Fuji X Weekly blog

10 Fujifilm Recipes for a 1970’s Aesthetic

Posted on by Ritchie Roesch

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

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

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

Kodachrome II

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

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

Vintage Kodacolor

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

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

Old Kodak

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

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

Old Ektachrome

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

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

GAF 500

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

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

Nostalgic Americana

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

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

Kodak Vericolor VPS

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

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

1976 Kodak

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

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

1970’s Summer

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

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

1971 Kodak

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

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

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

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

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

Posted on by Ritchie Roesch

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

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

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

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

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

1920’s

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

1930’s

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

1940’s

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

1950’s

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

1960’s

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

1970’s

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

1980’s

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

1990’s

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

2000’s

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

2010’s

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

2020’s

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

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

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

Film Simulation Dial — Your New Best Friend?

Posted on by Ritchie Roesch

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

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

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

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

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

Fujifilm Found in Unexpected Places

Posted on by Ritchie Roesch

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

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

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

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

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

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

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

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

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

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

Posted on by Ritchie Roesch

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Cinematic, Atmospheric Photographs — Why Fujifilm is so popular right now

Posted on by Ritchie Roesch

White Bridge across Pond – Charleston, SC – Fujifilm X-E4 & Fujinon 27mm f/2.8 – Pacific Blues Recipe

PetaPixel published an interesting article today entitled The Enduring Desirability of the Fujifilm X-Pro by Jaron Schneider. In the post, Jaron shares that Vogue France published a snippet of an interview with Jisoo from the very popular K-Pop group Blackpink, who discusses the Fujifilm X-Pro3.

Jisoo states, “I bought this camera about three years ago. And the photos came out with a really cinematic, atmospheric look. And the day right after I bought this, the members and I had a magazine photo shoot. So I took photos of all the members that day. Rosé also liked this camera so much that she said, ‘oh, Unni, can I buy this, too?’ Of course! So we have this as our couple camera.”

Rock ‘n’ Roll Guitar – White House, TN – Fujifilm X-T5 & Fujinon 56mm f/1.2 – Classic Amber Recipe

Jaron goes on to discuss the X-Pro3 and the importance and influence of the X-Pro line. I want to go a completely different direction. What Jisoo, Rosé, and the rest of Blackpink liked about the camera was (very specifically) the cinematic, atmospheric look of the photographs. Presumably, she’s talking about camera-made JPEGs—probably unedited (or lightly edited) straight-out-of-camera images. I have no idea if the pictures in question were captured with factory-default settings, or if Jisoo and Rosé are using Film Simulation Recipes. It would be such an honor to find out that they are using some of my Recipes!

The “enduring desirability” of the X-Pro3 and all other Fujifilm cameras is partially the classic body design, which is oftentimes unique among all current camera brands; it’s also partially—and just as importantly—the aesthetic quality of the pictures that these cameras produce. There’s something special about the camera-made JPEGs that’s highly desirable—the color and tonal nuance of Fujifilm’s Film Simulations give the images a finished, film-like quality without post-processing. That’s a big reason why Fujifilm cameras are so popular right now.

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

You might say, “So what? Just because some K-Pop singer likes a discontinued camera, that doesn’t mean anything.” I disagree. The influence will be noticeable. I suspect that this will cause not only a spike in sales of used X-Pro3 bodies, but also Fujifilm products in-general, including Fujinon pancake lenses, since the 27mm f/2.8 is seen on the camera in the interview. Vogue France has nearly 11 million followers on Instagram. Blackpink has nearly 60 million. Jisoo and Rosé have over 80 million each. If even just a tiny fraction of their following is influenced to buy a Fujifilm camera, it will be a lot of cameras. Don’t forget, it was two South Korean television shows that helped make Instax popular.

Fujifilm could help themselves capitalize on this. They should share the interview as much as possible on their channels. In the past they have used Mr. Bean in their advertising, so why not Blackpink? Most obviously, they should fast track the next X-Pro model. It’s really too bad there are not brand-new X-Pro units to buy right now. The timing of all this could have been much better if Fujifilm had something for Jisoo fans to buy. Still, I think there will be a notable increase in interest in Fujifilm cameras because of this interview. Fans of the group will want to achieve that same cinematic, atmospheric picture quality in their own photos. And, of course, with Film Simulations and especially Film Simulation Recipes, it’s very easy to do—not just with the X-Pro3, but with any Fujifilm model.

3 Forgotten Fujifilm Cameras Worth Remembering

Posted on by Ritchie Roesch

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

Fujifilm XF1

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

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

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

Fujifilm XQ1

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

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

Fujifilm X-M1

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

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

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

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

Posted on by Ritchie Roesch

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

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

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

Fujicolor Super HG

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

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

Fujicolor NPS 160 Pulled

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

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

Timeless Negative

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

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

SantaColor

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

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

Ferrania Solaris FG 400

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

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

CineStill 400D v1

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

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

Thommy’s Ektachrome

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

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

Kodak Vision3 250D v2

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

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

Vintage Color

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

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

1960 Chrome

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

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

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AI is Helpful and Harmful to Photography

Posted on by Ritchie Roesch

I watched a Casey Neistat video yesterday about AI, and it made me wonder how this technology will be helpful and harmful for photography. AI is not going away. Photography isn’t going away, either—at least not anytime soon. What kind of impact will AI have on it? How do we move forward?

Let’s start with the harmful. Below are some quick thoughts on why AI is bad for photography:

Devaluation of human craft. AI images lack human story, skill, and effort, yet still compete with actual photos, diminishing appreciation for what is real. Art requires human effort; fake art is faux-art.
Job displacement. Photographers, photo editors, and even models will—and have already begun to—lose work as AI tools and generative systems become cheaper alternatives to paying people to create real pictures.
Authenticity issues. AI blurs the line between real and artificial, contributing to a distrust in images. Oftentimes, our first thought is: is this AI?
Loss of style. As computers take over what once was individual choices, everyone’s photos will start to look alike. There will be fewer and fewer new aesthetics.
Ethical & copyright concerns. AI has been trained on real works by real people without their consent or compensation. Cases currently being hashed out in courts are likely to determine that companies illegally trained their AI models, but the damage has already been done, and the little guys—that’s you and me—will not get even a penny for it, while Disney and other large companies will get large settlements.
Fundamentals skipped. When cameras and software can do everything for you, technical skills and creativity will become less important and less prevalent.
Cultural & artistic dilution. Photography’s value as a historical and artistic medium will erode when infinite machine-created images overshadow real human moments. AI will increase the total number of consumable images available by leaps and bounds, and non-AI images will be more easily lost in the massive pile of AI slop.
Energy consumption. AI takes a lot of power and resources. By 2030, it’s expected that up to 9% of all electricity generated in the U.S. will go to power AI. That’s shocking!

Now, let’s look at the positive. Below are some quick thoughts on why AI is good for photography:

Powerful tools. AI can be used to remove distractions by handling tedious tasks, freeing photographers to focus on other things. A very smart friend of mine told me once, “I’m not afraid of losing my job to AI; I’m afraid of losing my job to someone who’s better at AI than I am.”
More proficiency. AI can help you do more. What once took a team of people can be done with just one or two.
Accessibility. Photography has never been more approachable for beginners, those less experienced, those without expensive gear, and those lacking technical knowledge. And it’s only going to get easier and easier. Literally, anyone and everyone can be (and is already) a photographer.
Authenticity revolution. As AI images and AI altered photographs become more and more common, the natural response will be a yearning for what’s real. Authenticity will become even more valuable. Unedited digital photos and film photography have been gaining popularity, a trend that will continue to grow and grow as a pushback against AI.

My view is that AI is largely bad, but it can be good. It certainly can’t be ignored. So how do we navigate such treacherous waters? I don’t use AI often, but I use it sometimes. Like with most things, moderation is key. Use AI wisely, and not for everything. Let me share some recent examples of how I used AI.

The most obvious is the image at the top, which isn’t particularly good. It illustrates the topic of this article well enough, though. I was able to generate it in a few seconds with just a few words typed out. A few months back I used AI to animate a small section of my YouTube video to help tell a story. Those are pedestrian uses of the technology, and not anything to get excited over.

