Fujifilm blog | FUJI X WEEKLY

52 Weeks of Photography: Week 8

Posted on February 19, 2025 by Ritchie Roesch

*Lonely Table* – Surprise, AZ – Fujifilm X100VI – Upcoming Recipe

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 eighth week, so the eighth 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.

*GFX100S II & 30mm* – Buckeye, AZ – Fujifilm X-T4 & 90mm f/2 – Reggie’s Portra

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.

I wasn’t especially productive or unproductive this week. There are a handful of photographs that I really like, and a fair number of mediocre ones. I do feel that grabbing a camera and making pictures daily is becoming more natural—I believe the habit is setting in; however, I do need to press myself to be more creative on some days.

Below are the eighth set of seven pictures from this 52 Weeks of Photography project.

Tuesday, February 11th, 2025

*Cat Under Arch* – Buckeye, AZ – Fujifilm X100VI – Upcoming Recipe

Wednesday, February 12th, 2025

*Night Owl* – Buckeye, AZ – Fujifilm GFX100S II & 30mm f/3.5 – Kodak Tri-X 400

Thursday, February 13th, 2025

*Leaf on a Wet Windshield* – Buckeye, AZ – Fujifilm X100VI – Upcoming Recipe

Friday, February 14th, 2025

*Seat Stripes* – Surprise, AZ – Fujifilm X100VI – Upcoming Recipe

Saturday, February 15th, 2025

*Light on a Dark Wall* – Buckeye, AZ – Fujifilm X-E4 & 27mm f/2.8 – RedScale

Sunday, February 16th, 2025

*Handle Shadows* – Glendale, AZ – Fujifilm X100VI – Upcoming Recipe

Monday, February 17th, 2025

*Nature & Structure* – Buckeye, AZ – Fujifilm X100VI – RedScale

Week 9

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

Fujifilm GFX100S II:
Amazon, B&H, Wex
Fujinon GF 30mm f/3.5:
Amazon, B&H, Wex
Fujinon 27mm f/2.8:
Amazon, B&H, Moment, Wex
Fujifilm X100VI in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X100VI in silver:
Amazon, B&H, Moment, Wex, Nuzira

RedScale — Fujifilm X-Trans IV & V Film Simulation Recipe

Posted on February 18, 2025 by Ritchie Roesch

*The Red Desert* – Buckeye, AZ – Fujifilm X100VI – RedScale

Redscale is an analog film technique where you load a roll of color film into the camera backwards. The film is exposed from the wrong side—through the plastic backing—exposing the red layer first. The results are photographs with a predominately red color cast. Sometimes it’s yellow-ish, sometimes it’s orange-ish, sometimes it’s peach-ish, sometimes it’s purple-ish, but mainly it is red. Results can very from film-to-film, and also how the film is exposed and developed/scanned; however, a redscale photo is unmistakable—you know it when you see it.

You can buy film preloaded for redscale photography. Lomography has Redscale XR, which is an unknown Kodak emulsion loaded into the canister backwards (some have speculated it’s Ultramax 400). On Valentine’s Day, Harman released Red 125, which is backwards-loaded Phoenix 200. Harman Red 125 is what this RedScale Recipe was inspired by. Because the film is new, there aren’t a lot of examples yet. I’m not convinced that this Recipe is perfectly accurate, but it seems to be pretty close from the limited number of pictures I found online.

*Light on a Dark Wall* – Buckeye, AZ – Fujifilm X-E4 – RedScale

Redscale photography isn’t for everyone or every situation—it’s a niche lomo-esque aesthetic. But if you want to get that look straight-out-of-camera, this RedScale Film Simulation Recipe will do that very convincingly. This is compatible with Fujifilm X-Trans IV (excluding the X-T3 and X-T30; use this Redscale Recipe instead) and X-Trans V cameras. While Classic Negative renders blue more deeply on X-Trans V than on X-Trans IV, because the color blue doesn’t really come through with this Recipe, it looks the same on both sensor generations. You can also use it on most GFX cameras.

Film Simulation: Classic Negative
Dynamic Range: DR200
Grain Effect: Strong, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Off
White Balance: 10000K, +9 Red & -9 Blue
Highlight: 0
Shadow: +2
Color: +4
Sharpness: -2
High ISO NR: -4
Clarity: -3
ISO: Auto, up to ISO 6400
Exposure Compensation: 0 to +2/3 (typically)

Example photographs, all camera-made JPEGs captured using this RedScale Film Simulation Recipe on a Fujifilm X-E4, X100VI & GFX100S II:

*Classic Circles* – Buckeye, AZ – Fujifilm X-E4

*The Very Best* – Buckeye, AZ – Fujifilm X-E4

*Tall Chair* – Litchfield Park, AZ – Fujifilm X-E4

*Hat Rack* – Buckeye, AZ – Fujifilm X-E4

*Nature & Structure* – Buckeye, AZ – Fujifilm X100VI

*Chairs & Cart* – Buckeye, AZ – Fujifilm X-E4

*Promenade* – Buckeye, AZ – Fujifilm X100V

*CVS Sign* – Buckeye, AZ – Fujifilm X-E4

*Two Bikes* – Buckeye, AZ – Fujifilm X100VI

*Suburban Bike* – Buckeye, AZ – Fujifilm X-E4

*Son, Shadow* – Buckeye, AZ – Fujifilm X-E4

*Reflected Structure* – Tempe, AZ – Fujifilm X-E4

*Unlikely Friends* – Buckeye, AZ – Fujifilm GFX100S II

*Palm Canopy* – Buckeye, AZ – Fujifilm X100VI

*Suburban Tree* – Buckeye, AZ – Fujifilm X-E4

*Palm Abstract* – Buckeye, AZ – Fujifilm X-E4

*Closed for the Evening* – Buckeye, AZ – Fujifilm X-E4

*Fire Flowers* – Buckeye, AZ – Fujifilm X-E4

*Red Hair* – Buckeye, AZ – Fujifilm X-E4

*Red Saguaro Fingers* – Buckeye, AZ – Fujifilm X100VI

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

Fujifilm X100VI in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X100VI in silver:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm GFX100S II:
Amazon, B&H, Wex

Find this RedScale Film Simulation Recipe and nearly 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.

Exposure Triangle, Part 3: Understanding ISO

Posted on February 17, 2025 by Ritchie Roesch

*Fujifilm X-T30 – ISO 25600 – Ilford HP5 Plus 400 Push Process*

Part 1: Aperture, Part 2: Shutter

As we’ve already discussed, aperture determines the amount of light that enters the camera, and shutter speed determines for how long that light is allowed to expose the camera’s sensor. The third aspect of the exposure triangle is ISO, which is how sensitive the sensor is to that light. Well, that’s not exactly true. ISO works much different with digital sensors than it did with silver halide film, but the basic premise is similar: the higher the ISO, the brighter and “grainer” the image; the lower the ISO, the darker and “cleaner” the image. ISO is found in the camera’s menu, and on some models is controlled by a knob on the top plate or via a wheel around the shutter knob.

This is the simplest of the three exposure triangle elements to grasp, and yet maybe the most difficult. With things like dual-native ISO and ISO invariance, it can be quite confusing. I don’t want to get too deep into the weeds here, because it doesn’t really matter all that much. Basically, Fujifilm cameras technically have just two ISOs: base gain (ISO 200 on X-Trans III and older, ISO 160 on X-Trans IV, ISO 125 on X-Trans V) and second gain (ISO 800 on X-Trans III and older, ISO 640 on X-Trans IV, and ISO 500 on X-Trans V). The base gain is the cleanest of the two. As the ISO is increased from the base gain, the picture becomes “noisier” (a.k.a. “grainier” or “grittier”) because the brightness is being turned up, making the digital noise more obvious. At the second gain point, a switch activates the second base ISO, and the image is actually cleaner than the ISO directly below it. As the ISO is increased from the second gain, it becomes “noisier” because the brightness is being turned up, making the digital noise more obvious. You could photograph at just those two ISOs, and using software increase the brightness, and the results will be the same as increasing the ISO in-camera. Clear as mud?

Another point worth mentioning is that Dynamic Range (DR) and D-Range Priority (DR-P) settings are ISO-dependent. In order to use DR400 or DR-P Strong, the minimum ISO required is ISO 800 on X-Trans III and older, ISO 640 on X-Trans IV, and ISO 500 on X-Trans V. For DR200 or DR-P Weak, the minimum ISOs are 400, 320, and 250, respectively. DR200 and DR400 are unavailable at the extended ISOs. This illustrates another point of confusion: while the maximum dynamic range (range of details between deep shadow and bright highlight) for DR100 is at base ISO, the maximum dynamic range in general is at the second gain point with the camera set to DR400 or DR-P Strong. Confusing, right?

*Fujifilm X-T50 – ISO 51200 – Nostalgic Neg. film simulation*

The old rule of thumb for ISO was to keep it as low as possible, and only increase it when necessary. I think that advice is a little outdated. Fujifilm cameras produce clean results that are very difficult to distinguish from each other at and below the second gain point, and are still pretty clean at and below ISO 1600. Above ISO 1600 the noise becomes more obvious, and it’s up to each person to determine just how high is too high, how much noise is too much noise. Generally speaking, on X-Trans III and newer cameras, I personally find that color photographs are good up to ISO 6400 and black-and-white up to ISO 12800. There are, of course, exceptions to this. You might desire the gritty aesthetic produced by using ultra-high ISOs. Each person’s tastes are different.

Because (for the most part) ISO isn’t all that important, I like to let the camera choose it for me with Auto-ISO. This works with either the Aperture or Shutter set to “A” (Aperture-Priority or Shutter-Priority). In Auto-ISO, the camera will choose the lowest ISO possible, and only increase it when necessary. You can choose the top and bottom ISO values, and the minimum shutter speed. It works really well most of the time. Also, like aperture and shutter, there are full stops (ISO 200, 400, 800 etc.) and intermediate third stops (ISO 250, 320, 500, 640, etc.).

Unless you desire a “grainy” photo, you want to keep the ISO low (however, no lower than the minimum for the Dynamic Range setting used). Find the maximum ISO that you are comfortable with, and set that as the top value of your Auto-ISO (basically, you can set-and-forget). I think a lot of people worry too much about ISO and digital noise—I invite you to try a higher ISO than you might otherwise set as the maximum, as you might find it to be more useful than you previously thought. For the cleanest photographs, keep the ISO low, no higher than the second gain point for your camera.

Is IBIS Really Necessary? Is F/4 too Small?

