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Continue Making Digital Look Like Film (but only if you want to)

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

There’s a strange article up on PetaPixel entitled Stop Making Digital Look Like Film by Bimal Nepal, that I want to offer a rebuttal to. I understand that there’s only so much that happens within the photo world on any given day, and on the slow days you might put out a controversial piece (a.k.a. click bait) to get views and such, especially when ad revenue is a major part of the business strategy. I don’t necessarily have a problem with that—after all, I have written some controversial articles, and I also have advertisements on my website—but I do think PetaPixel should be careful not to overplay it, or they risk losing credibility. I can’t imagine that the editors actually agree with this piece (I hope not), but they’re certainly promoting it. An article that explores why people like the film look when using digital cameras would have been significantly more interesting. Published just one day later, Film Photography in 2025 Is Bluer and Less Saturated is actually quite fascinating, and (ironically and surprisingly) somewhat related to the article in question. My guess—based only on the number of comments—is that the click bait article got a lot more attention, and I suspect that will encourage more similar content in the future, unfortunately.

The main problem with Bimal’s piece is that it demands you change your photography. You aren’t doing it right. The title is second-person declarative: “(You) stop making digital look like film.” It’s a command, and you are being told what to do. The body of the post continues the sentiment. It would not be controversial had the author simply stated, “This is why I don’t make my digital pictures look like film.” That’s great. We all have our reasons for doing what we do, and maybe we can even learn from each other. But the article is more like: my way is right, your way is wrong. It’s just like the whole “You must shoot RAW” thing, which is tired, outdated, inaccurate, and needs to stop. It would have been equally as wrong if the author had demanded that everyone apply (say) VCSO filters to their pictures.

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

There’s no right or wrong way to do photography. There are thousands of paths, and you might take multiple trails at various times. If something works for you, that’s awesome! That’s what matters—finding what works for you personally. If someone tells you that you are doing photography wrong, and especially if they tell you that you must do it their way, I strongly advise you to take that advice for what it’s worth, which is not much of anything, certainly not two pennies (or a click to PetaPixel). You do photography however you want to do photography, whatever that looks like.

I might be reading too much into this, but the author seems to dislike Fujifilm, and especially the Fujifilm Recipe community (that’s you and I), which is known for analog aesthetics on digital images. He never states Fujifilm specifically, but what caught my attention was the mention of Film Simulations. In another PetaPixel article, he seems to dislike mirrorless cameras, or—perhaps more accurately—prefers DSLRs to mirrorless. Fujifilm, of course, does not make DSLRs (at least not since the S5 Pro, which was built on a Nikon D200, and is long discontinued), and all of their cameras for the last 20 years feature Film Simulations. Like I said, I could be connecting dots that were never meant to connect, and making much more of this than the author intended, but it seems like Fujifilm photographers in particular are doing digital photography all wrong, if you were to ask Bimal.

So let me get to the rebuttal. Below are five reasons why a photographer might prefer to make their digital photographs look like film—five reasons why you may want to continue making your pictures appear analog.

Digital is Clinical

*Misty Saguaro* – Buckeye, AZ – Fujifilm X-T5 – Pacific Blues Recipe

Modern digital cameras are really good. They produce images that are especially clean and clear, free from defects and artifacts, which was nearly impossible in the film era. It’s great but also sterile, like a hospital room prepped for surgery. This might be preferable, but I find it boring, lacking character. Adding an analog aesthetic to digital pictures can make them less perfect, which can more easily convey certain feelings or moods. This is just my opinion, and it’s perfectly ok to disagree with it. There’s no right or wrong answer here, just personal preferences. Personally, I don’t like my pictures to appear so perfect, so clinical, so digital.

Film is Appealing

The reason why I like the aesthetic of film is because it has character. It has texture. Each emulsion has unique qualities. There are emotions that each look conveys to the viewer. It can be serendipitous, with wonderful surprises. Film photography requires much patience and thoughtfulness. One must have a willingness to fail and an acceptance for when that inevitably happens. Those are good qualities, but they’re born out of frustrating circumstances. I love the look of film, but not always the process of analog photography.

Digital is Convenient

*Two Caballeros* – Culleoka, TX – Fujifilm X-E4 – Kodachrome 64 Recipe

A common response to this article is going to be, “If you like the look of film, just shoot film.” Yeah, that’s great and all, and certainly something I have done for many years, but digital is much faster, more reliable, more flexible, and probably less expensive (depending on how many rolls of film you shoot). Digital cameras are so much more convenient than film, and that’s why I like digital photography. If there’s a way to get the best of both worlds—the convenience of digital with the look of film—that’s a major win-win. And, thankfully, you can get the best of both worlds. There’s nothing wrong with digital photography, there’s nothing wrong with film photography, and there’s nothing wrong with mimicking film-like looks with digital cameras.

Authenticity is King

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

The pictures produced by Fujifilm cameras feel authentic and film-like because they reflect in-camera processing designed by Fujifilm utilizing their renown film heritage. When you use Film Simulation Recipes, what you see is what you get, and the pictures don’t require manipulation—they’re not “photoshopped” (which, right or wrong, has become a bad word in recent times). Like using a particular film across a series of photos, choosing one Recipe can give your images a cohesive, intentional, and stylized aesthetic. Not having to edit allows for a simple and efficient workflow, which can save you a lot of time while increasing your productivity.

Using Recipes is Fun

*Happy* – Buckeye, AZ – Fujifilm GFX100S II – Fujicolor PRO 160C Warm Recipe

Last but far from least, shooting straight-out-of-camera JPEGs using Film Simulation Recipes is fun. A lot of people do it because they enjoy it. I can’t tell you how many times people have told me that using Recipes has made photography fun for them again. You should be enjoying the process of making pictures, and if you’re not, it might be time to ask yourself why, and consider if you should make any changes to your process. Maybe you don’t find Recipes and camera-made JPEGs enjoyable, and that’s ok. Different strokes for different folks. But a lot of people do find it fun, and it’s become a big part of the Fujifilm appeal. The Fujifilm Recipe community continues to grow and grow, and for good reason.

These five points highlight why a Fujifilm photographer using Film Simulation Recipes might love making their digital images look like film. Recipes combine some of film’s iconic character with digital’s convenience, consistency, and immediacy. There’s a very large community who appreciates the aesthetics of film and use it to purposefully convey certain feelings and moods through their pictures, but they also appreciate the ease of digital. The ability to combine both into a simplified workflow is quite attractive, which is why so many people are making their digital pictures look like film—and, no, unless they want to, they should not stop.

Film Simulation Comparison

Posted on September 8 by Ritchie Roesch

This last Saturday I taught a class at Nuzira called Fujifilm’s Film Simulations & Fuji X Weekly Recipes — Film-like Photos Without Editing. Overall the class went well; however, for those who couldn’t attend in-person, the first 30 minutes of it did not livestream. I’m not sure what went wrong. But, if you want to catch the last hour, it’s on Nuzira’s YouTube channel. My apologies for the technical trouble.

A request that I had from someone in the class was to share the image that’s at the top of this article, which directly compares Fujifilm’s 20 Film Simulations. The other IQ settings in those photos are factory default (without Recipes). It’s a good way to see how the various Film Sims render the scene differently. If you are not sure what the different Film Simulations do and which ones you might like best, you can probably get a good idea by studying that image.

I don’t have a comparison of Film Simulations with and without Recipes, other than a quick side-by-side from a couple of years ago. It might be worthwhile to do something like that again, but perhaps more robust. With over 400 Recipes, it would be impractical to do all of them, or even most. Still, it might be beneficial to tackle such a project, so that’s something I’ll try to work on. I’m sure it will need to take place over a whole series of articles.

*Fujifilm X-E5 & 23mm f/2.8 – Captured with a GFX100S II & 80mm f/1.7 – Reala Ace Recipe*

While I was at Nuzira, I picked up a Fujifilm X-E5 with the 23mm f/2.8 that I had preordered. I didn’t get my name on the list quick enough to be in the first batch, but (thankfully) the second batch wasn’t far behind. I haven’t set up the camera yet, but I’m hoping I can get to that today. Not unrelated to the previous paragraphs, I plan to write some articles about the X-E5. After all, this is Fujifilm’s very first Recipe camera.

If you are in the Los Angeles area this coming weekend, please join me on a Fujifilm X half photowalk with Samy’s Camera, as part of their 49th Anniversary three-day event. Spaces are limited and won’t likely last long, so be sure to register today! It’s $25 per-person ($27.13 after taxes), but each participant will receive a $25 Samy’s gift card, essentially making it free. Please bring an SD Card so you can take your photos home.

I’ll also be in Minneapolis on September 28th. Details to come, but it’s a don’t-miss kind of event, so if you live in the area, be sure to mark your calendars.

Kodak Pro 400 — Fujifilm X-Trans V Film Simulation Recipe

Posted on September 6 by Ritchie Roesch

*Hillside* – Elk, CA – Fujifilm X-T5 – Kodak Pro 400

One film can produce many various looks depending on a whole host of factors. How was it shot: overexposed (and by how much), box speed, or underexposed (and by how much)? What gear was used, especially which lens? Were any filters used? What was the exact light situation? How was the film stored and handled? How was it developed, including how fresh were the chemicals, and what was the temperature and pH of the water? If it was printed, how was that handled and what paper was used? If it was scanned, which scanner was used, what were the settings, and what post-processing was done? How are you viewing the photo: print, light table, computer monitor, cellphone screen? There are a thousand factors that can affect the outcome—some a little, some a lot.

Sometimes I’ll get contradicting feedback on a certain Film Simulation Recipe. One person will say, I’ve shot with that film, and the Recipe matches almost exactly; another will say, I’ve shot with that film, and the Recipe is way off. That shouldn’t be surprising for the reasons pointed out in the last paragraph—both statements are probably quite true. There are other factors, of course, that are worth considering. One is called “memory color” (which is often mentioned by Fujifilm), in which we remember a film looking a certain way, but in reality our memory of it is a little off. I’ve experienced this personally, where I thought a certain group of settings looked exactly like some emulsion, but when I actually compared them side-by-side it was not such a close match after all. Which is preferable: memory color accuracy or technical accuracy? There’s no correct answer to that question, but you may prefer one over the other. Another significant factor is that, although Fujifilm does provide a fair amount of tools to customize aesthetics in-camera, there’s only so much that you can do with the options available to achieve a certain look. You can only get so close, and not a 100% match; however, it is surprising how close a Recipe will get sometimes. Also worth mentioning is that digital sensors and silver film behave quite divergently sometimes.

Fujifilm modeled the Classic Chrome Film Simulation after (non-specific) Kodak slide films from the 1980’s and ’90’s. Classic Chrome has some obvious similarities to both Kodachrome and Ektachrome; however, it’s not an exact facsimile of either (think of it more like a fictitious Kodak slide film). It does have a distinct Kodak-esque color palette, so it is a great Film Simulation to build Kodak Recipes on. The Nostalgic Neg. Film Simulation also has a Kodak-like palette, but it is intended to resemble prints from the 1970’s, and not projected slides or scanned film. Eterna and (to a lesser extent) PRO Neg. Std can be modified into Kodak aesthetics; however, they’re not modeled after any Kodak stocks. Circling back to Classic Chrome, I want to emphasize that it is primarily intended to replicate color reversal (slide) film, and not negative film.