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

Where it really came in handy for me is back at the start of summer. I found a deal on an RV rental. This particular unit needed to be relocated from Miami to Boston, and it needed to get there in two weeks. Anyone willing to do it would get 75% off the rental cost. Driving up the East Coast in an RV is something that my wife and I had talked about doing for a few years, but it just wasn’t practical. Suddenly, this discount was available and we happened to have a hole in our calendar, so it was like fate. Even the airline tickets were surprisingly affordable to Miami and from Boston, especially considering that it was a last-minute purchase. The only problem is that we barely had time to pack, let alone plan an entire trip up the Atlantic coast. So I used AI to plan it for me.

I told it when and where I was starting and ending, and let it choose the whole route, including where to park the RV at night. I made some RV park reservations (AI even provided the websites and phone numbers for that), and soon we were on our flight to Miami. While not perfect, AI did a better job at planning the trip than I could have, and it did it in seconds, where it would have taken me hours and hours. I was surprised and impressed. I would definitely do that again.

In fact, I did do it again, but on a much smaller scale. I visited the Great Smoky Mountains for the first time a few weeks ago, specifically for fall color photography. I wasn’t sure where I should take my camera and what time of day might be best for those locations, so I had AI do that research for me. It was tremendously helpful, and saved me probably an hour or two of research.

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

When I’m creating new Film Simulation Recipes and I’m researching films stocks, I have used AI to help with the investigation. While AI is great for research, it isn’t always right. Sometimes it gives a wrong answer. Sometimes, if you ask it the same question twice, you’ll get two very different answers. These instances of inaccuracy and inconsistency does call into question if AI is trustworthy at all. It seems to be moderately trustworthy, and requires double-checking its responses for anything remotely important.

Different AI models are better at various tasks than others, but none of them are good at creating Film Simulation Recipes—at least not yet. Initially, AI was quite terrible at this, often giving nonexistent or nonsensical settings. It’s better now, but still quite mediocre. It doesn’t have a good grasp on what the practical consequences are of camera setting adjustments. If you ask it to create the exact same look more than once, you’re sure to get two notably divergent answers. As someone once told me: AI will often give a better answer than a complete novice, but rarely a better answer than an expert. You can see the progress over the last couple of years, and I’m sure there will be continued improvements, but we’re not there yet when it comes to Fujifilm Recipes.

I think that navigating AI requires using it. If you are not at least somewhat comfortable with the technology and proficient at it, you might (as my friend worries) lose your job to someone who is better at it than you are. But moderation is still the key. Use it when it might actually be helpful. Don’t use it for everything. In fact, using it for everything might be to your detriment.

Some recent studies suggest that over-dependence on AI can reduce critical thinking skills, memory, and creativity. It might also make you lazier and feel less motivated. A quick Google search reveals headlines like AI Is Making You Dumber, Yet Another Study Finds that AI is Making Us Dumb, Science Shows AI is Probably Making You Dumber, Studies Prove It: AI Makes Us Dumb, and so many more. The key seems to be how you use it, and clearly less is more.

AI can be a powerful tool, and using it affectively can be a great benefit. It can save you a lot of time and increase productivity. It can help open some doors that might otherwise be impractical to open. But there’s also a negative side to it, and overusing it can have negative side effects on your mental health. It seems tricky to navigate. I think, though, that the technology will become more integrated and more seamless, and soon we’ll be using AI without even realizing it. Perhaps, in a few years, things will get sorted out, and it won’t be such a treacherous path. In the meantime, consider moderation as the safest route through this tricky time—not ignoring AI entirely, and not using it for everything, either.

California Coast in Infrared

Posted on by Ritchie Roesch

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

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

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

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

Fuji X Weekly App Update

Posted on by Ritchie Roesch

Over the weekend I released a very small update to the Fuji X Weekly App, for both Apple and Android. This was supposed to be included in a much larger and more significant update (that’s coming soon), but I’m still working on some of the upcoming features and improvements, so I decided to just get this smaller one out now. It fixes a minor bug that most of you probably didn’t notice. It also changes the functionality of something, which I thought deserved an explanation.

The functionality change has to do with Filter by WB and Filter by DR. Prior to this update, both of those Filter options were “choose one” types, which means you picked the one option that you wanted. By request, both of those are now “choose one or more,” which means that you can select as many as you’d like.

The reason why you might wish to select more than one White Balance type is that, perhaps, you want to choose all three of the Auto options (Auto, Auto Ambience, and Auto White). Before you couldn’t do that, and you had to pick only one of the Auto options at a time, but now you can select all three if you want. For Dynamic Range, you can select (say) DR-Auto, DR100, and DR200, and filter out all of the Recipes that use DR400 and DR-P (this seems more helpful for reprocessing RAW files in-camera or with X RAW Studio).

This isn’t a game-changer type update, as it will likely have a minimal impact for most people (if at all). But for some, this will help them out a little. The upcoming update, which I’m hopeful will be ready later this month or maybe early next month, will be much more robust, and will directly help all users, providing an improved experience for everyone.

Classic Amber – Fujifilm X-T5 (X-Trans V) Film Simulation Recipe

Posted on by Ritchie Roesch

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

I made this Classic Amber Film Simulation Recipe before leaving on my trip to Tennessee last month, with the intention of using it on that adventure. I had in mind a warm and contrasty negative film rendering that would pair well with autumn colors. It turned out that I was a little early for the peak fall display, and only found pops of color here-and-there; however, this Recipe ended up being absolutely perfect for the early morning forest, which was still shadowed despite being past sunrise. I also liked it in some other situations, such as sunrise, daytime, and even for concert photography. It works most ideally in low-contrast situations with cool light. This Recipe can easily be too warm and too contrasty, so it’s not for every subject or situation—you may have to use it cautiously. When it works, it really works; when it doesn’t, it really doesn’t.

I didn’t model this Recipe after any specific film. Interestingly enough, after I returned home I researched what it might be closest to, and I was surprised by what I found. This Classic Amber Recipe seems to be the most similar to Kodak Portra 400 that’s been push processed by one stop, and scanned with a Noritsu. I would add that maybe the use of a warming filter with the film, such as an 81B, might help solidify the similarities. If you Google search “Portra 400 push process” you’ll find a number of examples that are surprisingly similar to this Recipe (but, like with any film, you’ll also find many non-similar examples). If push-processed Kodak Portra 400 (perhaps with a warming filter) is the look you’re after, this Recipe (unintentionally) is a good facsimile of it. In the right situations, it’s easy to love the results.

Corn Crib – Great Smokey Mountain NP, TN – Fujifilm X-T5 – Classic Amber

The Classic Amber Film Simulation Recipe is compatible with all fifth-generation X-Trans cameras, which are the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III. It’s also compatible with the GFX100 II, GFX100S II, and GFX100RF. While you can technically use it on some fourth-generation X-Trans cameras (X-T4, X-S10, X-E4, and X-T30 II), it will render slightly different (try it anyway, though, and see if you like the results).

Film Simulation: Classic Negative
Dynamic Range: DR400
Grain Effect: Weak, Large
Color Chrome Effect: Strong
Color Chrome FX Blue: Strong
White Balance: Fluorescent 1, +1 Red & -6 Blue
Highlight: -1.5
Shadow: +2.5
Color: +4
Sharpness: -2
High ISO NR: -4
Clarity: -3
ISO: Auto, up to ISO 6400
Exposure Compensation: +2/3 to +1 (typically)

Example photographs, all camera-made JPEGs captured using this Classic Amber Film Simulation Recipe on my Fujifilm X-T5:

Forest Road 1 – Great Smokey Mountain NP, TN – Fujifilm X-T5
Forest Road 2 – Great Smokey Mountain NP, TN – Fujifilm X-T5
Forest Road 3 – Great Smokey Mountain NP, TN – Fujifilm X-T5
Autumn Flowers – Great Smokey Mountain NP, TN – Fujifilm X-T5
Autumn Blooms – Great Smokey Mountain NP, TN – Fujifilm X-T5
Bright Bougainvillea – Buckeye, AZ – Fujifilm X-T5
Smilin’ – Buckeye, AZ – Fujifilm X-T5
Suburban Vines – Buckeye, AZ – Fujifilm X-T5
Arizona Palm – Buckeye, AZ – Fujifilm X-T5
Ober (not Uber) – Gatlinburg, TN – Fujifilm X-T5
Smoky Hill – Gatlinburg, TN – Fujifilm X-T5
Pops of Red – Gatlinburg, TN – Fujifilm X-T5
Smoky Mountains – Gatlinburg, TN – Fujifilm X-T5
Morning Mountain – Gatlinburg, TN – Fujifilm X-T5
Morning Light – Gatlinburg, TN – Fujifilm X-T5
Leaves in the Water – Great Smokey Mountain NP, TN – Fujifilm X-T5
Leaves on River Rock – Great Smokey Mountain NP, TN – Fujifilm X-T5
Small Waterfall – Great Smokey Mountain NP, TN – Fujifilm X-T5
Creek & Waterfall – Great Smokey Mountain NP, TN – Fujifilm X-T5
Four Trees – Gatlinburg, TN – Fujifilm X-T5
Partially Eaten Leaf – Great Smokey Mountain NP, TN – Fujifilm X-T5
Cabin – Great Smokey Mountain NP, TN – Fujifilm X-T5
Dawn – Gatlinburg, TN – Fujifilm X-T5
Skating Rink Joy – Woodstock, GA – Fujifilm X-T5
Mermaid – Buckeye, AZ – Fujifilm X-T5
Rock ‘n’ Roll Guitar – White House, TN – Fujifilm X-T5
Phil Keaggy – White House, TN – Fujifilm X-T5
Space Guitar – White House, TN – Fujifilm X-T5

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

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

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

Photowalk in Sedona, AZ — November 8th!!

Posted on by Ritchie Roesch

Curvy Creek – Sedona, AZ – Fujifilm GFX100S II – Nostalgia Negative

Join me on a photowalk in Sedona, Arizona! It will be on Saturday, November 8th, in Oak Creek Canyon just outside of Sedona. We’ll meet at the West Fork Oak Creek Trailhead at 3:30 PM. This is a collaborative event with Nuzira, so Lucas White will be there, too.

The walk will be about an hour-and-a-half to two hours long. We’ll stroll with our cameras at a slow pace, and not go very far. The West Fork Oak Creek Trail is about three miles long (six total out-and-back), but we’re not likely to go any further than one mile in, if even that (maybe two miles out-and-back, but probably not even that far). It’s a dirt path, but well maintained. It’s an easy hike (literally, it’s rated as Easy), but it might be difficult for those with disabilities since it is not paved. We’ll finish up by sundown, and hopefully get some good golden hour light for our pictures.

Oak Creek – Sedona, AZ – Fujifilm GFX100S II – Nostalgia Negative

The scenery is amazing! It’s such a beautiful place, and perfect for landscape photography. While we’re likely to be beyond the peak of fall colors, there should still be autumn leaves for us to photograph. We’ll also see some abandoned buildings. This is one of my top favorite locations in Sedona. It’s not as well known as some other places, which means it’s usually a little less crowded. It is a fee area (I believe $5 daily, if I remember correctly). Parking is limited, but there has been plenty of spaces each time that I have visited.

This photowalk is free! You do need to register so that we know who’s coming—click here to sign up, and for further information (if you plan to come, click that link). I want to give a special thanks to Nuzira for putting this together and facilitating it. Bring whatever gear you want, and we’re just going to have fun taking pictures at a beautiful place. I hope you can make it!

Has Fujifilm Regained its Soul?

Posted on by Ritchie Roesch

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

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

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

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

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

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

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

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

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

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

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

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

Why IBIS is Good to Have

Posted on by Ritchie Roesch

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

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

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

Fujifilm X100V at 1/3 second exposure handheld

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

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

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

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

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

Vivid Velvia – Fujifilm X-E5 (X-Trans V) Film Simulation Recipe

Posted on by Ritchie Roesch

Roaring Fork – Great Smoky Mountains NP, TN – Fujifilm X-E5 – Vivid Velvia

One item on my “bucket list” was to visit the Great Smoky Mountains in the fall. Two weeks ago I was able to check that one off; however, I was a little early for the peak autumn show. The trees were only just starting to show fall colors, with little pops here and there. I’ll have to try again sometime in the future, and hopefully time it just a little better. Even though I was a week or two early, it was still an amazing place to visit, and I’m so glad that I was able to go.

I created the Vivid Velvia Film Simulation Recipe in preparation for the trip, intending to use it on this adventure. My two favorite Velvia-based Recipes are The Rockwell and Velvia Film. The Rockwell Recipe, named after Ken Rockwell and designed to be similar to his aesthetic (he actually used it!), is very bold and a bit over-the-top, sometimes a smidge too much. The Velvia Film Recipe, which is a part of the Film Dial universal Recipe set, is very nice, but occasionally not bold enough. This Recipe is intended to bridge the gap between the two, sitting right in-between both of them. It’s a slightly less over-the-top alternative to The Rockwell, and a slightly more bold version of Velvia Film; overall, it’s similar to both.

Autumn Spires – Gatlinburg, TN – Fujifilm X-E5 – Vivid Velvia

After using this Vivid Velvia Recipe quite extensively on the trip, I’m very happy with the results. It does well in a variety of situations, including nighttime photography. Obviously, this is not a good choice for portraits, but it’s one of the best options for colorful landscape pictures. This Recipe is compatible with “newer” X-Trans IV cameras (Fujifilm X-T4, X-S10, X-E4, and X-T30 II), all fifth-generation X-Trans models (X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III), and “newer” GFX cameras (GFX100S, GFX100S II, GFX100 II, and GFX100RF).

Film Simulation: Velvia
Dynamic Range: DR400
Grain Effect: Weak, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Weak
White Balance: Auto Ambience Priority, +1 Red & -3 Blue
Highlight: -1
Shadow: -1
Color: +4
Sharpness: +1
High ISO NR: -4
Clarity: +3
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs captured using this Vivid Velvia Film Simulation Recipe on my Fujifilm X-E5:

Rotary Club – Gatlinburg, TN – Fujifilm X-E5
Lights Left On – Gatlinburg, TN – Fujifilm X-E5
Cold Drinks – Gatlinburg, TN – Fujifilm X-E5
White House – Canton, GA – Fujifilm X-E5
Abandoned Garage – Gatlinburg, TN – Fujifilm X-E5
Sky Tram – Gatlinburg, TN – Fujifilm X-E5
Compass Tower – Gatlinburg, TN – Fujifilm X-E5
Fall Colors – Gatlinburg, TN – Fujifilm X-E5
Fall Bridge – Gatlinburg, TN – Fujifilm X-E5
Fall Trees – Gatlinburg, TN – Fujifilm X-E5
Pine Trees – Canton, GA – Fujifilm X-E5
Sunlight through Tree Branches – Canton, GA – Fujifilm X-E5
Ely’s Mill Trucks – Gatlinburg, TN – Fujifilm X-E5
Leconte Creek – Gatlinburg, TN – Fujifilm X-E5
Roaring Fork Waterfall – Great Smoky Mountains NP, TN – Fujifilm X-E5
Thousand Drips – Great Smoky Mountains NP, TN – Fujifilm X-E5
Falls Between Boulders – Great Smoky Mountains NP, TN – Fujifilm X-E5
Autumn Leaves on Rocks – Great Smoky Mountains NP, TN – Fujifilm X-E5
Log Fence – Great Smoky Mountains NP, TN – Fujifilm X-E5
Log Cabin – Great Smoky Mountains NP, TN – Fujifilm X-E5
Ephraim Bales Cabin – Great Smoky Mountains NP, TN – Fujifilm X-E5
Red Gondolas – Gatlinburg, TN – Fujifilm X-E5
Nantahala River – Wesser, NC – Fujifilm X-E5
Stop at Ela Cabins – Ela, NC – Fujifilm X-E5
Abandoned Store at Night – White House, TN – Fujifilm X-E5
Rock Concert – White House, TN – Fujifilm X-E5
Electric Guitars – White House, TN – Fujifilm X-E5
Blues & Red – White House, TN – Fujifilm X-E5

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:
Amazon, B&H, Moment, Nuzira
Fujifilm X-E5 in silver:
Amazon, B&H, Moment, Nuzira

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

Posted on by Ritchie Roesch

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

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

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

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

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

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

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

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

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

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

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

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

12 Recipes for Concert Photography (Part 1)

Posted on by Ritchie Roesch

We Came From Space – Fujifilm X-T5 + Fujinon 90mm f/2 – Superia Negative Recipe

I’m not a concert photographer. I attend maybe one or two each year, and generally don’t have good seats; besides, the events often have a “no camera” policy. But I get asked quite frequently which Film Simulation Recipes are best for concert photography. I never have a good answer (only guesses), so when the opportunity came to try out various Recipes at a rock concert, I jumped at the chance. All of these pictures were captured from my seat at the back-right corner of the venue—not the best spot, but not terrible, either.

This will be a series of articles, with this post serving as Part 1. I loaded eight Recipes into my Fujifilm X-T5 (plus 11 in my X-E5), and reshuffled a bit at intermission. This was actually a three-day concert, so I did this multiple times. Later, I reprocessed some of the RAW files in-camera to see how some additional Recipes would do. For Part 1, the twelve Recipes are Superia Negative, Fujicolor PRO 160C Warm, Velvia Film, Cinematic Film (those four are all Film Dial Recipes), Reala Ace, Pacific Blues, Superia Xtra 400, Nostalgic Americana, Nostalgia Negative, Kodak Negative, Kodak Portra 400 v2, and Kodak Ektachrome E100VS v1. The one requirement that I gave myself is that the Recipes needed to use DR400 to help keep the highlights in check.

Cosmic Cathedral – Fujifilm X-T5 + Fujinon 90mm f/2 – Reala Ace Recipe

All of these 12 Recipes seemed to do well. None were busts. My favorites were the Classic Negative-based Recipes: Superia Negative, Pacific Blues, Reala Ace, and Superia Xtra 400. I can definitely recommend those, especially Superia Negative and Reala Ace. I also liked the Nostalgic Neg.-based Recipes: Nostalgic Americana, Nostalgia Negative, and Kodak Negative. My least favorite were the Velvia-based Recipes: Velvia Film and Kodak Ektachrome E100VS v1. That’s not to say those Recipes were bad, only that I liked the others better. I think any of these 12 would work, but, in the future, I’d probably choose a few Classic Negative options, plus one or two Nostalgic Neg., and call it good.

The band in top photo is We Came From Space, which you’ll see a little more of in the upcoming parts (I’m not sure yet just how many posts there will be in this series, but likely three). They’re a classic rock/synth rock/blues rock/prog rock/pop fusion with out-of-this-world talent (sorry for the pun). All the remaining photos are of Cosmic Cathedral, a groove-oriented progressive rock super group featuring Phil Keaggy on guitars/vocals, Neal Morse on keyboards/guitar/vocals, Bryon House on bass, and Chester Thompson on drums (if you’ve ever seen Genesis or Phil Collins live, you’ve likely heard Chester keeping time). A number of additional musicians joined the band to complete the sound. This was their first concert as a band, and it was such a great show!

Cosmic Cathedral – Fujifilm X-T5 + Fujinon 90mm f/2 – Fujicolor PRO 160C Warm Recipe
Cosmic Cathedral – Fujifilm X-T5 + Fujinon 90mm f/2 – Superia Negative Recipe
Cosmic Cathedral – Fujifilm X-T5 + Fujinon 90mm f/2 – Reala Ace Recipe
Cosmic Cathedral – Fujifilm X-T5 + Fujinon 90mm f/2 – Pacific Blues Recipe
Cosmic Cathedral – Fujifilm X-T5 + Fujinon 90mm f/2 – Velvia Film Recipe
Cosmic Cathedral – Fujifilm X-T5 + Fujinon 90mm f/2 – Nostalgic Americana Recipe
Cosmic Cathedral – Fujifilm X-T5 + Fujinon 90mm f/2 – Nostalgic Americana Recipe
Cosmic Cathedral – Fujifilm X-T5 + Fujinon 90mm f/2 – Superia Xtra 400 Recipe
Cosmic Cathedral – Fujifilm X-T5 + Fujinon 90mm f/2 – Kodak Portra 400 v2 Recipe
Cosmic Cathedral – Fujifilm X-T5 + Fujinon 90mm f/2 – Kodak Ektachrome E100VS v1 Recipe
Cosmic Cathedral – Fujifilm X-T5 + Fujinon 90mm f/2 – Nostalgia Negative Recipe
Cosmic Cathedral – Fujifilm X-T5 + Fujinon 90mm f/2 – Kodak Negative Recipe
Cosmic Cathedral – Fujifilm X-T5 + Fujinon 90mm f/2 – Cinematic Film Recipe

Part 2 coming 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-T5 in black:
Amazon, B&H, Moment, Nuzira
Fujifilm X-T5 in silver:
Amazon, B&H, Moment, Nuzira
Fujinon 90mm f/2:
Amazon, B&H, Moment, Wex

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

Why the Upcoming Fujifilm X-T30 III is Genius, and makes the X-T30 legendary

Posted on by Ritchie Roesch

Fujifilm is about to announce the X-T30 III, the true successor to the X-T30 II. A lot of people assumed that the Fujifilm X-T50 was the X-T30 II’s successor, but it wasn’t—if you a Fuji X Weekly regular, you’ve known that for about a year-and-a-half now. Tomorrow at 10:00 PM Pacific Time, Fujifilm will unveil the new camera.

I don’t have any inside information, but I expect that the Fujifilm X-T30 III will be 95% the same as the X-T30 II, which was 98% the same as the X-T30. Fujifilm announced the original X-T30 in February of 2019. I remember it well because I preordered it, and later created many Film Simulation Recipes with that camera. The X-T30 II, which was basically a firmware update with a few minor changes, came in October of 2021. The ability to save WB Shift with each C1-C7 Custom Settings preset, as well as Classic Negative and other JPEG tools like Clarity, are the major improvements found on the Mark II version. Now, four years later, Fujifilm is about to release the latest iteration.

From all accounts, the X-T30 III will be the same as the X-T30 II, except with X-Processor 5 (which includes Nostalgic Neg. and Reala Ace), a Film Dial like what’s on the X-T50 and X-M5, and a Drive Button instead of a Drive Dial. Aside from that, it will be pretty much the same thing as the X-T30 II. I don’t expect any major changes. Overall, it will be a mild refresh.

Why, then, do I think this camera is genius? Because Fujifilm will quietly sell a whole lot of these. It’s not going to go viral like the X100VI. It’s not going to make major headlines. It’s not going to be a hot topic on Reddit or Facebook groups. But Fujifilm will sell a bunch of X-T30 III cameras, more than most other models offered by the brand.

Just four days ago, New York Magazine published in The Strategist section This Fujifilm Camera Gives Me Film Photos Without the Processing by Katherine Gillespie. It’s essentially a review of the Fujifilm X-T30 II. In that article, Katherine states, “Even just using the cheapest 15-45mm kit lens, the camera creates beautiful JPEG photos that require little to no editing to make the colors pop and can be wirelessly transferred to my phone via Fujifilm’s XApp. For me, this is a big sell. While some people seem to enjoy playing around with presets on Lightroom, as a procrastinator who also sort of hates computers, I can’t think of anything worse than shooting in RAW then having to go through and edit hundreds of photos after every social event or vacation. Especially as doing so would also require purchasing a pricey Adobe subscription.”

The article included a small and subtle shoutout to Fuji X Weekly, which was mind-blowing. This follows the New York Times mention in July. I never imagined getting noticed by such large and prestigious publications. But I digress; however, it is a good read, should you want to.

Statements like Katherine’s are why the X-T30 and X-T30 II sold so well, and why soon the X-T30 III will, too. It’s easy to get great-looking photos without the fuss. The cameras are small, lightweight, inexpensive, and straightforward-enough that they’re accessible to anyone and everyone. Even a child can use it and get great results. Robust enough that professionals can use it for serious work, but not so much that first-time hobbyists are in over their heads. That’s indeed a big sell.

No other Fujifilm camera has been given a Mark III iteration. The X-E2 had a second version called X-E2s. There’s the X-H2 and X-H2s, but that’s a slightly different story. There was an X-T3 WW, which was an X-T3 without an external battery charger included in the box. The X-T4 ES is an infrared version of the X-T4. Most models have their time, followed by a successor; the few with a second variation were not given a third. The X-T30 is unique, with a third iteration about to crest the horizon. That elevates the camera to legendary status in my books. There is no doubt in my mind that the X-T30 III will be a great success for Fujifilm, albeit without the fanfare that other models in the X-series often get.

Most ideal Film Dial ideas

Posted on by Ritchie Roesch

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

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

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

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

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

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

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

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

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

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

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