Posted on February 13, 2025 by Ritchie Roesch

There’s been a lot of discussions about the rumored upcoming Fujifilm GFX100RF, which might get announced next month. Supposedly, it will be a compact 100mp medium-format fixed-lens camera similar to the X100-series and about the size of an X-Pro3. It won’t have IBIS, and the lens will be 35mm f/4, which are major points of contention for some. I figured that this might be a good opportunity to explore if those two design choices will be crippling for the camera, or if it is much ado about nothing.

I don’t have any inside information on the upcoming camera. Fujifilm hasn’t shared anything about it with me, not even if there is a camera forthcoming. I only know as much as the next person, and what I do know I read on Fujirumors. Patrick has a pretty solid track record, so there’s a good chance that everything he has shared about the camera is correct, but until it is announced by Fujifilm, nothing can be known with 100% certainty. In other words, anytime that we’re discussing rumors, it should be taken with a grain of salt.

Personally, I’m really excited for the GFX100RF. I believe that an X100-like GFX camera is going to be a major success for Fujifilm. While I don’t anticipate it being as viral as the X100VI, I do think it will have strong demand. It’s also about time that Fujifilm offers a GFX camera with manual tactile controls (is not PASM). The only other one is the long-discontinued GFX50R. If the GFX100RF is a big success, I bet that Fujifilm will begin work on a long-hoped-for GFX50R successor. If sales of the GFX100RF turn out to be disappointing, I don’t anticipate a retro-styled GFX camera for a long time, if ever. In my opinion, this is a crucial release, a lot hinges on it.

*Fujifilm GFX100S II & Fujinon GF 30mm f/3.5 at f/4 – PRO Negative 160C*

The upcoming GFX100RF will essentially be the digital version of the Fujifilm GA645W, a fixed-lens 120 film camera from the 1990’s. The GA645W has a 45mm f/5.6 lens, which is 25mm full-frame-equivalent, and with a depth-of-field similar to f/3.2. The GFX100RF will have a 35mm f/4 lens, which is 28mm full-frame-equivalent, and with a depth-of-field similar to f/3.2. It’s not quite as wide as the GA645W, but pretty close. The Fujifilm X70, with its 18.5mm (28mm full-frame-equivalent) lens, might also be considered comparable.

Some people have said that f/4 is much too small for a maximum aperture on the upcoming GFX camera, since f/4 is not especially impressive. Unfortunately, a larger maximum aperture lens would require the camera to be bigger and heavier. Would an f/2.8 lens be nice? For sure, yes. But, at what cost? I’m sure Fujifilm was faced with a lot of difficult choices as they developed the prototype, and as they weighed the pros and cons, they made what they felt were the best decisions. So we have f/4, which is not uncommon for GFX. I count six GF lenses in the current lineup with a maximum aperture of f/4, plus two at f/3.5, and four with a maximum aperture smaller than f/4. Only five GF lenses have a maximum aperture larger than f/3.5. The decision to go with f/4 should not be all that surprising, and I doubt many—if any—in the GFX world were shocked by it.

*Fujifilm GFX100S II at ISO 6400 & Fujinon GF 30mm f/3.5 at f/4 – Kodak Tri-X 400*

GFX cameras are good for high-ISO photography. It’s kind of a paradox of digital medium-format: it’s good that it’s better at high-ISOs, because you’re going to need it, since the maximum apertures are typically not as large as smaller sensor formats. There are pros and cons to everything. Unsurprisingly, you’re going to find tradeoffs. It is what it is.

Not all Fujifilm cameras have in-body-image-stabilization (IBIS), but most of the GFX models do (only the original two don’t). There are a couple of situations where IBIS is especially helpful, plus a few where it can be nice to have. One is video. IBIS is not a requirement for video, but it is particularly convenient when handholding without a gimbal. Another is telephoto lenses. The longer the lens, the more useful IBIS is. Low-light situations without a tripod is an example of when it can be nice to have. For many circumstances, IBIS is not particularly necessary, especially for wide-angle lenses. Some who say that they need IBIS might discover that their photography wouldn’t suffer if it was turned off—they’re not giving themselves enough credit for how well they can hold still.

*Fujifilm GFX100S II at 1/20 & Fujinon GF 30mm f/3.5 at f/16 – Kodak Tri-X 400*

The rule of thumb is that, without IBIS, whatever the focal length of the lens is (or in the case of Fujifilm cameras, the full-frame-equivalent focal length), the minimum shutter speed should be a similar number. For example, if the X-series lens is 16mm, which is 24mm full-frame-equivalent, the slowest hand-held shutter speed is around 1/25. If the lens is 90mm, which has a full-frame-equivalent focal length of 135mm, the slowest hand-held shutter speed is around 1/125. With good techniques, you can often get a sharp picture with even slower shutter speeds. For the GFX100RF, with its 35mm lens (28mm full-frame-equivalent), the slowest hand-held shutter speed will be about 1/30.

There’s a myth floating around that IBIS is more necessary with 100mp sensors than with lower-resolution sensors. That’s simply not true. More resolution does not equal a bigger need for IBIS in order to get sharp photographs. A 100mp sensor has no more or less of a need for IBIS than a 12mp sensor. A sharp photo is a sharp photo no matter the resolution, and a blurry image is blurry no matter the resolution. The myth is false, and not based on reality.

*Fujifilm GFX100S II at 1/25 & Fujinon GF 30mm f/3.5 at f/9 – Superia Negative*

I put all of this to the test yesterday. Obviously, I don’t have access to a GFX100RF. I’m sure some people have it in their hands right now, but I don’t. I do own a GFX100S II and a Fujinon GF 30mm f/3.5 lens (which doesn’t have OIS). So I turned IBIS off. I kept the aperture at f/4 or smaller. I did my best to simulate the upcoming camera, although the GFX100S II is much larger and heavier, and with PASM. The 30mm lens is 24mm full-frame-equivalent (16mm on X-series), so a little wider than what the GFX100RF will have.

The f/4 maximum aperture wasn’t a major issue. Wide-angle photography is not known for shallow depths-of-field. While it is possible to achieve a shallow depth-of-field, I don’t anticipate this being a major selling point of the camera. I imagine that “f/8 and be there” will be a much more typical shooting philosophy. In low-light situations, I did have to increase the ISO higher than I would have had to if I had used my X-series gear, but thankfully the camera does well with high-ISO.

I tested handholding the camera at slow shutter speeds. Unsurprisingly, I consistently achieved sharp photographs at 1/25, with probably a 90% success rate. At 1/20, the success rate was closer to 60%. At 1/15, the success rate was probably 30%. I was able to get one sharp photo at 1/13. Because the lens on the GFX100RF will be a little less wide-angle, the shutter speed should be increased slightly. I suspect that it will be roughly a 90% rate at 1/30, 60% at 1/25, 30% at 1/20, and maybe 10% at 1/15. Obviously, results will vary from person-to-person, depending on your technique and ability to hold still.

*Fujifilm GFX100S II at 1/13 & Fujinon GF 30mm f/3.5 at f/4 – Superia Negative*

While IBIS would have been a nice feature, I don’t think its exclusion is a major issue. I’m sure it was a compromise in order to keep the size, weight, and price down. This camera—like every other camera that’s ever been made—is not for everyone. It has advantages and disadvantages. It will be especially great for some situations and use-cases, and not so much for others. Personally, I plan to buy it; however, probably not on the announcement day. Like the GFX100S II, I’ll have to save up and probably sell some gear in order to afford it. I think it’s going to be a lot of fun, so I’m excited to try it someday when the opportunity comes.

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

Fujifilm GFX100S II:
Amazon, B&H, Wex
Fujinon GF 30mm f/3.5:
Amazon, B&H, Wex

52 Weeks of Photography: Week 7

Posted on February 12, 2025 by Ritchie Roesch

*Curvy Creek* – Sedona, AZ – Fujifilm GFX100S II & 80mm f/1.7 – Nostalgia Negative

Week 6

*Oak Creek* – Sedona, AZ – Fujifilm GFX100S II & 80mm f/1.7 – Nostalgia Negative

I had one especially productive day, and six that were much less so; however, overall I felt better about Week 7 than I did about Week 6. On the days with fewer photographs, I tried to push myself to be a bit more creative and intentional. Still, I know that I could have done better, so I need to keep at it, keep pressing forward.

Below are the seventh set of seven pictures from this 52 Weeks of Photography project.

Tuesday, February 4th, 2025

*Carefully Placed Beans*– Scottsdale, AZ – Fujifilm X100VI – Upcoming Recipe

Wednesday, February 5th, 2025

*Paying to Park*– Sedona, AZ – Fujifilm X100VI – Upcoming Recipe

Thursday, February 6th, 2025

*Slide, Film* – Buckeye, AZ – Fujifilm GFX100S II & 80mm f/1.7 – PRO Negative 160C

Friday, February 7th, 2025

*Chair Curves* – Buckeye, AZ – Fujifilm X-E4 & 27mm f/2.8 – Kodak Tri-X 400

Saturday, February 8th, 2025

*Zenit-E Silhouette* – Buckeye, AZ – Fujifilm X-E4 & 27mm f/2.8 – Kodak Tri-X 400

Sunday, February 9th, 2025

*Pancake Stack* – Buckeye, AZ – Fujifilm X-E4 & 27mm f/2.8 – Upcoming Recipe

Monday, February 10th, 2025

*Disneyland* – Buckeye, AZ – Fujifilm X100VI – Upcoming Recipe

Week 8

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

Fujifilm GFX100S II:
Amazon, B&H, Wex
Fujinon GF 80mm f/1.7:
Amazon, B&H, Wex
Fujinon 27mm f/2.8:
Amazon, B&H, Moment, Wex
Fujifilm X100VI in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X100VI in silver:
Amazon, B&H, Moment, Wex, Nuzira

CitrusChrome — Fujifilm X-T4 ES (Full Spectrum Infrared) Film Simulation Recipe

Posted on February 11, 2025 by Ritchie Roesch

*Orange Desert* – Phoenix, AZ – Fujifilm X-T4 ES – CitrusChrome

CitrusChrome is a brand new Infrared Recipe for full spectrum (sensitive to light outside the visible gamut) X-Trans IV or X-Trans V cameras, like the Fujifilm X-T4 ES (“Extended Spectrum”). It’s not for “normal” cameras. The Fujifilm X-T4 ES is a full spectrum camera briefly offered by Fujifilm to the general public—as of this writing, I believe that you can still buy the Fujifilm X-T4 ES from B&H, but it requires a phone call or in-person visit, and cannot be ordered from the internet. Otherwise, you’ll have to do a full spectrum conversion—an expensive and invasive procedure—from a third-party vendor like LifePixel, Kolari Vision, or Spenser’s Camera (to name a few).