*Garden Lake* – Avondale, AZ – Fujifilm X100VI – Kodak Pro 400

The newest Film Simulation, called Reala Ace, is modeled after color negative film, and most closely resembled Fujicolor PRO 160C. Despite its name, it’s quite obviously inspired by the ISO 160 Fujicolor PRO line of films; basically, it’s a new-and-improved PRO Neg. Film Simulation—a similar yet better iteration of PRO Neg. Std and PRO Neg. Hi (kind of like when Kodak replaced the NC and VC versions of Portra and introduced a new iteration of the films in 2011, except we still have the two PRO Neg. options…). Reala Ace doesn’t have a distinct Kodak palette, but, like PRO Neg. Std, it can be made into a Kodak-like look. The advantage of using Reala Ace instead of Classic Chrome is that it retains that “print film” quality of the Film Simulation.

This new Kodak Pro 400 Recipe came about after some feedback that Reala Ace might be a better foundation for a Kodak Portra 400 look than Classic Chrome. I had previously considered the possibility, but hadn’t put any effort into creating it. So I researched pictures and fiddled with the camera settings. I made a few different versions, which matched some certain examples but were notably off from others. I had to narrow it down to which specific Kodak Portra 400 look I wanted to replicate, and get as close to that as I could, with some compromises. It was definitely a process, and sometimes quite frustrating, but I settled on these settings. One disadvantage of using Reala Ace, obviously, is that, at its core, it’s a Fujicolor look, and sometimes that still comes through. You could think of it as printing Kodak film on Crystal Archive paper instead of Endura or Ektacolor. That’s not what this Recipe mimics, but it is a way to make peace with the issue. Most of these pictures were reprocessed in-camera using this Recipe, and not directly captured with it; however, I do have a bunch of other pictures (that are perhaps “less inspiring”) that were actually captured with the Recipe, but I only included a couple of them.

In the end, I feel that I got close-but-no-cigar. I think, in certain situations with certain subjects and lighting, this Recipe can be quite convincing at mimicking Kodak Portra 400 film. There are pictures in this article that you could put side-by-side with certain Kodak Portra 400 frames, and it would be difficult to distinguish which was the film and which was the Recipe. But there are other images that are so far off that I could not find a matching Portra 400 look (trust me, I tried). So I would say that this Recipe is hit-or-miss, and that’s why I didn’t name it Kodak Portra 400 v3 (although that’s what it’s named in my cameras right now). It’s definitely Portra 400 related. The full name of the film is Kodak Professional Portra 400, so I’m calling this Recipe Kodak Pro 400. There’s also Pro Image 100, another Kodak negative film, and this Recipe by chance isn’t terribly far off from that, either; however, it’s not intended to resemble that emulsion, and isn’t quite as good of a match. Either way, like the other Portra Recipes, how close it is or isn’t depends on which pictures you are looking at.

*Walking the Museum Grounds* – Savannah, GA – Fujifilm X100VI – Kodak Pro 400

I included a lot of sample pictures in this article, which will hopefully help to determine when this Recipe works well and when maybe it’s less than ideal. Like the film, it thrives in daylight, but this might be a better choice than some others in overcast situations. I also included a comparison of this Kodak Pro 400 Recipe with Reggie’s Portra, Kodak Portra 400, and Kodak Portra 400 v2 at the bottom of this article (for Reggie’s Portra and Kodak Portra 400, I set Color Chrome FX Blue to Off). I find it interesting that there are some common settings between this and the Kodak Portra 400 v2 Recipe, and also some opposite settings—that’s unintentional, just the way it worked out. Because this Recipe uses Reala Ace, it’s compatible with fifth-generation models, which (as of this writing) are the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, and X-E5. It’s also compatible with the latest GFX cameras: GFX100 II, GFX100S II, and GFX100RF. Those who have been dissatisfied with the Portra 400 Recipes may find that they like this one better; those who love the Portra 400 Recipes might not be convinced that this is an improvement. Personally, I really like it, and I might keep both this and Kodak Portra 400 v2 in my C1-C7, as there are times when one might be preferable over the other.

Film Simulation: Reala Ace
Dynamic Range: DR400
Grain Effect: Strong, Small
Color Chrome Effect: Off
Color Chrome FX Blue: Strong
White Balance: 5200K, +2 Red & -3 Blue
Highlight: -2
Shadow: 0
Color: +1
Sharpness: -2
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 Pro 400 Film Simulation Recipe on a Fujifilm X-T5 and X100VI:

*Birthday Boy* – Buckeye, AZ – Fujifilm X-T5

*(Not) Riding a Trolley* – Washington, D.C. – Fujifilm X100VI

*We’re on a Roll* – New York City, NY – Fujifilm X100VI

*AMC* – New York City, NY – Fujifilm X100VI

*Electric Sunset* – Elk, CA – Fujifilm X-T5

*California Sunset* – Elk, CA – Fujifilm X-T5

*Full Moonrise* – Elk, CA – Fujifilm X-T5

*Light, Reflected Light* – Elk, CA – Fujifilm X-T5

*Canon Camera* – Buckeye, AZ – Fujifilm X100VI

*Sunset in the Mirror* – Avondale, AZ – Fujifilm X100VI

*Terminally Waiting* – Phoenix, AZ – Fujifilm X100VI

*Underground Station* – New York City, NY – Fujifilm X100VI

*Roundhouse Locomotive* – Savannah, GA – Fujifilm X100VI

*Shop Interior* – Savannah, GA – Fujifilm X100VI

*The Tides* – Bodega Bay, CA – Fujifilm X-T5

*Bodega Bay* – Bodega Bay, CA – Fujifilm X-T5

*Greenwood Cove* – Elk, CA – Fujifilm X-T5

*Turquoise Pacific* – Elk, CA – Fujifilm X-T5

*Fog over Wild Brush* – Elk, CA – Fujifilm X-T5

*Fog Rolling In* – Elk, CA – Fujifilm X-T5

*Magnolia* – Savannah, GA – Fujifilm X100VI

*Wet Sidewalk* – Savannah, GA – Fujifilm X100VI

*Wet Alley* – Savannah, GA – Fujifilm X100VI

*Red Bull* – Savannah, GA – Fujifilm X100VI

*Squirrel Box* – Washington, D.C. – Fujifilm X100VI

*Turn Arrow* – Washington, D.C. – Fujifilm X100VI

*Corridor* – Arlington, VA – Fujifilm X100VI

*Gravestones* – Arlington, VA – Fujifilm X100VI

*Empty Trail* – Navarro, CA – Fujifilm X-T5

*Southwest Sky* – Arlington, VA – Fujifilm X100VI

*Pilot Paused* – New York City, NY – Fujifilm X100VI

*Bus Stop* – San Francisco, CA – Fujifilm X100VI

*Box Truck* – South San Francisco, CA – Fujifilm X100VI

*Jackpot* – New York City, NY – Fujifilm X100VI

*Bike, Parking* – New York City, NY – Fujifilm X100VI

*Blue Car* – San Francisco, CA – Fujifilm X100VI

99 – San Francisco, CA – Fujifilm X100VI

*No Parking, unless it’s an RV* – Fort Bragg, CA – Fujifilm X100VI

*Tall Saguaro* – Buckeye, AZ – Fujifilm X100VI

Comparison

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

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

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Let’s Talk About X-Trans VI

Posted on September 3 by Ritchie Roesch

In my estimation, the next generation of Fujifilm cameras is right around the corner, likely to be announced early next year. I’ll tell you why I think that, and I’ll take some guesses at what X-Trans VI could look like—what might be different on the next generation of X-series cameras.

Fujifilm’s generational lifespan for the X-series is about three years. Some are a little longer, some are a little shorter. X-Trans I had the shortest lifespan of only about one year, or maybe two years, depending on how you classify the X-M1, which had an X-Trans I sensor paired with X-Trans II processor. Otherwise, though, three or three-and-a-half years is the average. Even though the X-S20 and X-M5 (and likely the X-T30 III when it is announced soon) have an X-Trans IV sensor, I consider them fifth generation cameras because they have the X-Processor 5 and everything that goes with that—they have some notable similarities to the other fifth generation models (the X-M1, on the other hand, had notable dissimilarities with X-Trans II models). The X-H2/X-H2s kicked off X-Trans V a little over three years ago, so we’re due for the next generation.

Fujifilm has been using the X-E series as a marker for the end of an X-Trans generation—not as the last camera, but as the second-to-last. The X-E1 was the second-to-last X-Trans I camera, with the X-M1 as the last; the X-E2s was released simultaneously with the X70, the last two X-Trans II cameras; the X-E3 was the second-to-last X-Trans III model, with only the X-H1 following; the X-E4 was the second-to-last X-Trans IV release (not including the X-S20 and X-M5), with the X-T30 II as the last. The Fujifilm X-E5 will most likely continue this pattern, and be the second-to-last fifth-generation model, with only the upcoming X-T30 III following. I think it’s safe to say, based on past patterns, that 2025 will be the final year for the fifth-generation, and the sixth-generation will kick off in 2026.

Fujifilm often announces cameras in January/February, which are shipped in February/March. There’s a reasonable chance that will continue; however, not every year sees a camera released at the very beginning. A spring announcement with a late-spring, early-summer release is also common. My best guess is that the first sixth generation camera will be announced on or before the end of May, but probably sooner. Keep in mind this is merely a guess and nothing more.

What will X-Trans VI look like? I think it will be more about speed and efficiency than resolution. X-Trans takes a lot more computing power than Bayer, which not only puts a strain on the processor, but can also be more prone to heat dispersion issues. By emphasizing speed and efficiency improvements, Fujifilm can minimize some of the drawbacks to X-Trans. Besides, 40mp is already more than enough resolution for the format. I’m not sure if Fujifilm plans to continue using the same sensors and just upgrade the processor, or if we’ll see new sensors, too—or maybe a mix. Or it could be that we’ll see “new” sensors that have identical specs to the old ones, with small design improvements.

Sony makes Fujifilm’s camera sensors, as they do for many camera companies. If Fujifilm wants a partially-stacked 40mp APS-C sensor, Sony has to be willing to manufacture and sell it to Fujifilm. I think such a sensor would be well received in an X-H3 and X-T6, and would help to address speed and efficiency. Would Sony make that sensor, and how much more will it cost than the non-stacked version? That’s a good question. I think there is potential for some cameras to have a partially-stacked 40mp sensor (X-H3 and X-T6), and some to have a non-stacked 40mp sensor (for example, X-T60 and X-E6).

