One of the disappointing aspects of the upcoming Fujifilm X half, which was just announced a couple days ago, is the video capabilities. Instead of allowing 9:16 1080p, the camera produces a 3:4 1080p video, which is less than HD once cropped to 9:16 for TikTok, Reels, and Shorts. It could have been an appealing feature for social media content creators, but the implementation fell short for that purpose.
One easy fix for this is to simply allow 9:16 1080p via a firmware update by taking full use of the sensor height. I don’t think that would be an especially difficult firmware to implement (could even be released by the time the camera is shipped), and would make the X half much more useful for video; however, one issue is still the mic. The built-in mic is so-so (as built-in mics typically are), and there is no option for an external mic. So either you deal with the quality of the built-in microphone, or you record the audio separately and sync it in software.
Another solution, which would be harder for Fujifilm to do but would better match the camera’s analog concept (and likely would excite some people), is to make an 8mm mode. Fujifilm could either make a lofi 4:3 crop from the 3:4 readout, or they could make you rotate the camera 90º to take full advantage of the resolution. I think either way would be acceptable, or even better is to offer the choice. In this mode, the camera would add sprockets to the edge, and simulate 8mm video camera aesthetics. Also in this mode, no sound is recorded. Clips created in this mode would look similar to the YouTube video below:
This would be a much more difficult firmware to create, but in-camera 8mm simulation would definitely be welcomed by some, and turn a disappointing feature into something that might actually get used. It would be viewed positively for the most part, I think, by those who purchase the camera. It’s doubtful that such a firmware could be made ready before the camera ships, but it could be a cool update for later in the summer. Or, should Fujifilm not want to create such a firmware update, if a successor eventually comes someday in the future, this is something to strongly consider for that camera. I do think there would be interest in an 8mm-like video feature, and the X half seems like an excellent candidate for it.
Also, the Evergreen + Fuji X Weekly case for the Fujifilm X100-series cameras is (and has been) out of stock on Amazon and directly from Evergreen Cases; however, it is still in stock at B&H, for those who might be interested.
One thing that might have been missed with the Fujifilm X half announcement is that the next X Summit will be in Shanghai on June 12th, which is less than three weeks away. I’m not sure what time, but most likely it will be in the early morning hours in the United States, or maybe late PM on the 11th for those on the west coast.
What gear will be announced? I don’t have any inside information—I find out the same way that you all do. I’m guessing a camera and lens, but that’s only a guess. Fujifilm will unveil it soon enough, though, so we won’t have to speculate for much longer.
It’s a bit unusual for Fujifilm to release two cameras so close together. It’s exciting times, even if one or both models are not all that interesting to you, personally. I’ve been saving up for a GFX100RF (still have a ways to go), but I might just divert those funds to what Fujifilm just released and is about to release.
Not very long after this X Summit is the B&H BILD Expo at the Javits Center in Manhattan on June 17th and 18th. Fujifilm invited me to come out to be a part of it, although I’m not sure yet what my role will be. This is a big event that you won’t want to miss! Peter McKinnon is one of the headline speakers, but there are many others, too. David Geffin, Kyler Steele, and Jasmine Quiñones are three that I personally recommend. It’s a free event (but you have to register), so if you are in the NYC area, be sure to attend—come say “hi” and chat a little.
I’m sure that Fujifilm will have on display a GFX100RF, X half, and whatever gear is upcoming. You can probably hold them, and it’s an opportunity to ask any questions you might have about these items from people who have personally used them and know them inside and out. Even if you don’t have any interest in that, be sure to stop by anyway—this is going to be a great time, and well worth the effort to get to.
There’s been a lot of negativity within the community about the new Fujifilm X half camera. A lot of positivity, too, but definitely a lot of gloom. I think it stems from a misunderstanding of who the camera is for. Understanding better the intended market segment might help to make sense of the camera. I think it’s also important to state that just because a particular model is not for you personally, doesn’t mean that it shouldn’t exist—if it becomes commercially successful (which I’m confident it will be), that is a strong argument that it should indeed exist because it obviously filled a market void, but maybe just not the particular void affecting you. It’s certainly ok to express your opinions about it, but preferably in a kind and constructive way. Not everything I said was positive because in all honesty, not everything about it is roses and rainbows; however, that doesn’t mean the camera is junk. With that out of the way, let’s get into this.
So who is the Fujifilm X half for? In my opinion, there are several primary groups. And just because someone doesn’t fit any of those groups, that doesn’t mean they won’t buy or appreciate the camera. I think this is a polarizing model that is definitely not for everyone, or even for most people. Some of you will love it, some of you will hate it, and that’s ok. This camera isn’t for everyone who regularly reads this website. In fact, the target audience most likely has never heard of Fuji X Weekly, or is maybe only vaguely familiar (but probably not).
One group is those who have recently discovered the joys of film photography, particularly those who have purchased the Pentax 17 or Kodak H35N—but not exclusively those people. Some have a 35mm point-and-shoot from the ’90’s. Some have been using Fujifilm Quicksnap disposable cameras. Film photography has seen a significant resurgence from the younger generation; however, it’s been hindered by the high cost of film and development, and sometimes the lack of availability. A camera that provides a similar experience and even aesthetic, but with the convenience of digital and with a one-time-fee entry point will be appealing to some of these people.
Another group is the digicam lovers. Surprisingly, the number one digital camera brand in Japan in 2024 was Kodak (actually, JK Imaging using the Kodak brand name). They’re selling a ton of cheap digicams that are basically 15-year-old tech and designs. Nobody in the camera world takes this seriously, but it is a sizable demographic. Retro digicams from 15 or 20 years ago are all the rage right now, too. The X half offers a graduation of sorts for those looking for a more premium option.
A third group is Instax users. Instax is the camera division’s money maker much more than the X-series is. Instant film photography is big and has been for awhile, and Fujifilm is king of the hill. At some point one can outgrow Instax; the Evo series is supposed to help with that, but it’s not a big step. So how can Fujifilm convince Instax photographers to take the leap into the X-series world? With a digital camera that offers a simple and analog-like experience with some Instax compatibility, of course!
In my opinion, those are the three main groups. That’s a pretty large umbrella, and you only need a small portion from each to sell a lot of copies. If you are not in one of those groups, you may still find the camera appealing, and might buy and love it (I might be one of those people); however, you’re not necessarily the target market for the X half. What’s fascinating—genius, really—is that this is a potential stepping stone into the system from the bottom. There’s always a lot of discussions about market share, and convincing those from other brands to join the fold. This camera is intended to bring in outsiders, and grow the brand unconventionally yet organically. Then, later, some of these people will buy an X-M5, X-T50, X100VI, etc., as their second X-series camera. I bet thousands get into the system this way.
Unfortunately, some of those who aren’t the target market have been trashing the camera online (not on this website, but elsewhere), and—much worse—speaking harshly of those who might buy it. My estimation is that the majority of sales will come from first-time Fujifilm photographers. I think it will sell fairly well to the existing X-series customer base because it’s a fun concept, but primarily it’s going to be someone’s first dip into the X-series pool. Instead of degrading these folks for liking and buying the camera, we should gladly welcome them into the community. If they have a good experience, they may just stick around for awhile, and that’s a very good thing for the brand and photography in-general. I think we need to be more welcoming and accepting of these newcomers, and not criticize them for making the purchase. I don’t think anyone here is doing that, but I’ve definitely seen it elsewhere, and it’s not healthy. It’s ok if this camera isn’t for you, but it is certainly for someone, and they’re going to absolutely love it.
Fujifilm announced a new camera last night called X half. It also goes by the name X-HF1, apparently. This is a 32mm (full-frame-equivalent) f/2.8 fixed-lens compact camera with a vertically mounted 1″ sensor, and is probably the most unique digital camera ever made—or, at the least, it offers the most unique photographic experience in all of digital photography. This isn’t a review, but I did want to give my thoughts on the release.