This Infrared Film Simulation Recipe produces orange, red, pink, and peach false colors. What you get depends on the exact light situation and the specific materials—cloth or organic (leaves)—being photographed. As far as I know, none of the infrared films that were sold over the years produced the false colors seen here; however CitrusChrome can be in the ballpark of Aerochrome sometimes, so situationally specific it can be somewhat convincing as an Aerochrome facsimile. What this Recipe more resembles is modern (digital) IR photography, which has a much wider array of possible outcomes. With that said, I don’t believe that I’ve seen this exact look before, so it might be a brand-new aesthetic.

*Light, Color, Texture* – Buckeye, AZ – Fujifilm X-T4 ES – CitrusChrome

Aside from having a full spectrum camera (like the X-T4 ES), this Recipe requires two filters: True Color Infrared Autumnizer (Turquoise) and True Color Infrared Crimson (Light Blue), which can be found on AliExpress. The True Color Infrared Autumnizer (Turquoise) filter is simply a QB19 Blue filter and LB18 Green filter combined into one, while the True Color Infrared Crimson (Light Blue) filter is simply a QB19 and GRB3 (heat) filter combined into one. You probably could use a QB19, LB18, and GRB3 combination instead of the two True Color Infrared filters, but I have not tested that personally. I was a little hesitant to buy the Autumnizer (Turquoise) and Crimson (Light Blue) filters because I had never purchased anything from AliExpress before, and saw mixed reviews regarding the platform; however (and thankfully), the process turned out to be smooth. I’m not sure if the order matters, but I have the Crimson (Light Blue) filter first (closest to the lens) and the Autumnizer (Turquoise) last (furthest from the lens).

Filters: True Color Infrared Crimson (Light Blue) & True Color Infrared Autumnizer (Turquoise)
Film Simulation: Astia
Dynamic Range: DR400
Grain Effect: Strong, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Strong
White Balance: 9000K, +9 Red & -4 Blue
Highlight: -0.5
Shadow: -1.5
Color: +4
Sharpness: -1
High ISO NR: -4
Clarity: -2
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs captured using this CitrusChrome Film Simulation Recipe on my Fujifilm X-T4 ES:

*Photography Ideas* – Buckeye, AZ – Fujifilm X-T4 ES

*Curtains and Blinds* – Buckeye, AZ – Fujifilm X-T4 ES

*Book & Fake Succulent* – Buckeye, AZ – Fujifilm X-T4 ES

*Red Blanket* – Buckeye, AZ – Fujifilm X-T4 ES

*Red Shoes* – Buckeye, AZ – Fujifilm X-T4 ES

*Toilet Trash* – Buckeye, AZ – Fujifilm X-T4 ES

*Cyber* – Buckeye, AZ – Fujifilm X-T4 ES

*House Behind Wall* – Tempe, AZ – Fujifilm X-T4 ES

*Stripes* – Buckeye, AZ – Fujifilm X-T4 ES

*Wall Shrub* – Buckeye, AZ – Fujifilm X-T4 ES

*CVS Exit* – Buckeye, AZ – Fujifilm X-T4 ES

*Garages* – Buckeye, AZ – Fujifilm X-T4 ES

*Main Street Market* – Buckeye, AZ – Fujifilm X-T4 ES

*Corner* – Buckeye, AZ – Fujifilm X-T4 ES

*Evening Palm Tree* – Buckeye, AZ – Fujifilm X-T4 ES

*Tempe Palm* – Tempe, AZ – Fujifilm X-T4 ES

*Palm Tree & Contrail* – Buckeye, AZ – Fujifilm X-T4 ES

*Craftsman* – Buckeye, AZ – Fujifilm X-T4 ES

*Forked Tree* – Buckeye, AZ – Fujifilm X-T4 ES

*Yellow Bougainvillea Blooms* – Buckeye, AZ – Fujifilm X-T4 ES

*Leaves in a Pool* – Buckeye, AZ – Fujifilm X-T4 ES

*Orange Saguaro* – Phoenix, AZ – Fujifilm X-T4 ES

*Papago Road* – Phoenix, AZ – Fujifilm X-T4 ES

*Desert Tortoise* – Phoenix, AZ – Fujifilm X-T4 ES

Find CitrusChrome and other Infrared Recipes in the Fuji X Weekly App, available for both Android and Apple.

Exposure Triangle, Part 2: Understanding Shutter Speed

Posted on February 9, 2025 by Ritchie Roesch

*Fujifilm X100VI – f/11, ISO 500, 1/15 shutter – Kodak Gold 200*

Part 1: Aperture, Part 3: ISO

Shutter speed simply controls the amount of time that light is exposed to the camera’s sensor. How motion is rendered—either frozen still or as a blur—will depend on the shutter speed. There are a few key things to know, but overall this is all fairly easy to understand.

Before we dive in, I want to quickly revisit aperture, because there’s something I forgot to mention in Part 1. How sunstars and lens flare will appear depends on a number of factors, including (among other things) the aperture you’ve selected. For more pronounced sunstars, use a small aperture, such as f/16. If you want to minimize sunstars and lens flare, use a large aperture, such as f/2. This is just one more factor to consider when choosing the most appropriate aperture for the scene in front of you.

*Forest Sunstar* – Sedona, AZ – Fujifilm X-T50 & Fujinon 23mm f/2 lens at f/14 – California Summer

Now, with that out of the way, let’s talk about shutter speeds. What is it? What does it do to your pictures? How do you control it to get the images that you want?

The quick and simple definition of shutter speed is that it is the amount of time the camera’s shutter curtain is open, allowing light to reach the sensor or film. A fast shutter speed allows very little light to expose the sensor, while a slow shutter speed allows a lot of light in. Shutter speed is one of three elements of the exposure triangle, along with aperture and ISO, and must be used in balance with the other two elements. On many Fujifilm cameras, the shutter speed is controlled by a knob on the top of the camera, marked with numbers like 125, 250, 500, etc., etc..

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

Some common shutter speeds are 1/15, 1/30, 1/60, 1/125, 1/250 and 1/500. There are, of course, many other shutter speeds, this is far from a comprehensive list. 1/15 is an example of a slow shutter speed, and 1/500 is an example of a quick shutter speed. You’ll note that these are fractions, as in fractions of a second. You’ll also note that they’re half or twice as long as the shutter speed on either side, which means that 1/60 lets in half as much light as 1/30, and 1/15 lets in twice as much light as as 1/30. Like aperture, there are intermediate stops in-between the full stops—most commonly one-third stops, but sometimes half-stops.

Shutter speed is about motion, either freezing or showing it. A slow shutter speed will show motion as a blur, while a fast shutter speed will freeze it. In the first picture below, which was captured with a 1/450 shutter speed, you’d never know that the car was zooming by, because the motion was frozen. The second picture below, which was captured with a 1/80 shutter speed, shows the motion through the car’s blur. The third picture below, which was captured with a 1/60 shutter speed, shows the motion through panning, where the car is sharp but the background blurred from the sweeping lens.

*Fujifilm X-M1 & Fujinon 90mm – 1/450 shutter speed*

*Fujifilm X-M1 & Fujinon 90mm – 1/80 shutter speed*

*Fujifilm X-M1 & Fujinon 90mm – 1/60 shutter speed*

In order to freeze motion, there are a few considerations: the focal length of the lens, the distance of the moving object, and it’s speed. The longer the focal length of the lens, the faster the minimum shutter speed needs to be; the shorter the focal length, the slower the minimum shutter speed needs to be. The closer and faster the moving object is, the faster the shutter speed needs to be; the further and slower the moving object is, the slower the shutter needs to be in order to freeze it.

If nothing is moving in the frame, the only motion is the photographer. A tripod will eliminate camera shake; if you don’t have a tripod, in-body-image-stabilization (IBIS) or optical-image-stabilization (OIS) can help to a degree. If your gear doesn’t have stabilization, you’ll want to use this rule of thumb: whatever the focal length of the lens is (or in the case of Fujifilm cameras, the full-frame-equivalent focal length), the minimum shutter speed should be a similar number. For example, if the lens is 18mm, which has a full-frame-equivalent focal length of 27mm, the slowest hand-held shutter speed is around 1/30. If the lens is 90mm, which has a full-frame-equivalent focal length of 135mm, the slowest hand-held shutter speed is around 1/125. With good techniques, you can often get a sharp picture with even slower shutter speeds, but that takes practice.

*Fujifilm GFX100S II & Fujinon 80mm f/1.7 – f/9, ISO 320, 1/680 shutter – 1970’s Summer*

In order to freeze motion, for portraits, events, kids, and pets, I recommend a minimum shutter speed of 1/125, but faster is better, such as 1/250. For sports and moving wildlife, the minimum shutter speed should be 1/250, but faster is better, such as 1/500. If the motion is blurry, increase the shutter speed. In order to show motion as a blur, the maximum shutter speed will likely need to be under 1/125, and probably under 1/30, just depending on the situation. If the blur is insufficient, decrease the shutter speed.

Another shutter speed consideration is in regards to flash photography. Some cameras, such as the X100-series, have a leaf shutter, which allows for high-speed flash sync; however, most cameras don’t have a leaf shutter, and have a maximum shutter speed for flash. On Fujifilm models, this is marked by an “X” next to the shutter speed—for example, on the X-T5, the maximum shutter speed for flash photography is 1/250, which is marked as 250X on the shutter knob. The fastest shutter speed you should use with flash photography is the one with the X next to it.

*Fujifilm X-T5 & Fujinon 56mm f/1.2 + flash – f/4, ISO 500, 1/250 shutter – Nostalgic Americana*

The two main things to remember about shutter speed are 1) that it is used to show motion, either frozen still or as a blur, and 2) it is one aspect of the exposure triangle, and must be balanced with both aperture and ISO. Increasing the shutter speed reduces the light, so you may need to use a larger aperture and/or a higher ISO to compensate; reducing the shutter speed increases the light, so you may need to use a smaller aperture and/or lower ISO. It’s a balancing act. Used thoughtfully, shutter speed can express movement in creative ways, so take a moment to consider how to best use it for the scene in front of you.