What about the X-H3s? Will it continue with the 26mp stacked sensor? If the X-H3 has a partially-stacked sensor, that might narrow the gap sufficiently for Fujifilm to discontinue the X-H2s line altogether. I think it’s possible that Fujifilm offers some small under-the-hood improvements along with the X-Processor 6, and simply call it the X-H2s II (basically, a very minor update). I also think it’s possible that Fujifilm replaces the X-H2s with an X-series version of the upcoming GFX Eterna cinema camera. I’m not sure how well the X-H2 and X-H2s have sold, and if Fujifilm feels that both models are justified in the new generation. If there’s one camera potentially on the chopping block, it’s likely either the X-H2 or the X-H2s; however, my guess is that they both continue, unless an “X Eterna” model is introduced as a sort-of replacement for the X-H2s.

I also wonder if Fujifilm will continue to use the X-Trans IV sensor into the sixth generation. As far as I know, Sony doesn’t offer any APS-C sensor in-between the 26mp that X-Trans IV is built on and the 40mp that X-Trans V is built on. Maybe Sony has been developing (say) a 32mp sensor behind the scenes; after all, Fujifilm was the first and (so far) only customer of the 40mp sensor, so it could happen with another one. If so, Fujifilm would move beyond the X-Trans IV sensor in its lower-resolution sixth generation cameras, like the X-S30, X-M6, and X-T30 IV (perhaps the X-T30 III and X-T50 “merge” into one line, called the X-T60, with a 32mp X-Trans VI sensor). If not, I suspect that the X-Trans IV sensor will live on for a few more years, or maybe they make a minor change to it and call it 26mp X-Trans VI. It might even make sense for Fujifilm to offer three different resolution options.

It’s possible, albeit highly unlikely, that Fujifilm will stop using Sony sensors. Samsung makes pretty good camera sensors, and Fujifilm even helps with some of their technology. They used to manufacture APS-C sensors for their long-defunct NX line, including a 28mp one that was pretty well regarded at the time. I could see Fujifilm using a new sensor maker for X-Trans VI, but I would be highly surprised if that actually happens. Sony is tried-and-true, reliable, and comfortable—if it ain’t broke, don’t fix it.

My guess is that the next X-Pro, which might be called X-Pro4, X-Pro5, or maybe even X-Pro6, will be announced early next year, and will be the first sixth generation camera. I have no idea what will be different about it. I really hope that it has the XPan aspect ratio—it would be an absolute shame if it doesn’t. The X-Pro1 kicked off X-Trans I, the X-Pro2 launched X-Trans III (there was a significant gap in-between the two), and the X-Pro3 was the first camera with Classic Negative (and some other JPEG goodies). It’s overdue, so it makes sense to me that it will be the first X-Trans VI model.

After that, the X-H3 and X-H3s (or X Eterna) seem like logical options, followed by the X-T6, which might come in late 2026 or early 2027. I could see the X-S30 announced in May of 2027, and with it the new 32mp sensor (if such a sensor happens). Of course, this is all highly speculative. I have no inside information, these are merely guesses that should be taken with a huge amount of salt.

I do think that X-Trans VI should introduce a new Film Simulation or two. While Fujifilm is the in-camera JPEG processing leader, other companies are trying to close the gap, so Fujifilm should not be complacent. Some ideas: PRO Neg. H, that resembles Fujicolor PRO 400H film, and turns pastel with overexposure; Velvia XPRO, which mimics Fujichrome Velvia 50 that has been cross-processed; Fortia, which is simply the Pop Color Advanced Filter graduated to Film Simulation, resembling Fujichrome Fortia film; Natura, a facsimile of Fujicolor Natura 1600; Neopan, a new B&W option similar to Acros but with more contrast. I have many other ideas, but those should get Fujifilm started if they’re not sure what to do.

It shouldn’t stop with Film Simulations. Some other JPEG ideas are: Highlight and Shadow Color Toning, allowing for a split tone aesthetic (available for both color and B&W photos; something like the Monochromatic Color option, but specifically for Highlight and/or Shadow); Faded Shadow Effect (Strong, Weak, Off); Vignetting (Strong, Weak, Off); Halation Effect (Strong, Weak, Off); Light Leak Effect (On, Random, Off); Mid Tone adjustment within the Tone Curve (-2 to +4); Medium Grain size and strength; Extra Strong and Extra Large Grain Effect. Additionally, I’d like to see the Retro and Expired Film Filters from the X half make their way into Advanced Filters, and also the ability to set Grain and perhaps some other customizations within Advanced Filters. Last but certainly not least, all of the 40mp cameras should have the XPan aspect ratio. If Fujifilm introduced just half of those ideas, it would be highly celebrated.

I’d also like to see Fujifilm address the IQ options—the Recipe parameters—linked to other settings, such as AF, sound, etc., within C1-C7. I explained this problem last year, and provided Fujifilm with a potential solution that came from Fred Miranda—if you’re from Fujifilm, you may want to read that article. Also, John Peltier covered this topic in his Fujifilm X-E5 video. There’s more than one way that this could be addressed, and the X-E5 does sort-of somewhat fix it, but I think it’s important to find a solution sooner than later.

We’re nearing the end of the fifth generation of the X-series. In all likelihood, the sixth generation will come in 2026, which is right around the corner. I have no idea what changes that will bring, but it will certainly bring some. While I’m excited for the new cameras, I also want to express my opinion that camera successors come too quickly. If parts can be secured, camera makers should keep manufacturing models for many years. The refresh rate should be five-to-seven years; three years should be an exception and not a rule. Regular firmware updates can keep “old” products fresh. This also means you have to keep building the current models, and situations where a certain one is discontinued and the successor doesn’t come for a couple of years should be avoided. Discontinue the old model when the new one is six months out, and when the new one is released, it should be a substantial update, and not a minor refresh. This seems like a more realistic approach, and is more similar to how the camera industry worked for many, many decades—I hope we can get back to that. In the meantime, I’ll continue to enjoy the cameras I have, which are quite excellent photo-making machines. It’s fun to consider what the future might be, but it’s important to not lose sight of here and now, which is what actually matters.

Join me THIS Saturday in Scottsdale, AZ

Posted on September 1 by Ritchie Roesch

I’ll be leading a class at Nuzira THIS Saturday, September 6th, at 11:00 AM in Scottsdale, Arizona. Please join me in-person as we discuss Fujifilm’s Film Simulations and Fuji X Weekly Recipes. Click here for more information, and to register for free. Spaces are very limited. I hope to see you there!

Also, for those in Southern California, be sure to join me on September 13th at 2:00 PM for a Fujifilm X half photowalk with Samy’s Camera, as part of their 49th Anniversary three-day event. Spaces are limited and won’t likely last long, so be sure to register today! It’s $25 per-person ($27.13 after taxes), but each participant will receive a $25 Samy’s gift card, essentially making it free. Please bring an SD Card so you can take your photos home.

Polaroid might take down Fujifilm — maybe

Posted on August 27 by Ritchie Roesch

I’m not a lawyer, and I don’t play one on TV, either. I’m not able to provide any insight on this topic, I can only bring it up and maybe ask some questions, and speculate a little, which should be taken with a massive grain of salt. I probably know less about legal matters than the average person my age, so keep that in mind—I’m not pretending to be an expert on this whatsoever.

The news yesterday, as reported by PetaPixel, is that Polaroid (that is, PLR IP Holdings, LLC, which owns the rights to the Polaroid brand name, and doing business as Polaroid Originals) has filed a lawsuit against Fujifilm, and a judge has found sufficient evidence to allow the case to move forward. At some point in the coming months—unless the two parties agree on a settlement—this will go to trial.

The complaint is that Fujifilm’s Instax Square instant film is too similar to Polaroid’s classic film, which they trademarked years ago. Essentially, as I understand it, Polaroid’s film is not just film, it’s their logo. Since the white border of the film is highly recognizable, Polaroid registered a trademark for it. So, if a company wants to make instant film, it must look different than a Polaroid print. For example, Instax Mini is divergent enough that Polaroid would have a weak infringement case. Instax Wide isn’t 100% identical to the classic Polaroid frame, but it is very similar, and the judge in this case believes it is similar enough to move forward with the trial.

Fujifilm’s argument is that 1) the border serves a functional purpose (for example, housing the chemistry), and as such cannot be trademark protected (for example, Goodyear cannot trademark a tire just because it’s round and black), and 2) Polaroid had stopped making their film, which could be considered an abandonment of the trademark on the grounds of non-use. I think both of these arguments hold some merit, but are either strong enough to win? I have no idea.

Nearly a decade ago, Polaroid threatened Fujifilm with a lawsuit unless they paid them “millions per year” for their trademark. I’m not sure how much they will be seeking in damages should they win this suit, but I’m reminded of when Polaroid sued Kodak, and won big. Well, it was more that Kodak lost big than Polaroid won, because this lawsuit—how much was spent, and, perhaps more importantly, how much of a distraction it was—has been identified as a contributing factor to Polaroid’s eventual bankruptcy. But Kodak had to pay $925 million dollars to Polaroid (which, at the time, was the largest ever settlement), plus stop production of their Kodamatic instant film line. Oh, and they had to give their Kodamatic customers a refund, too. It was a huge blow to Kodak, and eventually contributed to their bankruptcy, at least a little.

Polaroid took Kodak out, and took themselves out in the process. Of course, that’s a massive—just massive—oversimplification of it all. The lawsuit was only a very, very small factor in both bankruptcies, as there were many other—and much larger—issues at play. A lot of articles have been written about this topic, and even a book (there are a lot of resources available, should you want to learn more). Obviously we’re only briefly touching the very surface here in this article and overgeneralizing, but it should be noted that the Polaroid vs Kodak lawsuit did have an impact on the film industry, probably more than most realize. There was no winner, despite Polaroid’s legal win.

I want to bring this back around to Fujifilm. It is very possible that a judgement could be ruled in Polaroid’s favor, and that Fujifilm will have to pay them millions—tens of millions at least, but quite possible hundreds of millions, if not more—and they’ll have to stop making Instax Wide cameras and film. They’ll probably have to give their customers a refund, too. I mean, if Red Bull had to pay a settlement because you don’t actually grow wings after drinking it, any judgement is possible. If such a ruling were to happen, that would be a massive blow to Fujifilm, which has the potential to ultimately end Fujifilm’s photography business.

Instax is Fujifilm’s big moneymaker. While the X-series and GFX-series have both grown in recent years, Instax is still Fujifilm’s largest camera/photo segment. Losing hundreds of millions in a judgement would be a massive setback, but if they have to stop making Instax Wide, that might be just as big of a blow—a double whammy. This has the potential to be devastating.

I don’t know, nor do I care to speculate, if Fujifilm violated Polaroid’s trademark. Maybe they did, maybe they didn’t—I have no idea, and that’s not for me to decide, anyway. With that said, I hope the judge rules in favor of Fujifilm, or, if not, it is like when the USFL sued the NFL and won, but only got a $1 judgement. The worst-case scenario (from my perspective as a long-time loyal Fujifilm customer) is that Polaroid wins and receives a very large settlement, which becomes a turning point for Fujifilm, eventually leading to a future bankruptcy or a shuttering of the photographic business (which is only a small part of the company overall). It’s like dominoes, where knocking one down can lead to more falling. Obviously, I hope that can be avoided.