I haven’t used the camera, or even seen it in-person. I was up late last night watching the announcement and various review videos that were published, trying to figure out what this camera is. Now I’m awake typing this article after less than five hours of sleep, so if there are any typos, please excuse me. I’ve barely started my first cup of coffee. Anyway, Fujifilm released two videos, which I’ve included below.
In the weeks leading up to the release, I published two article about the X-HF1, speculating what it might be. The first was Why the Upcoming Fujifilm Half-Frame Camera is Genius, and I guessed that this was going to be an amazing camera, specifically designed for both a film-like photographic experience and recording vertical videos for TikToks and Reels. The second was What if the upcoming Fujifilm Xhalf is something different?, where I second-guessed my prior article, and wondered if the camera was going to be stripped down, less video-centric, and more Instax than X-series. Well, the X half seems to fall right in-between (maybe closer to the second take), and both articles had some things right and some wrong.
The new camera is intended to produce a film-like experience, and is capable of doing so in a unique way. In Film Camera Mode, you choose your “film” (Film Simulation) and how many frames (36, 54, or 72), and then you shoot through the Optical Viewfinder until the roll is fully exposed, using the frame advance lever in-between shots. You cannot see your pictures until after the roll is finished and “developed” in their new app that is just for this camera. I think this is super cool, and I hope this mode comes to some future camera, maybe the upcoming X-E5. There is a missed opportunity: Fujifilm offers photo printing services, so you should be able to order 4″x6″ prints of your roll of “film” from the new app. It would be so much fun to order prints, then wait until they arrive in the mail before reviewing the pictures. It would encourage people to print their photos, which isn’t done nearly enough nowadays. And it would be a way for Fujifilm to make some extra money on a service they already offer. Maybe they’ll update the app to include this in the future, as it seems like an obvious oversight.
The X half has a 20mp 1″ Bayer sensor, but only uses 18mp because it crops out 2mp to accommodate the 3:4 aspect ratio (the sensor is 2:3). If you want to crop your pictures to 2:3, you’ll lose a little more resolution, but it is still plenty for social media and web use, as well as prints smaller than 16″x24″. It would have been nice if one could choose to use the full sensor and the 2:3 aspect ratio, but with the X-HF1, Fujifilm significantly stripped down the menu and customizations. They made the camera about simplicity, but in doing so you lose out on some of what makes Fujifilm cameras special; namely, you cannot use Film Simulation Recipes with this camera, since you cannot control the various parameters like you can on any other X-series model.
Instead of 20 Film Simulations, this camera only has 13: Provia, Velvia, Astia, Classic Chrome, Reala Ace, Classic Negative, Nostalgic Negative, Eterna, Acros, Acros+Y/+R/+G, an Sepia. It’s too bad Sepia made the cut over PRO Neg. Hi, PRO Neg. Std, and Eterna Bleach Bypass. While you cannot use Recipes, the Film Simulations seem to produce a slightly divergent look than the standard Film Sims, almost as if Fujifilm programmed each with its own Recipe, for what that’s worth. There are also so-called Advanced Filters, including a few new ones borrowed from the Instax Evo cameras.
While the X half does shoot vertical video, the quality seems suspect. I’m sure there are some who will appreciate this and will create some interesting content with it, but it’s a big miss in my opinion. They should have allowed 1080p in the 9:16 aspect ratio so it would have been more useful for social media video creation. The X-HF1 could have been a trendy camera for TikToks, Reels, and Shorts, but I just don’t see that happening with the video implementation. The capability of video-video and still-video diptychs are a bit intriguing, but I don’t think that will catch on as anything more than a passing curiosity. Or don’t included video capabilities at all—I think that would have made a bigger statement (and would have been viewed more positively) than how it was implemented.
So what do I make of the X half? It looks nice. It’s very compact, which is perfect for everyday carry or travel. It’s minimalistic, which can be good. It offers a very unique shooting experience that looks like a lot of fun. It seems like a bridge between Instax and the X-series, and I think it’s fair to consider it more like a very-high-end Instax Evo camera without a printer than a bottom-end X-series model (it’s basically both). It will certainly be a very controversial camera (maybe the most), with perhaps the biggest controversy being the price: an MSRP of $850, which seems high for what it is. Some people are going to love it, and some are going to hate it. I think it will be especially popular with Gen Z and Gen Alpha, who are currently fascinated with classic digicams and film cameras, including half-frame models like the Pentax 17. Me? I applaud Fujifilm for daring to be different, and going way outside the box. I did preorder one last night, but I’m a bit unsure if I’m actually going to like it or not. Now excuse me while I pour that second cup of coffee….
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
One of Fujifilm’s most beloved lines is the X-E series. While never the most popular, X-E cameras have a passionate cult-like following. My first Fujifilm camera was an X-E1, so I have a special place in my heart for the line. The X-E4 is currently my favorite for travel photography, especially when paired with pancake lenses. At this time, Fujifilm doesn’t offer an X-E camera—the last one was the X-E4, but it was discontinued over two years ago.
The X-E1, which was announced in the fall of 2012, was a striking camera that caught a lot of people’s attention with its retro styling and compact design; however, there were some initial issues (later rectified via firmware updates) that hindered the perception of it. One year later, Fujifilm released the X-E2, which had a new sensor and was largely free of the problems that had given its predecessor bad press. This was a successful model for Fujifilm, but the X-series was still pretty new, with a small (but quickly growing) market share. The X-E2s was released three years later; it was almost just a firmware update disguised as a new camera, and Fujifilm later gave that same firmware to the X-E2. A lot of people consider the X-E2 and the X-E2s (which had a pretty short run) to be the same camera, because they basically are (although not 100%). In the fall of 2017, Fujifilm announced the X-E3, at a time when the X-series seemed to be hitting its stride, with several commercially successful models coming before (X-Pro2, X100F, X-T2, X-T20). I think there were some high sales expectations for the X-E3; however, demand turned out to be sluggish, and the camera had to be discounted in order to move the inventory. Because it was considered a bit of a “flop” (too many copies were manufactured for the actual demand), there were some rumblings that the X-E3 might be the last model in that series. Thankfully it wasn’t.
White Bridge across Pond – Charleston, SC – Fujifilm X-E4 – Pacific Blues Recipe
In March of 2021, Fujifilm released the X-E4. I preordered my copy the moment it was announced; if I hadn’t, I might not own one today. Fujifilm used the sales figures of the X-E3 to estimate the demand for its successor, which was a fair assumption, but what they didn’t know is that the X100V was about to go viral, and it was going to take the X-E4 with it. Demand for the X-E4 turned out to be much greater than it had been for the X-E3; however, as luck would have it, this was during the Covid global parts shortage, and Fujifilm had trouble securing materials to manufacture more copies. Two years after it was released, and with a very long backorder list, the camera was discontinued.
Because there was so much unfulfilled demand, the second-hand market for the X-E4 went nuts. It was pretty common to find a used X-E4 selling for 50% more than the MSRP of a new model, and sometimes double. Crazy! If sales had been slow, it very well might have been the final nail in the X-E coffin; however, sales were good, except that Fujifilm discontinued the camera at the peak of its popularity because they ran out of parts. Now, a little over two years later, apparently a new model is forthcoming. Interestingly, in 2023 I predicted that the X-E5 might come in the spring of 2025… not a bad guess, only slightly off. Let me quickly discuss what I hope for with the X-E5.
Beach Chairs – Folly Beach, SC – Fujifilm X-E4 – Velvia Film
A lot of people wanted to buy the X-E4 but just couldn’t find one in stock, so I wouldn’t change much. If it ain’t broke, don’t fix it. There are five things I would do different, and otherwise I’d leave it alone. I don’t think Fujifilm needs to reinvent the wheel here.