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

Fujifilm GFX100S II:
Amazon, B&H, Wex
Fujinon GF 80mm f/1.7:
Amazon, B&H, Wex
Fujifilm X-T5 in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-T5 in silver:
Amazon, B&H, Moment, Wex, Nuzira
Fujinon 56mm f/1.2 R WR:
Amazon, B&H, Wex, Nuzira
Fujinon 90mm f/2:
Amazon, B&H, Moment, Wex
Fujifilm X100VI in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X100VI in silver:
Amazon, B&H, Moment, Wex, Nuzira

OM-3 Thoughts

Posted on February 6, 2025 by Ritchie Roesch

I’ve had a couple of people ask me this morning for my opinions regarding the brand new Olympus—sorry, I mean OM System as they are now called—OM-3 camera, which was announced today. I don’t have a lot of strong thoughts about it, and I’ve never handled the camera nor seen it in person, so these opinions should be taken with a large grain of salt.

Micro-Four-Thirds (M43) sales have been on the decline for years. It’s a shrinking market and has been for awhile, but it’s not dead (yet, anyway). Olympus—err, OM System—has surprisingly strong sales in Japan, but not worldwide, where it’s largely a minor (and almost forgotten) footnote in today’s digital camera market. The OM-3 will surely help to bring more international attention to the brand and the format.

I don’t have any major issues with the camera itself. I think M43 hit a ceiling several years back, and there’s not a lot of room for growth. You see that in this camera, as it’s not especially innovative compared to their releases going back to 2019. This is not a suggestion that the camera isn’t good, only that the system needs some major technological innovation in order to break the ceiling it is currently pinned against. Right now, they seem to be leaning into AI for that, but I’m not sure if that’s going to do it.

The OM-3 is a bit large and expensive for what it is. This is a Fujifilm-centric blog, so I will make some quick apples-to-oranges comparisons to X-series models. It’s similarly sized to the Fujifilm X-T50, and just a smidge heavier—I think that’s the Fujifilm model the OM-3 is most similar to, although they are divergent enough not to directly compare. The OM-3 is better-looking, but (unfortunately, IMHO) with a dial format more similar to the X-S20, plus a swivel screen. The OM-3 is weather-sealed, and in that sense it could be compared to the X-T5. The stacked sensor will draw some comparisons to the X-H2s, while the price is the same as the X-H2. I think if OM System had been able to price it three or four hundred dollars less, it would be a bit more compelling. Perhaps the camera that the OM-3 will get compared to the most is not a Fujifilm model, but the Nikon Zf. It’s possible that Olympus views this more as a competitor to that camera, and less to any specific Fujifilm model.

For those with M43 cameras, the OM-3 must be a sight for sore eyes. Between both OM System and Panasonic, M43 has averaged only two camera releases per year for several years now, so new bodies are few-and-far between. The OM-3 is the best-looking M43 camera released in awhile. It’s basically a flagship model, so it has a lot of solid features. For those on the outside—who aren’t already in the M43 system—I’m not sure this camera is enough to draw you in, especially when there are options with larger sensors, more resolution, higher dynamic range, better high-ISO, smaller depth-of-field, etc., for the same or less money, and not much larger, if larger at all.

The advantages that M43 has over other sensor formats are size, weight, and price. The OM-3 doesn’t leverage any of those advantages, but if Olympus were to make a new PEN-F, that very well could be a big success because it would play to the advantages of the system. If I were them, I would do that before 2025 is over. I would also return to the Olympus brand name, as OM System just doesn’t have as good of a ring to it, nor does it hold any nostalgia (plus, I keep accidentally typing Olympus instead of OM System…), but I highly doubt that will happen.

Let me wrap this up. I wish OM System much success. I have nothing against them or the OM-3. I’m sure it is an excellent camera, and that those who buy it will be quite happy with their purchase. I don’t have any interest in the OM-3 personally because I love my Fujifilm cameras, and there’s nothing profound enough with this model to convince me to invest into a new system, especially one that is barely holding on. I think this camera will appeal the most to those who already own some M43 lenses.

52 Weeks of Photography: Week 6

Posted on February 6, 2025 by Ritchie Roesch

*Palms in the Clouds* – Buckeye, AZ – Fujifilm GFX100S II & 80mm f/1.7 – Kodak Tri-X 400

Week 5

*Desert Saguaro* – Surprise, AZ – Fujifilm X100VI – Upcoming Recipe

Looking back on this week’s photographs, I was surprised that the vast majority were fairly pedestrian. I thought I had had a productive week—in fact, I did have a productive week; however, just not artistically. If I’m going to accomplish my goal of improving my craft in 2025, quantity isn’t going to be sufficient. I need to think more about quality whenever I have a camera in my hands.

Below are the sixth set of seven pictures from this 52 Weeks of Photography project.

Tuesday, January 28th, 2025

*Fork in the Trunk* – Buckeye, AZ – Fujifilm GFX100S II & 80mm f/1.7 – Nostalgic Film

Wednesday, January 29th, 2025

*Bunches of Blossoms* – Buckeye, AZ – Fujifilm GFX100S II & 80mm f/1.7 – Fujicolor PRO 160C Warm

Thursday, January 30th, 2025

*Green Snakes* – Litchfield Park, AZ – Fujifilm X100VI – Upcoming Recipe

Friday, January 31st, 2025

*Fish Fan* – Buckeye, AZ – Fujifilm X100VI – Upcoming Recipe

Saturday, February 1st, 2025

*Fake Snake Plant* – Buckeye, AZ – Fujifilm GFX100S II & 80mm f/1.7 – Fujicolor PRO 160C Warm

Sunday, February 2nd, 2025

*Early Spring Yellow* – Litchfield Park, AZ – Fujifilm X100VI – Upcoming Recipe

Monday, February 3rd, 2025

*Yellow Bougainvillea Backlit* – Buckeye, AZ – Fujifilm X100VI – Upcoming Recipe

Week 7

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

Fujifilm GFX100S II:
Amazon, B&H, Wex
Fujinon GF 80mm f/1.7:
Amazon, B&H, Wex
Fujifilm X100VI in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X100VI in silver:
Amazon, B&H, Moment, Wex, Nuzira

25 Most Popular Film Simulation Recipes of January 2025

Posted on February 4, 2025 by Ritchie Roesch

*Moon Palms* – Buckeye, AZ – Fujifilm GFX100S II – Kodachrome 64

I get asked fairly regularly which Film Simulation Recipes are the most popular. For me, this is a fascinating topic, but it’s definitely hard to know definitively. While I get a glimpse on social media, my best gauge is the Fuji X Weekly website statistics; specifically, which Recipe articles are viewed the most. I don’t collect any data on the Fuji X Weekly App, so that’s no help—although, if I did, it would likely offer the most accurate picture; however, it would still be impossible to know which Recipes people programmed into their Fujifilm cameras, or how often they used each. Perhaps a survey would be particularly useful, yet even it has its limitations. While certainly a flawed method, page-view website statics offer the best glimpse at which Film Simulation Recipes are the most popular, so that’s what I’m using for this article. These are simply the Top 25 most-viewed Recipes on the Fuji X Weekly website last month (January 2025).

I didn’t make a list for December’s statistics, but instead did a recap of the whole year. From month-to-month there’s not usually a lot of surprises, as these types of lists are pretty predictable. Skipping a month tends to reveal more interesting trends. It is unsurprising to see Kodachrome 64 in the first position, as it is the long time most popular Recipe on Fuji X Weekly. Reggie’s Portra seems to now be the second most popular, surpassing Kodak Portra 400 v2, which has notably slipped. There are, of course, a number of other position changes between November and January.

*Window Ladder* – Buckeye, AZ – Fujifilm X-T4 – Pacific Blues

Those Recipes with Kodak brand names in the title—Kodachrome, Portra, Gold, Tri-X, etc., etc.—are usually the most popular. Classic Chrome is the king of film simulations, as the majority of the most-viewed Recipes are based on that film simulation. Classic Negative and Reala Ace are battling for the second and third positions. Eterna is fourth, followed by Acros and Nostalgic Neg., for fifth and sixth.

Without any further delay, below are the most popular Recipes of last month!

Top 25 Most Popular Film Simulation Recipes of November 2024

#1:

Kodachrome 64

A Classic Chrome based Recipe for X-Trans IV cameras that is the long-time most popular Film Simulation Recipe for Fujifilm cameras. In November it was #2, but for all of 2024 it was the number one most popular Recipe.

#2:

Reggie’s Portra

Reggie’s Portra is a popular Classic Chrome based Recipe for X-Trans IV cameras. Reggie Ballesteros created it by modifying my Kodak Portra 400 Recipe to better suit his style and needs. It usually ranks high, but I’m confident to say that it’s officially the second most popular Recipe on Fuji X Weekly. Of the various Portra Recipes, this is the most versatile, and the most popular for portrait photography. It was ranked #3 in both the month of November and in all of 2024.

#3:

Vibrant Arizona

A Wes Anderson inspired Recipe based on Classic Chrome for X-Trans IV and X-Trans V cameras. It moved up two spots since November; in 2024 it was ranked #4.

#4:

Kodak Gold Max 400 Expired

This is a new Recipe published on December 31st. It uses the Reala Ace film simulation as the base, which means it is compatible with X-Trans V cameras. I’m not surprised to see it make this list, but I’m a little surprised to see it so high.

#5:

Kodak Portra 400 v2

A Classic Chrome based Recipe for X-Trans IV cameras that was the long-time #2 most-popular Recipe on Fuji X Weekly (it was #2 in 2024), but has been slipping lately. It moved down one position since November.

#6:

Kodak Gold 200

This is the X-Trans V version of Kodak Gold 200. It rose six spots since November, and was ranked #15 in 2024.

#7:

Reala Ace

Reala Ace, which is for X-Trans V cameras, is the most popular Classic Negative Recipe. It’s in the same position as November, and two spots below its 2024 ranking.

#8:

Kodak Portra 400 v2

This is the X-Trans V version of Kodak Portra 400 v2. It fell two positions compared to November, and was ranked #7 in 2024.

#9:

CineStill 800T

This is an Eterna-based Recipe for X-Trans V cameras; however, it’s simply an adaptation of the X-Trans IV version that has been around awhile. It’s in the same position as November, and was ranked #24 in 2024.

#10:

Kodak Tri-X 400

This is the long-time most popular B&W Recipe on Fuji X Weekly. It’s based on the Acros film simulation, and has compatibility with X-Trans III, X-Trans IV, and X-Trans V models. It climbed six spots since November, and was ranked in the same position in 2024.

#11:

Kodak Portra 400

This version of Kodak Portra 400, which is compatible with X-Trans IV cameras, was commonly the third most popular Film Simulation Recipe on Fuji X Weekly for a long time; however, now it is more typically found in the 10-15 range. It fell one spot compared to November, and was #6 for 2024.

#12:

Kodak Portra 800 v3

A Classic Chrome based Recipe for X-Trans IV and X-Trans V cameras. It climbed one spot since November, and was ranked #9 in 2024.

#13:

McCurry Kodachrome

This Recipe is reminiscent of scanned Kodachrome 64 slides, and is compatible with X-Trans IV cameras. It rose four spots since November, and was ranked #12 in 2024.

#14:

Fujifilm Negative

This is a fairly new Recipe, published on October 31st. It uses the Reala Ace film simulation, which means that it is compatible with X-Trans V cameras. Surprisingly, it was ranked #1 in November.

#15:

14 Film Dial Recipes

It is probably unfair to include the Film Dial Recipes in this list because it is not one Recipe, but 14. When it showed up in the Top 25, I was faced with the choice to included it (as unfair as that might be) or not. The Vibrant Arizona article is technically four Recipes, so there is a precedence for its inclusion. In November it was ranked #8, and in 2024 it was #18. I have no idea which of the 14 Recipes are the most used.

#16:

Pacific Blues

At one time this was the most popular Classic Negative Recipe, but now it’s second (if you don’t include Superia Negative from the Film Dial Recipe set). This particular version of Pacific Blues is compatible with X-Trans IV models, but there is also an X-Trans V version. It fell five spots since November, and was ranked #8 in 2024.

#17:

Kodak Gold 200

Another Classic Chrome based Recipe, for use on X-Trans III models, plus the X-T3/X-T30. It rose one position since November, and was ranked #14 for 2024.

#18:

Kodachrome 64

This is the X-Trans V version of Kodachrome 64. It fell three spots since November, and was ranked #13 for 2024.

#19:

Vintage Kodachrome

Vintage Kodachrome, which is based on Classic Chrome, is one of the older Film Simulation Recipes on Fuji X Weekly, and is compatible with X-Trans III cameras. It usually cracks the Top 15, and sometimes the Top 10, but this month it barely made it into the Top 20. In November it was #14, and in 2024 it was #11.

#20:

California Summer

This is currently the highest-ranked Recipe that uses the Nostalgic Neg. film simulation (aside from Nostalgic Film in the Film Dial set). It’s compatible with X-Trans V cameras. It didn’t crack the Top 25 list for November or for 2024.

#21:

Classic Color

This Recipe uses Classic Chrome and is compatible with both X-Trans IV and X-Trans V models. It was ranked #24 in November, and #22 in 2024.

#22:

1981 Kodak

This was an App Patron Early Access Recipe that recently became available to everyone. It uses the Eterna film simulation, and is compatible with X-Trans IV cameras.

#23:

Easy Reala Ace

This Recipe was published in June, and uses the Reala Ace film simulation, which means it is compatible with X-Trans V cameras. It fell three spots since November.

#24:

Classic Chrome

The very first Film Simulation Recipe on Fuji X Weekly, this Recipe is compatible with X-Trans III cameras. It fell three positions since November, and was ranked #16 for 2024.

#25:

PRO Negative 160C

This was the first Recipe I published that uses the new Reala Ace film simulation. It fell two spots since November, and was ranked #21 in 2024.

Find these Film Simulation Recipes and many more on the Fuji X Weekly App!

Exposure Triangle, Part 1: Understanding Aperture

Posted on February 3, 2025 by Ritchie Roesch

*Fujifilm X-T5 + Fujinon 56mm f/1.4 lens at f/4 + Nostalgic Americana*

Aperture is a fundamental aspect of photography. The exposure (brightness) of an image is determined by the aperture, shutter speed, and ISO (referred to collectively as the “exposure triangle”). Yet many photographers don’t fully understand aperture, and when to choose which f-stop. It’s more than just a setting—it’s a creative tool that can dramatically impact the look and feel of your images. Understanding how aperture affects depth-of-field, exposure, and sharpness will help you take control of your photography and achieve your artistic vision.

With Fujifilm cameras, you’ll typically control the aperture via a ring on the lens, which are marked in f-stops. A large aperture has a low f-stop number, such as f/2, while a small aperture has a high f-stop number, like f/16. There are full-stops (e.g. f/1.4, f/2, f/2.8, f/4, f/5.6, f/8, f/11, f/16, f/22); in-between the full stops are intermediate stops, which are most commonly third-stops (e.g. (f/1.8, f/2.2, f/2.5, f/3.2, f/3.5, f/4.5, f/5, etc., etc.) and less commonly half-stops (e.g. f/1.7, f/2.4, f/3.3, f/4.8, etc.). A large aperture (low f-stop number, such as f/1.4 or f/2.8) allows more light into the camera and also creates a shallow depth-of-field (only a narrow slice in focus), making the subject stand out against a blurred background and/or foreground—common for portraits, where you want to separate the subject from distractions. A small aperture (high f-stop number, such as f/11 or f/16) allows less light into the camera and also creates a large depth-of-field (lots in focus), which is common for landscapes where you have several compositional elements at various distances from the camera.

*Fujifilm GFX100S II + Fujinon 80mm f/1.7 lens at f/1.7 + Reggie’s Portra*

The closer the subject is to the end of the lens, the more shallow the depth-of-field will be, and the further the subject is, the larger the depth-of-field will be, regardless of the aperture. In other words, the focus distance and aperture work together to create the depth-of-field, whether narrow or expansive. To achieve a narrow slice that is in focus (a small depth-of-field), one should position the subject close to the camera and use a large aperture (for example, f/2); to achieve a broad slice that is in focus (a large depth-of-field), one should position the subject further from the camera and use a small aperture (for example, f/11).

The aperture you choose determines how much light enters the camera (shutter speed determines for how long the sensor will be exposed to that light). A large aperture (such as f/1.7 or f/2) allows more light to enter, which is useful in low-light conditions, such as indoors or at night. A small aperture (such as f/13 or f/16) reduces the amount of light, which is useful in bright daylight situations. Even though you might wish for a shallow or large depth-of-field, the conditions might prevent you from using the most ideal aperture for what you want to achieve.

*Fujifilm GFX100S II + Fujinon 80mm f/1.7 lens at f/20 + Fujicolor PRO 160C Warm*

Adjusting the aperture affects other exposure settings. If you open up the aperture for more light, you may need a faster shutter speed and/or a lower ISO to compensate. Conversely, if you stop down the aperture, which allows less light, you might need to increase the ISO or use a slower shutter speed. This is a balancing act that should be thoughtfully considered—compromises are often necessary.

Aperture also influences sharpness. While stopping down (using a smaller aperture) generally increases the area of sharpness (depth-of-field), it might actually decrease sharpness. Every lens has a “sweet spot”—an aperture range where it delivers the best overall sharpness. For many lenses, this is between f/4 and f/8 (this is generally speaking, and varies from lens-to-lens, and even sensor-to-sensor). At large apertures (such as f/1.4), lenses can exhibit softness around the edges due to optical imperfections, and also decreased overall sharpness. At small apertures (such as f/16), diffraction can reduce overall image sharpness. Selecting the optimal aperture range for your lens will ensure the sharpest photographs.

*Fujifilm GFX100S II + Fujinon 80mm f/1.7 lens at f/1.7 + Fujicolor PRO 160C Warm*

F-stop is more than just a technical setting, it’s an artistic choice. Large apertures can create dreamy backgrounds and subject isolation, small apertures ensure everything is in focus, while the middle apertures produce sharply detailed pictures. Whether you’re shooting portraits, landscapes, street photography, still-life, macro, or any other genre, the aperture choice will significantly effect the outcome, giving you creative control over your photography. Experimenting with different apertures will deepen your understanding of how they impact your pictures—the more you practice, the more intuitive it will become. The next time that you’re out with your camera, take a moment to consider the f-stop, because it’s one of the most powerful tools at your disposal.

Part 2: Shutter Speed, Part 3: ISO

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

Limitations Improve Art: The Creative Power of Constraints

Posted on January 31, 2025 by Ritchie Roesch

*Round Window* – Pismo Beach, CA – Fujifilm X100V – Kodak Tri-X 400

There’s been a lot of talk lately on the subject of limitations. Can a camera with fewer features actually make you a better photographer? Does the restraint of straight-out-of-camera photography force you to consider more deeply your creative choices? Were the autofocus woes of 2024 actually a blessing in disguise for some because they used that opportunity to learn new techniques and better anticipate the decisive moment? It seems counterintuitive, but can limitations actually improve your photography?

Many artists, including photographers, have discovered that constraints—whether intentional or unintentional—can actually improve creativity and technical skills. Composer Igor Stravinsky famously stated, “The more constraints one imposes, the more one frees oneself of the chains that shackle the spirit.” Simply put, less is more.

*Red Yucca in the White Sand* – White Sands NP, NM – Fujifilm X-T4 ES – Aerochrome v2

Photography, like any other art form, thrives on creative problem-solving. When you limit your tools, you’re forced to think outside-the-box. For example, if you self-imposed the limitation of using just one prime lens for an entire month, you’d quickly learn how to frame shots differently, how to move to get the best composition, and how to make the most of the gear you have. Instead of endlessly swapping lenses (or constantly zooming in-and-out), you’d refine your eye.

Film Simulation Recipes are an excellent example of how restrictions can fuel creativity. In order to choose the most appropriate Recipe for your style and the specific situation, you may have to consider more deeply the colors and light of the scene in front of you. This might help improve both your vision and execution.

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

Another benefit of limitations is technical improvement. When you take away some of your tools—perhaps some features that you’ve convinced yourself you need—it forces you to master the fundamentals. Let’s say you decide to shoot fully manual for a week. It might be frustrating for the first few days, but then your ability to judge exposure, your understanding of the exposure-triangle, and your manual-focus skills will skyrocket.

The same applies to using a single film simulation for a project. You’ll gain a deeper understanding of how color and tonality interact. You’ll learn when Classic Chrome’s Kodak-like palette works best, or when Velvia’s vibrant colors are more appropriate. The more experience you have with film simulations and Recipes, the better you will be at getting the most out of them.

*Flowers & Fruit* – Austin, TX – Fujifilm X100VI – Fujicolor Blue

Pablo Picasso once said, “If you have five elements available, use only four. If you have four elements, use only three.” Working within a framework forces us to be more deliberate, more thoughtful, and ultimately more innovative. This is where creativity lives. Orson Wells put it this way: “The enemy of art is the absence of limitations.”