It seems more likely than not that Fujifilm will pull through this just fine, even if they lose the case. Instax Mini has a larger market share than Instax Wide, and the digital camera division has been on a roll lately. But, to a small extent that I’m clearly overstating, Polaroid took down Kodak, and they could do the same to Fujifilm, even if it’s seemingly unlikely. This is something to keep an eye on. No court date has been set, and I’m not sure how long we’ll have to wait to find out—the battle between Polaroid and Kodak took 14 years to play out. Oh, and I know it may sound like it, but by no means am I anti-Polaroid. I have Polaroid cameras and film, and even sport a Polaroid t-shirt from time-to-time. I sincerely wish them much success in everything …aside from this lawsuit.

What do you think? Will Fujifilm win? Will Polaroid? What kind of impact will it have if they do? Is this all much ado about nothing? Let me know your thoughts in the comments!

September Surprises — Three Upcoming Don’t-Miss Events!!

Posted on August 26 by Ritchie Roesch

I’m so happy to announce three upcoming events that you won’t want to miss. I can’t give you all of the details just yet, but I want to start getting the word out so that you have the opportunity to plan, as these will come up fast. You can expect the full details to be released very soon. In the meantime, I’ll share with you what I can.

September 6th — Fujifilm Film Simulations & Fuji X Weekly Recipes Class — Scottsdale, Arizona

I will be leading a class at Nuzira—an up-and-coming camera store in Scottsdale, AZ—on Saturday, September 6th, at 11 AM. The class is called Fujifilm Film Simulations and Fuji X Weekly Recipes — Film Like Photos Without Editing. We’ll discuss each of Fujifilm’s Film Sims and using Film Simulation Recipes on your X or GFX camera, why you might choose a certain Recipe and what you can expect when you do. This class will probably be the most helpful to Fujifilm photographers, but if you are just Fuji-curious, please come anyway. It will last about one hour.

I’ve co-led two photowalks with Nuzira: one in Scottsdale and one in Phoenix. This isn’t a photowalk, but please bring your Fujifilm camera. We’re going to have a great time! And this will be an excellent opportunity to ask any questions you might have about Film Simulations, Recipes, and Fujifilm cameras. More information, including how to register, is coming very soon, and as soon as it does I will let you know.

September 13th — Fujifilm X half Photowalk — Los Angeles, California

On Saturday, September 13th, at 2 PM, I will be leading a photowalk in Los Angeles, as a part of Samy’s Camera 49th Anniversary three-day event. This photowalk is all about the Fujifilm X half, which is such a fun camera. You don’t need to own an X half to take part in this—in fact, this is a great opportunity to try one out—please bring an SD Card so you can take your photos home. Spaces are limited and won’t likely last long, so be sure to register today! It’s $25 per-person ($27.13 after taxes), but each participant will receive a $25 Samy’s gift card, essentially making it free.

This photowalk will last about two hours, and we’re going to have a ton of fun. It will be a great opportunity to create film-like street and urban photos. While you are at Samy’s for this event, you will also want to attend Reimagining Reality Through Multiple Exposures by Tom Baumgaertel (bewaremyfuji), which will be on Friday, September 12th, at 10:30 AM. This is a don’t-miss class, so be sure to go.

September 28th — Photowalk — Minneapolis, Minnesota

I can’t provide the details about this event just yet, other than it will be a photowalk in Minneapolis, MN, on Sunday, September 28th, at 2 PM. Once I get the green light, I’ll be sure to share everything with you, including how to register. The picture above is from a photowalk in Ann Arbor, MI, last year.

September is going to be a busy month. If you are in Arizona on the 6th, L.A. on the 13th, or in Minnesota on the 28th, I hope that you can join me. I’d love to meet you in-person, talk shop, and answer any questions you might have. Whichever event you can go to, we’ll have a good time. Hope to see you soon!

Let’s talk about the Fujifilm X-E5

Posted on August 25 by Ritchie Roesch

I love the Fujifilm X-E5. In my opinion, it’s the greatest iteration of the X-E series—probably objectively so, and not just subjectively. This line is one of my favorites, and I have a special place in my heart for it—an X-E1 was my gateway into the X-Series. But there’s something a bit unusual going on within the Fujifilm community regarding this new camera—I noticed it, so I thought I should comment on it.

By “Fujifilm community” I mean online. Something that I realized over the last year, after meeting thousands of you, is that the in-person Fujifilm community is much different than the online community. Yes, some are in both worlds, but there are many trolls, haters, and constant complainers on the internet that simply don’t exist in real life. Maybe they’re hiding, but they don’t show up to photowalks, classes, and events. Thankfully, most of those people avoid this website, probably because I don’t put up with it (I would encourage other websites to crack down on the toxic behaviors found throughout the comments sections). You see them elsewhere in droves (although trolls can have multiple pseudonyms, appearing to be many people, when it’s actually only one). In real life, the Fujifilm community is kind, friendly, and respectful—basically, just normal people.

Ann Arbor Photowalk — Fujifilm X-T50 — Fujicolor PRO 160C Warm — by Dave Geffin

Prior to its announcement, the view I held of the Fujifilm X-E5 (and I wrote about it several times) is that the camera should be basically the same as the X-E4, with only small changes. Prioritize size, weight, and affordability. Add an M/C/S switch, a rear command dial, and the X Processor 5, and call it good. However, the feedback I got from the community is that most disagreed. My opinion was clearly a minority opinion. Folks wanted the next X-E camera to be an interchangeable-lens X100VI, are as close to that as practical. I was not surprised that Fujifilm listened to the community, and made that camera. With the X-E5, Fujifilm delivered on what most had asked for.

It’s not what I asked for, but that’s ok. I’m just one person. Besides, I’m not always right. The camera that Fujifilm made instead is quite excellent. It has the 40mp X-Trans V sensor, IBIS, very nice build quality, and a newly designed Film Dial. You can program up to 11 Film Simulation Recipes into it, more than any other Fujifilm camera. There’s a heck-of-a-lot to like. All of those upgrades add up. That, plus accounting for inflation and tariffs (in America), the X-E5 is the most expensive X-E iteration. It’s no longer an entry-level model, but clearly mid-tier.

For those who had requested the camera to be an interchangeable-lens X100VI, they should put their money where their mouth is. Years ago, there was a push within the community for a longer telephoto prime lens—at the time, the Fujinon 90mm f/2 was the longest. Fujifilm listened to the input from the community, who said the lens needed to be long and sharp and fast. “If it ain’t f/2,” some publicly stated, “I ain’t buying.” Well, Fujifilm made the lens that many had asked for—an extremely excellent lens, too. But few purchased it. Why? Because it was large, heavy, and really expensive ($6,000!). Be careful what you ask for, because you just might get it.

Once bitten, twice shy. If the community asks for something and Fujifilm delivers, but then not many buy, do you think that they’ll continue to listen? If you asked for something and it came to pass, I feel you are obligated to put some skin in the game. What I see online, though, is the opposite. “Nobody asked for this,” is a statement that I’ve read a number of times now in comments on articles and videos about the X-E5. People are pretending that this isn’t the camera they requested.

*Buckeye Motor Hotel* – Buckeye, AZ – Fujifilm X-E5 – Summer Sun

I’ve had a front row seat to all those who asked for it, and it was a lot of people. Not a few; it was a ton. I cannot tell you how many times I read, “No IBIS, no buy.” And, “It better have the 40mp sensor!” I cannot count the number of times someone said, “I just want an interchangeable-lens X100VI.” You probably read those same statements, too. Like the Fujinon 200mm f/2 lens, some of those who asked for it are now pretending they didn’t.

The X-E5 will prove to be a popular model, and likely will be the all-time best-selling X-E camera. Those folks who had asked for it but are now pretending that they didn’t because it costs more money than they expected, their purchase is unnecessary for the success of this camera. Still, I find it frustrating when people say one thing, but, when push comes to shove, they do the opposite. If you advocated for this camera, don’t complain that they made it; instead, appreciate that they listened to you—otherwise, you risk ruining that Fujifilm actually listens to the community.

*Mission* – Tucson, AZ – Fujifilm X-E5 – Kodak Vericolor VPS

I’m reminded of the Fujifilm GFX100RF. There were people, mostly trolls, haters, and constant complainers, who were never going to be happy. They created a damned-if-you-do, damned-if-you-don’t situation for Fujifilm. If the camera didn’t have this or that, it was garbage for not having it; however, if it did have this and that, it was too big, heavy, and expensive. In the case of the GFX100RF, it didn’t have IBIS or an f/2 lens, so it was garbage. In the case of the X-E5, it does have IBIS and 40mp, but it costs significantly more money, so Fujifilm has lost the plot. Fujifilm can’t win; only the trolls win.

Of course, the real winners are those who grab their cameras—whatever those cameras are—and head out to photograph. Whatever people say on the internet doesn’t actually matter; what does matter is what you do in real life—the people you meet, and the pictures you create. You don’t need the latest gear to do that, you don’t need the Fujifilm X-E5. Most likely, whatever you already have is sufficient. Sometimes you do need new gear, should something break or maybe what you have isn’t ideal for your needs. Sometimes new gear can inspire you to pick up your camera instead of letting it collect dust. But, for the most part, you already have what you need. The excessive negativity on the internet is just nonsense, and is safe to ignore. And those trying to create a revisionist history of the X-E5 are being dishonest—I was there, and I remember what was said.

Aerochrome v2 — Fujifilm X-T3/X-T30 Full Spectrum Infrared Film Simulation Recipe

Posted on August 20 by Ritchie Roesch

*Red Coast* – Fort Bragg, CA – Fujifilm X-T4 ES – This new Aerochrome v2 Recipe

Last year, I started my infrared photography journey when I purchased a Fujifilm X-T4 ES full-spectrum IR camera. Since then, I’ve published seven infrared Film Simulation Recipes for the X-T4 ES, which can also be used on full-spectrum converted X-Trans IV (except the X-T3 & X-T30) and X-Trans V cameras. You must have a full-spectrum model to use these Recipes, which requires an expensive and invasive procedure from a third-party vendor; otherwise, the X-T4 ES (“Extended Spectrum”) is a full-spectrum camera briefly offered by Fujifilm to the general public (it’s very difficult to find, but in my opinion totally worth owning). If you have a “normal” (non-converted) camera, these Recipes will not work.

One camera that people have commonly converted (as common as it gets, anyway) is the Fujifilm X-T3. While the X-T3 is X-Trans IV, it has JPEG options more similar to X-Trans III—it’s missing some that are available on later X-Trans IV models. Because of this, my seven infrared Recipes won’t work on a full-spectrum converted X-T3 or X-T30. Dan Allan has a full-spectrum X-T3, and he really wanted to use my Aerochrome v2 Recipe, so he modified it to be compatible with his camera. It’s not 100% the same, but pretty close, and quite nice. Those with a full-spectrum converted X-T3 or X-T30 can now join the infrared Recipe fun!

Above Left: Original Fujifilm X-T4 ES Aerochrome v2 Recipe; Above Right: This new Aerochrome v2 Recipe for the X-T3/X-T30.

Dan was kind to share his modification with me (and all of you), and also allowed me to publish his wonderful photos in this article, which you’ll find below (thank you, Dan!). If you have an X-Trans III full-spectrum model, this Recipe will work by ignoring Color Chrome Effect, but it will render a little different (feel free to try, though). If you have a Fujifilm X-T4 ES—or an X-Trans IV (other than the X-T3 & X-T30) or X-Trans V camera that has been full-spectrum modified—this Recipe will work by choosing Grain size Small, Color Chrome FX Blue set to Off, and Clarity set to 0. Depending on your preferences, you might actually like this version a bit better. The blue sky is the most obvious difference (interestingly, it seems slightly less divergent in Dan’s pictures than in the set above), but there are other more subtle variances; however, the overall vibe is the same between the original Aerochrome V2 Recipe and the new version. This Recipe requires three filters: Kolari Vision IR Chrome filter, Hoya G(XO) Yellow-Green filter and Tiffen Yellow 2 #8 filter. The IR Chrome filter is intended for infrared photography, while the Yellow-Green and Yellow filters are for B&W film. I’m not sure if the order matters, but I have the Yellow filter first (closest to the lens), the IR Chrome next, and the Yellow-Green last (furthest from the lens).

Edit: Dan informed me that he has the IR Chrome filter first (closest to the lens), followed by the G(XO), and then the Yellow 2 #8 (furthest from the lens). He isn’t sure if the order matters, but it might. He also wanted to mention that his conversion was with Kolari, with their anti-reflection glass, which might have a minimal impact on the outcome vs the X-T4 ES.

Filters: Kolari Vision IR Chrome, Hoya G(XO) Yellow-Green & Tiffen Yellow 2 #8
Film Simulation: Velvia
Dynamic Range: DR400
Grain Effect: Strong
Color Chrome Effect: Strong
White Balance: 5000K, +7 Red & +7 Blue
Highlight: +2
Shadow: 0
Color: +4
Sharpness: 0
High ISO NR: -4
ISO: Auto, up to ISO 6400
Exposure Compensation: 0 to +2/3 (typically)

Example photographs, all camera-made JPEGs captured by Dan Allen using this Aerochrome v2 Film Simulation Recipe on his full-spectrum converted Fujifilm X-T3:

*Full-Spectrum Fujifilm X-T3 & Aerochrome v2 Recipe — Photo by Dan Allen*

Find this Aerochrome v2 and other IR Recipes in the Fuji X Weekly App, available for both Android and Apple.

The Destination is the Look — Buying Cameras for the Aesthetic

Posted on August 19 by Ritchie Roesch

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

A reader messaged me recently with a confession: while camera shopping the other day, the top factor wasn’t megapixels, ergonomics, battery life, AF speed, size, or any other spec sheet headline. It was how the JPEGs look straight-out-of-camera—the aesthetics of the pictures—and how easy or difficult it is to get that look. Five years ago that might have sounded odd. Today it’s normal.

Fujifilm grasped years ago that “look” is a feature, not a garnish. Their Film Simulations aren’t just color presets; they’re carefully engineered tonal behaviors—contrast, colors, hues—that feel intentional, and are cohesive across the lineup. Fujifilm used their vast experience with film to create their Film Simulations, which is why their camera-made JPEGs are so good. Photographers talk about “Fuji color” like it’s a place you can visit, not just a slider position in a photo editor.

*Coastal Mist* – Elk, CA – Fujifilm X-T5 – Velvia Film

Film Simulation Recipes fine-tune those Film Simulations into aesthetics that oftentimes replicate classic film stocks. By adjusting the various JPEG settings, you can achieve many different looks straight-out-of-camera: Kodachrome 64, Kodak Gold 200, Fujicolor Superia 100—these are just a few examples. I’ve published over 400 Film Simulation Recipes, found on this website and in the Fuji X Weekly App. Most likely there’s a Recipe that matches your style. As my newest catchphrase says: Shoot more, edit less, and let your camera be your darkroom.

Fujifilm makes it easy to achieve a lot of great (often analog-like) looks. You can reduce or even eliminate post-processing, which saves a lot of time (and quite literally changed my life—no hyperbole). A computer is no longer required. While Fujifilm is head-and-shoulders above the competition when it comes to in-camera JPEG processing, there are other brands that are also good, and worth considering. Ricoh GR cameras, for example, are capable of some excellent straight-out-of-camera looks. There are Nikon Recipes, and Panasonic has LUTs. Leica added a few more profiles, and Sony recently added two more FL (“Film Look”) options. Each has advantages and disadvantages.

Fujifilm is clearly in the lead, but since other brands have taken notice, they shouldn’t feel too comfortable. They need to continue to innovate, with more in-camera looks, more customization, but also more simplicity. Remember: our friend was just as interested in the ease of achieving looks as much as the looks themselves, and to an extent some of the competition actually has a leg up on Fujifilm. It’s easy to overlook the importance of simplicity, but it’s just as critical as robustness—those might seem like contradictory terms, but they’re not.

*White Bridge across Pond* – Charleston, SC – Fujifilm X-E4 – Pacific Blues

There’s another aspect to all of this that needs to be discussed, and that’s the point of diminishing returns. Eventually, spec increases mean less and less. At some point, a camera is more than fast enough, and speed increases are unimportant to most people. The megapixels are more than enough, and increases in resolution are meaningless to the majority of customers. Etc., etc.. There might even be negative side effects to these improvements, which could make them seem regressive to some. This is known as the Inverted U Curve. I think a lot of aspects of digital camera technology are nearing (or have already reached or even surpassed) the peak of the curve, which means that they’ll be less effective as marketing ploys. This provides the opportunity for other things that have traditionally been ignored to take center stage. This is why more and more, the JPEG output is a deciding factor—and in some cases, the deciding factor—in new camera purchases.

If you catch yourself picking a camera because you love how it renders the world, don’t feel silly. That’s not laziness; it’s clarity. It’s normal. Specs used to be the destination; today, for many, they’re just the road—the destination is the look. With Fujifilm’s Film Simulations and my Film Simulation Recipes, it’s never been easier to reach your destination.

The Fujifilm X-Series Buyers Guide — Which Camera is for You

Posted on August 14 by Ritchie Roesch

A common question I get is, “Which Fujifilm X-series camera should I buy?” With so many options, it can be difficult to figure out which one is right for you. Some models are quite alike, with overlapping features and similar price points, which can be confusing—especially if you’re new to the system. Each camera in Fujifilm’s lineup has its own role to play, and understanding that role makes it much easier to choose the right one for you. To help you out, I’ll break down each X-series camera below and explain its purpose in the lineup—what it’s best at, who it’s for, and why Fujifilm made it. With that foundation, you’ll be better equipped to make your decision.

Fujifilm X-H2s

The Fujifilm X-H2s is Fujifilm’s most premium X-series camera—the flagship model. It’s designed for speed, which makes it the most ideal option for videography, as well as sports and wildlife photography. It’s the only X-series camera—and only APS-C camera—with a stacked sensor, which allows it to be faster than other models. Interestingly, a large majority of the official Fujifilm videos (found on their various YouTube channels) are filmed on this camera—if you want to know what you can do with it cinematically, there are tons and tons of excellent examples online. Because the X-H2s is the top-of-the-line option, it is also the most expensive at $2,799 (after the recent price increase across the Fujifilm lineup).

A couple of possible downsides to the X-H2s are that it’s the largest (along with the X-H2, which shares the same body), which might make it less ideal for travel or walk-around photography, and it doesn’t have the traditional tactile exposure controls that Fujifilm is known for. This is a PASM model that’s specifically intended to be appealing to those coming from Canikony brand cameras, who might not appreciate Fujifilm’s retro-styled bodies. It’s weather sealed and has two card slots (one for CFexpress Type B). The rear LCD screen is vari-angle, and can twist many directions. I find it fascinating that camera reviewers often compare the X-H2s to full-frame models; those are somewhat unfair apples-to-oranges comparisons, but you see it often, which just goes to show that this camera punches above its weight class.

If you really need speed, the Fujifilm X-H2s is your best bet. It’s the top X-series option for video, sports, and wildlife. This is the most “pro” camera in the lineup, if that’s important to you. I have never used this camera personally.

Fujifilm X-H2

The Fujifilm X-H2 is nearly identical to the X-H2s. The main difference is that, instead of a 26mp stacked X-Trans V sensor intended for speed, it has a 40mp non-stacked X-Trans V sensor intended for resolution. It’s not quite as quick as the “s” version, so it’s not as ideal for video, sports and wildlife; however, it’s still snappy, and still excellent for those situations—it’s a great hybrid camera. You simply trade a little speed for megapixels, while saving $600. You get basically the same camera for significantly less money. If you need the fastest X-series model, the “s” version is the one to get; if not, the X-H2 is quite compelling, especially if you are moving over from one of the “big three” brands. I have not used the X-H2 personally.

Fujifilm X-Pro5

There is not currently an X-Pro5. The last camera in this series was the X-Pro3, released in 2019 and discontinued in 2022. A successor is overdue, and likely to come next year (my prediction is in the spring, but that’s merely a guess). Nothing is known about the camera (not even the name… “X-Pro5” is speculation); however, it probably won’t be too dissimilar from other X-Pro models. The X-Pro series offers classic rangefinder styling, a hybrid EVF/OVF, and durability (other than the rear LCD cable on the X-Pro3… that’s another story, and probably why that camera was discontinued). X-Pro is top-of-the-line out of all the retro-styled X-series models. These cameras are beloved, they’re classics—the Leica of Fujifilm, so to speak. There’s not much to say about it at this time other than it’s coming someday, and it will likely be over $2,000 (maybe well over) when it does come. I wouldn’t be surprised if Fujifilm kicked off the sixth generation with this camera. Whenever it is released, you’ll know, because it will definitely make headlines. The picture above is of an X-Pro1.

Fujifilm X100VI

The X100 series is legendary. It’s probably the most iconic Fujifilm line, with a beautiful retro rangefinder design, including a hybrid OVF/EVF. Pairing the 40MP X-Trans V sensor with a fixed 23mm (35mm full-frame equivalent) f/2 lens, the X100VI is perfect for street, travel, and documentary photography. This iteration is the first in the series to have IBIS. The leaf shutter, built-in flash, and built-in ND filter are three especially great but often overlooked features. The X100VI is compact and discreet, yet eye catching—no wonder it is the most viral camera of all time!

Because you cannot change the lens, this camera is not for everyone; however, it can inspire you to see differently because you’re limited to one focal length, which can force you to think more creatively. The Fujifilm X100VI is my “desert island” camera—if I could only have one model for the rest of my life, it would be this one. With that said, I find that the X100-series tends to pair really well with an interchangeable-lens model, for when the 35mm-equivalent focal length just isn’t the right choice. The X100VI isn’t a point-and-shoot; it’s a premium compact, which is reflected by the $1,799 MSRP (after the recent price increase).

Fujifilm X-T5

If there’s one quintessential interchangeable-lens Fujifilm camera, it’s probably the X-T5. It closely embodies Fujifilm’s retro styling and tactile controls, while packing in their latest 40mp X-Trans V sensor and processor. You get IBIS, a three-way tilting LCD, dual card slots, and weather sealing—all in a body that still feels compact. It’s basically an X-H2, but smaller, lighter, better-looking, and cheaper. This is a premium stills-centric model, yet it’s no slouch when it comes to video capabilities. A lot of comparisons have been made to the Nikon Zf, which is a full-frame camera (not necessarily a fair equivalence), yet the X-T5 holds its own pretty well, (again) punching above its weight class.

The X-T5 is a workhorse that can do a bit of everything. It seems well suited for landscapes, portraits, travel, etc., etc.. I used this camera extensively for about a year-and-a-half, then my wife, Amanda, used it for a year (mostly portraits, theater, and video), and now I have it back, and am enjoying photographing with it again. As a stills-centric yet good-for-everything camera, it’s easy to recommend. With an MSRP of $1,899, it’s under 2K but definitely not cheap.

Fujifilm X-T50

The Fujifilm X-T50 is the little brother of the X-T5. It has the same sensor, processor, and IBIS—it’s basically the same internally as the X-T5 and even the X-H2—but lacks weather sealing and dual card slots. It’s smaller and lighter, with a little more plastic. This was the first camera with a Film Dial, which adds a bit of aesthetic versatility, and is great for exploring which Film Simulations you might like best. This is Fujifilm’s mid-range retro SLR-styled camera, but is just as capable as the higher-end X-T5.

Because this camera is smaller and lighter, it’s a little better for travel or walk-around photography. The X-T50 is a bit more beginner or enthusiast orientated than the X-T5, but you can grow with it, since it’s just as capable as the higher end model. At $1,699, it’s only a little cheaper than the X-T5. If size and weight are a priority, that might be a reason to choose this camera, or if you want a slightly less complicated camera; otherwise, the X-T5 is the better option. I really like the X-T50 personally, particularly because of the Film Dial.

Fujifilm X-E5

The Fujifilm X-E5 is the newest X-series camera. It’s basically an X-T50, but in an X100VI-like body. It’s as close as you’re going to get to an interchangeable-lens X100VI, especially when paired with pancake lenses. It’s Fujifilm’s smallest camera with an EVF, which makes it especially great for travel photography, or just everyday carry. It’s also the only model where you can program up to 11 Recipes into it. The X-E5 is the most premium camera in the X-E series, and is solidly mid-tier, with improved build quality over its predecessor. I have no doubt that this will be a big hit, even with the $1,699 price tag. If you like retro rangefinder styling, this is the interchangeable-lens camera to buy.

Fujifilm X-S20

The Fujifilm X-S20 is the little brother of the X-H2s. It’s a hybrid model that’s especially good for video, but is no slouch for stills. It uses the “old” 26mp X-Trans IV sensor paired with the new X Processor 5. It is not weather sealed and has only one card slot. It’s not necessarily retro styled, and lacks the traditional tactile dials found on most Fujifilm models; instead, it has PASM controls similar to the X-H2s and X-H2, and it has an articulating rear LCD screen. It’s intended to be appealing to those coming from Canikony brand cameras. It only has C1-C4 and not C1-C7 like many other Fujifilm cameras, for those who use Film Simulation Recipes. There are two X-S20’s in my house: one belongs to my wife, Amanda, and the other belongs to my son, Jonathan. They both really love it—in fact, my wife chose the X-S20 over the X-T5. At $1,599, this is a mid-tier camera, but it is slightly more affordable than the X-T50 and X-E5.

Fujifilm X-T30 II / X-T30 III

The current entry-level X-series camera with an EVF and retro tactile controls is the Fujifilm X-T30 II. It has the 26mp X-Trans IV sensor and X Processor 4; however, it was the very last fourth-generation model, so it does have some options that the earlier 4th-gen cameras lack, making it seem a bit less dated. At $999, it is definitely more affordable than the options above, making it a compelling choice, and probably the best overall value right now—a great beginners camera. It doesn’t have IBIS, and may not be the best option for video—although, with a gimbal or tripod, it’s certainly capable of recording quality clips.

The X-T50 was not this camera’s successor, but a whole new highly similar line that is a bit more premium. Fujifilm is about to replace the X-T30 II with (what will likely be called) the X-T30 III. Because of this, the X-T30 II can be a bit tough to find in-stock, as I believe Fujifilm has stopped production of it. If you want the best affordable Fujifilm camera, be sure to buy an X-T30 II—that is, if you can find one. Fujifilm is expected to announce the X-T30 III later this year, likely in the fall. I anticipate it being nearly identical to the X-T30 II, just with the new X Processor 5, possibly with a Film Dial like the X-T50, and perhaps a couple hundred dollars more expensive. In all likelihood, the X-T30 III will be the last fifth-generation X-series camera.

Fujifilm X-M5

The Fujifilm X-M5 is the bargain basement entry-level X-series camera, with an MSRP of $899. It has a striking rangefinder-like retro design, but lacks traditional tactile controls (it has PASM instead) and lacks an EVF. It’s the smallest and lightest interchangeable-lens model in the lineup. Like the X-S20, it pairs the 26mp X-Trans IV sensor with the X Processor 5. It’s touted as a hybrid camera that’s excellent for video, but it lacks IBIS. In a sense, X-M5 is the little brother of the X-S20, and in a sense it’s the X-E5’s smaller sibling. If you have a tight budget or if you prioritize size and weight, this camera might be for you. Between this and the X-T30 II, if you are primarily a videographer, the X-M5 is your best bet, but if you are primarily a stills photographer, I recommend the X-T30 II. It seems like a good option as your very first camera, or else as a second camera for when your larger model isn’t ideal. I’ve never used the X-M5 personally.

Fujifilm X half

Last and maybe least is the Fujifilm X half. This is technically an X-series camera, but it’s not X-Trans, and isn’t APS-C, either. It has a 1″ Bayer sensor orientated vertically, with a fixed 32mm-equivalent f/2.8 lens. It’s essentially a digital version of half-frame cameras, like the Fujica Half, Olympus Pen, Kodak H35N, and Pentax 17. The X half has as much in common with the Instax Evo line as it does the X-series, and bridges a gap between the two systems, with a foot in both camps. It’s a heck-of-a-lot of fun, but definitely less serious than all of the options above. This could be a toy for the photographer who has everything, or a casual camera for events and vacations, or a first camera for your child that shows an interest in photography. You’re unlikely to capture portfolio-worthy pictures with the X half, but for social media or scrapbooks, this camera is quite excellent. Both my wife and I enjoy using it (and have fought over it), but neither of us would chose it as our primary model. At $850, it’s a bit expensive for what it is.

Conclusion

If you’re still unsure which Fujifilm cameras are right for you, let me break it down even more simply. If you are coming from one of the big three camera companies and want the easiest transition, you’re going to look at the X-H2s, X-H2, and X-S20. If you are primarily a videographer, you’ll want to consider those same three cameras, and I’ll throw in the X-M5 if you are on a tight budget. If you simply want the best-of-the-best, the X-H2s, X-H2, and X-T5 are your top options (and the next X-Pro, whenever that comes out). If you are primarily a stills photographer, the X-T5 is top-of-the-line (the next X-Pro will be, as well), the X-T50 and X-E5 are nearly as good (and smaller), and the X-T30 II is the best bargain. The best looking cameras are the next X-Pro (assuming that Fujifilm doesn’t change much), X100VI, and X-E5. If you don’t want to invest in a whole system, and just want to dip your toes into the Fujifilm world, the X100VI is what you should buy. If you don’t have a lot of money to spend, the X-T30 II and X-M5 are the two cameras you need to consider. If you have large hands and/or plan to use long lenses, the X-H2s, X-H2, and X-S20 have the best ergonomics, and I’ll throw in the X-T5 as a bonus. If you want small and lightweight, look at the X-M5, X-E5, X100VI, and (of course) the X half. If you want the most enjoyable, the X half, X100VI, X-E5, and the next X-Pro are the ones to consider. I’m sure I’m missing some situations, but I hope this provides clarity for some of you who are trying to decide which camera to purchase, and are just unsure.

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-H2:
Amazon, B&H, Moment, Nuzira
Fujifilm X-H2s:
Amazon, B&H, Moment, Nuzira
Fujifilm X-T5 in black:
Amazon, B&H, Moment, Nuzira
Fujifilm X-T5 in silver:
Amazon, B&H, Moment, Nuzira
Fujifilm X-T50 in black:
Amazon, B&H, Moment, Nuzira
Fujifilm X-T50 in silver:
Amazon, B&H, Moment, Nuzira
Fujifilm X-T50 in charcoal:
Amazon, B&H, Moment
Fujifilm X100VI in black:
Amazon, B&H, Moment, Nuzira
Fujifilm X100VI in silver:
Amazon, B&H, Moment, Nuzira
Fujifilm X-S20:
Amazon, B&H, Moment, Nuzira
Fujifilm X-E5 in black:
Amazon, B&H, Moment, Nuzira
Fujifilm X-E5 in silver:
Amazon, B&H, Moment, Nuzira
Fujifilm X-T30 II in black:
Amazon, B&H, Moment, Nuzira
Fujifilm X-T30 II in silver:
Amazon, B&H, Moment, Nuzira
Fujifilm X-M5 in black:
Amazon, B&H, Moment, Nuzira
Fujifilm X-M5 in silver:
Amazon, B&H, Moment, Nuzira
Fujifilm X half in black:
Amazon, B&H, Nuzira
Fujifilm X half in silver:
Amazon, B&H, Nuzira
Fujifilm X half in charcoal:
Amazon, B&H

A Roadtrip with the Fujifilm X-E5 using 11 Recipes

Posted on August 4 by Ritchie Roesch

I’m really excited, because I just published my first YouTube video in over a year! You might not be aware that Fuji X Weekly has a YouTube channel, but it does. I published two videos (not including Shorts) in 2024 (here and here), and three in 2023 (here, here and here). Those were a lot of fun, but YouTube videos are so much work. They take hours and hours and hours to create from start-to-finish. A good estimation—for those channels without a team of people—is one or two (or sometimes more) hours of editing for every minute of video published. That’s not including the time it takes to record the clips.

The video that just went live is a roadtrip to the Mission San Xavier del Bac in Tucson. This is the oldest still-used building in Arizona, and the oldest church. It’s where the city started (even though now it’s a little outside of town). The mission is a popular location for photography, and even Ansel Adams photographed it. I used 11 different Film Simulation Recipes on a Fujifilm X-E5. The adventure gets a bit wild, so hang onto your proverbial hats. I’ve included the video below—be sure to watch!

We tried a little different style for this new video. It’s a bit more relaxed, but hopefully entertaining. It gets a bit silly at times. Amanda (my wife) filmed it all using her Fujifilm X-S20 and Fujinon 16-50mm f/2.8-4.8 lens and an upcoming Recipe for video (look for more details on that in the near-ish future). She also did almost all of the editing. There were some technical difficulties; hopefully a new mic will help alleviate some of the issues on future projects. This is also the longest video we’ve ever published, nearly three times longer than the previous longest. A big hurray for Amanda and all the work she put into it!