The five things that I would change, which would make the X-E5 pretty much perfect in my eyes, are simple: use the Shutter/ISO combo dial of the X100/X-Pro series, include an M/C/S switch, include a rear command dial, improve the EVF resolution, and use the X-Processor 5. That’s it. Keep the design the same, keep the sensor the same, use the same battery—keep almost all of it the same. Do this, and it will be a very successful camera.
Some people will demand IBIS and claim that the X-E5 must have it or the camera’s a dud. I don’t care if it does or doesn’t have IBIS, I’m fine either way. For still photography, IBIS is nice, but is oftentimes very overstated. It’s not a critical feature whatsoever for most people and circumstances. It does add weight (and probably size), cost, and battery life—in other words, there are tradeoffs. I’m ok with either choice, but I definitely lean towards its exclusion.
Will it have a small grip like the X-E3? It could, but if it doesn’t have IBIS, it’s lightweight enough that the omission is not a problem (it’s not a problem on the X-E4); personally, I’d welcome it for times when a larger lens is attached to the camera. They could include a built-in flash (the X-E1 and X-E2 had a flash), but it doesn’t bother me even slightly that the X-E4 doesn’t have one. I’d be a little surprised if the X-E5 has the 40mp X-Trans V sensor, but it certainly could. I’m more inclined to believe that it will have the 26mp X-Trans IV sensor like the X-S20 and X-M5, if for no other reason than to keep the cost down. The Film Dial? I like it personally, and I’d be curious to see how it might be implemented, but it doesn’t seem like an easy addition (the EVF is in the way), so I’m guessing no, the camera won’t have it.
One final point I’d like to make in this article is in regards to timing. The X-E1 was the second-to-last X-Trans I camera (X-M1 was last), the X-E2s was the second-to-last X-Trans II camera (X70 was last), the X-E3 was the second-to-last X-Trans III camera (X-H1 was last), and the X-E4 was the second-to-last X-Processor 4 model (X-T30 II was last). Fujifilm has used the X-E series to mark the sunset of each generation, with one camera model to follow. It’s reasonable to assume that we’re nearing the end of the fifth-generation. My prediction, which is merely a guess and nothing more, is that an X-T30 III (an X-T30 II but with X-Processor 5) will be announced in the fall, and the X-Pro4 (maybe called X-Pro5), which will be the first sixth-generation camera, will be announced in January or February of 2026. I’ve guessed wrong many times before, so take this with a massive grain of salt.
This is a one-year photo-a-day project called 52 Weeks of Photography. Even though it is a year-long undertaking, I’m taking it one week at a time, because it’s a little easier to manage many small blocks than one large chunk. This is the 20th week, so the 20th set of seven images.
The reason why I’m doing this 365 Day project is because I noticed some gaps in-between my images last year. I didn’t pick up my cameras daily. On several occasions, four or five days passed by without a single picture created. Twice in 2024, I skipped a whole week. I want to rectify this, and get back into the habit of daily photography. I also want to elevate the quality of my craft in 2025, and am hoping that this will help.
Mountain Grass & Flowers – Boulder, CO – Fujifilm GFX100S II & 80mm f/1.7 – Velvia Slide
The plan is to capture a year’s worth of notable images, either personally or artistically. Ansel Adams famously stated, “Twelve significant photographs in any one year is a good crop.” It’s important to keep expectations realistic, but I’m also trying to avoid thoughtless snapshots just to fulfill the day’s requirement. I want to push myself to be better, and hopefully that will happen. Not every photo will be great—in fact, most won’t—but I hope they are all at least decent enough to be shared without embarrassment. And maybe when the whole project is complete, there will be 12 significant pictures (out of the 365) that I’m particularly proud of.
This was an exceptionally busy week, but I managed to pick up a camera each day, at least for a few pictures. A couple of days produced a number of good photos, and a couple of days not so much. I flew out to Denver to lead a photowalk in Boulder with Mike’s Camera. That was a lot of fun, and also by far my most photographically productive day of this week.
Flatiron from Behind – Boulder, CO – Fujifilm X100VI & TCL – The Rockwell
Interestingly, I was just reviewing my pictures created over the last few years for an upcoming project, and almost all of my favorite photos—at least 80%—were made while traveling. My guess is that 80%+ of my total photos were captured local near my home, but that accounted for at most 20% of my favorites, while less than 20% were made while on a trip somewhere, yet that accounted for the majority of my favorites.
What I takeaway from this is that I need to be more creative at home. I need to view my local area more as a first-time tourist and less as a resident who has seen the sites a hundred times. I also need to make a better effort to get to the local places that are photographically interesting. I need my local photography hit-rate to be closer to my travel photography hit-rate. With all of that said, when you visit amazing places, it’s a lot easier to create amazing pictures, so maybe that accounts for a good deal of it, too.
Without further ado, below are the 20th set of seven pictures from this 52 Weeks of Photography project.
Tuesday, May 6th, 2025
Half Moon Between Branches – Buckeye, AZ – Fujifilm GFX100S II & 80mm f/1.7 – Superia Negative
Wednesday, May 7th, 2025
Growing, Building – Litchfield Park, AZ – Fujifilm X-E4 & 27mm f/2.8 – Superia Negative
Thursday, May 8th, 2025
Hanging Flower Pot – Buckeye, AZ – Fujifilm GFX100S II & 80mm f/1.7 – Superia Negative
Friday, May 9th, 2025
Ricoh Camera, Phoenix Film – Buckeye, AZ – Fujifilm GFX100S II & 80mm f/1.7 – Nostalgic Film
Mountain Grass & Flowers – Boulder, CO – Fujifilm GFX100S II – Velvia Slide Recipe
Back in January, I published the Provia Summer Patron Early-Access Recipe, which was supposed to kick off a series of Early-Access Recipes to help clear out the backlog. I never intended for the Early-Access Recipes to be locked for as long as they have been, so I decided to fix that in 2025. My goal for this series was to publish a new Recipe every three to four weeks; however, it’s now May, and this is only the second one. I will try to do better moving forward.
My intention for the Velvia Slide Recipe was a replication of Velvia 100 color reversal (slide) film, which should not be confused with Velvia 50 or Velvia 100F (although Velvia 100 is pretty similar to Velvia 50). I never used Velvia 100 (I have used Velvia 50 many times), so I relied on online resources, as well as my Velvia 50 slides. I feel like, in the right light, this Recipe does quite well at mimicking it, but it’s not always correct. It’s sometimes really convincing and sometimes less so; however, either way, I really like the look of it.
Book & Fake Succulent – Buckeye, AZ – Fujifilm X-T4 – Velvia Slide Recipe
While there are many Film Simulation Recipes that use Velvia, this one is not quite like any that I’ve previously published. Perhaps Kodak Ektachrome E100VS and Improved Velvia are the closest. It works best in sunny daylight, but can also be good for natural light indoors. It’s especially well suited for colorful landscape photography.
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. With the exception of the X-T3 and X-T30, it is compatible with all fourth and fifth-generation X-Trans cameras, which (as of this writing) are the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, and X-M5. It can also be used on the newer GFX models, including the GFX100S, GFX100S II, GFX100 II, and GFZ100RF.
Example photographs, all camera-made JPEGs using this Velvia Slide Film Simulation Recipe on a Fujifilm X-T4, X-S20, and GFX100S II:
Bougainvillea in Spring – Buckeye, AZ – Fujifilm X-T4
Oleander Branch in Bloom – Buckeye, AZ – Fujifilm X-T4
Garden Flowers – Charleston, SC – Fujifilm X-S20 – Photo by Jonathan Roesch
Blooming Bougainvillea – Buckeye, AZ – Fujifilm X-T4
Yellow Bougainvillea Backlit – Buckeye, AZ – Fujifilm X-T4
Palm Branch Curve – Buckeye, AZ – Fujifilm X-T4
Toyotires – Buckeye, AZ – Fujifilm X-S20 – Photo by Jonathan Roesch
Palm Trunk – Buckeye, AZ – Fujifilm X-T4
Spring Sun – Buckeye, AZ – Fujifilm X-T4
Setting Sun – Buckeye, AZ – Fujifilm X-S20 – Photo by Jonathan Roesch
Hawk Perched on Desert Rocks – Rock Springs, AZ – Fujifilm X-T4
Old Dog – Buckeye, AZ – Fujifilm X-T4
Lake Waves – Buckeye, AZ – Fujifilm X-T4
Flatirons – Boulder, CO – Fujifilm GFX100S II
Mohawk Mountain – Boulder, CO – Fujifilm GFX100S II
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.
American Paint Horse – Litchfield Park, AZ – Fujifilm X-E4 – Kodachrome Blue
Kodak made Kodachrome color-reversal (slide) film from 1935 through 2009. There are three era’s of Kodachrome: 1935-1960, 1961-1973, and 1974-2009. Each era has its own look; the second and third eras are probably the most similar. Kodachrome is actually a B&W film, with color dyes added during development. It was a unique and complicated process. Because of how the film works, it’s the most difficult emulsion to scan, often producing a blue cast that doesn’t exist when viewing the slides through a projector or on a light table.
Professional labs will have a profile to color correct Kodachrome scans, but even that’s not usually a 100% match. As it used to be said, “There’s nothing like projected Kodachrome!” If the scans aren’t carefully corrected, the results are often significantly more blue than the slides. The feeling that all the world’s a sunny day (as Paul Simon sang) is completely gone. Once you know what to look for, it’s easy to spot these incorrectly color corrected Kodachrome images, and they’re prevalent.
Rebels – Buckeye, AZ – Fujifilm X-E4 – Kodachrome Blue
Over the last few weeks I’ve stumbled across several sets of these incorrectly color corrected Kodachromes while perusing the web, mostly from the second era of the film. I thought that the look was interesting, so I set out to recreate it on my Fujifilm X-E4; however, the process was more challenging than I had anticipated. I had assumed that Classic Chrome would be the best film simulation to base this new Film Simulation Recipe on—it was the obvious choice, right?—but I couldn’t get it to look right. It was actually the fifth film sim I tried before I decided that I was finally on the right track.
After four different modifications, I felt I got it as close as I could, and had a reasonable facsimile of the film when not appropriately color corrected. Interestingly, I compared my Recipe to some incorrectly colored Kodachrome 64 film scans in my collection—some frames I captured on a Canon AE-1 back in 1999 that (when I later had them scanned) the lab rendered too blue—and the resemblance was striking. I made one more small change to the Recipe to get it even closer, and called it good. One thing that I wish was possible is a little more color saturation, but +4 is the highest option; if +5 or maybe +6 were available, I’d have bumped Color just a tad higher.
Actual Kodachrome 64 film — improperly color-corrected scan
Actual Kodachrome 64 film — improperly color-corrected scan
Actual Kodachrome 64 film — improperly color-corrected scan
This Kodachrome Blue Film Simulation Recipe is compatible with the Fujifilm X-T4, X-S10, X-E4, and X-T30 II cameras, as well as the GFX100S. For fifth-generation X-Trans models, as well as the GFX100 II, GFX100S II, and GFX100RF, set Color Chrome FX Blue to Weak instead of Strong. This isn’t a Recipe that I suspect will be anyone’s go-to for everyday use—I’d look at Kodachrome 64 or Kodachrome II for general photography—but it’s a fun one that I think some of you will really appreciate in certain circumstances. I personally like the retro feelings that Kodachrome Blue produces. Note: this was an App Patron Early-Access Recipe, but now it is available to everyone.
Film Simulation: Eterna Bleach Bypass Dynamic Range: DR200 Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome FX Blue: Strong White Balance: 6500K, -6 Red & +9 Blue Highlight: +2.5 Shadow: -0.5 Color: +4 Sharpness: +1 High ISO NR: -4 Clarity: +3 ISO: Auto, up to ISO 6400 Exposure Compensation: -2/3 to 0 (typically)
Example photographs, all camera-made JPEGs captured using this Kodachrome Blue Film Simulation Recipe on my Fujifilm X-E4:
Play Garden Tools on a Wall – Buckeye, AZ – Fujifilm X-E4
Stormy Day Bougainvillea – Buckeye, AZ – Fujifilm X-E4
Growing Bougainvillea – Buckeye, AZ – Fujifilm X-E4
Bougainvillea Day – Buckeye, AZ – Fujifilm X-E4
Bougainvillea Blue – Buckeye, AZ – Fujifilm X-E4
Building Storm over Street Lamp – Buckeye, AZ – Fujifilm X-E4
Three Palms over Building – Buckeye, AZ. -Fujifilm X-E4
Palm Lights – Buckeye, AZ – Fujifilm X-E4
Corner Tower – Buckeye, AZ – Fujifilm X-E4
Neighborhood Roof – Buckeye, AZ – Fujifilm X-E4
Concrete Roof Tiles – Buckeye, AZ – Fujifilm X-E4
Sunlight From Above – Buckeye, AZ – Fujifilm X-E4
Little Blue Rainbow – Buckeye, AZ – Fujifilm X-E4
Red Umbrella on a Sunny Day – Buckeye, AZ – Fujifilm X-E4
Water Angels – Buckeye, AZ – Fujifilm X-E4
Shoda – Buckeye, AZ – Fujifilm X-E4
Fake Flowers on a Table – Buckeye, AZ – Fujifilm X-E4
Potted Palm Plant – Buckeye, AZ – Fujifilm X-E4
Fresh Flowers – Buckeye, AZ – Fujifilm X-E4
Two Way Stop – Avondale, AZ – Fujifilm X-E4
Underpass – Avondale, AZ – Fujifilm X-E4
Taillight – Avondale, AZ – Fujifilm X-E4
Two Shoes – Buckeye, AZ – Fujifilm X-E4
Unexpected Portrait – Buckeye, AZ – Fujifilm X-E4
Guitarist – Buckeye, AZ – Fujifilm X-E4
Peace – Buckeye, AZ – Fujifilm X-E4
Attic Window – Buckeye, AZ – Fujifilm X-E4
Yellow Honeysuckle Trumpet – Buckeye, AZ – Fujifilm X-E4
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.
Fujifilm released a new teaser video (which you’ll find below) for the upcoming Xhalf camera, and it is quite interesting, because it showcases camera’s designer. The concept becomes much more clear, even if spoken in vague terms.
First, it starts with clarification: the upcoming camera is indeed X-series. I had wondered if it was going to be X-series, or maybe in the Instax line. Now we know for sure. Perhaps that is an indication that my initial speculation is more likely to be true.
“I personally use both digital and film cameras in various formats,” the product designer states, “ranging from point and shoot to medium format. But specs and tech aren’t always everything. I designed this camera so that you can express yourself in a different way. I hope you will enjoy telling your story with this camera.”
I don’t know if the photos and footage in this video were created using the upcoming camera. Fujirumors thinks that it was, but I couldn’t find anything that says one way or the other. It seems to be, though. The previous teaser video wasn’t, but they also stated that in the description. I think it’s fairly safe to assume that this latest video was indeed created using the new camera, but it’s still a possibility that some or all of it was not.
The photo on the left in the above screenshot caught my attention. It looks a lot like the Fujicolor 100 Gold Film Simulation Recipe. There are some others that can produce a similar look, such as Pacific Blues or Superia Negative (there are a couple others, too), or maybe it’s not one of my Recipes or even a Recipe at all. It doesn’t really mean anything, but I found it interesting nonetheless.
The Xhalf will be announced on May 22 at 1 AM Eastern Time, which is 10 PM Pacific Time on the 21st (just two days from now). I’m pretty excited to learn the specifics about this model, which will certainly be one of the most unique digital cameras ever made. If you are in Los Angeles on the 22nd, be sure to go to the X Summit Experience that Fujifilm is hosting.
Fujifilm is hosting a free X Summit Experience in Los Angeles on May 22, from 5:00 to 8:00 PM. If you live in southern California, you should try to make it. I’m sure it will be a great time! Click here for more information and to register.
The night before is when the upcoming mystery camera, which is a vertically orientated 1″ sensor model called the Xhalf, will be announced, at 1 AM Eastern Time, 10 PM Pacific. I’m looking forward to learning more about it, so I’ll probably stay awake for the announcement.
Mike’s Camera held a three-day photo and video expo at their Boulder location this last weekend. They invited me out to teach a class and lead a photowalk on Sunday. It was a quick trip (I got back home yesterday), but I had a wonderful time, and it was so great to meet some of you in-person.
According to a few store employees, the first two days of the annual expo were very, very busy. The final day was on Mother’s Day, and apparently it was much slower. Only six people came out for the class and photowalk on Pearl Street, which allowed for lots of one-on-one opportunities. Last year when I co-lead a photowalk with Mike’s Camera, the turnout was large (more than 60!), which was great, but it didn’t allow for longer conversations—some people wanted to ask questions or get help or advice, and they just couldn’t, which was unfortunate. While large group numbers are more impressive, I personally prefer smaller groups—I believe they’re more helpful and enjoyable.
Last year Fujifilm invited me to lead a series of photowalks at the NAB Show in New York City. It was an incredible opportunity, and really thrilling. Fujifilm capped the groups at five people per walk (although there were more than five on all three of my walks). It’s much more casual, and really about connections, conversations, and counsel (I was looking for a synonym for help that started with a “c”…), which are a bit difficult with larger crowds. It’s my favorite photowalk that I’ve been a part of. The Boulder photowalk reminded me of that, and is also one of my top favorites. I think everyone had a great time, and I’m really honored to have been a part of it. I want to give a special thank you to those who took time on Mother’s Day to come out, and express my appreciation to Mike’s Camera and Fujifilm for facilitating it.
Something that I’m really excited to announce is that I’ll be in New York City next month. Fujifilm has invited me to the B&H Bild Expo, which will be at the Javits Center in Manhattan (the same location as the NAB Show) on June 17th and 18th. This is a big event that you won’t want to miss. Peter McKinnon is one of the headline speakers, but there are many others, too. David Geffin, Kyler Steele, and Jasmine Quiñones are three that I personally recommend.
I met David at a Fujifilm X-T50 launch event last summer. He’s a super talented photographer and cinematographer. You’ve likely seen his work before, even if you don’t realize it. I’m not sure when he will be speaking, but it will be well worth your time to attend. Just before the X-T50 launch, Fujifilm held a creator’s retreat in the Catskills, and that’s where I met Kyler. I got to spend a few days hanging out with him and others. He’s quite skilled, and you will not want to miss his presentation, which I’m certain will be great. I met Jasmine at Fujifilm’s Create With Us event last year in Austin. We didn’t get to talk very much, unfortunately, because we were both quite busy. Her videos are topnotch. There’s a good chance you’ve seen her work before, especially if you follow Fujifilm’s social media accounts. Definitely make sure you catch one of their talks, if not all three.
Fujifilm Booth at NAB Show – New York City, NY – Fujifilm X100VI – Kodak Tri-X 400
If you live in New York City or the surrounding areas, or if you happen to be visiting Manhattan in the third week of June, be sure to stop by the B&H Bild Expo. I’d love to meet you. It’s going to be epic, and I can’t wait! Stay tuned for more details.
There’s a lot of really awesome things in the works, which I’ll share with you as soon as I can. If you don’t already, be sure to follow this website (“Follow via email” at the bottom of this page) and/or my social media accounts (Instagram, Facebook, TikTok, YouTube) so that you don’t miss out. It was great meeting some of you in Boulder, and I look forward to meeting more of you in Manhattan!
This is a one-year photo-a-day project called 52 Weeks of Photography. Even though it is a year-long undertaking, I’m taking it one week at a time, because it’s a little easier to manage many small blocks than one large chunk. This is the 19th week, so the 19th set of seven images.
The reason why I’m doing this 365 Day project is because I noticed some gaps in-between my images last year. I didn’t pick up my cameras daily. On several occasions, four or five days passed by without a single picture created. Twice in 2024, I skipped a whole week. I want to rectify this, and get back into the habit of daily photography. I also want to elevate the quality of my craft in 2025, and am hoping that this will help.
Spitting Lions – Buckeye, AZ – Fujifilm GFX100S II & 80mm f/1.7 – Velvia Film
The plan is to capture a year’s worth of notable images, either personally or artistically. Ansel Adams famously stated, “Twelve significant photographs in any one year is a good crop.” It’s important to keep expectations realistic, but I’m also trying to avoid thoughtless snapshots just to fulfill the day’s requirement. I want to push myself to be better, and hopefully that will happen. Not every photo will be great—in fact, most won’t—but I hope they are all at least decent enough to be shared without embarrassment. And maybe when the whole project is complete, there will be 12 significant pictures (out of the 365) that I’m particularly proud of.
Interestingly, I noticed that I used the vertical (portrait) orientation a lot more than usual during this week. I don’t know why. It could be because I’d been thinking of the upcoming Xhalf, or it might have been just the way the subjects presented themselves. I didn’t even realize it until I was putting together this article.
Without further ado, below are the 19th set of seven pictures from this 52 Weeks of Photography project.
Tuesday, April 29th, 2025
Palm Curve – Buckeye, AZ – Fujifilm GFX100S II & 80mm f/1.7 – Kodak Tri-X 400
Wednesday, April 30th, 2025
Study – Buckeye, AZ – Fujifilm GFX100S II & 80mm f/1.7 – Nostalgic Film
Thursday, May 1st, 2025
Book Succulent – Buckeye, AZ – Fujifilm X-T4 & 90mm f/2 – Upcoming Recipe
Friday, May 2nd, 2025
Tower – Buckeye, AZ – Fujifilm GFX100S II & 80mm f/1.7 – Superia Negative
Saturday, May 3rd, 2025
Auto 110 – Buckeye, AZ – Fujifilm X-E4 & 27mm f/2.8 – Pacific Blues
Sunday, May 4th, 2025
Saguaro Storm – Buckeye, AZ – Fujifilm X-T4 ES & 35mm f/2 – Aerochrome v2
Monday, May 5th, 2025
Great Coffee – Goodyear, AZ – Fujifilm X-E4 & 27mm f/2.8 – Superia Negative
Tree of Broken Glass – North Salt Lake, UT – Fujifilm X-E1
Ever since I first saw the Fujifilm X100, X-Pro1, and X-E1 in 2011 and 2012, I wanted to buy one. These cameras were significantly different from the other digital models on the market, and seemingly more similar to classic film cameras. I’d see them in various camera magazines, and I’d eagerly read the reviews and study the pictures. I was fairly new to digital photography, having purchased my first DSLR in 2009, but I found the experience frustrating and disappointing. It was so much different than film, and I felt like I was learning photography all over again.
I had been a stubborn digital holdout for a decade, choosing film because I disliked digital. I would brag that I could easily distinguish a digital image from a film photo. But digital technology quickly advanced, becoming better and better. I knew that I needed to get onboard the train before getting completely left behind at the station. Because I had a couple of 35mm Pentax bodies, and you could use K-Mount lenses on Pentax DSLRs, I initially went with that brand. I have absolutely nothing against Pentax (I own a couple of Ricoh GR cameras), but it just wasn’t a good fit for me.
Barn by the Tetons – Grand Teton NP, WY – Fujifilm X-E1
Unfortunately, at the time that the original Fujifilm X-series cameras were released, I could not afford them. They were outside of my budget. Oh, if I just had a few hundred dollars more to spend on a camera, I’d buy one, I would tell myself. However, Fujifilm was just out of reach.
Time went on, and I jumped from brand-to-brand-to-brand, never satisfied with my gear. I thought maybe I was just being discontented, and I should try harder to find gratification with what I had. But contentment seemed illusive. After a number of years, I sold all of my digital gear except for one point-and-shoot digicam and my cellphone (I still had a couple of film cameras), and—for the most part—took a break from photography. Well, that break was short-lived, because I moved to Utah, which is a photographer’s playground, and I couldn’t resist the urge to create photographs.
Bison In The Road – Antelope Island SP, UT – Fujifilm X-E1
This time, I was determined to buy a Fujifilm camera. I had never owned one, and didn’t really know what to expect, but I knew they were different. I couldn’t afford the current offerings, so I purchased a used Fujifilm X-E1, which was now a four-year-old model. The X-Pro2 was brand-new, and I would have loved to buy it, but it was not anywhere near my budget. The current X-E model was the X-E2s, and that was also unattainable for me at the time. Happily, I found an X-E1 that I could afford, so I bought it. The manual controls felt natural and made so much sense to me. I was reminded of why I loved photography. It was instantly clear to me that Fujifilm cameras were what I had been looking for all along.
The purchase of that X-E1 sent me on a path that I’m still on today, and it’s been an incredible journey! To say that it changed my life is a massive understatement, no hyperbole. Although it wasn’t a brand-new camera, I loved it. I have a special place in my heart for the X-E1, and all of the other X-E models, including my Fujifilm X-E4, which is one of my favorite cameras today. I find it sad that Fujifilm is not currently making any X-E bodies (the X-E4 was discontinued two years ago), but I’m hopeful that the series will continue on, and the next iteration isn’t too far out.
Mike’s Camera is hosting a Spring Photo and Video Expo in Colorado over Mother’s Day weekend. I’ll be at the Boulder location this Sunday, May 11th, from 11:00 AM to 1:00 PM for a free class and photowalk. If you live in the area, please come out and join me—we’re going to have a great time! If your mom or mother-in-law has an interest in photography, bring her along, too.
The class is called Fujifilm Film Simulation & Fuji X Weekly Recipes. We’re going to learn how Fujifilm’s 20 Film Simulations and Fuji X Weekly Recipes can transform your photography, achieving the results you want quickly and easily while making photography more fun. The class will be about 30-40 minutes long, followed by a photowalk on Pearl Street. You don’t need to register, you just need to show up on May 11th at 11:00 AM. Click here for directions.
Last year I co-lead a photowalk in Denver with Mike’s Camera, and it was a huge success. About 60 people came out for it—one as far away as Italy!—and we had a great time. It’s a real honor to be invited out again. I want to express my appreciation to Mike’s Camera and Fujifilm USA for including me in this event—thank you!
If you are in the Denver area, I’d love to meet you. It’s a great opportunity for camaraderie and to just chat cameras. It’s awesome that a local camera store is facilitating this community-building event, so definitely take advantage of it. I hope to see you in Boulder this weekend!
In other news, I mentioned several weeks back that my family had participated in a 72 Hour Film Challenge. This is an annual event hosted by a local creative arts group that my kids are involved in. Those who want to participate assemble a team, which could be their friends or family or whoever. Last year, my two oldest kids were on a team with their friends. This year, they wanted to enter the competition as a family. My two daughters were asked to join another team, so they were in both, and were seen in two films.
With this film challenge, you have three days to write, film, edit, and submit a five-minute short film. At the start of the 72 hours, each team is provided with a theme, a line of dialog that must be included, and a prop that must be used. The theme was Heroic, the line of dialog was “This better be useful”, and the prop was a sticky note. As long as our film fit the theme, used the dialog and prop, and was submitted before the deadline, we were included in the finals. Nine teams completed the challenge.
Those nine short films were shown in a local movie theater. Afterwards, awards were given for all sorts of things (Best Actor, Best Cinematography, etc., etc., etc.). The big award was for Best Film. The judges were film students at a local university. Our film, which I’ve included above in case you want to watch it, was called Will You Play With Me?, and I really like how it turned out. There were other movies that I thought were really good.
To our surprise, we won five awards, including Best Film. The movie that I thought was the best, which was made by the team that my two daughters were a part of, won six awards and was the runner up for Best Film. Overall, we had a ton of fun. I think it was a great experience. If you have kids who are interested in making videos, I definitely recommend finding something like this in your area to participate in. This is related to Fujifilm because we (as in, mostly Amanda…) used an X-T5 to record all of the footage.
This is a one-year photo-a-day project called 52 Weeks of Photography. Even though it is a year-long undertaking, I’m taking it one week at a time, because it’s a little easier to manage many small blocks than one large chunk. This is the 18th week, so the 18th set of seven images.
The reason why I’m doing this 365 Day project is because I noticed some gaps in-between my images last year. I didn’t pick up my cameras daily. On several occasions, four or five days passed by without a single picture created. Twice in 2024, I skipped a whole week. I want to rectify this, and get back into the habit of daily photography. I also want to elevate the quality of my craft in 2025, and am hoping that this will help.
Tree in Transition – Surprise, AZ – Fujifilm X-E4 & 27mm f/2.8 – Pacific Blues
The plan is to capture a year’s worth of notable images, either personally or artistically. Ansel Adams famously stated, “Twelve significant photographs in any one year is a good crop.” It’s important to keep expectations realistic, but I’m also trying to avoid thoughtless snapshots just to fulfill the day’s requirement. I want to push myself to be better, and hopefully that will happen. Not every photo will be great—in fact, most won’t—but I hope they are all at least decent enough to be shared without embarrassment. And maybe when the whole project is complete, there will be 12 significant pictures (out of the 365) that I’m particularly proud of.
There were a couple of days where I only created a few photos during this week; otherwise, it was quite productive. While I doubt any from this set will be considered significant when this project is finished, there are a couple of pictures that I’m personally quite happy with. There were also a couple of “tough cuts” that I’ll have to find a way to share elsewhere.
Without further ado, below are the 18th set of seven pictures from this 52 Weeks of Photography project.
Tuesday, April 22nd, 2025
Girl and Her Horse – Litchfield Park, AZ – Fujifilm X-T4 & 90mm f/2 – Reggie’s Portra
Wednesday, April 23rd, 2025
Yellow Blooms in April – Buckeye, AZ – Fujifilm GFX100S II & 80mm f/1.7 – Fujicolor PRO 160C Warm
Thursday, April 24th, 2025
Single Cactus Blossom – Surprise, AZ – Fujifilm X-E4 & 27mm f/2.8 – Pacific Blues
After I published Why the Upcoming Fujifilm Half-Frame Camera is Genius last week, I had some further thoughts about what this camera may or may not be. Did I have it all wrong? What if the Xhalf isn’t what I am expecting? Perhaps it is an entirely different concept.
I’m not suggesting that the Xhalf won’t be a vertically orientated 20mp 1″ sensor camera, or that it won’t be able to capture diptychs (two images side-by-side), because that’s all true. And it will indeed be a compact fixed-lens camera. There are some things we know, but there’s also a lot that we don’t know, and are just speculating.
As I’ve thought about it, I wonder if video will even be integrated into the camera. After all, it will have a small rear LCD (orientated vertically) and an OVF (not an EVF), which doesn’t seem like an ideal configuration for videography. It will apparently have a mode where you cannot review your pictures until you’ve captured a whole simulated roll of film, which sounds like a photo-centric design with the intention of a film-like experience. So it might not have video capabilities, and—if so—this isn’t going to be a camera for TikTok content creators, as I speculated it would be. My guess is that it will have some capability to record video, but there is certainly the possibility that it won’t or that it will be quite limited, and, if that is true, I definitely got the concept wrong.
There’s also the menu. It will surely need to be simplified for the vertical screen, right? In other words, it might not have all of the features that are standard on other X-series models. I don’t know what exactly, but if the idea is simplicity and a film-like experience, the UI will certainly be unlike any X-series camera. I suspect that it won’t have all of the bells and whistles that we’re accustomed to on the latest models. Which bells and which whistles are excluded will be interesting to know, and depending on just how far Fujifilm goes with this, it could certainly cripple the camera. Or maybe they’ve come up with a clever solution, and this worry is for nothing.
Most X-series cameras are announced in conjunction with an X Summit. There are a few exceptions, but the list is small, and it’s been awhile. Supposedly, the Xhalf will be announced in a little over two weeks, on May 22; however, there has been no X Summit announcement. It’s possible that Fujifilm will announce an X Summit at any moment, but if this camera comes without an X Summit event, what does that indicate? I don’t want to read too much into this, but maybe Fujifilm views the Xhalf as a bridge between Instax and the X-series. Perhaps it will even offer connectivity to Instax printers, unlike most X-series models.
In other words, the Xhalf might be the least premium X-series camera in a long, long time (…if Fujifilm even considers it to be a part of the X-series). It’s probably more in the ballpark of an X10 or XF1 than X100VI or even the X70. It might be more along the lines of the Instax Evo Wide, except with a better sensor and without a built-in printer. Or maybe like a cross between a Fujifilm Clear Shot S AF and a Fujica Mini half-frame, except digital, and also a little like the Fujica 35-SE (or similar model). I’m just wondering out loud, as I certainly don’t know—I’m just playing devil’s advocate to last week’s article.
For certain, the upcoming camera will offer a divergent camera experience. It will be unique—not just in Fujifilm’s lineup, but in all of photography. Whether this camera turns out to be the “genius” model that I initially speculated, or a lower-tier iteration, I think either way it will be lots of fun.
This is the long-overdue conclusion to my Charleston, South Carolina, travel series. For our last full day in Charleston, we headed back to Folly Beach. We had visited the night before, but got there later than we had planned, so we thought we’d go back and spend a little more time at the beach. The next day, which was the final day, we returned home to Arizona.
Day 6 — Monday, March 24th
Beach Chairs – Folly Beach, SC – Fujifilm X-E4 – Velvia Film
Folly Beach is great! We had so much fun there. I haven’t been to a lot of beaches on the East Coast, but of all the ones that I have been to so far, this is my favorite. It was mostly overcast, but the sun peaked out now and then. The camera I used was the Fujifilm X-E4 with the Fujinon 27mm f/2.8 lens. This is probably my #1 favorite travel camera-lens combo right now. The Film Simulation Recipe that worked the best for the location and lighting was Pacific Blues, which is one of my top-favorite Recipes.
After walking up and down the sandy beach and through the town a little, we headed to Angel Oak, which is a very large and old tree. For that location, I used a Fujifilm GFX100S II with the Fujinon 30mm f/3.5 lens, which worked out quite well. We spent the last part of the day preparing for our return home.
Vespa – Folly Beach, SC – Fujifilm X-E4 – Kodak Film
Coca-Cola – Folly Beach, SC – Fujifilm X-E4 – Pacific Blues
Under Folly Pier – Folly Beach, SC – Fujifilm X-E4 – Kodak Tri-X 400
Three Seagulls – Folly Beach, SC – Fujifilm X-E4 – Pacific Blues
Beach Berm – Folly Beach, SC – Fujifilm X-E4 – Pacific Blues
Phoenix Sun, Carolina Sand – Folly Beach, SC – Fujifilm X-E4 – Pacific Blues
Beach House – Folly Beach, SC – Fujifilm X-E4 – Pacific Blues
Beach Palms – Folly Beach, SC – Fujifilm X-E4 – Pacific Blues
Beach Bicycle – Folly Beach, SC – Fujifilm X-E4 – Velvia Film
Americana Stripes – Folly Beach, SC – Fujifilm X-E4 – Pacific Blues
Spirit of Folly – Folly Beach, SC- Fujifilm X-E4 – Pacific Blues
Angel Oak – Johns Island, SC – Fujifilm GFX100S II – Velvia Film
Our flight left quite early, so we were up well before the sun. With sleep still in our eyes, we made our way to the gate. The Charleston airport is one of the better ones that I’ve been to. We had a layover in Houston (not one of the better airports…), and made it back to Arizona around noon.
It was a really great trip. Charleston was a fun, vibrant, and interesting city, and I’d definitely return. For photographers, this should be added to your “to-visit” list, if you’ve never been there. If you do go, I hope this series gives you some ideas of places to potentially visit, and what gear might be best. Thanks for coming along with me on this journey!
On The Go – Charleston, SC – Fujifilm X-E4 – Kodak Tri-X 400
Embraer – Charleston, SC – Fujifilm X-E4 – Pacific Blues
Express – Charleston, SC – Fujifilm X-E4 – Pacific Blues
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I made a mistake in the Week 16 update. The photo listed as “Wednesday, April 9th, 2025” was actually captured on Thursday, April 10th. And the photo purportedly captured on April 10th was actually made on the 11th. And so on. Each photo is off by one day, except for the first, which really was photographed on Tuesday, April 8th. That’s the only one that is correct. I’m sorry for getting that wrong.
The photo that should have been listed as Wednesday, April 9th, is below. It’s the only picture that I made on that day, and I failed to upload it, which is why I overlooked it. I noticed the discrepancy yesterday when I was preparing this article. In order to get back on track, I’ve changed the formatting just a little—I hope you don’t mind.
The reason why I’m doing this 365 Day project is because I noticed some gaps in-between my images last year. I didn’t pick up my cameras daily. On several occasions, four or five days passed by without a single picture created. Twice in 2024, I skipped a whole week. I want to rectify this, and get back into the habit of daily photography. Most days are easy, but some are not. I’ve managed at least a small handful of photographs on most days, but on a few occasions (like April 9th above), it’s been only one picture.
Without further ado, below are the 17th set of pictures from this 52 Weeks of Photography project.
Fujifilm recently teased this silhouette of the upcoming half-frame camera.
Fujifilm is about to change the way we think about cameras—with a twist that’s so obvious, you’ll wonder why no one did it sooner. A vertical half-frame digital camera, inspired by film classics but built for the social-media age. Here’s why this little camera might just be the most brilliant idea Fujifilm has had in years.
When I first heard rumors that Fujifilm was developing a digital half-frame camera with a 1″ sensor that is mounted vertically, plus a vertically-oriented LCD screen, I thought it could be interesting, but I didn’t really grasp the significance of it. The more I sat with the idea, the more I realized that this camera will be a game-changer. It’s a brilliant move that taps deep into both photographic tradition and modern needs. It’s a camera that looks back and forward at the same time, while firmly fitting in with current trends.
First, let’s talk about the sensor orientation. Instead of the typical horizontal orientation, the sensor itself is vertical. In today’s world, vertical is king for short-form video (Instagram Reels, TikToks, YouTube Shorts). Even websites and blogs are increasingly favoring vertical imagery—whether stills or video—because most people view them on their phones. Our cellphones have been teaching us to see vertically for over a decade. Fujifilm recognized an obvious truth: if a large segment of the population is shooting vertical most of the time, why not design a camera that’s naturally optimized for it? I think it’s just a matter of time before we see longer-form videos in the vertical format, and maybe even televisions and computer monitors orientated tall (or perhaps in a plus shape) in a few years. Vertical is the future, and the future is now; however, the tech industry has been a little slow to embrace this—perhaps because it upends 137 years of motion picture and nearly a hundred years of television norms.
But it goes deeper than just trendy vertical videos. This camera harkens back to the classic half-frame film cameras of the 1960s, ’70s, and ’80’s, such as the Canon Demi, Olympus Pen F, Konica Recorder, and many others. Just within the last couple of years, the Kodak H35N and Pentax 17 have been analog hits. These cameras shoot two vertical frames on a standard 35mm negative (hence the term “half-frame”), allowing photographers to get twice the number of exposures per roll. Diptychs—two frames that work together as a pair—encourage creativity, storytelling, and experimentation. Fujifilm is embracing this with their upcoming X-series camera. Digital diptychs will be an invitation to think differently, to see differently. It’s not just about creating one great shot; it’s about how two moments side-by-side can create greater meaning.
The elephant in the room is the sensor size. A 1″ sensor is not the same size as a half-frame of 35mm film; actually, APS-C is pretty much half of full-frame. A 1″ sensor is basically half the size of APS-C, so it could be thought of as half-frame compared to APS-C. I think the camera will be more the spirit of half-frame than the technical definition, which will drive some people nuts. While there are some current cameras with a 1″ sensor—such as the Sony RX100 VII—it’s not all that common nowadays, and might be thought of as less-than-capable. For diptychs and vertical videos, it will be more than enough, and I don’t think it will be a point of contention for most people. Plus, the smaller sensor size allows for a more compact design. In other words, it might be a camera you’ll actually take everywhere, and not collect dust because it’s inconvenient to carry.
With the sensor orientated vertical, it just makes sense that LCD screen will be vertical, too. No awkward wrist contortions needed when composing tall shots. No fighting against a UI that’s stuck thinking horizontal. Once again, Fujifilm is demonstrating that they understand how people actually shoot—obviously not everyone, but a large segment of the population, for sure. This will be an obvious camera for social media content creators considering an upgrade from their cellphones.
With the rumored ability to lock in a Film Simulation Recipe for a specified number of shots (probably 12, 24, 36, 48, and 72, but I don’t know for sure), this camera will provide an analog-like experience unlike any other. It reminds me of the “wrench” that Peter McKinnon mentioned a couple of years ago. It’s this blending of retro with modern that perhaps seems unnecessary, but might actually be refreshing. And cool.
Some might say this camera will be too niche, but I think it’s visionary. In a world flooded with generic lookalike cameras chasing megapixels and meaningless specs, Fujifilm is daring to make a model that’s fun, soulful, and vintage-yet-forward-thinking, that’s perfectly suited for how we share our lives today. When this camera is officially unveiled, it will become an instant classic, I’m confident in that prediction. It’s a genius move that is perfect for this new era of vertical-first content creation. Aside from that, it’s retro and pocketable, which are quite trendy right now.
Southwind – Litchfield Park, AZ – Fujifilm X-T4 – Kodak Portra do Sol
This new Film Simulation Recipe comes courtesy of Gilson Teixeira. “It started with your Bright Kodak Recipe, which I loved for its energy and vibrancy. But I was looking for something softer—still warm and colorful, but a bit more cinematic and relaxed. I imagined a Recipe that could bring out a golden, mellow vibe even on grey days. That’s how Kodak Portra do Sol came to life: my go-to point-and-shoot simulation for capturing a little warmth wherever I am.”
“As a Brazilian living in London,” Gilson told me, “the long, grey winters can be tough—and this past winter hit particularly hard. I wanted to create something that could bring a bit of Brazil’s tropical spirit into my everyday life. The name is a nod to my mother tongue: do sol means ‘of the sun,’ and I liked the play between Portra and porta—as if it were a ‘Door of the Sun.’ At the same time, something shifted creatively. After years away from photography, I picked up the camera again—not just to escape the grey, but to reconnect with something I thought I’d left behind. Photography has now become part of my self-care. During my 45–60 minute daily walks, I focus on light, angles, composition, and Recipes. That attention clears my mind and helps me recharge—especially through winter, it helped me stay grounded. If anyone reading this is struggling, I truly recommend reaching out to Samaritans—they’re there to listen, wherever you are.”
“Surprisingly, it was AI that brought me back to photography,” he continued. “I work in IT and focus on AI at Microsoft. I noticed how naturally my prompts leaned toward light and composition—photography had quietly stayed with me all along. I studied digital imaging back in 1994 at the New England School of Photography in Boston, so that knowledge was still there, waiting to be revived.”
Back at the Ranch – Litchfield Park, AZ – Fujifilm X-T4 – Kodak Portra do Sol
“Bright Kodak is bolder and more punchy,” Gilson replied when asked what differentiates Kodak Portra do Sol from Bright Kodak. “I wanted something calmer. I removed Grain, reduced Color from +4 to +3, and softened Clarity from -3 to -1. I switched to Auto White Balance, with a gentler Shift (+2R, -6B) for a warm, flexible look, and added Color Chrome Effect Strong to deepen tones without over-saturation.”
“I see recipes as creative tools,” he added, “not shortcuts. They help set the mood in-camera, so I can focus on light and storytelling. With Kodak Portra do Sol, I’m not just capturing images, I’m capturing how those moments feel.”
I want to give a special “thank you” to Gilson Teixeira for sharing this Recipe and the story behind it, and for allowing me to publish some of his photographs. Please check out his Instagram, and leave a kind note for him in the comments. Thank you, Gilson!
Photo by Gilson Teixeira — Fujifilm X-T30 II — Kodak Portra do Sol
This Kodak Portra do Sol Film Simulation Recipe is compatible with the Fujifilm X100V, X-Pro3, X-T4, X-S10, X-E4, and X-T30 II cameras, as well as the GFX100S. You can use it on newer cameras, too, but blue will render slightly deeper (try it anyway).
Film Simulation: Classic Chrome Dynamic Range: DR400 Grain Effect: Off Color Chrome Effect: Strong Color Chrome FX Blue: Off White Balance: Auto, +2 Red & -6 Blue Highlight: -2 Shadow: -2 Color: +3 Sharpness: -2 High ISO NR: -4 Clarity: -1 ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 1/3 (typically)
Example photographs, all camera-made JPEGs captured by Gilson Teixeira using this Kodak Portra do Sol Film Simulation Recipe on a Fujifilm X-T30 II:
Photo by Gilson Teixeira — Fujifilm X-T30 II
Photo by Gilson Teixeira — Fujifilm X-T30 II
Photo by Gilson Teixeira — Fujifilm X-T30 II
Photo by Gilson Teixeira — Fujifilm X-T30 II
Photo by Gilson Teixeira — Fujifilm X-T30 II
Photo by Gilson Teixeira — Fujifilm X-T30 II
Photo by Gilson Teixeira — Fujifilm X-T30 II
Photo by Gilson Teixeira — Fujifilm X-T30 II
Photo by Gilson Teixeira — Fujifilm X-T30 II
Photo by Gilson Teixeira — Fujifilm X-T30 II
Photo by Gilson Teixeira — Fujifilm X-T30 II
Example photographs, all camera-made JPEGs captured using this Kodak Portra do Sol Film Simulation Recipe on my Fujifilm X-T4 and X-E4:
Easter Egg Hunting – Buckeye, AZ – Fujifilm X-E4
Easter Swim – Buckeye, AZ – Fujifilm X-E4
Tractor Back – Litchfield Park, AZ – Fujifilm X-T4
Feed Silo – Litchfield Park, AZ – Fujifilm X-T4
Horse Walker – Litchfield Park, AZ – Fujifilm X-T4
Seabee – Litchfield Park, AZ – Fujifilm X-T4
Horse, Fence – Litchfield Park, AZ – Fujifilm X-T4
Ready – Litchfield Park, AZ – Fujifilm X-T4
Horse Walker Detail – Litchfield Park, AZ – Fujifilm X-T4
Harkins at Night – Goodyear, AZ – Fujifilm X-E4
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