If you want to push your photography further, try setting some limits. Use only one camera and one lens for a month. Or shoot only black and white for a week. Stick to a single Film Simulation Recipe for an entire project. Maybe try an older, less capable camera for awhile. Or disable a feature that you often rely on, like auto-ISO or IBIS. If a certain limitation is forced on you—you didn’t choose it—don’t fret; instead, let it propel you to greater heights. You might be surprised at just how much you grow as a photographer. In the end, art isn’t about having the most or best tools—it’s about how well you use the ones you have. Limitations aren’t roadblocks; they’re opportunities, stepping stones to mastery. Constraints aren’t just a path to creativity, they are the path.

Can ChatGPT Replicate a Recipe??

Posted on January 29, 2025 by Ritchie Roesch

Someone pointed out to me that ChatGPT can create a Film Simulation Recipe that replicates the look of any photo that you upload. Just share a picture with AI, and it will analyze the look and produce a Recipe that matches. But can it really do that? And, if so, is it accurate?

So I gave it a try. I uploaded a picture and asked AI to replicate the aesthetic of it with a Fujifilm Recipe. Sure enough, it produced one. I also asked ChatGPT to tell me which Fuji X Weekly Recipes are the closest. Let’s examine the results.

Test 1

The top picture is the camera-made JPEG captured on my Fujifilm GFX100S II using the Nostalgic Film Recipe (a Film Dial Recipe). I uploaded it to ChatGPT and asked it to make a Recipe based on that image. The second picture was reprocessed in-camera using the settings that AI provided. Quite obviously, they are pretty far apart and are not a good match.

Some of the settings are the same. Both pictures use DR400. Both are Grain Weak (although ChatGPT chose Grain size Large). Both have Color Chrome Effect Strong and Color Chrome FX Blue Weak. Noise Reduction is -4 on both. The White Balance Shift is +2 Red & -4 Blue. All of the other settings were different—for example, the Nostalgic Film Recipe calls for the Nostalgic Neg. film simulation, while AI chose Classic Chrome. The Recipe made by AI isn’t too dissimilar to Kodachrome II, although not an exact match. I asked ChatGPT to tell me which Fuji X Weekly Recipes were the closest, and it suggested Kodak Ektar 100 and Kodak Gold 200.

Test 2

The top picture is the camera-made JPEG captured on my Fujifilm GFX100S II using the Fujicolor PRO 160C Warm Recipe (which is also a Film Dial Recipe). The bottom picture was reprocessed in-camera using the settings that ChatGPT provided. They are far apart, and are not an especially good match, although it is slightly better than the first test.

The Fujicolor PRO 160C Warm Recipe uses the Reala Ace film simulation, while ChatGPT chose Eterna. Most of the settings are divergent. I don’t have a Recipe that’s especially close to the one made by ChatGPT, but Timeless Negative is probably the most similar. The Fuji X Weekly Recipes that AI suggested are the closest are CineStill 800T, Kodak Ektachrome 100SW, and Kodak Vision3 250D.

Test 3

The top picture is the bottom image from Test 1. I asked ChatGPT to make a Recipe that matches it, to see if it would suggest the same settings that I used to make it (which is the Recipe AI had made just a few minutes earlier). The Recipe that it came up with was not the same, and also not a great match. Instead of Classic Chrome, it wen’t with Classic Negative. While only somewhat similar, Fujicolor Blue is probably my closest Recipe. The Fuji X Weekly Recipes that AI thought were the closest are Kodak Portra 400 and Kodak Portra 160.

Test 4

I re-uploaded the first photo from Test 1, and asked the same question to see if it would suggest the same settings, or if it would change them. Unsurprisingly, it was completely different, this time choosing Astia for the film simulation (I didn’t bother to reprocess). It suggested that my Kodak Portra 400 Recipe would be the closest match.

Conclusion

I’ve said before that ChatGPT is a neat little card trick, but once you know how it works, it isn’t nearly as impressive. I’ve also said that it will only get better with time. Both of those statements still seem to be true. While AI can analyze a picture and produce some Fujifilm settings to try—which is amazing—it isn’t very accurate. It can also suggest Fuji X Weekly Recipes that might be similar, and it is a little better at that, but still not especially good.

I have zero doubts that with enough time—and it may only be a couple of years—ChatGPT will be able to analyze a photo and produce a Fujifilm Recipe that is pretty similar. It might be even closer to suggesting an existing Recipe that isn’t far off. It’s not there yet, though.

I’m certain that ChatGPT was trained on my website. When asked directly, it says that it wasn’t, but states that it was trained on various photography blogs and forums. When I asked it to name some specific ones, the very first it listed was Fuji X Weekly. So, yeah, AI did some of its learning from my website, which of course I did not consent to nor was I compensated for. I believe that this training is ongoing, and it probably will even learn from this article that you are reading right now. This is wrong, and eventually the courts will likely determine that it is completely illegal; however, by then, the damage is done, and there’s nothing that can be done.

With all of that said, I had a conversation with a friend of mine who is super intelligent (he’s a scientist) about AI and ChatGPT. He said that he is not concerned about being replaced by AI, but he is concerned about being replaced by someone who knows how to use it better than he does. I don’t think it is prudent to ignore ChatGPT completely. While undoubtably ethically sketchy, it is a tool that can sometimes be used effectively, if you understand its strengths and weaknesses. I’m not sure what that means for me specifically, other than it is good to test it now and again to see how far it has or hasn’t come. It definitely has made some progress since the last time I tested, but not a lot.

52 Weeks of Photography: Week 5

Posted on January 29, 2025 by Ritchie Roesch

*Visit Palms* – Goodyear, AZ – Fujifilm GFX100S II & 80mm f/1.7 – Fujicolor PRO 160C Warm

Week 4

*Toilet Trash* – Buckeye, AZ – Fujifilm X-T4 ES & 35mm f/2 – Upcoming Recipe

I had three especially productive days this week, and four not-so-productive ones. On two of the days, I barely met the minimum obligation, and nearly chalked them up as losses; however, I decided that there was one photo on each day that was just good enough to share, so by the skin-of-my-teeth I made it. I have built into this project two days that I can miss, just knowing that life happens, and it would have been a shame to have used both of them on week five, especially since I didn’t have a good excuse. Thankfully, I didn’t have to, but I do need to be a bit more careful and purposeful moving forward.

Below are the fifth set of seven pictures from this 52 Weeks of Photography project.

Tuesday, January 21st, 2025

*Red Tree Trunk* – Buckeye, AZ – Fujifilm X-E4 & 90mm f/2 – Provia Summer

Wednesday, January 22nd, 2025

*Bougainvillea Blossom Bunches* – Buckeye, AZ – Fujifilm GFX100S II & 80mm f/1.7 – Fujicolor PRO 160C Warm

Thursday, January 23rd, 2025

*Light, Color, Texture* – Buckeye, AZ – Fujifilm X-T4 ES & 35mm f/2 – Upcoming Recipe

Friday, January 24th, 2025

*Orange Desert* – Phoenix, AZ – Fujifilm X-T4 ES & 35mm f/2 – Upcoming Recipe

Saturday, January 25th, 2025

*Balloons* – Goodyear, AZ – Fujifilm GFX100S II & 80mm f/1.7 – Fujicolor PRO 160C Warm

Sunday, January 26th, 2025

*Amphibious Vehicle Ramp* – Buckeye, AZ – Fujifilm GFX100S II & 80mm f/1.7 – Nostalgic Film

Monday, January 27th, 2025

*Leaf Pile* – Buckeye, AZ – Fujifilm X-E4 + 27mm f/2.8 – Pacific Blues

Week 6

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

Fujifilm GFX100S II:
Amazon, B&H, Wex
Fujinon GF 80mm f/1.7:
Amazon, B&H, Wex
Fujinon 27mm f/2.8:
Amazon, B&H, Moment, Wex
Fujinon 35mm f/2 in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujinon 35mm f/2 in silver:
Amazon, B&H, Moment, Wex, Nuzira
Fujinon 90mm f/2:
Amazon, B&H, Moment, Wex

Fujifilm’s JPEGs Are Revolutionizing Photography

Posted on January 29, 2025 by Ritchie Roesch

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

When I first picked up a Fujifilm camera, I didn’t expect it to transform the way I approached photography. Like many others, I’d grown accustomed to shooting RAW, spending hours editing, and often feeling overwhelmed by it all, which can zap the joy right out of creating images. But then I discovered that Fujifilm’s straight-out-of-camera JPEGs are actually really good. I realized that I didn’t need to spend so much time tethered to a screen to create the photographs I loved. It wasn’t just a convenience; it was a revelation.

A lot of people are surprised to learn that Ansel Adams—the master of the darkroom—was a big fan of Polaroid cameras. He wrote a whole book about it, and dedicated a chapter to the concept of what he called one-step photography. Typically, the first step is image capture, and the second is image development, but Polaroids only required the first step (hence, one-step photography). Adams wrote, “The effect of one-step processing on both amateur and professional creative photography has been revolutionary.”

*Manhattan from Pulaski Bridge* – Fujifilm X-T50 – PRO Negative 160C

That’s exactly what Fujifilm cameras have achieved with their camera-made JPEGs. It’s the modern version of one-step photography. It’s not just about convenience (although it is certainly convenient); it’s a transformative approach to how we think about photography. It was a game-changer for me, and it might be for you, as well.

Fujifilm’s film simulations are at the heart of the SOOC JPEG magic. Drawing on their rich history in film photography, they’ve poured decades of analog expertise into their digital cameras. These film simulations—such as Classic Negative, Velvia, and Nostalgic Neg.—were inspired by iconic film stocks that once defined entire eras of photography. Each film simulation carries its own personality—Classic Chrome has muted tones and punchy contrast, Acros has rich monochrome depth, Eterna has cinematic softness—that give photographers a starting point that already feels curated and intentional, as if they were post-processed. The connection to Fujifilm’s film heritage makes their JPEGs feel authentic, reminiscent of analog photography—a nostalgic yet modern blend, fusing the convenience of digital with the soul of film.

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

While Fujifilm’s film simulations are good on their own, what really sets the images apart is how customizable the JPEGs are. You can tweak the settings to create Film Simulation Recipes, which empowers photographers to achieve their style straight from the camera. It’s like having a personal darkroom built into your gear, which enables you to spend less time in front of a computer and more time actually making pictures. I have published nearly 400 Recipes for Fujifilm cameras, so there’s bound to be at least one that is a match for your personal style.

Fujifilm’s SOOC JPEGs encourage photographers to slow down and think more intentionally about their craft. Choosing a Recipe for the scene that is in front of you forces you to consider your creative choices upfront. This process brings a sense of mindfulness that some find refreshing. Getting the image right in-camera is a liberating shift. You can shoot with intent, knowing that the aesthetic you’re aiming for is baked into the photo as you press the shutter. Instead of relying on post-processing to fix an image, photographers are encouraged to get it right in-camera, which is a return to the ethos of film photography, where each frame mattered, and decisions were made before the shutter clicked.

*Sign on the Roof* – Gila Bend, AZ – Fujifilm X100VI – Classic Color

This one-step philosophy—made possible by Fujifilm and Film Simulation Recipes—is sparking conversations about the value of simplicity, the importance of craft, and the joy of photography as an experience rather than a chore. While technology can sometimes complicate photography, Fujifilm has managed to simplify it without compromising quality. In my opinion, the results speak for themselves: more time spent shooting, less time stuck behind a computer screen, and photographs that feel authentic and look great. It challenges the “RAW is best” mindset. Beginners, who might feel intimidated by the complexities of editing software, can achieve excellent results right out of the gate, while seasoned photographers are finding new inspiration in the simplicity and authenticity of this approach.

Camera-made JPEGs are more than just a convenience; they represent a shift in how to think about photography. Fujifilm has created a system that celebrates the art of getting it right in-camera by leveraging their film heritage with creative customization, which allows users to focus on intentionality. Because of this, many Fujifilm photographers are rediscovering the pure joy of making photographs. The revolution may be quiet, but—as more and more choose this approach—its impact is undeniable.

*Pacific Poppies* – Montaña de Oro SP, CA – Fujifilm X-E4 – Pacific Blues

Find Film Simulation Recipes for your Fujifilm cameras in the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Film Simulation Recipes for Fujifilm GFX Cameras

Posted on January 23, 2025 by Ritchie Roesch

One of the first things that I hoped to accomplish after buying a Fujifilm GFX100S II camera last month is to understand how compatible X-series Film Simulation Recipes are with GFX, and what adjustments should be made, if any. I had anticipated this being a fairly easy task, and in a sense it was, but I really struggled with this project.

Fujifilm has made a number of GFX models since February of 2017: GFX50S, GFX50R, GFX100, GFX100S, GFX50S II, GFX100 II, and GFX100S II. There are a few different sensors and processors, and the cameras can be separated into different generations. The GFX50S, GFX50R and GFX50S II share the same sensor, but the GFX50S II falls into a different generation than the original two. The GFX100 and GFX100S share the same sensor, but are different generations. The GFX100 II and GFX100S II share the same sensor, but not the same sensor as the first two 100mp GFX models. It’s a bit of a puzzle. The only GFX camera that I own is the GFX100S II, and I briefly had the opportunity to borrow a GFX50S four years ago. My GFX experience is very limited at this point.

One issue that I found when comparing Recipes captured on X-Trans vs GFX is that the lenses are not the same. Different lenses can produce slightly different results depending on the micro-contrast and coatings. While not a big deal, it would have been preferable to have used the same lens across all the tests; however, even if I could, the focal length wouldn’t be the same. For example, when I adapt my vintage Helios 44-2 lens, the focal length on X-Trans is 87mm while it is 46mm on GFX; aside from that, the Helios is noticeably softer on the GFX. So the comparisons I made were never fully 1:1, unfortunately.

*Fujifilm GFX100S II & Helios 44-2 – Fujicolor PRO 160C Warm*

I did make a number of comparisons between the photos captured with the GFX100S II and those made on an X-T5 and X-E4, utilizing the same Recipes. The main difference between X-Trans IV and X-Trans V rendering is that blue is a little deeper on X-Trans V with the Classic Chrome, Classic Negative, Eterna, and Eterna Bleach Bypass film simulations—there are some other minor differences, but the blue rendering is the main one. On the GFX100S II, blue behaves more like X-Trans V. The overall rendering is very similar to X-Trans V, but not 100% identical. For example, Grain is scaled differently on GFX. There are several insignificant differences that I noticed upon close side-by-side comparisons, but without carefully studying deep crops, the GFX images look pretty identical to the X-Trans V photos. Except they also don’t.

This is the paradox I discovered: the pictures look so similar when comparing colors, tints, shadows, etc., etc., but there is something that’s clearly different. But what? I couldn’t put my finger on it.

I asked a few people I know who have a GFX camera, and one suggested color fidelity, that the same exact colors just seem more alive (or maybe more lifelike) on GFX. My wife, Amanda, suggested that it’s depth, that it feels like you can step into the GFX photos, while the X-series photos seem a little flat in comparison. This could simply be the depth-of-field or the micro-contrast of the GFX lenses (or both). As I thought about it, I was reminded of the Sigma DP2 Merrill camera I used to own that similarly had a (so-called) “3D pop” to the pictures. High-ISO digital noise looks different on GFX, with splotchy colors that are typical from a Bayer sensor (and not the more film-grain-like noise from X-Trans); however, it’s not particularly obvious, buried in all that resolution. It’s probably a combination of all of those things and more that make the nearly identical colors and contrast appear different in a way that is difficult to describe, but it’s all so subtle that it’s easy to miss and dismiss, so perhaps it doesn’t matter.

*Fujifilm GFX100S II & 80mm f/1.7 – Kodachrome 64*

With that information, I made a decision regarding Film Simulation Recipes in the Fuji X Weekly App. I added the GFX100 II and GFX100S II as compatible cameras to all X-Trans V Recipes, as well as X-Trans IV Recipes (excluding those for the X-T3/X-T30) that don’t use Classic Chrome, Classic Negative, Eterna or Eterna Bleach Bypass (the same Recipes as the X-T5, for example). Use those Recipes on the GFX100 II and GFX100S II, as they look great. I updated the App yesterday to show those Recipes as compatible with those two cameras. For the other (non-X-T3/X-T30) X-Trans IV Recipes, dropping Color Chrome FX Blue down one spot (Weak instead of Strong, Off instead of Weak) also makes them compatible.

After that, I thought about the other GFX models. Shouldn’t they be in the App, too? Why should they be left out? I don’t own any of those other GFX models, so I dug through the manuals—plus did several Google searches—to try to piece together how they should be categorized in the Fuji X Weekly App. That took a few verified and unverified assumptions. Also, I realized an assumption I made several years back was incorrect.

I categorized GFX100S the same as the newer X-Trans IV cameras; Recipes that are compatible with (for example) the X-T4 are also compatible with the GFX100S. I categorized the GFX100 the same as the X-T3 and X-T30.

*Fujifilm GFX100S II + 80mm f/1.7 – 1970’s Summer*

The 50mp GFX cameras are a bit of a problem because shadows are rendered slightly lighter, and a .5 Shadow increase is necessary for those models (the GFX50S and GFX50R don’t have .5 Highlight and Shadow adjustments). A few years ago when I had the GFX50S for a few weeks, I created three Recipes for 50mp GFX. I made an assumption that those Recipes would also be compatible with the GFX100, but I believe that camera has deeper shadow rendering like the other 100mp cameras, so that assumption was incorrect; however, I left it alone in the App. If not for the shadow rendering, X-T3/X-T30 Recipes would be compatible with the GFX50S and GFX50R—you can still use those Recipes, just know that it will look slightly different (try them anyway, you might like the results). The one camera that was left out of the App is the GFX50S II. You can use X-Trans IV Recipes the same as the GFX100S; however, a .5 Shadow adjustment should be made. If a Recipe calls for -1 Shadow, use -0.5 instead, and if a Recipe calls for +2 Shadow, use +2.5 instead.

This isn’t a perfect categorization of the GFX models, but I think it’s good. If I made a mistake in this, please let me know—like I said, my GFX experience is quite limited. For those with GFX cameras, I hope this provides a little clarity as to which Recipes to use. I’m sure that having these cameras in the App will be helpful to some photographers with GFX models, so if you have a GFX camera, open up the Fuji X Weekly App and take a look.

*Fujifilm GFX100S II + 80mm f/1.7 – Kodak Gold Max 400 Expired*

Find Film Simulation Recipes for your Fujifilm cameras in the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Provia Summer — Fujifilm X-Trans IV & X-Trans V FXW App Patron Early-Access Recipe

Posted on January 22, 2025 by Ritchie Roesch

*Evening Palm Fronds* – Buckeye, AZ – Fujifilm X-E4 – Provia Summer

This Provia Summer Film Simulation Recipe kicks off a new series. Each Recipe in this series will use a different film simulation, beginning with Provia and ending with Sepia. None of them will be modeled after any specific emulsions, but more simply will be aesthetics that I like, that I want to create photographs with. Even though they won’t be mimicking specific films, I do intend for them to have an analog vibe. My goal is to publish a new Recipe in this series every three or four weeks. Lastly, they will each begin as an App Patron Early-Access Recipe.

I never wanted the Early-Access Recipes to be unavailable to non-subscribers for so long. Some have been 18 months or longer, most over a year. My initial idea was that they would be Patron-only for about six months or so, and then be made available to everyone; however, I’ve only reached that goal a few times. This series of Recipes will hopefully clear out the backlog, and the Recipes that some of you have long been waiting for will be available soon.

*Golden CVS* – Buckeye, AZ – Fujifilm X-S20 – Provia Summer – Photo by Jonathan Roesch

Provia Summer is in a similar neighborhood as Bright Summer, Bright Kodak, Eterna Summer, Summer of ’59, 1970’s Summer, and I’m sure a few others. Obviously it’s not exactly like any of them, as it has its own unique aesthetic. This Recipe is warm and colorful, producing images that have a summer-like feel. It’s not the most ideal option for artificial light indoors or nighttime photography, but in the right situations it can be alright for that; for best results, use on a sunny day.

This is an App 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, and I’ve included a few examples of that at that bottom.

Example photographs, all camera-made JPEGs using this Provia Summer Film Simulation Recipe on a Fujifilm X-E4 and X-S20:

*Vibrant Bougainvillea* – Buckeye, AZ – Fujifilm X-E4

*Dying Frond* – Buckeye, AZ – Fujifilm X-E4

*Sunlit Window* – Buckeye, AZ – Fujifilm X-E4

*Golden Arch* – Buckeye, AZ – Fujifilm X-E4

*Bright Bougainvillea* – Buckeye, AZ – Fujifilm X-E4

*Palm Grove* – Buckeye, AZ – Fujifilm X-E4

*Tower Window* – Buckeye, AZ – Fujifilm X-S20 – Photo by Jonathan Roesch

*Duel Window View* – Buckeye, AZ – Fujifilm X-E4

*Welcome to Wellness* – Buckeye, AZ – Fujifilm X-E4

*Water Drops* – Buckeye, AZ – Fujifilm X-S20 – Photo by Jonathan Roesch

*Faux Beauty* – Buckeye, AZ – Fujifilm X-E4

*Dusk Steeple* – Litchfield Park, AZ – Fujifilm X-E4

*Electric Open* – Buckeye, AZ – Fujifilm X-S20 – Photo by Jonathan Roesch

*Red Tree Trunk* – Buckeye, AZ – Fujifilm X-E4

*Yellow Fountain* – Buckeye, AZ – Fujifilm X-S20 – Photo by Jonathan Roesch

Example photographs, all camera-made JPEGs using this Provia Summer Film Simulation Recipe on a Fujifilm GFX100S II:

*Bougainvillea Trestle* – Buckeye, AZ – Fujifilm GFX100S II

*Broken Palm Bark* – Buckeye, AZ – Fujifilm GFX100S II

*Jonathan in the Desert* – Buckeye, AZ – Fujifilm GFX100S II

Find this Film Simulation Recipe and over 350 more in the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

1981 Kodak — Fujifilm X100V (X-Trans IV) Film Simulation Recipe

Posted on January 22, 2025 by Ritchie Roesch

*Vintage Barn* – Prefumo Canyon, CA – Fujifilm X100V – 1981 Kodak Recipe

My wife, Amanda, ran across some old family pictures in her mom’s photo box. These prints were made in July of 1981—a date stamped on the back—and printed on Kodak paper. The other technical details are unknown, but most likely they were captured with a cheap point-and-shoot of some sort (possibly even a 110 camera) with Kodacolor II color negative film, which was the most popular amateur emulsion of that era. Due to age and improper storage, the prints are fading, with a pronounced orange (sometimes yellow, sometimes red) cast, and colors overall less vibrant than they once were. The set was mostly personal family pictures, and many of them were scratched and damaged, but I did scan two of the prints, which you’ll find below.

I thought that the aesthetic was interesting, so I began to develop a Film Simulation Recipe inspired by these photographs. It took a couple of days—and a few compromises, as I was unable to match it exactly—but I was able to create a look that mimics the general feel of those old pictures made in 1981 and printed on Kodak paper, which is the reason why I call this Recipe 1981 Kodak.

This 1981 Kodak Film Simulation Recipe is compatible with all Fujifilm X-Trans IV cameras except the X-T3 and X-T30, which is to say that you can use it on the X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II. For the Fujifilm X-T3 and X-T30, ignore Grain size and Color Chrome FX Blue, and use a diffusion filter (such as a 10% or 20% CineBloom) in lieu of Clarity. For X-Trans V, because some film sims render blue more deeply, it will look slightly different, but try it anyway.

Film Simulation: Eterna
Dynamic Range: DR200
Grain Effect: Strong, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Off
White Balance: Daylight, +7 Red & -7 Blue
Highlight: -0
Shadow: +4
Color: -4
Sharpness: -2
High ISO NR: -4
Clarity: -4
ISO: Auto, up to ISO 6400
Exposure Compensation: -1/3 to +1/3 (typically)

Example photographs, all camera-made JPEGs captured using this 1981 Kodak Film Simulation Recipe on my Fujifilm X100V:

*Coastal Hills* – Prefumo Canyon, CA – Fujifilm X100V

*Dilapidated Barn* – Prefumo Canyon, CA – Fujifilm X100V

*Rural Rancher* – Cambria, CA – Fujifilm X100V

*Tree Fallen on Abandoned Car* – Cambria, CA – Fujifilm X100V

*Old Ford* – Cambria, CA – Fujifilm X100V

*Classic Grill* – Cambria, CA – Fujifilm X100V

*Tree-Covered Road* – Prefumo Canyon, CA – Fujifilm X100V

*Light over Fallen Tree* – Prefumo Canyon, CA – Fujifilm X100V

*Sawed Log* – Prefumo Canyon, CA – Fujifilm X100V

*Cliffs of Pismo* – Pismo Beach, CA – Fujifilm X100V

*Ken Rockwell & ’61 Pontiac Tempest* – Cayucos, CA – Fujifilm X100V

*Old Van* – Cayucos, CA – Fujifilm X100V

*Classic Rear Fender* – Cayucos, CA – Fujifilm X100V

*Beach Boys* – Cambria, CA – Fujifilm X100V

*Mrs. Peacock* – Buckeye, AZ – Fujifilm X100V

*Guitar Neck* – Buckeye, AZ – Fujifilm X100V

*Drummer* – Buckeye, AZ – Fujifilm X100V

*Corner* – Surprise, AZ – Fujifilm X100V

*Suburban Bougainvillea* – Buckeye, AZ – Fujifilm X100V

*Orange Car* – Laveen, AZ – Fujifilm X100V

*Biting Horses* – San Simeon, CA – Fujifilm X100V

Find this Film Simulation Recipe and over 350 more in the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

52 Weeks of Photography: Week 4

Posted on January 22, 2025 by Ritchie Roesch

*Pool Palm Pruned* – Buckeye, AZ – Fujifilm GFX100S II & 80mm f/1.7 – PRO Negative 160C

Week 3

I started a new 365 Day photo project, which I’m calling 52 Weeks of Photography, back on Christmas Eve. Even though it is a year-long undertaking, I’m taking it one week at a time. This is the fourth week, the fourth set of seven images, which means that I’m 1/13th finished. While there’s a long ways to go, it’s crazy that 28 days are already in the books.

The reason why I’m doing this photo-a-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 this will help with that.

*Shadow & Light* – Buckeye, AZ – Fujifilm GFX100S II & 80mm f/1.7 – PRO Negative 160C

This week was a bit up and down. Some days were far more productive than others. With that said, I find myself getting back into the habit of always having a camera on me, making sure to grab one before leaving the house. I used to do that, but kind of fell away from it in 2024.

Below are the fourth set of seven pictures from this 52 Weeks of Photography project.

Tuesday, January 14th, 2025

*Air Dancer* – Buckeye, AZ – Fujifilm X-T4 ES & 35mm f/2 – Aerochrome v3

Wednesday, January 15th, 2025

*Sunkissed Tree* – Buckeye, AZ – Fujifilm GFX100S II & Helios 44-2 – Fujicolor PRO 160C Warm

Thursday, January 16th, 2025

*We Are Open* – Buckeye, AZ – Fujifilm GFX100S II & Helios 44-2 – Nostalgic Film

Friday, January 17th, 2025

*I Saw A Saw* – Buckeye, AZ – Fujifilm GFX100S II & 80mm f/1.7 – PRO Negative 160C

Saturday, January 18th, 2025

*Backlit Infrared Joy* – Buckeye, AZ – Fujifilm X-T4 ES & 35mm f/2 – Aerochrome v3

Sunday, January 19th, 2025

*Not Abbey Road* – Buckeye, AZ – Fujifilm X-T4 ES & 35mm f/2 – Aerochrome v3

Monday, January 20th, 2025

*Faux Beauty* – Buckeye, AZ – Fujifilm X-E4 + 90mm f/2 – Upcoming Recipe

Week 5

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

Fujifilm GFX100S II:
Amazon, B&H, Wex
Fujinon GF 80mm f/1.7:
Amazon, B&H, Wex
Fujinon 35mm f/2 in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujinon 35mm f/2 in silver:
Amazon, B&H, Moment, Wex, Nuzira
Fujinon 90mm f/2:
Amazon, B&H, Moment, Wex

Aerochrome v3 — Fujifilm X-T4 ES (Full Spectrum Infrared) Film Simulation Recipe

Posted on January 21, 2025 by Ritchie Roesch

*Red Palm* – Buckeye, AZ – Fujifilm X-T4 ES – Aerochrome v3

This is a brand new Aerochrome-like Infrared Recipe. It’s not for “normal” cameras; you must have a full spectrum X-Trans IV or X-Trans V model, which requires an expensive and invasive procedure from a third-party vendor like LifePixel, Kolari Vision, or Spenser’s Camera (to name a few). Otherwise, the Fujifilm X-T4 ES (“Extended Spectrum”) is a full spectrum camera (is sensitive to light outside the visible gamut) briefly offered by Fujifilm to the general public. As of this writing, I believe that you can still buy the Fujifilm X-T4 ES from B&H, but it requires a phone call or in-person visit, and cannot be ordered from the internet.

Aerochrome v3 sits in-between—and bridges the gap between—Aerochrome v1 and Aerochrome v2; however, it is notably different from both, and even has some surprising commonality to Cotton Candy Chrome upon close inspection. That’s because it uses the Classic Negative film simulation instead of Velvia, which gives it a more pronounced analog feel, but also is more of a negative film look than slide film (real Aerochrome was a slide film). In that sense, this might be viewed as the least accurate version, but it’s also very easy to appreciate the aesthetic of this Aerochrome v3 Recipe, which is just lovely. While v2 is my personal favorite, I think some of you are really going to like this one. Because X-Trans V renders blue more deeply on some film simulations, including Classic Negative, if you have a full spectrum converted X-Trans V camera, set Color Chrome FX Blue to Weak instead of Strong.

*Iowa Water* – Buckeye, AZ – Fujifilm X-T4 ES – Aerochrome v3

Aside from having a full spectrum camera (like the X-T4 ES), this Recipe requires three filters: True Color Infrared Autumnizer (Turquoise), Hoya G(XO) Yellow-Green filter and Tiffen Yellow 2 #8 filter. The True Color Infrared Autumnizer (Turquoise) filter is simply a QB19 Blue filter and LB18 Green filter combined into one, and can be found on AliExpress. If you choose to use a QB19 and LB18, then you’d have four filters instead of three. I was a little hesitant to buy the Autumnizer (Turquoise) filter (because I had never purchased anything from AliExpress before, and saw mixed reviews regarding the platform), but thankfully the process turned out to be smooth. The Autumnizer 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 Autumnizer next, and the Yellow-Green last (furthest from the lens).

Filters: True Color Infrared Autumnizer (Turquoise), Hoya G(XO) Yellow-Green & Tiffen Yellow 2 #8
Film Simulation: Classic Negative
Dynamic Range: DR400
Grain Effect: Strong, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Strong
White Balance: Daylight, +9 Red & +8 Blue
Highlight: -1.5
Shadow: -0.5
Color: +4
Sharpness: -1
High ISO NR: -4
Clarity: -2
ISO: Auto, up to ISO 6400
Exposure Compensation: -1/3 to +1/3 (typically)

Example photographs, all camera-made JPEGs captured using this Aerochrome v3 Film Simulation Recipe on my Fujifilm X-T4 ES: