Captured with a Fujifilm X-M1 camera & Fujinon 90mm f/2 lens
Fujifilm’s autofocus will never be as good as Canon, Sony, or Nikon’s, and that’s ok. I’ve explained this beforea couple of times, so forgive me for repeating myself. There are some highly unrealistic expectations that need to be put to rest, which I hope this article accomplishes.
There are a lot of comments floating around the internet along the lines of, “Fujifilm’s autofocus sucks.” And, “Fujifilm needs class leading autofocus like Sony and Canon.” And, “If Fujifilm doesn’t address AF on the next generation, I’m leaving.” And many other similar sentiments. But these comments are out of touch with reality. Let me explain why Fujifilm’s autofocus will never be as good as the Canikony brands, and why it doesn’t matter.
There are three reasons why Fujifilm’s AF isn’t as good as the three big brands. First, those companies have been making autofocus systems for much longer. Sony (through Konica and Minolta) have been making AF since the 1970’s—they were the first (via Konica), and the first to have what was considered a “good” AF system (via Minolta). Canon and Nikon have been developing AF since the 1980’s. Since they had such a big head start, it is only logical that they’re further along. Second, the Canikony brands have more R&D funds to commit to autofocus development and improvements. They have larger teams with larger budgets, and it’s probably easier for them to attract the most experienced talent. Last but not least—and this was pointed out by PetaPixel—the big three have put most of their effort over the last handful of years into AF, and have largely ignored image quality improvements; in some cases, autofocus was prioritized to the detriment of image quality. That is a path I would highly discourage Fujifilm from pursuing, personally.
While Canon, Sony, and Nikon have put a lot of their eggs in the AF basket, we’ve long surpassed the point of diminishing returns—the Inverted U Curve, for those who have read Malcolm Gladwell’s David & Goliath (a book I definitely recommend). How good does AF really need to be? At what point is it good enough for almost everyone? I think we passed that point years ago. For almost the entire history of photography and videography, there was no autofocus. It was manual focus only. Yet today’s photos and videos aren’t necessarily better than they were then (in some ways, they might be subjectively worse). If we compare Minolta’s first “good” AF to the AF of any camera made in the last 25 years, it’s clearly not as good as even the worst examples you could find. In other words, we’re really spoiled today with incredible gear. Fujifilm’s so-called “sucky” AF is better than the best AF from 15 years ago, maybe even 10. Were we incapable of creating good photos and videos then? Are photos and videos captured today using the latest Canikony cameras better than anything previously? Of course not! Some people seem to think that photography has only been around for a few years.
It was never about the gear, it has always been about the one using the gear. Yes, some tools make it a bit easier to achieve your desired results, but if you really want a certain result, you can do it no matter your camera. You might have to try a little harder, you might have to learn a new skill, or you might have to practice a skill you’ve gotten rusty at, but you can still do it. My guess, though, is that for 98% of people, Fujifilm’s AF is more than good enough just as it is, as was Canikony’s five or ten or even 15 years ago. So does it actually matter that Fujifilm’s autofocus isn’t as good as the three big brands? It might matter to some, but it shouldn’t matter to the vast majority. If you can’t get the job done with the gear you have, the problem isn’t the gear; however, that’s a bitter pill that people don’t want to swallow. Nobody wants to hear that they’re the problem, but without introspection there’s no opportunity for growth.
With all of that said, Fujifilm has done an amazing job creating and improving the autofocus on their cameras, all things considered (aside from that infamous firmware bug last year). With a smaller budget and smaller team (and with a lot less time), they’re not terribly far behind Nikon. I’m sure they will continue to make strides, and—who knows—with AI they might have some breakthroughs that would be difficult otherwise, and which might level the playing field a bit. For most people, these improvements will have little-to-no practical benefit because the AF is already more than sufficient—we’re near the top of the upside-down U. Seriously, how good does it need to be? It’s been more than good enough for me since X-Trans III, and even the older models are decent in daylight situations. Only in extreme cases do the Canikony brands have a clear advantage, yet even those situations aren’t insurmountable if the one behind the camera doesn’t allow them to be. While I’m sure Fujifilm’s autofocus will continue to improve, the difference it will make for most people is very small. Yes, we’re rooting for Fujifilm to be at the head-of-the-pack in every aspect of camera-making, but it’s important to keep expectations realistic, or else we’ll inevitable be disappointed, which will lead to unnecessary resentment—something that’s easy to spot all over the internet.
Right now, people are talking about Fujifilm Recipes. Thanks to models like the new Fujifilm X-E5, which is the first camera to use the term “Recipe” inside the menu, more and more people are discovering the joys of Film Simulation Recipes. Interestingly enough, not only are camera-made JPEGs no longer stigmatized, they’re actually “in” right now—they’re cool.
Yesterday, DPReview posted an article by Mitchell Clark entitled Why the Fujifilm X-E5 turned me into a film recipes fan. The article specifically mentions two Fuji X Weekly Recipes: Ilford HP5 Plus 400 that Anders Lindborg created and 1976 Kodak that I created. Interestingly, it’s written from the perspective of someone who’s always dismissed camera-made JPEGs and Recipes. But, after trying some while preparing for an upcoming Fujifilm X-E5 review, not only did the author have a change of heart, but it also affected how he thought about the scene he was photographing (in a positive way). This article makes it ok for those who have never tried Recipes to do so, and explains that you might not realize what you’re missing out on.
“Photos look great right out of the camera,” Ben wrote. “Strange as it may sound to seasoned photo nerds, I went into my trip with the GFX100RF with the intention of shooting JPEGs—essentially using this $5,000 camera the way my parents documented family vacations with their film point-and-shoots. And guess what? It worked spectacularly well.” He went on to specifically mention my Kodachrome 64 and Kodak Portra 400 v2 Recipes.
Above, clockwise from top-left: Kodachrome 64, Kodak Portra 400 v2, 1976 Kodak, and Ilford HP5 Plus 400 Recipes
Of course, it’s not just large photography sites or major newspapers that are talking about Fujifilm Recipes. I’ve had the privilege of visiting many camera stores recently, from the small but up-and-coming Nuzira that’s local to me in Arizona, to B&H in Manhattan, and a whole bunch of others in-between. I was even interviewed recently by Mike’s Camera. No matter the store, the story is the same: people are interested in Recipes, and they’re being talked about by both customers and employees. As one sales representative told me at a major store, “Half of my sales of Fujifilm cameras are a direct result of your App.”
I didn’t make Film Simulation Recipes to sell cameras, but nonetheless it has become a major selling point, and now even an official feature. I made Recipes to help people—including myself—more quickly and easily achieve desired picture aesthetics, in a way that’s often more fun and authentic. It’s simply a way to help others, and be a positive part of the photography continuum. As I wrote last week: Shoot more, edit less, and let your camera become your darkroom.
Fujifilm just released some firmware updates today for a bunch of cameras. We need to talk about this right now, because there are reasons why you may not want to update your camera.
The specific models with firmware updates are Fujifilm X-T5, X100VI, X-T50, X-S20, X-M5, GFX100RF, and the X half. For all of these updates, “Wireless communication security is enhanced while camera is connecting with a smartphone application or external device wirelessly.” Extra security is good, although I’m not too worried about the wireless communication security of my camera, personally. But, then we find out that if you do this update (aside from the X half, which is a different story), your camera will no longer work with the Cam Remote app, and it won’t work with any of the Instax Share SP printers, either. This update removes some functionality from the cameras, and doesn’t add anything other than a more secure connection.
I never update to the latest firmware right away. It’s always a good idea to wait a few days, if not a few weeks, just in case there’s some bug. It’s happened before with Fujifilm cameras—most famously the autofocus bug last year—but also with other brands (including Canon just last week), and even non-camera products; it’s not a Fujifilm issue, but a tech issue in general. If there is a bug in the firmware, let someone else discover it first. You can save yourself a major headache sometimes just by waiting. The X half update is probably fine (just make sure you also update the X half App), but I’d still wait a few days just in case.
223 – Savannah, GA – Fujifilm X half
The problem is that this particular firmware might shy you away from updating your camera ever again. For example, I don’t use the XApp; instead, I use the old Cam Remote app. Why? First, the XApp is only compatible with the newer cameras, and since I have older models, I have to use the Cam Remote app for those—I’d rather have just one app for all of my Fujifilm models, for the sake of simplicity and consistency. Second, I’ve figured out how to make the Cam Remote app work quite well for me. I know that it’s rated very low in the app store, but once I figured out how to get it to consistently connect to my cameras without trouble, it’s become easily four stars in my book. If it ain’t broke, don’t fix it; since it’s working really well for me right now, I’m not going to update my cameras, which will force me to use the XApp. Now if Fujifilm updated the XApp so that older cameras could connect to it, that’s a different story entirely. Fujifilm: if you really want everyone to migrate to the new app, make it compatible with more cameras.
You may or may not feel similarly about the Cam Remote app. Maybe—like me—you still use it, even though it’s not the latest. Maybe you don’t have any older models, the XApp works great for you, and you hated the Cam Remote app anyway when you did use it a couple years ago. But, perhaps, you do connect to an Instax Share SP printer sometimes, and maybe that’s a reason not to update the firmware. Honestly, instead of taking away compatibility with Instax, Fujifilm should add it to all the cameras. There’s no good reason why you cannot print on an Instax Link directly, and it’s a shame that you cannot on most models. Now, if you update the firmware, you can’t print directly on a Share SP, either.
This security firmware update takes away functionality, so you may want to consider avoiding it if you use the Cam Remote app or print to Instax Share SP printers. Maybe you are concerned about how secure the wireless communication is on your camera, and the improved network security level is worthwhile to you. In that case, I’d still wait a few days, but then update. Since I’m not all that concerned about it personally, I’m not updating my cameras, except for the X half probably this weekend.
Small Clouds Above the Roof – Buckeye, AZ – Fujifilm X-T30 – Pro Neg Recipe
I worked on this Film Simulation Recipe for some time. It wen’t through a lot of iterations, with small tweaks here and there over a few month period, before I landed on the final settings. The idea was to create a generic Kodak-ish color negative film aesthetic, perhaps something similar to ColorPlus 200 or Pro Image 100. While I did look at both of those emulsions a number of times during the development of this Recipe, I didn’t set out to strictly emulate either of them. I think there can be similarities at times to both of those film stocks, but generally speaking this Recipe isn’t a replication of either—or any—film. I hope that makes sense. I do think it does a good job at producing a generic color negative film aesthetic that is by-and-large Kodak-esque, with occasional similarities to both ColorPlus 200 and Pro Image 100.
Pro Neg was a Fuji X Weekly App Patron Early-Access Recipe. The Fuji X Weekly App is free, yet becoming a Fuji X Weekly Patron unlocks the best App experience! One benefit of being a Patron is you get early access to some new Film Simulation Recipes. These Early-Access Recipes will eventually become available free to everyone in time. This one was just replaced by another, so now it’s 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!
Beautiful Bougainvillea Blooms – Buckeye, AZ – Fujifilm X-T30 – Pro Neg Recipe
This Pro Neg Film Simulation Recipe is compatible with the Fujifilm X-T3 & X-T30, plus all X-Trans III cameras, which are the X-Pro2, X100F, X-E3, X-T2, X-T20, and X-H1. For newer cameras, you’ll have to decide on a Grain size (Small or Large), set Color Chrome FX Blue to Off, and Clarity to 0. This Recipe is also compatible with the GFX100; it can be used on “older” GFX models (50R and 50S), but will render slightly differently (try it anyway).
Film Simulation: PRO Neg. Hi Dynamic Range: DR400 Grain Effect: Weak Color Chrome Effect: Off/NA White Balance: 9100K, -7 Red & +7 Blue Highlight: +1 Shadow: +1 Color: +1 Sharpness: -1 High ISO NR: -4 ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs captured using this Pro Neg Film Simulation Recipe on my Fujifilm X-T30:
Empty Schoolyard – Buckeye, AZ – Fujifilm X-T30
Backyard Wall View – Buckeye, AZ – Fujifilm X-T30
Hidden Triangle – Buckeye, AZ – Fujifilm X-T30
Gila River Hat – Buckeye, AZ – Fujifilm X-T30
Tree by Field 4 – Buckeye, AZ – Fujifilm X-T30
Bougainvillea Petals – Buckeye, AZ – Fujifilm X-T30
Little Cloud Between the Trees – Buckeye, AZ – Fujifilm X-T30
Twin Palms – Buckeye, AZ – Fujifilm X-T30
Palm Behind Bougainvillea Blossoms – Buckeye, AZ – Fujifilm X-T30
Suburban Colors – Buckeye, AZ – Fujifilm X-T30
Bougainvillea in the Sky – Buckeye, AZ – Fujifilm X-T30
Basketball Hoop at Dusk – Buckeye, AZ – Fujifilm X-T30
Hoop & Tree – Buckeye, AZ – Fujifilm X-T30
Court Cycle – Buckeye, AZ – Fujifilm X-T30
Dusk Saguaro – Buckeye, AZ – Fujifilm X-T30
One Fallen, One Standing – Buckeye, AZ – Fujifilm X-T30
Window Reflection – Buckeye, AZ – Fujifilm X-T30
Yellow Trumpet – Buckeye, AZ – Fujifilm X-T30
Backyard Rose Blossom – Buckeye, AZ – Fujifilm X-T30
Fujifilm has already produced and delivered more copies of the X100VI than any other previous X100-series model. There are more X100VI’s in the hands of photographers right now than X100V, or X100F, or X100T, etc.. That’s truly amazing, since the X100VI was released only about a year-and-a-half ago, while the other models had production runs closer to four years.
The reason why Fujifilm has made so many copies of this camera is because of the unprecedented historic demand for it. By far, there were more preorders for the X100VI than any other camera by any manufacturer ever. No camera in the history of cameras has had so much interest at announcement. And, if the demand doesn’t relent anytime soon, it could possibly lead to the X100VI becoming the most-sold camera of all time (not including cellphones), which would be a highly improbable achievement. I don’t think that will happen—not even close—because surely the demand isn’t that strong. At some point, it will certainly back off to a more “normal” level, right?
There are still people lamenting that they can’t get their hands on a Fujifilm X100VI. They’d like to buy one, but can’t find it in stock anywhere. As soon as a camera store lists it in-stock, which doesn’t happen often, within hours or even minutes, they’re sold out again. So it might be easy to believe that the demand hasn’t relented. But that’s mostly just in America, and it seems to be partially related to the tariffs. Worldwide, the X100VI has been becoming easier and easier to find. It’s still out of stock at a lot of places, but overall, it’s not terribly hard to get one if you want one. People are reporting walking into their local camera store and finding a few copies on the shelf. So internationally—and depending on where exactly—the situation is a bit better than here at home.
What makes me think that supply and demand are equalizing is that there are used copies available for a reasonable price, like at B&H. Scalping continues on sites like eBay, but it’s not nearly as bad as it was last year. Things are slowly returning to normal. And this is where Fujifilm needs to be very, very careful, a situation that I’ve been predicting for more than a year.
With the X100VI, Fujifilm doubled the production numbers of the X100V from the get-go, from 7,500 units per month to 15,000. At one point last year they said that they wanted to double production again, making it four times that of the X100V, but later stated that that simply wasn’t possible. My best guess is that it is somewhere around three times more than the X100V right now, which would put it at about 22,000 copies per month, or about 265,000 units per year (these numbers are just guesses). The historically “normal” demand for an X100-series camera is 90,000 per year.
At some point, demand for the X100VI will drop. Once the majority of those who want one get one, Fujifilm will sell a lot fewer of them. If the market gets oversaturated, the value will decrease, and Fujifilm will be forced to reduce the price. Those selling them used will have to drop their price, too. This is a situation that Fujifilm really wants to avoid, as it would reduce brand strength. It would be a Lean Production failure if Fujifilm produced more X100VI’s than there are customers wanting to buy them. Fujifilm must proceed with caution.
The mistake of overproduction would be very easy. Since it takes many months from securing parts and scheduling manufacturing to delivering an assembled camera to a store, the demand must be forecasted in advance, probably at least six months. If Fujifilm is making 22,000 units per month, and the total international demand right now is 130,000, in six months Fujifilm would have overproduced 2,000 copies. That’s probably not a big deal, as they’ll surely sell those cameras; however, if they’ve still got 132,000 cameras in the process somewhere, to be manufactured over the following six months, that’s a massive and possibly devastating problem. That’s something that could sink the whole camera division.
I’m just little ol’ me sitting in my office trying to stay cool from the brutal Arizona sun, but even I can see early signs that supply and demand are equalling out. That should be a huge caution flag for Fujifilm. They should strongly consider scaling back production. Perhaps drop it back to 15,000 units monthly ASAP, and work towards “only” 7,500 units monthly by 12 months from now. Obviously Fujifilm wants to capitalize on this lightning-in-a-jar situation as much as possible, and they’d love to sell a quarter-million-plus copies per year without hardly any promotion—what a dream circumstance! But they should also listen to that nagging feeling that this won’t last forever, because it won’t.
I wouldn’t doubt if the X100VI sold twice as many units as the X100V or any other prior X100-series camera by the time its production run has ended. It might even sell four times as many. At some point, though, all the people who want one will have one. Aside from that, trends change quickly. All it takes is some shift in market dynamics or some other camera to catch the attention of social media influencers for the X100VI to be yesterday’s news. Overproduction is a real problem that Fujifilm is well acquainted with and desperately wants to avoid, and no other X-series camera has had a higher risk of overproduction than the X100VI. Fujifilm should ask themselves if now is the time to scale back, because it would be very easy to overshoot this, something that they’d certainly regret doing.
Corkscrew Dilapidation – Rodanthe, NC – Fujifilm GFX100S II – Fujicolor PRO 160C Warm
Last month I found myself photographing a place long forgotten by tourists but not yet erased by time—a crumbling waterpark nestled in the shifting sands of North Carolina’s Outer Banks. The abandoned Waterfall Action Park in Rodanthe sits on both sides of Highway 12, surrounded by the haunting beauty of the barrier island landscape: sea oats swaying in the wind, dunes rolling like waves, and the ceaseless rhythm of the Atlantic just beyond the horizon. This park is a decaying relic of the past, slowly being reclaimed by time and nature. With my Fujifilm GFX100S II camera and Fujinon 80mm f/1.7 lens, I set out to capture not just the decay, but the story of a place where summer joy once echoed through salty humid air.
Waterfall Action Park opened in the late 1980s during a time when beach tourism in the Outer Banks was booming. Situated right off the main road, it became a beloved summer destination for both locals and tourists. The park featured two massive water slides, go-karts, bumper boats, miniature golf, a small pool, and even a bungee-jumping tower. There was no admission fee—just pay for the attractions you wanted to experience. It wasn’t fancy, but it was fun. For many, it was the highlight of summer trips to Hatteras Island. At least that’s what the internet says, as this was my first time to the area.
Time, tides, and hurricanes spare nothing on the Outer Banks. By 2010, the park had closed, apparently due to declining popularity. Hurricane Irene in 2011 and later Sandy in 2012 inflicted heavy damage—the slides collapsed, the buildings buckled, and nature began its slow reclamation. Without repairs or investment, the park was left to rot, and it quickly became an eerie shell of its former self. It wasn’t just closed—it had become a ghost town, surrounded by the wild beauty of Hatteras Island.
Pool Remnant – Rodanthe, NC – Fujifilm GFX100S II – Kodak Tri-X 400
While the park property is fenced, much of it is visible from the roadway—there’s no need to trespass. In several instances I used the fence as a compositional element. While the GFX100S II allows plenty of room for significant cropping, I rarely needed it, as the 80mm lens offered plenty of reach for most pictures at this location. The main challenge was the harsh late-morning light, which was not ideal, but perhaps contributed to the mood of neglect. The Film Simulation Recipes I used were Fujicolor PRO 160C Warm, Velvia Film, Superia Negative (all three of which are Film Dial Recipes), and Kodak Tri-X 400.
Places like this are part of the invisible history of the Outer Banks. Tourists come for lighthouses, kite flying, and sandy beaches. Quiet corners where the past lingers are easy to miss. The Waterfall Action Park may be gone from brochures and maps, but it lives on in the echoes of summer, as well as in the photographs that I brought home. Sometimes the soul of a place isn’t found in its peak moments, but in what’s left behind. Occasionally the most interesting pictures aren’t of epic landscapes or dramatic street scenes, but of broken waterslides on an overgrown lot in a forgotten corner of the Atlantic coast.
Fujirumors posted an article today entitled BREAKING: This Totally Unexpected Fujifilm Camera is Coming in 2025 – And I Know You Won’t Believe Me. I believe it and even expected it, because I’ve been saying it for over a year. If you regularly read Fuji X Weekly, you probably believe it, too, and might even have expected it yourself. I can’t tell you how many times I’ve predicted it over the last 14 months—probably a good handful. For some (including myself), this is not a surprise in the least.
In the third paragraph of my Fujifilm X-T50 review (published on May 16, 2024), I stated, “The X-T50 is not the successor to the X-T30 II, but a whole new (yet highly similar) line. Fujifilm plans to sell the X-T30 II alongside the X-T50, similarly to what they did with the X-T3 and X-T4 a few years back. This also means that there is a potential future successor to the X-T30 II, perhaps called the X-T30 III or X-T40; I don’t know that for sure, but I think it is a fair assumption. The main thing for you to know is that the X-T50 is not a replacement for any previous model, but a whole new camera.”
Just two months ago, in my article entitled My Hopes for the Fujifilm X-E5 (published on May 21st), I concluded with this: “My prediction, which is merely a guess and nothing more, is that an X-T30 III (an X-T30 II but with X-Processor 5) will be announced in the fall….” It looks like that guess was pretty much correct.
For those still scratching their heads, Fujirumors just leaked that the X-T30 II’s successor (which isn’t the X-T50) is coming sometime in 2025. And this is taking the Fujifilm community by surprise. Many people apparently assumed that the X-T50 was the X-T30 II’s successor, even though Fujifilm said from the get-go that it wasn’t. Fuji X Weekly might have been the only website that predicted the X-T30 III (or maybe they’ll call it X-T40, but I doubt it). I don’t have any inside information, I only took Fujifilm at their word, and followed the sequence of past releases to predict this outcome. It just made sense to me.
So what will the Fujifilm X-T30 III look like? I think it will be exactly the same as the X-T30 and X-T30 II (which was mostly just a firmware update to the X-T30), except with the X-Processor 5. In other words, it will have Nostalgic Neg. and Reala Ace, but otherwise will be pretty much identical to the X-T30 II. Some are predicting an X-T50 but with the 26mp sensor instead of 40mp, but I don’t think so, personally. There will be a price increase, because of inflation (and, in America, the tariffs). The X-T30 II was $900 in 2021, which is $1,070 today, so don’t be surprised if the X-T30 III is about $1,050-$1,100 USD for the body-only outside of America, and $1,300-$1,400 in the US due to tariffs. That’s just the new normal, I think.
The question that some will certainly ask is why does this camera need to exist. The X-M5 is the new entry-level model. The X-S20 is the hybrid PASM model underneath the X-H2/X-H2s. The X-E5 has been upgraded to a mid-tier camera. The X-T50 is also a mid-tier model. Where does the X-T30 III fit into that? I believe that it will be the lowest-tier non-PASM camera, underneath the X-T50 and X-T5. This line has been historically successful for Fujifilm. It offers a more affordable option for those who want an EVF. But… I think it will also be an indication of what’s to come very soon with the other models (aside from the X-E5 and X half): price increases (at least in America, maybe not worldwide). Other brands have already announced higher prices, and Fujifilm will be doing so soon, too, in my opinion.
Of course, I’ve been wrong about plenty of things before. For every one thing that I’ve predicted correct, I’ve predicted two or three completely incorrect. That’s the trouble with guessing the future (ask Robert Zemeckis). I cannot say with any level of certainty what the X-T30 II’s successor will be like, so my predictions should be taken with a large grain of salt. But the fact is that the X-T30 II’s successor is coming soon, and I’m not surprised by it.
Coastal Arches – Charleston, SC – Fujifilm X-S20 – Kodacolor VR 200 – Photo by Jonathan Roesch
I’ve received a lot of questions lately about the Fujifilm X-M5 and X-S20. Specifically, people want to know what generation these two cameras fall under, and which Film Simulation Recipes they should use on their model. I’m not sure why this question has been asked so much lately, but there has definitely been a noticeable spike. Let’s get right into the answer, which is simple and complicated.
Both the X-M5 and X-S20 feature the same 26-megapixel X-Trans IV sensor found in the previous-generation models, such as the X-Pro3, X100V, X-T4, and X-T30 II. So it might seem obvious: they must be fourth-generation cameras, right? Not quite. Despite the sensor, both the X-M5 and X-S20 have the new X-Processor 5, the same as the X-T5, X100VI, X-H2, and X-T50, among others. In other words, these two cameras have a foot in both the X-Trans IV and X-Trans V worlds.
While sensor generation typically defines the era of Fujifilm cameras, it’s not just about the sensor itself—it’s also about the image processor, the firmware, and the JPEG engine. The X-Processor 5 brings with it some new Film Simulations, and a slightly divergent rendering (namely, the color blue on Classic Chrome, Classic Negative, Eterna, and Eterna Bleach Bypass). Even though the sensor on the X-M5 and X-S20 are from the prior generation, the JPEG options and rendering are more in line with the latest generation.
Flowering Tree – Buckeye, AZ – Fujifilm X-S20 – Summer Sun – Photo by Jonathan Roesch
The most appropriate Film Simulation Recipes for the X-M5 and X-S20 are X-Trans V and not X-Trans IV. Recipes designed for X-Trans IV that use Classic Chrome, Classic Negative, Eterna, and Eterna Bleach Bypass might not look quite right, and will need a Color Chrome FX Blue adjustment. If the X-Trans IV Recipe (that uses one of those four Film Sims) calls for Color Chrome FX Blue set to Strong, use Weak instead; if it calls for Weak, use Off instead. With that simple adjustment, those X-Trans IV Recipes are fully compatible with the X-M5 and X-S20, as are all X-Trans IV (except those intended for the X-T3/X-T30) that aren’t based on those four Film Simulations.
While it’s a bit convoluted, the answers aren’t terribly complicated. Even though the X-M5 and X-S20 are a bit both X-Trans IV & V, they are indeed fifth-generation models. The Recipes that are most appropriate for these two cameras are the ones intended for X-Trans V cameras, like the X-H2s, X-T5, X100VI, etc., etc., but some X-Trans IV Recipes—those that don’t use Classic Chrome, Classic Negative, Eterna, and Eterna Bleach Bypass—are also fully compatible, and some are made compatible simply by reducing Color Chrome FX Blue down by one. Clear as mud? I hope this makes sense for those wondering which Recipes to use on their camera.
Mission San Xavier del Bac – Tucson, AZ – Fujifilm X-E5 – Kodak Vericolor VPS
Kodak introduced Vericolor color negative film in 1974. It was their professional emulsion for portrait, wedding, and studio photography, and was designed to work well with flashes. Vericolor was a predecessor of Portra, intended to produce pleasing skin tones. There were a handful of different versions produced in the 1970’s and 1980’s, and the line was discontinued in the late-1990’s with the introduction of Portra.
While this Film Simulation Recipe is called Kodak Vericolor VPS, which was an ISO 160 version released in 1979, I think it’s actually more similar to Vericolor II, released in 1977. I had a difficult time finding examples to model this after, and a couple of old photography magazines were my best source. This Recipe definitely has the right vibe for late-1970’s Vericolor, particularly printed pictures from the film. I found it to be quite versatile—excellent for sunny daylight, golden hour, overcast, natural light indoors, and even certain nighttime situations. This could definitely be the go-to Recipe for some of you, especially if you appreciate a late-1970’s or early ’80’s aesthetic.
Manitou & Pike’s Peak – Manitou Springs, CO – Fujifilm X-E5 – Kodak Vericolor VPS
Because this Kodak Vericolor VPS Recipe uses the Nostalgic Neg. film simulation, it is only compatible with fifth-generation X-Trans cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, and X-E5. It’s also compatible with the latest GFX models: GFX100 II, GFX100S II, and GFX100RF.
Film Simulation: Nostalgic Neg. Dynamic Range: DR400 Grain Effect: Strong, Large Color Chrome Effect: Strong Color Chrome FX Blue: Strong White Balance: 4500K, +2 Red & -5 Blue Highlight: -1 Shadow: +2 Color: +3 Sharpness: -1 High ISO NR: -4 Clarity: -2 ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs captured using this Kodak Vericolor VPS Film Simulation Recipe on a Fujifilm X-E5:
Pick Here – Manitou Springs, CO – Fujifilm X-E5
Tree Ghost – Manitou Springs, CO – Fujifilm X-E5
North Pole – Manitou Springs, CO – Fujifilm X-E5
Alleyway Photography – Manitou Springs, CO – Fujifilm X-E5
Handheld Camera – Manitou Springs, CO – Fujifilm X-E5
Fujifilm Photographer – Manitou Springs, CO – Fujifilm X-E5
Mission – Tucson, AZ – Fujifilm X-E5
Pikes Peak Inn – Manitou Springs, CO – Fujifilm X-E5
Gas Tanks – Buckeye, AZ – Fujifilm X-E5
Suburban Home – Buckeye, AZ – Fujifilm X-E5
Yellow Bougainvillea Blossoms – Buckeye, AZ – Fujifilm X-E5
Potted Leaves – Buckeye, AZ – Fujifilm X-E5
Cactus & Wall – Tucson, AZ – Fujifilm X-E5
Sunlit Leaves – Buckeye, AZ – Fujifilm X-E5
Odadiuc – Buckeye, AZ – Fujifilm X-E5
Indoor Flag – Buckeye, AZ – Fujifilm X-E5
Superguard – Waddell, AZ – Fujifilm X-E5
Moon over Sedona – Sedona, AZ – Fujifilm X-E5
In-N-Out – Surprise, AZ – Fujifilm X-E5
Neighborhood Fireworks – Buckeye, AZ – Fujifilm X-E5
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Fujifilm X-E5 in black: B&H, Nuzira Fujifilm X-E5 in silver: B&H, Nuzira
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A Kodak Moment – Antelope Island SP, UT – Fujifilm X-T20
Yesterday, the New York Times published a story entitled The Kodak Brand Gets a Second Life. In South Korea, there are over 120 Kodak Apparel stores that sell shirts, hats, sunglasses, handbags, luggage, and more with the Kodak logo on them. Kodak Apparel isn’t a part of Eastman Kodak, but a different company called Highlight Brands that simply licenses the name from Kodak. While Kodak Apparel is currently huge in South Korea, it hasn’t quite caught on worldwide… yet.
The New York Times suggests that this is a part of an international trend that’s being dubbed newtro, a combination of new and retro. Newtro describes something that is brand-new but seems to be or nods to something that’s vintage. Many Fujifilm cameras, like the X-E5, X100VI, X-T5, X-T50, X-M5, and X half, fall into this category. The X-Pro would, too, if they were currently making one.
What’s old is cool again. While antiques and vintage things are “in” right now, so are things that just seem to be retro or pay homage to that. It shouldn’t be surprising that Kodak clothes are extremely trendy in South Korea. What is surprising is that companies like Kodak and Fujifilm aren’t doing more to capitalize on the newtro movement. Yes, Fujifilm is certainly benefiting from it when it comes to camera sales, but they could be doing so much more.
People want to sport their favorite brands. As my kids would say, they want their fit to be fire. I would wear a Kodak Film shirt, and carry Kodachrome duffle bag. These things need to become available everywhere, and not just in South Korea. While Fujifilm does have a merch store, it’s pretty small with only a handful of options, and most if it isn’t newtro. Even if they have no interest in becoming an apparel brand, Fujifilm could license out their logo—especially their old emblems and trademarks—for other companies to use. I don’t know if they realize just how big this could be.
Fujifilm Drip – NYC, NY – Fujifilm X-T50 – Pacific Blues
Shirts, sweaters, jackets, and things like that are obvious options that both Kodak and Fujifilm should sell (or license to a third-party to sell). But camera accessories—straps, bags, etc.—should not be overlooked. For Kodak, why not license to a camera brand? There could be a Leica M11 Kodak collectors edition, with some red and yellow trim, for example. Or—shockingly—a Kodak edition of a Fujifilm camera, something like my faux Kodak Retina.
Fujifilm’s recommitment to retro-styled bodies comes at an opportune time. With the historic demand of the X100VI, which has already outsold any previous X100-series camera, Fujifilm is working overtime on production—this camera has been a massive hit. Just this year Fujifilm released the GFX100RF, X half, and X-E5. Newtro doesn’t just apply to physical products, though. Fujifilm’s Film Simulations (and, of course, Recipes) are a big part of the appeal. Think of them as newtro aesthetics. They’re not quite film but a big nod to the retro look that film has produced for a very long time. Fujifilm has a massive leg-up on this compared to their competition, and it is an under appreciated aspect of their success. I think, though, that we’re seeing just the tip of the iceberg, and there’s a huge untapped potential. Kodak and Fujifilm both have big opportunities, and they could learn from each other how to fully capitalize on it.
Mennonite Plow – Ronks, PA – Fujifilm GFX100S II – Nostalgic Film
I get asked fairly regularly which Film Simulation Recipes are the most popular. For me, this is a fascinating topic, but it’s definitely hard to know definitively. While I get a glimpse on social media, my best gauge is the Fuji X Weekly website statistics; specifically, which Recipe articles are viewed the most. I don’t collect any data on the Fuji X Weekly App, so that’s no help—although, if I did, it would likely offer the most accurate picture; however, it would still be impossible to know which Recipes people programmed into their Fujifilm cameras, or how often they used each. Perhaps a survey would be particularly useful, yet even it has its limitations. While certainly a flawed method, page-view website statics offer the best glimpse at which Film Simulation Recipes are the most popular, so that’s what I’m using for this article. These are simply the Top 25 most-viewed Recipes on the Fuji X Weekly website so far in 2025.
It’s been awhile since I did one of these articles—the last time was for January. There’s always some movement from month-to-month, but overall it’s pretty predictable. Taking a six-month view offers more clear picture than a 30-day snapshot. For this reason, I might wait until the end of the year before I do another.
Those Recipes with Kodak brand names in the title—Kodachrome, Portra, Gold, Tri-X, etc., etc.—are usually the most popular. Classic Chrome is the king of film simulations, as the majority of the most-viewed Recipes are based on that film simulation. Classic Negative and Reala Ace are battling for the second and third positions. Acros, Eterna, and Nostalgic Neg. are neck-in-neck-in-neck for fourth, fifth, and sixth places.
Without any further delay, below are the most popular Recipes at the halfway point of 2025!
Top 25 Most Popular Film Simulation Recipes of 2025 (so far…)
Reggie’s Portra is now the number one top Film Simulation Recipe on Fuji X Weekly! It’s always been popular, but interest in this Recipe has soared this year. Reggie Ballesteros created it 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. This is for X-Trans IV cameras; for X-Trans V, set Color Chrome FX Blue to Off.
A Classic Chrome based Recipe for X-Trans IV cameras that was the long-time most popular Film Simulation Recipe for Fujifilm cameras on this website. It’s one of my personal favorites.
Pacific Blues and Reala Ace go back-and-forth for which is the most popular Classic Negative Recipe; currently, it’s Pacific Blues. This particular version is compatible with X-Trans IV models, but there is also an X-Trans V version that’s further down the list. This is another of my personal favorite Recipes.
This version of Kodak Portra 400, which is compatible with X-Trans IV cameras, was once commonly the third most popular Film Simulation Recipe on Fuji X Weekly. While it doesn’t rank as high as it once did, it’s still quite popular.
This 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 a somewhat newish Recipe, published on October 31st. It uses the Reala Ace film simulation, which means that it is compatible with X-Trans V cameras.
It is probably unfair to include the Film Dial Recipes in this list because it is not one Recipe, but 14. When it showed up in the Top 25, I was faced with the choice to included it (as unfair as that might be) or not. The Vibrant Arizona article is technically four Recipes, so there is a precedence for its inclusion. I have no idea which of the 14 are the most used.
Like the Film Dial Recipe set, this is actually 14 Recipes and not just one. Its inclusion is a little unfair, but here it is. I have no way of knowing which of the 14 are the most used.
This Recipe uses Classic Chrome and is compatible with both X-Trans IV and X-Trans V models. Interestingly enough, Fujifilm has displayed two of my images at events over the last year, and both were created using this Classic Color Recipe.
Vintage Kodachrome, which is based on Classic Chrome, is one of the older Film Simulation Recipes on Fuji X Weekly, and is compatible with X-Trans III cameras.
I’m hesitant to write this review, because the Fujifilm X half is paradoxical. There’s a lot about it that’s conflicting. You can say this aspect of it is great for a certain group of people, but this aspect of it is not. This might be the most unique digital camera ever made, so it’s going to get a lot of attention, but also a lot of criticism. Trying to figure out who will most appreciate the X half (also called X-HF1) has been an intriguing endeavor.
To be completely transparent, it’s important for me to tell you upfront that Fujifilm sent me an X half to keep. Yea! Thank you, Fujifilm. I didn’t pay a dime for the camera. But I did have an X half preordered, so I was planning to spend money on one. I’m doing my best to not let my impressions be colored by Fujifilm’s kind generosity.
There are a few things that are unique about X-HF1. The headline is the vertically-mounted 1″ sensor. As far as I know, this is the very first camera to have a vertical sensor, all others are horizontal—that is, aside from cellphones. A lot of people—younger people especially—tend to photograph vertically on their cellphones, so it was just a matter of time before a camera would have a tall sensor. The X half is revolutionary because it’s the very first. I suspect there will be more in the future, and Fujifilm won’t be the only brand. Speaking of 1″ sensors, the name is a bit misleading. The surface area of a so-called 1″ sensor is the same as old 1″ Vidicon vacuum tube television cameras. So the name (“one inch”) has to do with the tube size of TV cameras from the ’50’s, ’60’s and ’70’s, and not the dimensions of the sensor.
The inspiration for the X half—and where the name comes from—are half-frame film cameras, like the Fujica Half, Olympus Pen, Kodak H35N, and Pentax 17. These cameras use half of a 35mm frame for each picture, orientated tall. Some medium-format cameras also are natively portrait orientated. Cameras that capture vertical photos are not new, but they are new in the digital age. Of course it has to be said that the X-HF1’s sensor isn’t half the size of a full-frame sensor, or even half the size of APS-C; no, the X half‘s “half” is not a mathematical term, but simply a nod to analog half-frame cameras. The 3:4 aspect ratio is also the same as half-frame cameras.
Like a half-frame film camera, the X half is capable of creating diptychs, which are two frames side-by-side combined into one image. You can do this easily in-camera using the Frame Advance Lever, or after-the-fact using the new X half app. It’s a heck-of-a-lot of fun, but I imagine that the novelty will wear off after awhile. While it will put a (customizable) bar in-between the two frames, I wish it had the option for a boarder around the whole image like in the examples above, which was done using a third-party app. Maybe Fujifilm will add this feature to the X half app in the future.
The X-HF1 is as minimalistic as it gets in the X-series. The menu has been simplified and streamlined, and a lot of settings have been left out. You cannot use Film Simulation Recipes with this camera, only the stock Film Simulations and Filters. Not all of the Film Sims made the cut, but most of them are there: Provia, Velvia, Astia, Classic Chrome, Reala Ace, Classic Negative, Nostalgic Negative, Eterna, Acros (include +Ye, +R & +G), and Sepia. I would rather have Eterna Bleach Bypass over Sepia, but it’s a good group overall. There are a whole bunch of Filters (called Advanced Filters on other X-series cameras), some of which are borrowed from the Instax Evo cameras. My favorites are Pop Color, Light Leak, Expired Film, and Retro. These cannot be used in addition to Film Simulations—it’s one or the other, and not both. The list of Filters is quite long, and I don’t have an interest in most of them, so I wish that you could customize which ones are available, to make it easier to find and select the ones you actually want to use.
Above: Pop Color Filter
Above: Light Leak Filter
Above: Expired Film Filter
Above: Retro Filter
Pop Color is reminiscent of Fujichrome Fortia. I’d actually like to see it graduate to Film Simulation status. Light Leak, as well as filters like Halation and Vignette, should become JPEG options on other X-series cameras, that can be added to any Film Simulation. Expired Film and Retro should be added as Advanced Filters. Of the three Expired Film options, Green and Neutral are my favorites.
The only customizations that are available are Grain, Portrait Enhancer (which I believe is just Smooth Skin Effect renamed), White Balance (but no WB Shift), and Long Exposure NR. One cool thing is that these are also applied to the Filters, and not just the Film Simulations—I’d love for that to make its way to other X-series cameras. Beyond that, the Film Simulations and Filters cannot be customized to achieve various looks, which is a real bummer for someone like me who uses Recipes extensively.
Top left: Weak / Small Grain. Top right: Strong / Large Grain. Bottom: Actual Ilford Delta P3200 film
I enjoy a little grain in my photos. It adds texture that’s been common in photography for much of its existence. The X-HF1 has faux grain, with four options: Weak/Small, Weak/Large, Strong/Small, and Strong/Large. Grain set to Weak/Small on the X half is a little more pronounced than Strong/Large is on (for example) the X100VI. I wish that there was a less strong option than Weak/Small, because it’s borderline too much; however, since there’s not, I used it almost exclusively. Strong/Large is a bit ridiculous, and is reminiscent of the grain of ultra-high ISO films like Ilford Delta P3200. If you want to achieve an Ilford Delta P3200 look, the X half isn’t far off at all when Grain is set to its maximum parameters.
Another word about Grain is that it slows the camera down, much like Clarity on other X-series cameras. I found this to be odd, and my theory is that when Grain is applied, so is Clarity (maybe -2). I tried to prove this, but couldn’t, so I might be completely wrong. I have another theory that—for Film Simulations, at least, and maybe for Filters—Color is increased as exposure is increased, and is reduced as the exposure is reduced. I also tried to prove this, but got mixed results, so I’m not certain if this is how the camera is programmed, or just a natural effect of over and under exposure.
Above: Classic Negative
The camera seems to apply a heavy-handed noise reduction, and then a heavy-handed sharpening to compensate. I would love to have some control over this, as it’s not my favorite approach. It might be necessary, though, since the X-HF1 has a Bayer sensor instead of X-Trans. One benefit of X-Trans that doesn’t get discussed enough is that it allows noise to be more easily identified and controlled; Fujifilm uses this to make it more film-grain-like, and less of a nuisance. Since this is a Bayer camera, it might require a little stronger noise reduction.
Another benefit of X-Trans is that it has more green pixels (55%, compared to 50% on Bayer), which allows for more luminosity information. This provides a little more dynamic range and high-ISO capabilities. On the X half, dynamic range is quite limited. I would say it’s roughly comparable to DR100 with Highlight and Shadow set to +0.5 on other X-series cameras. It’s fairly easy to clip highlights and/or block up shadows, and is a little like slide film in this regard. Since this camera is JPEG-only (no RAW), you have to be very careful about the exposure.
Above left: ISO 1600. Above right: ISO 4000
I found that I prefer ISO 400 and below on the X half, reminiscent of Sigma Merrill cameras, which has a similar limitation. In a pinch you can go higher, especially if the picture will only be shared to social media, but I tried my best to keep the ISO at or below ISO 400 whenever possible. Because the maximum aperture of the lens is “only” f/2.8, when the sun goes down it can be very challenging to use the camera.
The X-HF1 does have a built-in flash, albeit not a great one. It doesn’t have a hotshoe, only a coldshoe. Flash photography is, unfortunately, not ideal on this camera, which is too bad, since it has a leaf shutter. If Fujifilm someday makes a second version, I hope that it either has a proper flash or a hotshoe (or both), as this current setup is mediocre at best. I kept the flash off most of the time.
Above: Flash photography on the X half
One really cool feature is called Film Camera Mode. You select either 36, 54, or 72 shots, and you are dedicated to that mode until you’ve completed your “roll of film”—which is whatever Film Simulation you chose. I do wish that 24 was an option, as it takes awhile to finish a roll. You cannot review the photos until they’ve been “developed” in the X half app. In this mode, the X-HF1 functions similarly to point-and-shoot film cameras from the 1990’s. You have to use the Frame Advance Lever in-between shots. It’s a ton of fun, but also challenging, because you have no idea if you correctly exposed, focused, or even if you framed it well. I kept forgetting to take the lens cap off, too. My daughter coined the 72 shot roll as the 72 exposure challenge. I’d love for that to become a community-driven trend, where people post their best frames from their 72 exposure “roll” on social media, with the hashtag #72exposurechallenge.
It would be nice if you could use the various Filters in this mode, and not just the Film Simulations. ***Edit: I was on a pre-production firmware; however, after updating to the latest version, I can now use Filters in the Film Camera Mode. Yea! Sorry for the confusion.*** Another thing I’d appreciate is that whatever ISO you have selected is carried over to the Film Camera Mode. Unfortunately, you only get Auto ISO up to ISO 12800, which is totally unusable whenever it goes that high. Fortunately, your Grain and White Balance settings are carried over, so be sure to set those before starting.
Above: X half contact sheet and various frames
Once you develop your “roll” in the app, you get a contact sheet. It would be great if you could long-press on a frame, and it would give you the option of saving that frame with the sprockets, or that frame plus the one next to it (on either side, unless it’s the end of the strip), or the whole strip. Instead, you have to crop the contact sheet in order to accomplish that. But I’m a huge fan of the contact sheet in-general, it’s a really cool idea.
Overall, I enjoyed using the Film Camera Mode, but I found myself not using it as much as the regular shooting mode because you have to be in the mood for it. One of the challenges that I appreciate about the X-HF1 is finding the “right” Film Simulation or Filter, combined with the “best” White Balance, to convey the mood of the scene most appropriately. The X half is so simple that a three-year-old could use it, but to get the most out of it requires thinking a little more deeply about things that are easily taken for granted. It’s been one of the most simple yet most challenging cameras I’ve ever used—the paradox I mentioned in the opening sentence.
Fujifilm X half – Acros Film Simulation
The X half is capable of recording video, but it’s very mediocre. Someone will use it creatively just to prove the point that it can be done, but I think Fujifilm probably should have just left off video, which would have made an interesting statement. Or else, maybe do a faux 8mm thing with sprockets and light leaks and such—that would have been really cool. Food for thought for the next iteration, if there is one someday.
Who should consider buying this camera? I think there are a few obvious answers. First, the X-HF1 has a foot in both the X-series and the Instax world. For those unaware, Instax is bigger than X and GFX combined. I talked to a bunch of people—probably close to ten—who own an Instax camera yet don’t own any X-series model, and they were all highly interested in the X half. Six different people told me that it’s the only Fujifilm camera they want, aside from Instax. The X half is an obvious bridge into the X-series for these folks. Also, some people who shoot point-and-shoot film cameras but are tired of the cost of film will find this to be an intriguing option. At $25 to $50+ per roll (including development and scanning), it won’t take long for the X half to pay for itself. The X-HF1 is sort of like a digital 110 camera, and almost lomography-esque, so it’s not difficult to see the appeal. Third, digicams are all the rage right now among younger people, and this camera can be considered in that category, too.
Above: Various pictures captured with the Fujifilm X half
What about current X-series photographers? What about someone like me? The camera is a blast. It’s so much fun. But it’s a toy. It’s not a serious camera for serious photography (I’m sure someone will use it in a serious way just to prove the point that it can be). It’s great for casual snapshots. I used it extensively during nearly three weeks of travel, and it was my most-used camera during that time, even more than my Fujifilm X100VI. I have so many more pictures that I could share, this is only a small sampling. It’s so easy to always have on you, and I would rather use the X half than my iPhone, if only for the tactile experience and Fujifilm colors. If you think you’d enjoy it, it’s probably worthwhile to get. If you wonder why anyone would buy it, it’s probably not for you, and it’s easy to move on.
The biggest criticism is going to be the price. In America, the X half is a steep $850. Across the rest of the world, it’s roughly equivalent to $700 USD. Unfortunately, this was the first camera to include the new tariffs in the price (although Canon and Nikon have just implemented some price increases, and Sony will soon, too), so it’s a bit shocking. Some people will say it should be $200 or $300, and that’s highly unrealistic—just absurd and not even close to any level of reality. Some will say it should be $500, and I’d agree with that if it were pre-Covid; however, there’s been a lot of inflation since then. I believe that $650 to $700 is a fair price. $850 is a little much, but that’s largely not Fujifilm’s fault; hopefully the tariff situation will get resolved soon, and Fujifilm can drop the price to where it should be. I don’t know if that will happen, though, and if the camera sells really well at its current price, there may not be a reason to reduce it.
Above: Various diptych pictures captured with the Fujifilm X half
The last thing that I want to address is the inability to use Film Simulation Recipes with this camera. Recipes are a pretty big thing in the Fujifilm world—the brand-new X-E5 actually uses the word “Recipe” in the camera menu. I appreciate excellent straight-out-of-camera results. While I would love to be able to customize the looks more in the X half, you can still get good picture aesthetics with the limited tools available in the camera. The photography continuum has been leaning towards less editing for a few years now, and this camera is just a natural and seemingly inevitable expression of that.
There’s a lot to like about the Fujifilm X half, and a lot that can be questioned. You have to accept the camera for what it is and forgive it for not being what it’s not; otherwise, it might grind on your nerves. But, for certain, the camera is very enjoyable, and it offers a unique shooting experience not found anywhere else. If you want the X half experience, you have to have an X half. But that unique experience will not appeal to everyone, and maybe not even to most X-series photographers. I do believe this camera will be quite successful, and will bring many people into the X-series fold, mainly from groups that the camera industry has largely ignored. This will be the first X-series camera for a number of people, and someday some of those people will upgrade to a more premium model, perhaps an X-M5, X-E5, or X100VI. I think all of that is very good. It’s quite obvious to me that the Fujifilm X-HF1 will be a trendy camera, especially among younger photographers, and you’re soon going to see X half pictures all over TikTok and Instagram.
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I just got back from the B&H BILD Expo in New York City late last night. I’ve been traveling almost the entire month of June. Today is only the third day so far that I’m actually home. There’s a lot that I need to get caught up on, and I apologize for being slow to respond. If you’ve sent me an email and I haven’t yet answered back, I’ll try to do so before the end of next week.
This was my first BILD Expo. Last year I led some photowalks at the NAB Show in New York, which was held in the same building (Javits Center). While both events were large, BILD was bigger and had a larger attendance in my estimation. I don’t know how many came out, but I heard it was over 10,000! It seemed like a huge success.
Fujifilm brought me out to help with their Fujifilm X-E5 touch-and-try station; specifically, I was in charge of the Recipe podium. My purpose was to talk about Film Simulation Recipes, and how those can be used with the X-E5. It was an honor to have my photo (created with the Classic Color Recipe) printed on the top of the Classic Chrome podium. There were five podiums—each with an X-E5 on top—and a Lego display in the middle. The Legos were just as big of an attraction as the new camera, so kudos to whoever had the idea to do that.
It was so great to meet lots of you in person. I have no idea how many stopped by to say hello, but it was a large number. I shook a lot of hands. I wish I could have talked longer with each of you, but it wasn’t an ideal situation for that, unfortunately. I spoke with Omar Gonzalez, Jason Vong and Vivienne (she showed me an incredible picture that she captured of the cherry blossoms in Japan using a Fujifilm X100VI and Recipe), Cam Mackey, Jared Polin (Fro Knows), and more. I have a lot of stories that I could tell, but my favorite is stumbling across someone from Ohio who was on my photowalk in Scottsdale last year at a chicken restaurant in Manhattan.
Because I was tethered to the Recipe podium, I didn’t get a chance to see very much of the BILD Expo. Even though I was there from before the doors opened until after the doors closed, I only experienced a tiny bit of it, so I cannot say much. Omar Gonzalez and Cam Mackey both have good recaps (I’m in Cam’s video, actually). Unfortunately, I didn’t take very many photos of the event because I was so busy. Now that I’m back home, I wish that I had made a bigger effort to use my camera more.
What I can say is that the Fujifilm X-E5 got a lot of attention—there was constantly a crowd. Thousands of people gave it a try, and the feedback was mostly positive. For every “it’s too expensive” there were ten “it’s priced right” or “that’s a bargain,” which I think is because of the build quality. There’s a notable difference in how the X-E5 looks and feels compared to the X-E4. Holding the X-E5 is more like holding the X100VI. There’s no denying that the X-E5 isn’t cheap, though. Because my podium was right next to the X half station, I got a close look at the interest in that camera, which was massive. I had nearly as many questions about the X half as I did the X-E5, and at least a handful of people told me that it’s the only Fujifilm camera they have an interest in. There were a few lulls in X half crowds on Day 2, while the X-E5 station remained consistently busy on both days. I also got to see the new GFX Eterna camera in person, which was cool. I think it will be a pretty unique cinematic tool.
That’s it for BILD. My wife and I walked around New York City a few times (the photos above were captured on my Fujifilm X100VI using the Kodak Tri-X 400 Recipe). Photographically, it’s probably the best city in America, just because there are picture opportunities literally everywhere. You can’t help but be a great photographer. Just walk around with your camera and you’ll find something incredible. I would have loved to have stayed longer, but I’m also so glad to be home—it was amazing to sleep in my own bed for a change.
I’m hoping to finish my review of the Fujifilm X half in the next few days, and right after that I’ll have a writeup on the Fujifilm X-E5. I actually have an X-E5 right in front of me, but I only get to use it for a few days (I better hurry this up!). Then, next week, on Saturday, June 28th, I’ll be in Colorado Springs for a photowalk (click here to register). I hope to see you there!
In the Heritage Leather collection are six options: three colors and two sizes. The three colors are black, tan, and—my personal favorite—green. I picked the green color personally, and we called it “Fuji X Weekly Green” for obvious reasons—it even includes the Fuji X Weekly “X” logo stamped into the leather (the black and tan options do not). I’m using the Fuji X Weekly Green Heritage Straps personally on several of my Fujifilm cameras. The two sizes are 28″ and 38″, providing both a short and long option.
A refined evolution of Evergreen’s original minimalist strap (which I also use and like), the Heritage Leather strap is crafted from premium full-grain leather, oil-dyed and wax-finished for a natural look that develops a deep patina over time. The traditional split ring setup is compatible with most cameras, both vintage and new. Designed to echo the timeless look of classic rangefinder straps while adding a soft microfiber suede backing for comfort during long shoots. Lightweight and unobtrusive, this strap stays out of your way but holds up to serious use. Works with Fujifilm, Leica, Nikon, Canon, Sony, and vintage 35mm cameras—basically any camera that uses split ring connectors.
On Thursday in the early morning hours, Fujifilm announced the brand-new X-E5. I’ve been traveling in an RV up the east side of America, and just got home late last night. Preferably, I would have posted something about it on announcement day, but aside from being on the road, it was also my wife’s birthday. Because of that, I’m just now getting this typed out—I’m pretty much the last to the Fujifilm X-E5 party.
This upcoming Tuesday and Wednesday I will be at the B&H BILD Expo in New York City. A few weeks back Fujifilm invited me to be a part of their booth—specifically, to help with a “Film Simulation Station” (without any details of what that would be)—which, of course, I am honored to be a part of. Fast forward to a few days ago, just before the announcement of the X-E5, I had a conference call (while in the RV stopped in the middle of nowhere in Pennsylvania) that explained what my specific role was going to be: Fujifilm will have X-E5 cameras to touch-and-try, and I’m there to talk about Film Simulation Recipes with anyone who wants to. It’s going to be a great time, so I hope some of you can stop by. It was on that call that I first learned the camera not only has the ability to save three Recipes in the Film Simulation Dial, but that Fujifilm is using the term “Recipe” in the camera and manual.
Back in early 2017 (before I had even started Fuji X Weekly), I published two Film Simulation Recipes on a blog that I used to have prior to this one. When I showed my wife, she thought the term “Recipe” was a bit cringe, but I liked it, so I continued to use it, including when I launched Fuji X Weekly in August of 2017. Mostly by word of mouth, this website grew and grew (10 million page views two years in a row, and still growing), largely because people had an interest in my JPEG Recipes for Fujifilm cameras. Even though Fuji X Weekly began as a Fujifilm X100F journal, very quickly it became most known for Film Simulation Recipes.
In the summer of 2020, I received a message from a talented cinematographer, who had a funny conversation with Fujifilm North America that he wanted to share with me. They had loaned him an X100V for a few weeks; when he returned it, they asked for his feedback. He told them, “I really like shooting with Portra 400 and Tri-X.” They replied, “What do you mean? It’s a digital camera.” He was very surprised that Fujifilm had no idea about Fuji X Weekly, so he informed them.
Shortly after this, Fujifilm North America reached out to me. They were more curious about what I was doing than anything else. They wanted to know what a Recipe is. It was a very positive phone call, and I was thrilled to talk with someone at Fujifilm for the first time. A few emails went back-and-forth, and I was asked to write an article for them. Excitedly, I got it typed out and over to them quickly. They said it was great, and they would forward it up the chain. When it came back down, I was told that they liked my article, but they had to reject it because I had used competing brand names (like Kodak, Portra, Ilford, etc.). There wasn’t much communication after that, except that they wanted to use one of my pictures in an article. In December, Fujifilm sent me a coffee mug for Christmas.
A year later I was invited to be a guest on a Fujifilm tech webinar (did you know that Fujifilm does regular webinars?). The tech team is great. They’re all very knowledgable and helpful, and otherwise good people. They are big fans of Film Simulation Recipes, too. I enjoyed that experience. It was my last interaction with the brand until January of 2024, when Fujifilm North America called out of the blue, stating that they’d like to start working with me.
Dumbo Crowd – Brooklyn, New York City, NY – Fujifilm X-T50 – Reala Ace Recipe
Last year was epic. Fujifilm invited me to be a part of various things, including a release event for the X-T50 and GFX100S II, a creator retreat, and their annual Create With Us event. I traveled across the country from coast-to-coast, leading photowalks. Incredible! It was such an honor. I will always remember 2024 fondly.
During that time I noticed Fujifilm began to use the term “Recipe” occasionally on their website and social media accounts. A certain X-Photographer noted to me that after years of promoting Recipes with pretty much zero interest or help from Fujifilm, suddenly Recipes were “the thing” within the company. Now, in 2025, “Recipe” is an official Fujifilm feature, and the term is found within the camera menu.
Nikon beat Fujifilm to the punch when they began using the term Recipe a year ago for their JPEG settings. I’m not sure if it will catch on within that community or not (it will be interesting to see), but it is noteworthy that they are trying to capitalize on it. This whole Recipe concept—whether by name or not—is certainly growing and spreading across photography. I think we will see it more and more in the coming years.
I didn’t invent the word “recipe” and I certainly wasn’t the first to use it within the photo world. Apparently, user-created Capture One presets have been called recipes for some time now (I became aware of this last year, I had no idea). Specific darkroom chemicals and development times have been called recipes for many decades. I discovered that a couple people had used the word when describing their Fujifilm JPEG settings before I ever published my first Film Simulation Recipe. I’m not sure if I coined the term Recipe for JPEG camera setting combinations (I might have, but it doesn’t matter if I did or didn’t). What is certain is that if not for this website and the wonderful community that formed around using Recipes (which is the best community in all of photography, IMHO), the word would not be found in the Fujifilm X-E5 today (and it probably wouldn’t be used by Nikon, either). I’m still in disbelief at where we’re at today, I never imagined it would go this far. Some people will read that and think I’m bragging and taking too much credit, but believe me that I’m writing this in all humbleness.
I won’t get to see the Fujifilm X-E5 until Tuesday morning, about two hours before the BILD Expo doors open. Fujifilm tried to get me a loaner camera a little earlier, but due to travel, it just didn’t work out (it’s not their fault—they really did try). Right now I know as much about the X-E5 as the next person (maybe less), so I don’t have any real insights. I’m going to spend this weekend learning more so that I don’t sound completely ignorant at BILD. Once I’ve had a chance to touch it, and maybe even capture a couple of pictures (hopefully I’ll get an opportunity to do that), I’ll be able to speak more about it, so look for a more thorough article in a couple weeks.
What I can say is that the Fujifilm X-E5 is basically an interchangeable-lens X100VI. It’s not exactly that, but it’s as close as you’re going to get. There are advantages and disadvantages to both. The X100VI has an optical viewfinder, shutter/ISO combo dial, leaf shutter, flash, built-in ND-filter, and can be weather-sealed; the X-E5 has a Film Dial, selfie-capable LCD, and you can change lenses. Otherwise, the two cameras are a lot alike. For those that have asked for an interchangeable-lens X100VI, here it is! You are unlikely to get closer to that wish than this camera.
White Bridge across Pond – Charleston, SC – Fujifilm X-E4 – Pacific Blues Recipe
As a more premium iteration of the X-E line, it obviously has seen a price increase. Add to that inflation and tariffs, and you get a $1,700 price tag. That seems like a lot of money (because it is), but remember 1) every major camera maker has indicated that they will be raising their prices soon (Fujifilm is just the first, beginning with the X half and X-E5), and 2) cameras used to be a lot more expensive—for example, the Canon A-1 was $625 in 1978, which is over $3,000 when adjusted for inflation; the Pentax K-5 was $1,750 in 2010, which is nearly $2,600 in today’s money. The X-E1 was $1,000 in 2012, which is $1,400 today when accounting for inflation—add tariffs on top of that, and it’s the same cost as the X-E5. So maybe the price isn’t so unreasonable after all. People will say, “But I can get an X-T5 for the same money!” Or, “For just a few hundred dollars more, I can get [insert camera name here]!” That’s true, for now. Either the prices of those models will increase shortly, or something will happen with the tariffs, and Fujifilm will be able to reduce the price of the X-E5 to what it was intended to be. Those who wanted 40mp and IBIS and the camera to be more premium but didn’t want the cost to go up were not being realistic. Even the X-E4, when accounting for inflation would be over $1,000 today.
The final thing I’ll say about the Fujifilm X-E5 is that, with C1-C7, plus the “bonus 8th Recipe” that you can program into the IQ Menu, plus the three Recipe slots on the Film Dial, it’s possible to have up to 11 Film Simulation Recipes loaded into the camera at any given time. You can only name seven of them, so you’ll have to remember what the other four are. If you use one or both of my “universal” Recipes (here and here), that adds even more flexibility. Awesome! We’ll see if Fujifilm brings that functionality to the X-T50 and X-M5 via a firmware update—I hope they do.
If you are in New York City on Tuesday and Wednesday, be sure to stop by the Fujifilm booth and touch-and-try the X-E5. I’d love to chat Recipes with you, so be sure to look for me. If you are in Colorado Springs on June 28th, I’ll be leading a photowalk with Mike’s Camera (click here for the details and to register); while I won’t have an X-E5 with me, I’d still love to chat with you about it, or any other Fujifilm or photography related topics. I hope to see you soon!
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
Fujifilm X-E5 in black: B&H, Nuzira Fujifilm X-E5 in silver: B&H, Nuzira
It has been quiet on this website over the last handful of days. I’m traveling up the east coast of America in an RV right now with my wife and four kids. We rented a motorhome, and are driving it from Miami to Boston. The trip is a little over halfway complete. We’ve seen so much, and had wonderful experiences, even though it has rained every single day. It’s been a great opportunity to try out the Fujifilm X half, and I’ll have a full review soon, which you can expect probably next week. Even though I’ve been on the road, I’ve still be busy behind-the-scenes with all sorts of projects.
First up is a surprise that I’ll announce in six days, on June 14th. It’s something that has been in the works for quite some time, and I’m really excited to share. I’m not going to say what it is just yet, so this paragraph stands as the first teaser. I’ll have the full reveal this coming Saturday—stay tuned!
Right after that, on June 17th and 18th, I’ll be in New York City for the B&H BILD Expo. Fujifilm is flying me out to help man their booth, which is where you’ll find me. If you go, be sure to stop by and say hi, as I’d love to meet you in person. The event is free (you do have to register), so if you are anywhere near the New York City area, be sure to join in on the fun.
223 – Savannah, GA – Fujifilm X-HF1
On Saturday, June 28th, I will be leading a photowalk in Manitou Springs, Colorado, with Mike’s Camera and Fujifilm. We will meet at Mike’s Camera in Colorado Springs at 11:30 AM for a meet-and-greet, and to help with gear questions and setup Recipes. Around 12:00 noon we’ll caravan to Manitou Springs, and regroup at the Pikes Peak Library District. We’ll explore the scenic and quirky mountain town of Manitou Springs with our cameras for about two hours, before departing back to Mike’s Camera, where we’ll finish the event with some light refreshments. The cost is $25 per person; however, at the end of the event, each registrant will receive a $25 off coupon for use at Mike’s Camera, which basically makes the photowalk free. You must register (click here), and spaces are limited, so be sure to sign up today. If you live in Colorado or will be visiting that weekend, I hope you can come out for what will surely be an epic photowalk!
Mike’s Camera is doing so much for the photography community near their various stores. Not everyone lives in a place that has a store like this; those that do are quite lucky, so be sure to take full advantage of it: attend a class or join a photowalk. It’s an incredible honor to be a part of this community-building with Mike’s Camera, even though I don’t live anywhere near one of their locations.
There are a number of other exciting things in the works—these are just the ones coming up within the next three weeks. Hopefully soon I’ll be able to share even more news. There’s a ton to look forward to, including a camera announcement on the 12th. It will be great to see some of you in New York City and Colorado Springs this month!
I got a surprise package in the mail from Fujifilm: the brand-new X half! I will write a review of the camera in a few weeks probably—I haven’t had it nearly long enough to provide any proper insights. It’s a fun little camera, with some positive and negative aspects. We’ll talk about all of that at some point in the future. Today I want to write about how Fujifilm could implement some features of this camera into future X-series models.
Specifically, I want to discuss a few of the new Filters. Filters are not Film Simulations (although some of them are based on Provia); on all other X-series models, these are known as Advanced Filters. The X half has the usual array: Toy Camera, Miniature Effect, Pop Color, High-Key, Low-Key, Dynamic Tone, Soft Focus, and Partial Color. There are also some new ones, that apparently are borrowed from the Instax Evo line: Canvas, Retro, Vignette, Blur, Fisheye, Color Shift, Mirror, Double Exposure, Light Leak, Halation, and Expired Film. Some of these are uninteresting, and probably should have been left off the camera so that one could navigate the menu faster. But some of these are great, and should be included in future X-series models—just maybe not in the same way.
My favorite is Light Leak. With this filter, the camera puts a random faux light leak on your images. You don’t know what you’re going to get, and that serendipity can be thrilling, especially when it just really works with the image. I would love Light Leak to become a JPEG option (like Color Chrome Effect and Grain) on all X-series cameras moving forward. You should have three choices: All (where every picture gets a light leak), Random (where some pictures get it, but most don’t), or Off (for those who don’t want it at all). This would be such a fun thing for Fujifilm to add, and it seems like it wouldn’t be very difficult to do.
Film Leak Filter — Fujifilm X half
Next up is Expired Film, which has three options: Green, Red, and Neutral. This should be a new Advanced Filter on future X-series cameras. On the X half, your Grain settings get applied to the Filters (at least some of them; I haven’t tested them all yet), and not just the Film Simulations; however, on the X-series, you can’t apply Grain to the Advanced Filters. So this is actually two suggestions for Fujifilm: add Expired Film to Advanced Filters, and allow Grain to be selected for Advanced Filters.
Expired Film (Green) Filter — Fujifilm X half diptych
Third is Halation, which puts a red glow around bright highlights. This Filter should be a JPEG option that can be applied to any Film Simulation. I suggest three choices: Off, Weak, Strong. I would love to pair this effect with my CineStill 800T Recipe to more accurately mimic the film. The X half is not necessarily a great option for nighttime photography, so it’s almost a waste on this camera, but I definitely see potential for this effect on other X-series models.
Halation Filter — Fujifilm X half
I haven’t used Retro yet, but I’m sure it would be fine to join the Advanced Filter club. Vignette should probably be added as a JPEG option (like Color Chrome Effect and Grain). In my opinion, Fujifilm should graduate Pop Color to Film Simulation, and call it Fortia. In-camera diptychs are just a ton of fun, but I don’t see that coming to other cameras. The Film Camera Mode is pretty cool, and I’d like to see something similar be included in the next X-Pro or X100-series model (although maybe implemented slightly differently). The X half has plenty of unique features and functions, which is what makes it an interesting camera. In my opinion, some of these need to find their way into other models, and not remain solely on the X half.
Anyone who has ever used a Fujifilm X or GFX camera has used Film Simulations. No mater if you are a JPEG photographer or a strict RAW shooter, you use at least one Film Simulations. There’s no getting around it.
Those who claim “I don’t use Film Simulations” on their Fujifilm cameras are not being honest because it’s nearly impossible to disable them (we’ll get into that in a moment). What they are really stating is, “Film Simulations are for those JPEG people; I shoot RAW, so they don’t apply to me.” But, silly goose: they apply to the RAW photographer just as much as to those who shoot straight-out-of-camera. In some cases this may simply be ignorance, not realizing that Provia—the “standard” option—is one of the 20 Film Sims; however, I believe it can also be explained by arrogance: “Film Simulations are for JPEGs, and Real Photographers™ don’t shoot JPEGs.”
Interestingly enough, the most popular Film Simulation by far among strict RAW photographers is Provia, while the most popular Film Simulation by far among those who use Film Simulation Recipes is Classic Chrome. The Provia Film Simulation is intended to be broadly appealing, especially to those without a background in film photography. Classic Chrome is intended to appeal to those who want a film look. For those who use Recipes, Provia isn’t even one of the Top 5 most popular.
There are only two ways to disable the Film Simulations. The easiest and most obvious is to use the Advanced Filters, which, when activated, are in lieu of Film Simulations (although some of those are based on Provia); however, I don’t think the people who loathe Film Sims are using the Advanced Filter options. The second requires a camera with an OVF. Disable the EVF and turn off image playback. Only use the OVF. Then, in Lightroom, change the base color profile to your own or Lightroom’s neutral base. In that way, you never have to look at a Film Simulation.
The problem with saying “I don’t use Film Simulations” is that each time you look at the EVF or review on the LCD the photo you just captured, you are seeing it with a Film Simulation applied, most likely Provia. You are seeing the world through the lens of that Film Sim each time you use your camera. You may or may not use Lightroom’s or Capture One’s version of a particular Film Simulation when you edit your RAW photos (most probably do), but at the time of capture, you are absolutely using a Film Simulation.
Film Simulations are half the fun of Fujifilm cameras. Those who use Recipes already know this. My suspicion is that those who only ever use Provia haven’t tried the other options, or maybe only briefly did when their camera was brand-new before quickly dismissing them. In other words, they may not know what they’re missing. It’s quite possible that they’d like their cameras even more if they explored this feature.
Worn Out – Buckeye, AZ – Fujifilm X100VI – Classic Chrome – Kodak Portra 400 v2
My suggestion, if you are a strict RAW photographer who would never be caught dead shooting JPEGs, is to try the other Film Simulations. You might find one that better matches your vision more than Provia, which might help you to better visualize the final result at the time of capture. It can be a useful tool; you might find it to be less of a gimmick than you thought it was. Then, hopefully, we can move beyond the “I don’t use Film Simulations” nonsense, which is untrue. If you use a Fujifilm camera, you use Film Simulations. Period. Maybe you only use one, but you still use them.
As for the rest of us who find Film Simulations to be one of the defining features of our cameras, it’s ok to celebrate that. There’s no need to feel “less than” because some jerk talks down to you. If that person found what works best for him or her, that’s wonderful; if you found what works best for you, that’s equally as wonderful. There’s no right or wrong way to do photography, or one way that is superior. What I can say after meeting hundreds of you: these people might be common on the internet, but they are rare in real life. Most people are kind, friendly, and accepting. And, as it turns out, we have more in common than we thought, including that we all use Film Simulations.
In 1978, Pentax surprised the photographic world with the Auto 110, a tiny interchangeable-lens SLR that used 110 film cartridges. It was the smallest ILC ever made. For only $249, you got the body, a 24mm f/2.8 lens, a case, and a strap. Pentax discontinued the Auto 110 in 1986.
The concept of this camera was portability and simplicity. It was the smallest and lightest SLR ever made—probably the only one that’s pocketable. It was one of the most simple SLRs to operate. In order to accomplish these goals, Pentax built it around the 110 film format, which was considered subpar and only for amateurs. And that was the paradox: interchangeable-lens SLRs were for enthusiasts and pros, while 110 film was not.
Serious photographers would never, ever use 110 film. The camera was fully auto except for focus; at the time, anything auto was largely considered for novices, as “real photographers” used full manual. Interchangeable-lens SLR cameras were the standard for hobbyists and professionals. The Pentax Auto 110 occupied a weird space of being too robust and expensive for the uninitiated, yet too lackluster for anyone remotely serious. Who would buy it? While plenty of photographers scoffed at the Pentax Auto 110, it sold fairly well, and Pentax continued to make it for eight years—a pretty long run. So how did Pentax pull it off? Why was the camera not a flop?
There is a market for compact, unique, fun, less-serious cameras. The Pentax Auto 110 was able to get the most out of the small film format, delivering image quality that was plenty good enough for everyday moments. No, the pictures weren’t going to grace the cover of magazines or hang on museum walls, but they could be placed into photo albums, or in an 8″x10″ frame and hung in the hallway. It was so small and lightweight that the camera didn’t get in the way, and could be easily carried everywhere. It was simple enough to operate that most anyone could do it, as the complications of larger SLRs were removed. At the very least, it was a conversation starter (still is).
The Auto 110 was more affordable than other SLRs, at only $249. The Canon A-1, released the same year, was $625 (with a 50mm lens). Pentax released the iconic K1000 two years prior—in 1976—with an MSRP of $299 (with a 50mm lens), so for just $50 more one could get a much more respectable camera. It’s pretty interestingly if you adjust these numbers for inflation: $249 in 1978 is $1,230 today, $299 is $1,477, and $625 is $3,087! None of these cameras were cheap, not even the Auto 110.
Which brings me to what I want to discuss today, and that’s the cost of the Fujifilm X half. Unless something unexpected happens, this will be the last post about the new camera until after I get back from the B&H BILD Expo next month, so if you are tired of hearing about it, just bear with me a moment—I promise that we’ll get to other things. Let’s dive in!
Probably the biggest criticism of the X half is the price. $850 seems like a lot of money, because it is. The camera is a little expensive. I’ve seen plenty of people say that if it was $400 or $500, that would be the right cost. If it was 2015, I might agree, but there’s been some significant inflation since then. $500 in 2015 is $680 today, which is what I estimate would be a fair price for this camera (I said $700, but close enough). The reality is that things are expensive in 2025. And if you consider that the X half is probably the first to be adjusted for the tariffs, I think it’s more of a foreshadowing of what’s to come across the entire camera market in the coming months.
Yet the X half is still much cheaper—$380 cheaper—than the Pentax Auto 110 was in 1978, accounting for inflation. I knew the late-1970’s were rough economically, but I didn’t realize just how expensive things were. While there is plenty that’s divergent, I see some parallels between the Auto 110 and the X half, namely portability, simplicity, and casual fun. If the X half was transported back in time to 1978, it would sell for $172, which would have been considered a good bargain for the time; however, in 2025, $850 is a lot of money for what it is. Even as prices seem to skyrocket, it’s still much better than it was in the late-1970’s.
So where does that leave us? I think it’s good to have a healthy historical perspective, but that doesn’t help the wallet feel any less empty. I don’t know the future, but I think it’s unlikely that the tariffs are fully settled, and as things fall into place over the coming months, the opportunity to lower the price is a strong possibility. If the camera sells really well, and the backorder list is long, even if Fujifilm could drop the price, they would be silly to do so (but who knows, maybe they will). I don’t see the historic X100VI demand, but all indications are that preorder sales have been strong. I believe that the camera will do quite well for Fujifilm. Time will tell, though.
If you can accept the X half for what it is, and forgive it for not being what it’s not, it could be a really fun camera for capturing everyday moments. It’s not a serious camera for serious photography, yet it is priced nearly as if it is—just like the Pentax Auto 110 was. If you think you’d enjoy it, then consider grabbing one at some point; if not, it’s very easy to pass, and consider a more advanced model instead—you can get a Fujifilm X-T30 II with a lens today for less than a Pentax K1000 with a lens cost in the late-1970’s, adjusting for inflation. There are plenty of options for those that want an enthusiast or pro camera. The X half is one of a kind—the most unique digital camera ever made—and as such, it’s not going to be for everyone, and that’s ok.
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
One of the disappointing aspects of the upcoming Fujifilm X half, which was just announced a couple days ago, is the video capabilities. Instead of allowing 9:16 1080p, the camera produces a 3:4 1080p video, which is less than HD once cropped to 9:16 for TikTok, Reels, and Shorts. It could have been an appealing feature for social media content creators, but the implementation fell short for that purpose.
One easy fix for this is to simply allow 9:16 1080p via a firmware update by taking full use of the sensor height. I don’t think that would be an especially difficult firmware to implement (could even be released by the time the camera is shipped), and would make the X half much more useful for video; however, one issue is still the mic. The built-in mic is so-so (as built-in mics typically are), and there is no option for an external mic. So either you deal with the quality of the built-in microphone, or you record the audio separately and sync it in software.
Another solution, which would be harder for Fujifilm to do but would better match the camera’s analog concept (and likely would excite some people), is to make an 8mm mode. Fujifilm could either make a lofi 4:3 crop from the 3:4 readout, or they could make you rotate the camera 90º to take full advantage of the resolution. I think either way would be acceptable, or even better is to offer the choice. In this mode, the camera would add sprockets to the edge, and simulate 8mm video camera aesthetics. Also in this mode, no sound is recorded. Clips created in this mode would look similar to the YouTube video below:
This would be a much more difficult firmware to create, but in-camera 8mm simulation would definitely be welcomed by some, and turn a disappointing feature into something that might actually get used. It would be viewed positively for the most part, I think, by those who purchase the camera. It’s doubtful that such a firmware could be made ready before the camera ships, but it could be a cool update for later in the summer. Or, should Fujifilm not want to create such a firmware update, if a successor eventually comes someday in the future, this is something to strongly consider for that camera. I do think there would be interest in an 8mm-like video feature, and the X half seems like an excellent candidate for it.
Also, the Evergreen + Fuji X Weekly case for the Fujifilm X100-series cameras is (and has been) out of stock on Amazon and directly from Evergreen Cases; however, it is still in stock at B&H, for those who might be interested.