Even though I have published videos very infrequently over the last few years, the channel has (surprisingly) grown and grown. There are over 17,000 subscribers currently. Four of the last five videos have over 10,000 views, and two have over 16,000. That’s not bad for a barely-there channel. My hope with this new upload is to kick-off a restart of sorts. While I can’t promise anything, my goal is to publish new videos regularly, and not let so much time pass between them. But, in the meantime, I hope that you enjoy this one.

Classic B&W Film Simulation Recipe

Posted on August 3 by Ritchie Roesch

*Old Church* – Tucson, AZ – Fujifilm X-E5 – Classic B&W

I love black-and-white photography. Kodak Tri-X 400 is my favorite monochromatic option, and (unsurprisingly) it’s by far the most popular B&W Recipe. For whatever reason, color Film Simulation Recipes tend to be a lot more popular than monochrome, so there are quite a few more of them; however, I really enjoy publishing a good B&W Recipe, and I’m quite excited about this one in particular. It’s really good, in my humble opinion.

The story behind this Classic B&W Recipe is unusual. While leading a photowalk in Manitou Springs, Colorado, with Mike’s Camera, someone asked me to explain the process of creating a Recipe. So I walked him through the process right there in Manitou Springs on a Fujifilm X-E5, and created this JPEG settings combo while doing so. I remember thinking that it looked nice, but pretty much forgot about it until after I returned home and reviewed the photos. After using it a little more, it quickly became one of my favorite B&W Recipes. Kodak Tri-X 400 still ranks a little higher in my book, but this one is easily a Top 5 for me.

*Coffee* – Tucson, AZ – Fujifilm X-E5 – Classic B&W

While I only used this Classic B&W Recipe on a Fujifilm X-E5 and X100VI, it is fully compatible with X-Trans IV (except the X-T3 and X-T30) and X-Trans V cameras. For those keeping score, that’s (as of this writing) 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, and X-E5. You can also use this on the latest GFX cameras, including the GFX100S, GFX100 II, GFX100S II, and GFX100RF. For the Fujifilm X-T3, X-T30, and X-Trans III models, consider trying the Analog Monochrome Recipe, which isn’t too dissimilar.

Film Simulation: Acros+G
Monochromatic Color (Toning): WC 0 & MG 0 (Off)
Dynamic Range: DR200
Grain Effect: Strong, Large
Color Chrome Effect: Off
Color Chrome FX Blue: Off
White Balance: Incandescent, -9 Red & +9 Blue
Highlight: +3
Shadow: +4
Sharpness: +1
High ISO NR: -4
Clarity: +3
ISO: Auto, up to ISO 12800
Exposure Compensation: 0 to +2/3 (typically)

Example photographs, all camera-made JPEGs captured using this Classic B&W Film Simulation Recipe on a Fujifilm X-E5 and X100VI:

*Monochrome Umbrella* – Buckeye, AZ – Fujifilm X100VI

*Empty Chair in a Dark Room* – Litchfield Park, AZ – Fujifilm X100VI

*Lonely Chair* – Buckeye, AZ – Fujifilm X-E5

*Hanging Shadows* – Buckeye, AZ – Fujifilm X-E5

*Grey Odadiuc* – Buckeye, AZ – Fujifilm X-E5

*Shadow Abstract* – Litchfield Park, AZ – Fujifilm X100VI

*Suburban Palm Shadow* – Buckeye, AZ – Fujifilm X100VI

*Coffee Cups* – Tucson, AZ – Fujifilm X-E5

*In the Raw* – Tucson, AZ – Fujifilm X-E5

*Facing North* – Tucson, AZ – Fujifilm X-E5

*Horse on a Ledge* – Buckeye, AZ – Fujifilm X-E5

*Baldwin 2* – Manitou Springs, CO – Fujifilm X-E5

*Mission Church* – Tucson, AZ – Fujifilm X-E5

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.

Review: Fujifilm X-E5 — Pancakes & Recipes

Posted on July 30 by Ritchie Roesch

Fujifilm recently loaned me an X-E5 to try out for a week or so. I also got to play with one at the B&H BILD Expo last month, so I was already a bit familiar with the camera before it arrived in the mail. Included with the X-E5 was the brand-new Fujinon 23mm f/2.8 pancake lens, so I’ll also be discussing that in this review, too. Let’s dive right in!

The Fujifilm X-E5 is actually the sixth X-E camera. The X-E1, released in 2012, was the very first, and the third X-series model overall, with only the X100 and X-Pro1 predating it. The X-E2 came out only one year later, followed by the nearly identical X-E2s in 2016. A year after that, Fujifilm released the X-E3, which saw the first significant design change (although it was still pretty similar). The X-E4 came out in 2021, which was the most different, with an emphasis on minimalism, compactness, and affordability; however, it was still similar overall. We have another significant design change with the X-E5, yet it still retains the distinctive look of an X-E series model.

With the X-E5, Fujifilm quite noticeably improved the construction quality—for example, the top plate is a single piece of machined aluminum, and the camera seems less plasticky overall. It just feels more sturdy, more premium, more refined than the X-E4. With a pancake lens attached—like the new 23mm f/2.8—the camera closely resembles an X100VI, which was clearly intentional. The X-E5 is essentially an interchangeable-lens X100VI; for those who have asked for such a camera: here it is! The two models aren’t exactly the same, and they each have their advantages and disadvantages, but they’re certainly similar enough to justify the comparison.

I don’t want to dive too deeply into the specs, but some important notes are that the X-E5 has the same 40-megapixel X-Trans V sensor and processor as the X100VI, X-T50, and X-T5. Like those models, the X-E5 also has IBIS. This is a camera capable of capturing high quality photos and videos. Not surprising, the X-E5 is also much more expensive—plus a tad larger and heavier—than its predecessor.

Like the X-T50 and X-M5, the X-E5 has a Film Dial, although it’s implemented a bit differently. Instead of a knob, it’s a wheel on the back, with a little window on the top plate. This is a really cool design; however, there is a downside: it has fewer Film Simulations. The X-T50 and X-M5 have only eight of the 20 Film Sims on the knob, with three customizable slots for your favorites that were left out; the X-E5 has only six Film Simulations, with three customizable slots. The six Film Sims on the dial are Provia, Velvia, Astia, Classic Chrome, Reala Ace, and Acros. Somehow—shockingly and inexplicably—Classic Negative was left out, as was Nostalgic Negative. I know that not all of them could make the cut, but I definitely question why Classic Negative was not included—seems like a sin.

The three customizable slots—called FS1, FS2, and FS3—can be set to any Film Simulation. In addition to that, they can also be customized into Film Simulation Recipes (functionality that should be—and hopefully will be—brought to the X-T50 and X-M5 via a firmware update). This is the very first time that Fujifilm has used the term “Recipe” in a camera—amazing! You can have 11 different Recipes programmed into the X-E5: seven within the C1-C7 Custom Settings presets, one in the IQ Menu set, and three on the Film Dial. The Film Dial also works well with my Universal Negative and Film Dial Recipes, providing extra aesthetic versatility. Only the C1-C7 Recipes can be custom named, so you have to remember what the other four are.

While this is certainly a welcome evolution of this feature, it could be made even better. For example, all of the Film Simulations should have the option for Recipes, and not just FS1/FS2/FS3. One issue with this UI, though, is that Recipes are scattered: some in Custom Settings presets, some on the Film Dial, and one in the IQ Menu. I think, more ideally, you’d find them all in one place. A lot of Fujifilm users would appreciate a Custom Settings Dial instead of a Film Dial, with maybe C1-C9 or C1-C12 (more is better). There are a lot of different ways that this could be addressed, and it’s something that should be addressed for future models. Still, the opportunity to have three extra Recipes programmed into the camera at any one time is quite nice, and I’m thankful for it. This is the main reason why I preordered this camera, even though I own an X-E4 that I really like.

Included with the X-E5 was the new Fujinon XF 23mm f/2.8 R WR pancake. This lens is very similar to the Fujinon 27mm f/2.8 R WR, which happens to be one of my absolute favorite lenses. I’ve been saying for years that Fujifilm should have more pancake lenses in their lineup, since a major selling point of Fujifilm cameras are their compact size and minimal weight. A camera like the X-E5 paired with a handful of tiny pancakes is ideal for traveling. This particular camera and lens combo is especially great for everyday walk-around photography.

The lens is sharp with minimal flaws. It has great close-focus capabilities; it’s not a macro-lens by any means, but with 40mp to crop from, it’s possible to use it for near-macro photography. From a technical point-of-view (and mind you, I didn’t do any serious testing), it’s pretty darn good for what it is, a marvel of engineering; from an artistic point-of-view, it seems to lack a little of the magic (a.k.a. character) that the 27mm f/2.8 and 23mm f/2 lenses are known for. Like the 27mm, it isn’t the quietest Fujinon lens. If you are trying to decide between the 23mm f/2.8 and the 27mm f/2.8, that’s going to be a tough call—personally, I like the 27mm just a bit more; however, the close-focus capabilities of the 23mm is certainly a significant plus. If you are trying to decide between the 23mm f/2.8 and 23mm f/2, that’s also going to be difficult, and your decision might come down to just how small is small enough for you. If you are buying the Fujifilm X-E5, it seems like an easy choice to get it bundled with the 23mm f/2.8, since it’s only $200 more when the lens itself is $500—if you have no intentions of keeping it, just turn around and sell it for $450, which makes the camera more affordable.

*Ants & Funyun* – Tucson, AZ – Fujifilm X-E5 & 23mm f/2.8 – Kodachrome 64

Getting back to the X-E5, the camera has a couple of really cool features, but you can only use one of them, and not both. The first, which is borrowed from the GFX100RF, is called Surround View Mode. It allows you to see outside of the frame when using an aspect ratio other than 3:2, giving a faux optical viewfinder experience (sort of). This is particularly nice when using the 1:1 aspect ratio. The XPan ratio would have been a great addition, but (sadly) it’s still missing on X-series models. The second feature is called Classic Display Mode, which turns the EVF into a really cool retro 1980’s-inspired display. I like both, but I couldn’t figure out how to activate the Classic Display Mode for some time—eventually I asked a Fujifilm tech rep for help. As it turns out, if Surround View Mode is activated, even when using the 3:2 aspect ratio, Classic Display Mode is disabled (and vice versa). Fujifilm: I suggest that Surround View Mode be automatically disabled when in the 3:2 aspect ratio, so that Classic Display Mode can be used; when changing aspect ratios to anything other than 3:2, if Surround View is activated, it would automatically disable Classic Display. This way, you don’t have to jump through hoops to use both of these cool new features.

While the X-E4 saw a lot of buttons removed in the name of minimalism, Fujifilm gave them to the X-E5 in spades. Just the new front control lever alone allows for five customizable functions. The inclusion of the rear command wheel and M/C/S switch means that you shouldn’t be short of camera controls, no matter how many functions you need quick access to. Those who disliked the direction of the X-E4 should especially appreciate its successor.

*Neighborhood Fireworks* – Buckeye, AZ – Fujifilm X-E5 & 23mm f/2.8 – Kodak Vericolor VPS

What else can I tell you about the Fujifilm X-E5? It isn’t weather-sealed (although it seems to have some level of weather resistance—I wouldn’t put it under a faucet, though). It uses the “old” NP-W126S battery. I expected that, as those things would have increased the size, weight, and cost even more. The X-E5 is definitely more premium than previous X-E cameras. I had suggested that Fujifilm prioritize size, weight, and cost by keeping it nearly the same as the X-E4; however, my opinion was clearly in the minority. Most people asked for an interchangeable-lens X100VI, and the X-E5 is as close to that as you’re likely ever going to get. It’s a very nice camera.

It comes with a “nice” price tag, too. In America, it’s $1,700 for the body-only, and $1,900 when bundled with the new 23mm pancake lens. That’s pretty shocking, especially when it’s double the price of the X-E4; however, keep in mind that inflation and tariffs have impacted the price in addition to the more expensive components that Fujifilm used in the camera. Interestingly enough, the X-E1 was $999 in 2012, which is about $1,400 in today’s dollars; add to that tariffs, and you’ve pretty much got the X-E5 price tag, never mind the 40mp sensor, IBIS, and better build quality. While it seems expensive, it is not an entry-level model. And with Fujifilm raising the price (in America) of the X100VI to $1,800, the X-T50 to $1,600, the X-T5 to $1,900, the MSRP of the X-E5 makes a little more sense. I do think it’s worthwhile to buy at $1,700, which is why I have it preordered bundled with the 23mm f/2.8 lens.

*Mission San Xavier del Bac* – Tucson, AZ – Fujifilm X-E5 & 23mm f/2.8 – Kodak Vericolor VPS

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

Example photographs, all camera-made JPEGs (with various Recipes) captured using a Fujifilm X-E5 & Fujinon 23mm f/2.8 lens:

Apparently, Fujifilm Price Increases are Coming Very Soon

Posted on July 28 by Ritchie Roesch

According to Fujirumors, Fujifilm is likely to raise the price by about 10% on most of their cameras and lenses beginning August 1st, which is Friday. It’s unclear if this is worldwide or just in America, but my suspicion is that it will just be in America, and is related to the tariffs. I also highly doubt that the X half and X-E5 will be affected, because the increase was already built into their MSRP.

Every major camera maker has either already increased their prices, or has announced that they will be soon—or both (already raised prices, but further price increases are forthcoming). While the X half and X-E5 were on the leading edge of the increase (and both were criticized for it), Fujifilm has largely delayed price increases on everything else. My guess is, with the Japan trade deal finalized, Fujifilm has something stable to determine what the increase should be, so that’s why it’s been delayed until now. I also suspect that Fujifilm will try to manufacture more of their U.S.-bound units in Japan instead of China, something they’ve already begun doing.

It’s also possible that this will be the first in a series of price increases. If Fujifilm were to raise the cost by (say) 20% all at once, that could scare off potential customers; however, by increasing it by “only” 10% now and another 10% later (perhaps on January 1st), it allows customers to acclimate more gradually to the higher prices. It’s like the frog in boiling water thing. Hopefully, though, this will be the one-and-only increase; if it is worldwide and not limited to America, I think that could possibly be an indication of it being only a one-time thing. It’s all just speculation at this point, and time will eventually tell—until then, take it all with a very large grain of salt.

Of course some will say that this is just Fujifilm being greedy or that Fujifilm has lost the plot and is out-of-touch with their customers. That’s all nonsense, spoken largely by trolls and click-bait content creators. Every camera maker is dealing with this same issue right now, and they are all raising their prices (RED is the only camera made in America as far as I’m aware, but I’m not sure how long that will last since they’ve been purchased by Nikon). I said back when the X half was announced that it was a foreshadowing of future price increases. When everyone complained about the cost, I said in time it would seem pretty normal, once the MSRP of everything else goes up. Now they’re going up. My suspicion is that we’re still five or six months out from all the dust settling, and it’s even possible that the X half and X-E5 could see a small price reduction at some point (since they were announced when there was a lot more uncertainty), who knows?

All of that is to say, if you’ve been eyeing a certain camera or lens, you might want to get your order in now and not wait until the price goes up later this week. If you delay, you may have to pay about 10% more. This is probably just for those in America, although I’m not 100% sure, and worldwide price increases are certainly a possibility, albeit a fairly slim possibility in my estimation.

Autofocus and an Upside-Down U

Posted on July 26 by Ritchie Roesch

*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 before a 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.

*Fujifilm X-T30 & Fujinon 90mm f/2* *— Fujichrome Sensia 100*

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.

People are talking about Fujifilm Recipes

Posted on July 23 by Ritchie Roesch

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.

Next is from the New York Times—the New York Times!! The article, which was published just today, is entitled No One Needs a $5,000 Point-and-Shoot. But Man Oh Man, Do We Want This One. by Ben Keough, and is found in the Wirecutter (“Games and Hobbies”) section. Specifically, it’s a review of the Fujifilm GFX100RF.

“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.

The Firmware Update You Might Want to Avoid

Posted on July 23 by Ritchie Roesch

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.

Retro Color — FXW App Patron Early-Access Recipe for Fujifilm X-Trans V

Posted on July 22 by Ritchie Roesch

*Savannah Central 7069* – Savannah, GA – Fujifilm X100VI – Retro Color

When Fujifilm released the X half last month, it included some brand-new filters, including Light Leak, Expired Film, Halation, and many more. One of my personal favorites is called Retro. Fujifilm doesn’t say exactly what the Retro Filter is supposed to resemble, but it’s an obvious vintage aesthetic. It reminds me a bit of Ormond Gigli’s color work of the late 1960’s and early 1970’s, although I’m sure the similarities are coincidental. I do think the filter was inspired by 1960’s era Ektachrome, especially when push-processed, something Kodak began offering in 1968.

The one and only X-series camera that has the Retro Filter is the X half. You won’t find it on the X100VI or X-E5 or any other model; however, it is on Instax Evo cameras. This filter, plus a number of others on the X half, were inherited from the Instax department. In my opinion, Fujifilm should add the Retro and Expired Film Filters to the Advanced Filters section of X-series cameras. Light Leak and Halation should be added as JPEG options that can be applied to Film Simulation Recipes. I hope they do.

Above: Retro Filter on the Fujifilm X half

While the Retro Filter on the X half was the initial inspiration for this new Recipe, I leaned more heavily into a different (yet similar) picture aesthetic that I really like: the Retro Style Smart Filter on my Samsung ST76 digicam. This little pocket point-and-shoot is from 2012, and it’s not particularly great, but I really like the Retro Style Smart Filter on it, which is pretty much the only reason why I use that old digicam. The filter is intended to produce a vintage ’60’s and ’70’s look, although (again) the specifics aren’t identified. While it has some similarities to the Retro Filter on the X half, it is notably divergent—a bit softer, less bold, and more subtle (yet still pronounced). To me, it looks more like prints from that era, more so than push-processed slides.

I did consider both of these picture aesthetics when created this Retro Color Film Simulation Recipe, but I spent more time comparing my X100VI and X-E5 photos to the Samsung ST76 than the X half. That was the vibe that I wanted to emulate, more so than the X half images. I think this Recipe nails the look in certain situations, and is pretty close (but not perfectly matched) in others. I’m pretty satisfied with the end result.

Above: Retro Style Smart Filter on a Samsung ST76

You might ask why I replicated the Retro look from a cheap digicam over the Retro look from the X half. Initially, I was attempting to replicate the X half aesthetic, but I encountered some difficulties early in that process. If I kept at it, perhaps those things could have been overcome. My hope is that Fujifilm brings the Retro Filter to X-series cameras, which might make the Recipe obsolete if I made it. Aside from that, while the Retro aesthetic from the Samsung ST76 and Fujifilm X half both have their positive and unique characteristics, overall I prefer Samsung’s version, as Fujifilm’s can be a little too strong sometimes for my tastes. I like both, and they’re both somewhat similar, but the one that I like best is what I ended up mimicking.

This Recipe produces an aesthetic reminiscent of some photo prints from the 1960’s and ’70’s, maybe captured using Ektachrome X or Ektachrome 200. I did find a few examples of Ektachrome prints from the 1970’s (for example, this one), which aren’t terribly dissimilar, and maybe sit halfway in-between the Retro Color Film Simulation Recipe and the X half‘s Retro Filter. As with anything in film photography, there are a lot of variables that can significantly affect the outcome. I would say that it is the “general aesthetic” that the Recipe recreates more so than a specific film or process.

*Triton* – Tonopah, AZ – Fujifilm X100VI – Retro Color

This Retro Color Recipe looks great on sunny days, and can be especially nice during golden hour. Try both a slight underexposure and overexposure—the results are notably different, and you might prefer one over the other. It produces a certain look with overcast sky, which you could either love or hate (most people probably won’t like it). I would avoid this for nighttime situations, but early blue hour is fine. This Recipe wouldn’t be my first choice for portrait photography, although situationally specific, it might be ok for that. If you appreciate a warm, vintage aesthetic, give the Retro Color Recipe a try, as you might really like it.

This is a Patron Early-Access Recipe. If you are a Fuji X Weekly App Patron, you have access to it right now. If not, no worries, as it will eventually be made available to everyone, once it is replaced by a new Early-Access Recipe. It is compatible with all fifth-generation X-Trans cameras, which (as of this writing) are the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, and X-E5. It can also be used on the latest GFX models, including the GFX100 II, GFX100S II and GFX100RF.

Example photographs, all camera-made JPEGs using this Retro Color Film Simulation Recipe on a Fujifilm X100VI and X-E5:

*7 Eleven* – Phoenix, AZ – Fujifilm X100VI

*Dusty Steering Wheel* – Buckeye, AZ – Fujifilm X-E5

*Sparkless Plug* – Buckeye, AZ – Fujifilm X-E5

*Eye Closed* – Buckeye, AZ – Fujifilm X-E5

*Inspection* – Arlington National Cemetery, VA – Fujifilm X100VI

*The Porter Machine* – Savannah, GA – Fujifilm X100VI

*Mission Arch* – Tucson, AZ – Fujifilm X-E5

*Storm over Mission San Xavier* – Tucson, AZ – Fujifilm X-E5

*Treasury Department* – Washington, DC – Fujifilm X100VI

*Big Flag* – Phoenix, AZ – Fujifilm X100VI

*Bashas on Main Street* – Buckeye, AZ – Fujifilm X-E5

*Vacancy at the Motor Hotel* – Buckeye, AZ – Fujifilm X-E5

*Afternoon Palm* – Buckeye, AZ – Fujifilm X-E5

*Craftsman* – Buckeye, AZ – Fujifilm X-E5

*Bougainvillea Sunset* – Buckeye, AZ – Fujifilm X-E5

*Tire Pile* – Waddell, AZ – Fujifilm X-E5

*Fireplace* – Scottsdale, AZ – Fujifilm X100VI

*Fading Sunset* – Somewhere over Arizona (I think) – Fujifilm X100VI

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

Pro Neg — Fujifilm X-T3 & X-T30 (+ X-Trans III) Film Simulation Recipe

Posted on July 22 by Ritchie Roesch

*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: