the 100mp GFX sensor needs IBIS because it has 100mp; however, the pixel density is the same as the 26mp APS-C X-Trans IV sensor. If IBIS isn’t necessary on X-Trans IV cameras like the X-T3, X-E4, and X100V, it’s hard to make the argument that it is a requirement for 100mp GFX models, but you see people make this argument all the time, stating it as if it’s a known fact. An argument that it is necessary on the 40mp X-Trans V sensor (due to the higher pixel density) is a stronger case, especially when you consider that every one of those cameras has IBIS; however, the counter-argument is that while it might very marginally show motion blur more easily, it is buried under more resolution, so when viewed at the same size as an identical image from a lower pixel density sensor, you wouldn’t notice.
For some people, IBIS really is necessary, and thankfully you’ve got lots of options. 10 years ago Fujifilm didn’t offer any IBIS models. The first X-series camera with IBIS was the X-H1, released in 2018. Even in 2020, the X-T4 was your only option (aside from the X-H1, which was already discontinued). Now you have the X-H2s, X-H2, X-T5, X100VI, X-T50, and X-E5, plus some GFX models. Fujifilm has come a long ways with this, and I’m sure they will continue to make strides. But if you don’t have a model with IBIS, don’t fret. There are a lot of strategies that allow you to get the shots you want without it, which have been used for decades, if not centuries. IBIS is an excellent tool that is extremely helpful (and essential) to some, maybe not helpful at all to a few, and nice to have occasionally but not really essential for most. My guess, though, is that a time will come when every camera includes it, especially as pixel density continues to increase as camera makers chase resolution. A someday 60mp X-series model will certainly need it, and maybe an 180mp GFX camera.
