My new Fujifilm camera is…

My latest camera purchased arrived in the mail a few days ago: a Fujifilm GFX100S II. Along with the camera I also got a couple of lenses to go with it: Fujinon GF 80mm f/1.7 and GF 30mm f/3.5. This was, by far, the most money that I’ve ever spent on gear, and it was with some apprehensiveness that I clicked the Proceed with Purchase button. Let me explain why I bought it.

My first GFX experience was with the GFX 50S, which I was able to borrow for a couple of weeks in early 2021. It was a dream-come-true to try, but I was not convinced that it was something I wanted to own. Not only was it pretty far outside of my budget, but it was big, heavy, and slow, and didn’t provide any major advantages to my photography over the X-series. If I was given one I wouldn’t say no, but I wasn’t about to shell out many thousands of dollars for it.

The next GFX experience came earlier this year when Fujifilm invited me to a retreat in the Catskill Mountains of New York. Some photographers, including myself, were loaned preproduction Fujifilm X-T50‘s to try out, and some were loaned preproduction GFX100S II’s. While I didn’t get a chance to use one myself, I did get to see the amazing images that other photographers created with it, including Bryan Minear. I’ll never forget when Bryan and I got completely drenched on an early-morning photo outing in the rain.

A few days later Fujifilm had a rooftop launch party for the GFX100S II and X-T50 in New York City (above Foto Care), and myself and Bryan were enlisted to help. We were placed together at a touch-and-try station for the GF 500mm f/5.6 lens. I didn’t know much about the gear, so I wasn’t particularly helpful. I did get to touch-and-try very briefly, though, but not enough to form any sort of opinions of the gear. I met a number of interesting and talented people, and had an amazing time, so I’m extremely grateful and honored for the opportunity.

Most recently, when Bryan and I cohosted a photowalk in Ann Arbor last month, he let me try out his GFX100S II camera with the Fujinon 80mm f/1.7 lens attached. It was a beast, but also produced amazing images. It was that experience that pushed me over the edge to want one. Prior to this, I would have said that there’s no way I’m buying one, I can’t afford it. Instead, I began looking at what it would take to buy one. I had already began saving for the next camera purchase, so I was already partway along the path, but, you know, GFX is quite expensive.

It might seem like I just suddenly wanted one, like I was smitten with G.A.S., which is partially true. Actually, I’ve been thinking about it for some time now. Specifically, I have had an interest in creating 65:24 XPan panoramas, and the GFX cameras are especially excellent for that. I also want to explore square photographs, and GFX is quite good for that, too. My hope is to make large prints of these images, if I should capture any worthy of being printed.

Above: Me, as photographed by Bryan Minear using a Fujifilm GFX100S II & Fujinon 80mm f/1.7 with the XPan aspect ratio, in Ann Arbor, Michigan.

There’s also the benefit of figuring out which Film Simulation Recipes work best with the camera, and what modifications, if any, need to be considered. I haven’t made much headway with that just yet, but hopefully over the coming weeks I can publish some findings. I’ve had a number of requests for GFX Recipes, but, without any GFX gear, that’s tough to do. I should be able to make some big strides regarding this now that I have a GFX100S II in my hands.

I’m not a big fan of the heft, or the non-tactile controls, but the images are incredible! However, for everyday use, there’s no way that you can tell it’s GFX, and not X-series. In fact, I published a few pictures on Fuji X Weekly that were captured with the GFX100S II, and nobody noticed. You have to crop deeply and/or print very large to really appreciate it, I think. Those who truly “need” GFX are a small group, and I’m not one of them …yet, anyway. I’m making plans where I hope the GFX100S II proves to be a necessity for what I’m creating, so we’ll see if it does.

Above: Vultures circling a desert ridge; photo by Ritchie Roesch with a Fujifilm GFX100S II & Fujinon 80mm f/1.7 with the XPan aspect ratio and Kodachrome 64 Film Simulation Recipe.

I had to sell a couple of items to afford the camera (and to make room on the shelf for it). Even then, it was a stretch to pay for it. I had some trepidation when I ordered it, but I think it might eventually be worthwhile. Now I’ve just got to get it to the places I want to take it to—mostly, National Parks—in order to create the images that I imagine capturing with it.

I’ll try not to bombard you with GFX articles. I plan to keep this website primarily focused on X-series gear, and only sprinkled with with GFX content. But I can’t guarantee that. I might end up absolutely loving the camera, and speaking more about it than I initially intend. Or maybe it will mostly collect dust, as I choose smaller, lighter, more fun gear. Time will tell. But, for this first post, I will share with you some of my first pictures captured with the new camera.

Fujifilm GFX100S II + Fujinon 80mm f/1.7 + Reggie’s Portra
Fujifilm GFX100S II + Fujinon 80mm f/1.7 + Reggie’s Portra
Fujifilm GFX100S II + Fujinon 80mm f/1.7 + Nostalgic Film
Fujifilm GFX100S II + Fujinon 80mm f/1.7 + Nostalgic Film
Fujifilm GFX100S II + Fujinon 80mm f/1.7 + Reggie’s Portra
Fujifilm GFX100S II + Fujinon 80mm f/1.7 + Reggie’s Portra
Fujifilm GFX100S II + Fujinon 80mm f/1.7 + Reggie’s Portra
Fujifilm GFX100S II + Fujinon 80mm f/1.7 + Reggie’s Portra
Fujifilm GFX100S II + Fujinon 80mm f/1.7 + Pacific Blues
Fujifilm GFX100S II + Fujinon 80mm f/1.7 + Nostalgic Film
Fujifilm GFX100S II + Fujinon 80mm f/1.7 + Reggie’s Portra
Fujifilm GFX100S II + Fujinon 80mm f/1.7 + 1970’s Summer
Fujifilm GFX100S II + Fujinon 80mm f/1.7 + Kodachrome 64
Fujifilm GFX100S II + Fujinon 80mm f/1.7 + Kodak Gold 200
Fujifilm GFX100S II + Fujinon 80mm f/1.7 + Kodak Tri-X 400
Fujifilm GFX100S II + Fujinon 80mm f/1.7 + Kodak Tri-X 400

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: Please Read — A Firmware Update Idea — Fixing C1-C7 on Newer Cameras

I’ve received a bunch of feedback from Fujifilm photographers over the last few years about one specific thing, and I have never had a good answer to it. But just today I received a note from Fred Miranda with an excellent idea on how Fujifim could possibly fix the issue without too much trouble.

On some X-Trans IV and all X-Trans V cameras, the Custom Settings presets (often called C1-C7) save a lot more than IQ parameters. Focus settings, self timer settings, and even sound settings (and a whole lot more) must be programmed into the Custom Settings. The problem is that if you adjust some parameter because of the situation you are photographing in, the camera will forget this setting and restore whatever is saved into C1-C7 whenever the camera is powered off or goes to sleep.

One example is the focus mode on my Fujifilm X-E4. Since Fujifilm did not include an M/C/S switch, you have to set this within C1-C7. Since I mostly use autofocus lenses, this isn’t typically a problem, but whenever I use a manual focus lens, I need to set it to “M”. Whenever I power the camera Off and then On or change to a different C1-C7 Custom Settings preset, I have to set it back to “M” again. Otherwise, I must reprogram my Custom Settings to be “M” instead of “S” or “C”, and remember to change it back the next time I use an autofocus lens.

Another example is in situations with bright highlights (such as shooting into the sun), I prefer to use DR400 with the Reggie’s Portra Recipe, instead of DR-Auto, which will only choose DR100 or DR200. If I make this change and the camera goes to sleep, when I wake it up, it will be back at DR-Auto, unless I reprogrammed the Custom Settings preset with DR400 (which I’ll have to remember to change back).

There are probably a thousand different examples that I could give, and the specific ones that might annoy you the most might be different than what annoys me, but the larger point is that this is an annoyance for a lot of people. Some learn to “deal with it” (it is what it is) or sometimes they sell their X-Trans V model and return to their older camera. I think it is something that Fujifilm should address, and it might even be an easy fix.

The Custom Settings presets used to not behave this way—in fact, it doesn’t on my X-T30, X-T4 and X100V. C1-C7 used to be just for the IQ settings, which are the Film Simulation Recipe parameters. All the other settings—focus, sound, etc., etc.—were set within the menu. I think this worked well, except that “Base” was confusing (until you realize that it simply means the settings you are currently using). There are advantages and disadvantages to both concepts, so I don’t think simply going back to the old way is the answer. But the new process has some problems, for sure.

Fujifilm’s solution is Auto Update Custom Settings. If you Enable it, when you make a change, the camera will remember that change, and automatically adjust your C1-C7. However, one issue is that if you Enable Auto Update Custom Settings, your C1-C7 will most likely drift out of whack over time, and eventually not resemble what you programmed. This probably works for some, but it isn’t a good option for everyone. I always select Disable.

The proposed solution that Fred Miranda shared with me is a simple firmware update. In the Edit/Save Custom Settings menu, when you select (for example) C1, there are two empty lines: one above Edit/Check, and one below Edit Custom Name. Perhaps at the bottom Fujifilm could add Save IQ Settings Only, with the option to Enable or Disable. It could be default disabled (and, out of the box, the cameras would work the same as they do today), and enabled only if the user wants it to be enabled (what I would choose).

If you Enable Save IQ Settings Only, then all of the other options—AF/MF, Shooting Settings, Wrench, etc.—are greyed out when you program your C1-C7, as you won’t be able to set those within C1-C7. Whatever you have programmed into the Menu when no C1-C7 is selected (a.k.a. “None Selected” or, in the Q-Menu, “A/S/M/P”), is what those settings will be. Basically, it would make your C1-C7 function like it used to, and only be IQ (Recipe) settings.

What’s cool about this is that not only would it give you the choice, but it would give you the choice for each Custom Preset. You could Enable some, and Disable others. It gives you a lot more flexibility with how C1-C7 operates (make it work best for you). This seems like a fairly simple firmware update to create, so it shouldn’t require a lot of resources to implement. An easy fix, as they say, that should make everyone happy.

Now I don’t know if it would work with the PASM models, like the X-H2s, X-H2, X-S20, X-S10, or X-M5. The concept might need to be modified or completely nixed for those cameras, I’m not sure (I don’t own any, personally). But for the X-E4, X-T30 II, X-T5, X100VI, and X-T50, it should work like a charm. The X-T5, X-T50, and X100VI might be a good starting point. And it should definitely be implemented in future cameras—there’s plenty of time to bring this to whatever is in the pipeline.

I want to thank Fred for sharing this idea with me. I hope that Fujifilm reads this, and, if they do, takes it into consideration. This would improve the experience for many on the newer models, and I think it will prove itself worthwhile in the long run.

Lens Review: Pergear 25mm F/1.7

Back in April, Pergear announced a new lens: Pergear 25mm f/1.7. This is a compact lens that’s not quite pancake, but not far from it either. It’s a little larger than the Fujinon 27mm f/2.8, and a little smaller than the Fujinon 23mm f/2. I appreciate small gear, so I got this diminutive lens specifically to pair with my Fujifilm X-E4. The Pergear 25mm f/1.7 looks really good on the X-E4; it’s an aesthetic match to the retro-styled Fujifilm models, with the right amount of vintage-like charm. The 25mm focal-length is 37.5mm full-frame-equivalent, which is good for everyday walk-around photography.

It is a manual-focus lens, which means there’s no auto-focus capabilities. I learned photography on manual lenses, so I don’t mind them personally; however, if you don’t have much experience manually focusing, it will likely take you a little practice to feel comfortable with it. The focus ring is smooth on this lens. The minimum focus distance is about eight inches, which isn’t bad. The lens has 7 Elements in 5 Groups, and 10 blades. The filter thread size is 37mm. Also, there’s no communication with the camera.

The aperture ring has clicks, and steps in full stops—there are no intermediate apertures, such as f/3.5 or f/5, which is a bit unusual (although a long time ago this wasn’t odd at all). The maximum aperture is a bright f/1.7, but skips f/2 and goes straight for f/2.8. The minimum aperture is f/22; however, due to diffraction, f/22 should probably be avoided. The aperture ring has a good amount of stiffness, and the clicks obvious, meaning that you won’t accidentally change the aperture, and you can mentally keep track of the aperture adjustments without having to take your eye off the EVF.

The Pergear 25mm f/1.7 is a very different lens depending on the aperture. When wide open at f/1.7, center sharpness is sufficient but not impressive, and the corners are soft with some vignetting. It’s also prone to a hazy flare if there is a bright light source in front of you. This can give a cinematic or even atmospheric effect sometimes, and can be used creatively. Things improve notably as you stop down. By f/5.6 the technical flaws that are obvious at f/1.7 are nearly gone, and this lens can hold its own pretty well against many others. In other words, for a clinically clean lens, you will want to be in the f/5.6 to f/8 range, but for more interesting character, you’ll want to increase the aperture. Also, you can get some nice sunstars at f/11 and especially f/16. I feel like there is enough of a difference in outcome at f/1.7, f/2.8-f/4, f/5.6-f/8, and f/11-f/16, that you could almost compartmentalize those apertures for specific situations and desired picture aesthetics.

This lens retails for only $75, which is quite affordable. It seems well built and robust. There’s a lot to like about the Pergear 25mm f/1.7 lens, and it’s easy to overlook the shortcomings because it is so inexpensive. I’m very happy with it, personally, and plan to use it regularly on my Fujifilm X-E4.

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

Pergear 25mm f/1.7:
Amazon

Example photos, all camera-made JPEGs using the Pergear 25mm f/1.7 lens on my Fujifilm X-E4:

Snake Boots – Buckeye, AZ – Fujifilm X-E4 + Pergear 25mm f/1.7 – Kodak Tri-X 400
Cowboy Hat 1 – Buckeye, AZ – Fujifilm X-E4 + Pergear 25mm f/1.7 – Kodak Tri-X 400
Cowboy Hat 2 – Buckeye, AZ – Fujifilm X-E4 + Pergear 25mm f/1.7 – Superia Negative
Arizona Autumn – Buckeye, AZ – Fujifilm X-E4 + Peargear 25mm f/1.7 – Superia Negative
Hanging Bougainvillea – Buckeye, AZ – Fujifilm X-E4 + Pergear 25mm f/1.7 – Classic Color
Backlit Bougainvillea Blooms – Buckeye, AZ – Fujifilm X-E4 + Pergear 25mm f/1.7 – Kodak Portra 160
Red Blossoms – Buckeye, AZ – Fujifilm X-E4 + Pergear 25mm f/1.7 – Agfachrome RS 100
Christmas Soldier – Buckeye, AZ – Fujifilm X-E4 + Pergear 25mm f/1.7 – Fujicolor 100 Gold

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

Top 10 Most Popular Eterna Film Simulation Recipes of 2024

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

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 10 most-viewed Eterna Recipes on the Fuji X Weekly website so far in 2024.

It’s close enough to the end of the year that there is unlikely to be much movement, if any, between now and January 1st, so I thought it would be a good time to begin looking at year-end statistics. When I share the Top 25 most popular Recipes of any given month, the results are pretty predictable: color Recipes dominate, especially those that mimic Kodak film stocks and use Classic Chrome. On the suggestion of a Fuji X Weekly reader, I’m going to share some Top 10 articles for Recipe categories where few are likely to crack the Top 25 overall. I started with B&W, followed that up with Fujicolor; now we’ll look at Recipes that use the Eterna film simulation.

Hotel Chelsea – New York City, NY – Fujifilm X-T50Cinematic Film

Inspired by yesterday’s SOOC Live broadcast (if you missed it, you can watch it now), I decided that Eterna needed to be included in this project. In my opinion, it’s probably the most under appreciated film sim of them all. Perhaps that’s my fault, as I probably could have done more to demonstrate just how good it is. There’s a good chance that some of you have never even used an Eterna-based Recipe—if not, perhaps now is a good time.

I had a very good hunch that the X-Trans V version of CineStill 800T would rank #1, because it’s been routinely in the Top 25 ever since I published it in April. Beyond that, I was really unsure how this list would look. I expected both SantaColor and Cinematic Film to crack the Top 10, but to my surprise neither did. I count 30 Eterna-based Recipes in the Fuji X Weekly App, so obviously some had to be left out.

Without any further delay, below are the most popular Eterna Recipes of 2024!

Top 10 Most Popular Eterna Film Simulation Recipes of 2024

#1:

This is an adaptation of the X-Trans IV version (which you’ll find a little further down) for use on X-Trans V cameras. Like the film it is named after, this Recipe is specifically intended for nighttime photography.

#2:

This is one of my favorite Eterna-based Recipes. It’s an adaptation of the X-T3/X-T30 version (which you’ll find a little further down) for use on “newer” X-Trans IV models.

#3:

For X-Trans IV cameras, this Recipe is specifically intended for nighttime photography.

#4:

Vintage Color is an artist’s Recipe. It either works very well or not especially well, and should be used thoughtfully. It’s for X-Trans IV cameras; on X-Trans V, set Color Chrome FX Blue to Weak.

#5:

This Recipe can produce interesting results in the right light, but is definitely not for everyday use. I’m surprised to see it rank so high. It’s for use on X-Trans IV cameras; on X-Trans V, set Color Chrome FX Blue to Weak.

#6:

This one is for the X-T3 and X-T30 cameras; for all other X-Trans IV models, set Color Chrome FX Blue to Off, Grain size Small, and Clarity 0.

#7:

One of the more recently published Recipes that use Eterna. It’s compatible with “newer” X-Trans IV and all X-Trans V cameras.

#8:

This version is for the Fujifilm X-T3 and X-T30 cameras.

#9:

This Recipe has a lot of compatibility—it can be used on the X-H1, X-Trans IV, and X-Trans V cameras.

#10:

I use this one a lot during November and December, and occasionally throughout the year. It’s the most versatile Recipe in this list.

See also:
Top 25 Most Popular Film Simulation Recipes in November 2024
How To Add Film Simulation Recipes To Your Fujifilm Camera
The Essential 7 Film Simulation Recipes to Program Into Your Fujifilm Camera First
Which Film Simulation Recipe, When?

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

Eternal Recipes — SOOC Live Season Finale

The season finale of SOOC Live is just two days away! Join Nathalie Boucry and myself on December 12th at 9:00 AM Pacific Time (noon Eastern), as we finish off Season 4 with what will surely be an epic broadcast. This one will be especially fun, so you’ll want to tune in if you’re able. Since these shows are interactive, your participation makes them better. I hope to see you this Thursday!

For those who don’t know, SOOC Live is a (sometimes) monthly live YouTube broadcast where Nathalie Boucry and I discuss Film Simulation Recipes, give tips and tricks for achieving the results you want straight-out-of-camera, talk Fujifilm news, and answer your questions. Basically, we’re trying to help you master your camera, with a focus on simplifying your photographic workflow. This is a community event, helping each other along our photographic journeys.

Below is the upcoming show, so you can easily find it on Thursday (here is the direct link, in case you need it):

Top 10 Most Popular Fujicolor Film Simulation Recipes of 2024

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

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 10 most-viewed Fujicolor Recipes on the Fuji X Weekly website so far in 2024.

It’s close enough to the end of the year that there is unlikely to be much movement, if any, between now and January 1st, so I thought it would be a good time to begin looking at year-end statistics. When I share the Top 25 most popular Recipes of any given month, the results are pretty predictable: color Recipes dominate, especially those that mimic Kodak film stocks and use Classic Chrome. On the suggestion of a Fuji X Weekly reader, I’m going to share some Top 10 articles for Recipe categories where few are likely to crack the Top 25 overall. I started with B&W; now we’ll look at Fujicolor-related Recipes.

Boats & Bridge – New York City, NY – Fujifilm X100VI – PRO Negative 160C

By Fujicolor, I mean Recipes that are (generally speaking) intended to mimic Fujicolor film stocks, or are named after a Fujifilm emulsions. I did this category last year, actually, and it was quite fascinating. Interestingly, the rankings have change pretty significantly year-over-year; however, I’m not too surprised by the results. I knew that Reala Ace would be Number One, Fujicolor Super HG v2 would be second, and PRO Negative 160C would be third. Beyond that, I wasn’t sure, and a couple inclusions (and exclusions) were a tad surprising.

Without any further delay, below are the most popular Fujicolor Recipes of 2024!

Top 10 Most Popular Fujicolor Film Simulation Recipes of 2024

#1:

This is one of the most popular Recipes (even briefly #1) of 2024, so I wasn’t surprised in the least to see it at the peak of this list. It uses the Classic Negative film simulation (and not the Real Ace film sim), and is for X-Trans V cameras.

#2:

A Classic Negative based Recipe that’s compatible with X-Trans V cameras (there’s also an X-Trans IV version). Month-to-month, this one typically ranks between 20th and 30th.

#3:

This was the first Recipe I published that uses the new Reala Ace film simulation. It’s compatible with X-Trans V cameras.

#4:

This is an App Patron Early Access Recipe, which means that right now it is only available in the Fuji X Weekly App to Patron subscribers. Eventually it will be available free to everyone, but that might take awhile. This Recipe uses the Classic Negative film simulation, and is compatible with X-Trans V cameras. It’s very new—published in late October—so its inclusion (and high ranking) is pretty shocking.

#5:

Last year, this Recipe was #1 on this list. It’s an older one that uses PRO Neg. Std, and is compatible with X-Trans III models, plus the X-T3 and X-T30.

#6:

This is the X-Trans V version of this Recipe (the X-Trans IV version is a little further down). It uses the Classic Negative film simulation. Last year it was ranked #10.

#7:

This Recipe is for X-Trans IV cameras, and uses the Classic Negative film simulation. It was ranked #2 on this list last year.

#8:

This is the X-Trans IV version of this Recipe, and it uses the Classic Negative film simulation. It was ranked #6 last year.

#9:

This is a Reala Ace based Recipe for X-Trans V models; however, there is a version that’s compatible with the X-T3 and X-T30 that didn’t make this list.

#10:

This Recipe uses Classic Negative and is for X-Trans IV models; however, there is an X-Trans V version that didn’t make this list. Last year, this Recipe was ranked #4.

See also:
Top 25 Most Popular Film Simulation Recipes in November 2024
How To Add Film Simulation Recipes To Your Fujifilm Camera
The Essential 7 Film Simulation Recipes to Program Into Your Fujifilm Camera First
Which Film Simulation Recipe, When?

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

Top 10 Most Popular B&W Film Simulation Recipes of 2024

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

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 10 most-viewed B&W Recipes on the Fuji X Weekly website so far in 2024.

It’s close enough to the end of the year that there is unlikely to be much movement, if any, between now and January 1st, so I thought it would be a good time to begin looking at year-end statistics. When I share the Top 25 most popular Recipes of any given month, the results are pretty predictable: color Recipes dominate, especially those that mimic Kodak film stocks and use Classic Chrome. On the suggestion of a Fuji X Weekly reader, I’m going to share some Top 10 articles for Recipe categories where few are likely to crack the Top 25 overall. I’m starting with black-and-white, and we’ll see where this all goes from here.

Smoking – Philadelphia, PA – Fujifilm X100VI – Kodak Tri-X 400

I knew that Kodak Tri-X 400 would be Number One. It’s far-and-away the most popular black-and-white Film Simulation Recipe for Fujifilm cameras, and is in the Top 15 overall. Second place is a distant second, and not close to cracking the Top 25. I really didn’t know how the others would rank, and I was quite surprised by some of them. Four of these use the Acros film simulation (I thought more would), and six use the Monochrome film simulation.

Without any further delay, below are the most popular B&W Recipes of 2024!

Top 10 Most Popular B&W Film Simulation Recipes of 2024

#1:

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.

#2:

Another Acros-based Recipe, this one is compatible with X-Trans IV (except the X-T3/X-T30) and X-Trans V cameras.

#3:

This is the highest ranked Recipe that uses the Monochrome film simulation. It is compatible with X-Trans IV (except the X-T3/X-T30) and X-Trans V cameras.

#4:

Another Monochrome-based Recipe, this one is compatible with X-Trans IV (except the X-T3, X-T30, X-Pro3 & X100V) and X-Trans V models.

#5:

This is an older Recipe, published back in 2018. It uses the Acros film sim and is compatible with X-Trans III cameras, plus the X-T3 and X-T30.

#6:

Based on Acros, this was one of the very first Film Simulation Recipes published on Fuji X Weekly. It is compatible with X-Trans III cameras, plus the X-T3 and X-T30.

#7:

This Recipe is for X-Trans II cameras, and uses the Monochrome film simulation.

#8:

This is an X-Trans I Recipe that uses the Monochrome film simulation.

#9:

Another Monochrome-based Recipe, this one is compatible with the X-T3 and X-T30; for use on X-Trans III, simply ignore the settings that your camera doesn’t have.

#10:

Last but certainly not least is Kodak T-Max 400, which also uses the Monochrome film simulation. It has compatibility with X-Trans III, X-Trans IV, and X-Trans V models.

See also:
Top 25 Most Popular Film Simulation Recipes in November 2024
How To Add Film Simulation Recipes To Your Fujifilm Camera
The Essential 7 Film Simulation Recipes to Program Into Your Fujifilm Camera First
Which Film Simulation Recipe, When?

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

Cotton Candy Chrome — Fujifilm X-T4 ES (Full Spectrum Infrared) Film Simulation Recipe

Cotton Candy Tree – Buckeye, AZ – Fujifilm X-T4 ES – Cotton Candy Chrome Recipe

This is a super fun Film Simulation Recipe for Fujifilm full spectrum cameras, like the Fujifilm X-T4 ES, which turns trees a soft pink. 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 LifePixelKolari Vision, or Spenser’s Camera. 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 stopping by in person—you can’t order it from the internet.

I’m pretty new to infrared photography, and I’m still learning and experimenting. Larry Adams, a Fuji X Weekly regular, kindly mailed to me a few filters to try out, and one of those—a QB2 blue filter—was used for this Cotton Candy Chrome Recipe. I’m not certain which brand the filter is (it doesn’t say), but here are some that I found online: JTSF, PMP, Nantong, Shanghai Longway, Tangsinuo. This is a fairly uncommon filter and that’s why none of the name brands make it, but it is used by some in the IR world. I have no idea which brand might be best. The other filters I used for this Recipe are Hoya G(XO) Yellow-Green filter and Tiffen Yellow 2 #8 filter. I don’t know if the order matters, but I have the Yellow filter closest to the lens, the Yellow-Green filter in the middle, and the QB2 furthest from the lens.

Union Pacific 1579 – Buckeye, AZ – Fujifilm X-T4 ES – Cotton Candy Chrome Recipe

Since this Cotton Candy Chrome Recipe uses the Classic Negative film simulation, it will render blue slightly deeper on X-Trans V than on the Fujifilm X-T4 ES, which is X-Trans IV. This Recipe works best in sunny daylight conditions, but I also enjoyed it for nighttime situations, where it produces results somewhat similar to the Fluorescent Night Recipe.

Filters: Tiffen Yellow 2 #8, Hoya G(XO) Yellow-Green & QB2 Blue
Film Simulation: Classic Negative
Dynamic Range: DR200
Grain Effect: Strong, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Off
White Balance: Fluorescent 1, -9 Red & +6 Blue
Highlight: -1.5
Shadow: -1.5
Color: +4
Sharpness: 0

High ISO NR: -4
Clarity: -2
ISO: Auto, up to ISO 6400
Exposure Compensation: 0 to +1/3 (typically)

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

Hazy Tree – Buckeye, AZ – Fujifilm X-T4 ES
Bougainvillea Branch – Buckeye, AZ – Fujifilm X-T4 ES
Closed Canopy – Buckeye, AZ – Fujifilm X-T4 ES
Mocha House, Candy Trees – Buckeye, AZ – Fujifilm X-T4 ES
Yellow Jacket – Buckeye, AZ – Fujifilm X-T4 ES
Shopping Cart – Buckeye, AZ – Fujifilm X-T4 ES
Curved Wall – Buckeye, AZ – Fujifilm X-T4 ES
Jackson – Buckeye, AZ – Fujifilm X-T4 ES
CVS/pharmacy – Buckeye, AZ – Fujifilm X-T4 ES
Mid Morning – Buckeye, AZ – Fujifilm X-T4 ES
Grain Hopper – Buckeye, AZ – Fujifilm X-T4 ES
Fruit Basket – Buckeye, AZ – Fujifilm X-T4 ES
Crocodile Trail – Goodyear, AZ – Fujifilm X-T4 ES
Library Night – Goodyear, AZ – Fujifilm X-T4 ES
Holiday Lights 1 – Goodyear, AZ – Fujifilm X-T4 ES
Holiday Lights 2 – Goodyear, AZ – Fujifilm X-T4 ES
Red Fountain – Goodyear, AZ – Fujifilm X-T4 ES
Civic Center – Goodyear, AZ – Fujifilm X-T4 ES
Swirl Abstract – Goodyear, AZ – Fujifilm X-T4 ES
Falling Starflake – Goodyear, AZ – Fujifilm X-T4 ES

See also:
Aerochrome v1 Film Simulation Recipe
Aerochrome v2 Film Simulation Recipe
Photographing in Aerochrome
Philadelphia in Aerochrome — Infrared Photography in the City of Brotherly Love
PurpleChrome Film Simulation Recipe

No, Fujifilm is NOT purposefully causing camera shortages — why this is absurd

Back in May, Teiichi Goto, Fujifilm President and CEO, in response to a question about their inventory situation and plan, stated, “The most important point is how much brand strength to create and how to maintain it. Therefore, it would be quite unfortunate to manufacture too much and lower the price. What Fujifilm has been trying to do for a long time is finally coming true now. We intend to drive the entire imaging business, including Instax, while concentrating on building brand strength and not reducing the value of the properties purchased by our customers.” When asked if the current inventory situation is normal, Mr. Goto replied, “Yes.”

A lot of people interpreted that to mean that Fujifilm is purposefully causing market shortages. But they’re wrong, and I’m growing a bit tired of seeing this myth perpetuated over and over. I addressed it once, back in July, making a strong case that Fujifilm is not purposefully creating market shortages, but is simply getting better at “Lean” production. Unfortunately, based on what I keep seeing online, I think it needs to be said again, so here we go.

First, you have to understand that Mr. Goto spoke those words in Japanese, and they were later translated into English. Translating isn’t as easy as Google makes it seem. These two languages are very different. Fujifilm, for a number of years, translated “Daylight” White Balance as “Fine” in English. It’s as much an art as it is a science, and it is quite easy to get wrong, even subtly—small misinterpretations can cause big misunderstandings. This article that I’m typing right now might not fully translate well into Japanese, and could perhaps be misunderstood in that language. With that perspective, I think it’s important to read Mr. Goto’s words with a bit of grace and with a grain of salt.

Captured with a Fujifilm X-T50 using the Superia Negative Recipe

In order for someone to come to the conclusion that Mr. Goto’s intended communication was “purposefully create market shortages” one must have zero grace for translation errors, plus make a mental pretzel, because nowhere is that sentiment overtly stated, only vaguely implied. If you squint your eyes just right, it’s right there in-between the lines. Yet people go around stating it as fact. It’s not fact, it’s simply a misunderstanding.

Which brings me to the second point. You cannot understand what Fujifilm said without a basic understanding of the Lean Business Philosophy. If you don’t have that understanding, your local library or book store has an excellent selection on this topic, I’m sure. Just as a teaser, you can read this Harvard Business Review article, which gives a very brief synopsis of what the Lean strategy is. Like a lot of Japanese companies, Fujifilm operates under this philosophy, so understanding it will provide you with the context in which to best understand Mr. Goto’s words.

I have read a book or two on the topic. My interpretation of Teiichi Goto’s statement is this:
– “Brand strength” = not overproducing, which devalues the products.
– “Maintaining brand strength” = better forecasting future market trends, so as to not overproduce.
– Overproducing is bad for both Fujifilm and Fujifilm’s customers.
– Fujifilm has always strived to not overproduce products, but not very successfully; however, they’re getting better at it.
– Getting better at not overproducing is a driving force for Fujifilm.

Captured with a Fujifilm X100VI using the Texas Sun Recipe

Now you might think, what’s so bad about overproducing? In the Lean Business Philosophy, overproducing—and overbuying, which is related—is a sin. It’s bad. It’s better to buy one too few parts than one too many. It’s better to produce one too few products than one too many. Overproducing and overbuying means you now have warehousing issues, which cause all sorts of headaches across multiple departments. In order to deal with that, the company will often sell the products at a nice discount in order to get it out of the warehouse. This is bad for the company, because they are likely taking a loss, and it’s bad for the consumer because it reduces the resell value of the product they spent a bunch of money on. Those looking for a bargain might desire overproduction, but the discounts come at a price.

In a perfect world, every company would manufacture just the right amount of every product, so that the demand would be perfectly met, and there would never be any over or under production. But, we don’t live in a perfect world. Demand is difficult to predict, and it is being predicted months and months in advance. It takes quite some time to secure all of the parts from various suppliers, assemble those parts into cameras, and get them onto store shelves. The camera that just came in stock at your local camera store likely began six months ago or more, as Fujifilm approached the various vendors to get the necessary parts to build it, and schedule the manufacturing to get it assembled. They predicted back in the summer that you would be buying the camera in December, and built it based on that prediction. If it was possible to make the exact number of a copies of all of their products to perfectly meet the demand, I’m 100% convinced that Fujifilm would do it. But, like The Price is Right, they don’t want to do that at the expense of going over (especially way over), which is the same as losing.

Fujifilm has guessed wrong many times in the past. Some cameras that were overproduced are the X-E3, X-H1, and X-T4. Those aren’t the only ones, but those are some recent examples. Fujifilm had to sell them at a discount, which reduced their resell value for those who purchased them new. It’s a lose-lose. So they’re working hard to not repeat that. It might mean the camera you want hasn’t been sitting on the shelf at your local camera store collecting dust as it is waiting to be sold, but that’s not a bad thing when you think about it.

Captured with a Fujifilm X-T4 ES using the Aerochrome v2 Recipe

But what about the never-available Fujifilm X100VI? That’s an extreme case. It’s not everyday that a camera goes viral, and no camera has ever gone as viral as the X100VI. It holds the record as the most preordered camera in the history of cameras, and the most in-demand camera of 2024, and probably ever. Nobody could have anticipated that, but people think they should have, and, despite manufacturing the X100VI at four-times the rate of the X100V, people accuse Fujifilm of purposefully producing too few in order to artificially inflate demand.

Let’s say that Fujifilm decided to increase production of the X100VI to 60,000 units per month (basically, doubling current numbers). It would take them months to acquire all the parts and get assembly scheduled, meaning that Fujifilm would be predicting that the global demand for the X100VI would be at least 60,000 units per month next summer. But let’s say the market flips between now and then, and demand for the X100VI plummets to only 10,000 units per month (which, incidentally, is closer to what the demand was for the X100V). Because Fujifilm has set into motion six months of 60,000 units, they will have over-manufactured 250,000 copies before the end of next year, a shocking number! Fujifilm has the tough position of trying to keep up with shifting demands while being careful not to overproduce, and predicting all of it months in advance.

Let’s cut Fujifilm a little slack, and have a bit of grace, as they navigate changing market conditions. I don’t envy them, as I’m sure it’s not easy. If Fujifilm is getting better at the Lean strategy, I think that’s good, and not something they should be criticized for. I’m all for maintaining brand strength, because it’s good for all of us.

Texas Sun — Fujifilm X-Trans V Film Simulation Recipe

Manhattan Skyline from Central Park – New York City, NY – Fujifilm X100VI – Texas Sun Recipe

This new Film Simulation Recipe—called Texas Sun—comes courtesy of Jay Ybarra (Instagram, X). I met Jay earlier this year in Denver, and also in Austin at Fujifilm’s Create With Us event. He’s a great guy, and it was an honor to team up with him this last summer. Both a talented photographer and videographer, there’s a pretty good chance you’ve seen some of his work before (even if you didn’t realize it), and I’m sure you will again.

Jay first shared this Recipe in a Reel that was published on Fujifilm’s Instagram page. We had previously discussed doing some sort of collaboration, so when I saw it I reached out to Jay and asked if I could publish his Recipe on Fuji X Weekly and in the App. He was kind to agree, and provided a little backstory not included in the Reel, plus a few pictures for the article. Thank you, Jay, for creating this Recipe and allowing me to share it!

Metallic Dalmatian – New York City, NY – Fujifilm X100VI – Texas Sun Recipe

For Texas Sun, Jay wanted something Portra-like, but with increased vibrancy. A warm and colorful aesthetic, with a Kodak color negative film vibe. He found that this Recipe does well in many situations, but especially in backlit sunlight. It also works well with a flash. It’s great for breathing life into boring midday light, and also for sunset and blue-hour situations.

There is one unique aspect of this Recipe: the 6500K White Balance is a starting point. Depending on the light, you might find it to be too warm, and you may need to adjust it down until you get the results you want. Perhaps you’ll use 6500K for one image, 6300K for another, and 6100K for another, if the higher Kelvin numbers are a tad too warm for the specific light situation you are photographing in. I’m more of a set-it-and-forget-it person, so I left it at 6500K for all of my pictures, and didn’t adjust it down.

Distillery – Nashville, TN – Fujifilm X100VI – Texas Sun Recipe – Photo by Jonathan Roesch

This Recipe is for fifth-generation Fujifilm X-Trans cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, and X-M5. You can also use it on some X-Trans IV models—Fujifilm X-T4, X-S10, X-E4, and X-T30 II—by setting Color Chrome FX Blue to Strong instead of Weak. You can use it on newer GFX models, too; however, it will likely render slightly differently (try it anyway).

Film Simulation: Classic Chrome
Dynamic Range: DR200
Grain Effect: Strong, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Weak 
White Balance: 6500K, +2 Red & -6 Blue
Highlight: -2
Shadow: -0.5
Color:+4
Sharpness: -2

High ISO NR: -4
Clarity: 0
ISO: Auto, up to ISO 6400
Exposure Compensation: +2/3 to +1 (typically)

Example photographs, all camera-made JPEGs captured using this Texas Sun Film Simulation Recipe:

Beware – Bisbee, AZ – Fujifilm X100VI
Full Service – Bisbee, AZ – Fujifilm X100VI
Classic Steering Wheel – Bisbee, AZ – Fujifilm X100VI
Fujifilm X-H2s – Photo by Jay Ybarra
Fujifilm X-H2s – Photo by Jay Ybarra
Fujifilm X-H2s – Photo by Jay Ybarra
West Chelsea – New York City, NY – Fujifilm X100VI
Rise – New York City, NY – Fujifilm X100VI
Urban Alley – New York City, NY – Fujifilm X100VI
You like Jazz? – New York City, NY – Fujifilm X100VI
Daniel Stewart – New York City, NY – Fujifilm X100VI
X100-Series Photographer 1 – New York City, NY – Fujifilm X100VI
X100-Series Photographer 2 – New York City, NY – Fujifilm X100VI
Pineapples – Vail, AZ – Fujifilm X100VI
Barry B. Benson – New York City, NY – Fujifilm X100VI
The Lake – New York City, NY – Fujifilm X100VI
Northern Lights Angel – New York City, NY – Fujifilm X100VI

White Balance Comparison:

6500K
6300K
6100K
5900K

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:
AmazonB&HMomentWexNuzira
Fujifilm X100VI in silver:
AmazonB&HMomentWexNuzira

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

Purple Founders – Buckeye, AZ – Fujifilm X-T4 ES – PurpleChrome Recipe

One of the top three films that I’ve had requests to make a Film Simulation Recipe for is LomoChrome Purple, a unique color negative film released in 2013 (and updated at least once since) that has some infrared characteristics despite not being an infrared emulsion. On regular Fujifilm cameras, it’s not possibly to emulate the film straight-out-of-camera (it would require some extensive editing), but how about on a full-spectrum infrared model? Well, it’s still not quite possible (as far as I’ve so far discovered) to accurately mimic it, but you can get in the general neighborhood.

To be clear, this PurpleChrome Recipe is IR, which means that it’s for full-spectrum infrared cameras like the Fujifilm X-T4 ES, and not “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; otherwise, the X-T4 ES (“Extended Spectrum”) is a full-spectrum camera briefly offered by Fujifilm (it’s very difficult to find, but in my opinion totally worth owning)—I believe that you can still buy the Fujifilm X-T4 ES from B&H, but it requires a phone call or stopping by in person—you can’t order it from the internet.

Purple Tree – Buckeye, AZ – Fujifilm X-T4 ES – PurpleChrome Recipe

PurpleChrome is not my favorite infrared Recipe, but it can be fun for unique results. In the “right” situations it can be a convincing LomoChrome Purple facsimile, but much of the time it is divergent enough that it’s not going to fool anyone familiar with the film. It’s surprisingly decent sometimes for nighttime or indoor photography, but it’s great for turning vegetation false-color purple (for best results, use in sunny daylight situations). This Recipe requires two filters: Hoya G(XO) Yellow-Green filter and Tiffen Yellow 2 #8 filter. I don’t know if the order matters, but I have the Yellow filter closest to the lens, and the Yellow-Green filter furthest.

Filters: Hoya G(XO) Yellow-Green & Tiffen Yellow 2 #8
Film Simulation: Velvia
Dynamic Range: DR200
Grain Effect: Weak, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Strong
White Balance: 4500K, -7 Red & +9 Blue
Highlight: -0.5
Shadow: +4
Color: +4
Sharpness: 0

High ISO NR: -4
Clarity: 0
ISO: Auto, up to ISO 6400
Exposure Compensation: +2/3 to +1 (typically)

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

CVS Nights – Buckeye, AZ – Fujifilm X-T4 ES
Butter – Buckeye, AZ – Fujifilm X-T4 ES
Performance – Buckeye, AZ – Fujifilm X-T4 ES
Two Lemons – Buckeye, AZ – Fujifilm X-T4 ES
Fake Succulent on a Shelf – Buckeye, AZ – Fujifilm X-T4 ES
Infrared Bougainvillea – Buckeye, AZ – Fujifilm X-T4 ES
Pink Bougainvillea – Buckeye, AZ – Fujifilm X-T4 ES
V Tree – Buckeye, AZ – Fujifilm X-T4 ES
Purple Bougainvillea – Buckeye, AZ – Fujifilm X-T4 ES
Purple Leaves – Buckeye, AZ – Fujifilm X-T4 ES
Purple Palm – Buckeye, AZ – Fujifilm X-T4 ES
House & Purple Trees – Buckeye, AZ – Fujifilm X-T4 ES
Patriotic Horse – Litchfield Park, AZ – Fujifilm X-T4 ES
Crossroads – Litchfield Park, AZ – Fujifilm X-T4 ES

See also:
Aerochrome Film Simulation Recipe
Aerochrome v2 Film Simulation Recipe
Photographing in Aerochrome
Philadelphia in Aerochrome — Infrared Photography in the City of Brotherly Love

Top 25 Most Popular Film Simulation Recipes in November 2024

Don Bell Photographing – Philadelphia, PA – Fujifilm X100VI – Kodak Portra 400 v2

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 (November 2024).

These types of lists are usually pretty predictable. There are often a few surprises—there is always some movement—but from one month to the next, it’s mostly the same. It’s unusual for Kodachrome 64 to not be in the #1 position, and this marks the second month in a row (and third time this year) that it isn’t. Beyond that, there aren’t many surprises.

Two Boats – Clinton, CT – Fujifilm X-E4 – 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; however, the Number One Recipe this month is based on Reala Ace—the first time that has ever happened.

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

Top 25 Most Popular Film Simulation Recipes of November 2024

#1:

This is a new Recipe published on October 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 pretty surprised that it is at the very top.

#2:

A Classic Chrome based Recipe for X-Trans IV cameras that is the long-time most popular Film Simulation Recipe for Fujifilm cameras. It’s rare that this one isn’t Number One; surprisingly, this is the second month in a row that it is ranked #2.

#3:

Reggie’s Portra, a popular Classic Chrome based Recipe for X-Trans IV cameras, usually ranks high. It’s position, along with the next three below, remain unchanged. This is the most versatile of the Portra Recipes, and the most popular for portrait photography.

#4:

A Classic Chrome based Recipe for X-Trans IV cameras that was the long-time #2 most-popular Recipe on Fuji X Weekly.

#5:

A Wes Anderson inspired Recipe based on Classic Chrome for X-Trans IV and X-Trans V cameras.

#6:

This is the X-Trans V version of Kodak Portra 400 v2.

#7:

Reala Ace is back in the Top 10! This was one of the most popular Recipes (even once #1), but then it fell down the list over the summer. It uses the Classic Negative film simulation (and not the Real Ace film sim), and is for X-Trans V cameras.

#8:

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 October it was ranked #10.

#9:

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 was #16 last month.

#10:

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. Last month is was ranked #14.

#11:

For awhile this was the highest ranked Classic Negative based Recipe, but lately is has been Number Two (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 rose one spot since last month.

#12:

This is the X-Trans V version of Kodak Gold 200. It fell one spot since last month.

#13:

A Classic Chrome based Recipe for X-Trans IV and X-Trans V cameras, published earlier this year. Its ranking is unchanged.

#14:

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. Last month it was #9.

#15:

This is the X-Trans V version of Kodachrome 64. It rose two positions.

#16:

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 fell one spot.

#17:

This Recipe is reminiscent of scanned Kodachrome 64 slides, and is compatible with X-Trans IV cameras. It rose one spot.

#18:

Another Classic Chrome based Recipe, for use on X-Trans III models, plus the X-T3/X-T30. It rose two positions.

#19:

This is an App Patron Early Access Recipe, which means that right now it is only available in the Fuji X Weekly App to Patron subscribers. Eventually it will be available free to everyone, but that might take awhile. This Recipe uses the Classic Negative film simulation, and is compatible with X-Trans V cameras. Last month it was ranked all the way at the very top.

#20:

Easy Reala Ace was published in June, so it’s a fairly new Recipe. It fell one spot.

#21:

The very first Film Simulation Recipe on Fuji X Weekly, this Recipe is compatible with X-Trans III cameras. Last month it didn’t crack the Top 25.

#22:

A Classic Negative based Recipe that’s compatible with X-Trans V cameras (there’s also an X-Trans IV version). This one typically either just makes the Top 25 or just misses it, and last month it just missed.

#23:

This was the first Recipe I published that uses the new Reala Ace film simulation. It rose one spot.

#24:

I published this Recipe, which uses Classic Chrome and has compatibility with both X-Trans IV and X-Trans V cameras, in April. It fell two spots since October.

#25:

This Recipe doesn’t usually crack the Top 25. Interestingly, is is the only one in this list that uses the Nostalgic Neg. film simulation (aside from Nostalgic Film in the Film Dial set).

See also:
How To Add Film Simulation Recipes To Your Fujifilm Camera
The Essential 7 Film Simulation Recipes to Program Into Your Fujifilm Camera First
Which Film Simulation Recipe, When?

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

Thoughts on the upcoming Fujifilm GFX100RF

I’ve had several people ask me what my opinions are of the upcoming Fujifilm GFX100RF fixed-lens X100-like GFX camera, which will supposedly be announced in the first quarter of 2025. Apparently, according to Fujirumors, the camera will be about the size of an X-Pro, have the 100mp GFX sensor, a 35mm (28mm full-frame-equivalent) f/4 lens, and will not have IBIS. That’s all that they’ve reported so far.

I don’t currently own any GFX cameras. They’re outside of my budget, are large and heavy compared to the X-series, and I think my use-case for one would be fairly limited. But, something like the GFX100RF would be interesting to me because the size and weight are likely to be less than typical GFX gear, and probably less expensive than a GFX100S II plus a lens. It would be a good way to dip my toes into GFX without having to buy a whole new system, or lug around something large and heavy.

One criticism that the camera is likely to receive is the lack of IBIS, but I think not having IBIS is just fine for a camera like this. First, outside of video and low-light situations, IBIS is really unnecessary for wide-angle lenses. Second, it adds size, weight, and cost, so its exclusion might actually be beneficial. Third, I think the whole “you need IBIS on 100mp because you can see even the smallest blur” argument is overstated. On this camera, IBIS would be occasionally nice to have, but far from essential, so it doesn’t bother me that the GFX100RF will apparently not have it.

Tunnel Silhouette – Farmington, UT – Fujifilm GFX-50S – Classic Negative Industrial

The lens choice will probably be debated for a long time. Since fixed-lens cameras are stuck at whatever focal-length they are, you have to really like what it is. The 35mm lens on a GFX is like 18mm on APS-C (think Fujifilm X70 and Ricoh GR), or 28mm on full frame (think Leica Q3). That’s obviously a very popular focal-length, but it’s not for everyone. I personally prefer less wide-angle lenses most of the time (the X100VI, for example, is sometimes too wide for me). I completely understand the focal length choice for the GFX100RF; however, I kind of wish it was more like 50mm (40mm full-frame-equivalent), but that’s just my preference, and probably not what would be most desired by the majority of potential buyers.

And let’s not forget the maximum aperture of “only” f/4. That’s not an impressive maximum aperture, but also not unusual for medium-format. A larger maximum aperture would require a larger and heavier (and more expensive) lens, which would defeat the purpose of the GFX100RF. Back in 2021 I talked about this a bit: while GFX has a potentially smaller depth-of-field and better low-light capabilities, the fact that the maximum apertures are often smaller means that you oftentimes can’t fully realize those advantages. It’s a catch-22. Although f/2.8 would have been nice, f/4 as a maximum aperture is completely unsurprising to me, and probably required some engineering magic to even make that work.

We will have to wait a few more months to really know what the GFX100RF camera will be like, but what I can tell you is that this is the most excited I have been for a GFX model in a very long time. I need to prepare now—make room in both my budget and in my camera bag—for when it is announced. I’m sure, like the X100VI, if you’re not quick to order, there will be a wait to get your hands on one, as I’m pretty sure that this will be a popular camera.

Your Gift Guide for Affordable Fujifilm Gear

It’s the holiday season, and Christmas is right around the corner. Maybe you want to give a gift to your photographer friend or family member something that they will absolutely love. Perhaps your spouse, child, grandchild, or niece/nephew is interested in following in your footsteps, and are hoping to find their first “real” camera under the tree. If you are shopping for a fellow photographer or budding photographer, I’ve got some gift ideas for you!

For my 40th birthday, my wife got me a Fujifilm X100V, which was such an incredible gift! For her 40th birthday, I gave her a Fujifilm X-T4. While those were certainly wonderful presents, they were very unusual for us, as we don’t typically spend anywhere near that much for birthdays and Christmas, and probably a lot of you reading this don’t either. There are tons of great more affordable options and it’s easy to get overwhelmed, so for this article I’m going to narrow the premise, which hopefully will provide some of you with a little better clarity.

First off, I’m assuming that you don’t have a small fortune to spend, and so you don’t mind buying used gear, which is more affordable, and perhaps a bit more practical as a gift. MPB, the sponsor of this article (where all my suggested gift ideas can be purchased from), is the largest global platform where you can buy, sell, or trade used photo and video gear—each piece checked by hand before being MPB Approved. If you’re thinking about upgrading or gifting gear this holiday season, embracing used is a great way to keep costs down without compromising on quality. Secondly, this website is Fujifilm-centric, so all of my suggestions will be related to that brand of gear.

Let’s jump right in!

Fujifilm X-T1 — Best learning camera

For someone who wants their first “real” camera to learn photography on, the Fujifilm X-T1 is my top recommendation. First, it has manual tactile controls to learn the principles of photography with (such as the exposure triangle). Second, while it is “old” for digital technology (released in 2014, a full decade ago), it is still very capable. This was Fujifilm’s flagship model when it was introduced, and 10 years later it holds up pretty well. Interestingly, in 2021, Antonio Faccilongo won the World Press Photo Story of the Year with a photograph captured with this model. Third, the X-T1 is quite affordable, and can be purchased for less than $500. You will need a lens to go with it, and my top recommendation is the Fujinon 35mm f/2, which can be had for less than $300 used. Depending on the exact copies you pick, you can get a camera and lens combo for under $800, and even under $700 if you don’t mind a few scuffs.

Fujifilm X-S10 — Affordable hybrid for videography

While many cameras are great for photography, some don’t excel at both stills and video. My top recommendation for an affordable hybrid—a camera that’s good for both stills and video—is the Fujifilm X-S10, which has in-body-image-stabilization (IBIS), an important feature for videography. If you are buying for someone who has shown an interest in creating TikTok or YouTube videos, you’ll want to strongly consider the X-S10. It can be had for under $900, which makes it the most expensive camera in this list; however, I think it pairs well with the Fujinon 15-45mm f/3.5-5.6, which is one of the more affordable lenses at about $150.

Fujifilm X-A2 – Most affordable camera

I get asked somewhat frequently what is the cheapest way to get into Fujifilm, usually from those wanting to buy a camera for their child or grandchild. Is it possible to do so under $500? Well, it is possible, but just barely. The Fujifilm X-A2 can be had for under $350, and the Fujinon 15-45mm f/3.5-5.6 is about $150, which brings you in right around $500. The X-A line was Fujifilm’s most budget-friendly series. The X-A2 was released in 2015 and is approaching 10 years old; however, it is still surprisingly capable, with similar technical stats as the Fujifilm X-T1.

Fujifilm X30 — Fun for the one who has everything

For the photographer who has it all, the Fujifilm X30 is a fun little camera! There’s a pretty good chance that the photographer you are shopping for doesn’t have this model. It’s older, and doesn’t have particularly impressive stats, but what it lacks technically it more than makes up for in pure joy. Nobody is going to make a career out of this camera, but for fun snapshots that have a ton of character, the X30 is one to take a close look at. It’s not necessarily cheap at around $700, but at least you don’t have to buy a lens for it, since it is a fixed-lens camera.

Fujinon WCL-X100 II & TCL-X100 II — Conversion lenses for X100-series cameras

If the photographer you are buying for already owns a Fujifilm X100-series camera, like the X100VI, X100V, and X100F, a great addition are the two conversion lenses: WCL-X100 II and TCL-X100 II. These two lenses add versatility to any X100-series camera, and are especially great for travel photography. They’re not terribly expensive, either: the WCL-X100 II is about $200, while the TCL-X100 II is about $230. Choose one, or choose both. If it’s just one, I would give first consideration to the WCL-X100 II.

If you are searching for a holiday gift for the photographer or budding photographer in your life, I hope that this list provided you with some clarity. I always enjoy receiving camera-related clothes and coffee mugs and things like that as gifts, but if you really want to give a camera or lens, those do cost a lot of money, and I think that this list has some excellent suggestions; however, feel free to browse MPB’s current inventory, as you just never know what you might find.

See also:
Fujifilm X-Pro2 — The camera that got away (again)
Fujifilm X-T50 + Fujinon 23mm F/2 = Interchangeable-Lens Fujifilm X100VI??
Leica Q2 from the perspective of a Fujifilm photographer
Fujifilm X30 — Fujifilm’s Forgotten Retro Compact Zoom
Close Up with the Fujinon XF 30mm F/2.8 R LM WR Macro
Traveling Light with the Fujifilm X100VI + WCL-X100 II & TCL-X100 II Conversion Lenses

Black Friday: 20% Off Evergreen + Fuji X Weekly Protective Case for Fujifilm X100VI / X100V / X100F

Today, Evergreen Cases is having a Black Friday sale, and everything site-wide is 20% off, including the Evergreen + Fuji X Weekly Protective Case for Fujifilm X100-series cameras. This discount won’t last long, so if you’ve been considering getting this case (or anything else that Evergreen caries, such as the 28″ Short Strap), this is a good opportunity. You must order directly through their website—and not Amazon or anyplace else that carries their products—in order to get 20% off.

See also:
Introducing the Evergreen + Fuji X Weekly Protective Case for Fujifilm X100VI / X100V / X100F
Evergreen + Fuji X Weekly Protective Case for Fujifilm X100VI / X100V / X100F — Update 1

The Inverted U & Camera Design

Memorial Bridge – Nashville, TN – Fujifilm X-T50Fujicolor PRO 160C Warm

An inverted U curve is a graph that shows a relationship between two variables where one positively affects the other until it reaches a peak, then flattens out before it begins to have a negative effect (looks like an upside-down U). It’s a good way to quantify and visualize the concept of diminishing returns. It’s the saying too much of a good thing as a mathematical equation. In my opinion, we reached a point of diminishing returns with our digital cameras several years back.

While pretty much every aspect of a digital camera can be affected by this, a good example is resolution. Most people don’t need any more than 12-megapixels, considering how the vast majority of pictures are viewed. The amount of resolution one needs is dependent on what one is going to do with the picture: if it will only be shared on Instagram and through text messaging, 6mp is probably plenty; however, if you will make poster-sized gallery prints, 6mp is not anywhere close to enough. The percentage of photographers who need 24-megapixels is quite small, and the percentage that need more than that is much smaller (nice to have and need are two different things). Think of it this way: the difference between 16mp and 24mp is about the same leap as between 26mp and 40mp, but since most people don’t even need 24mp, the extra jump to 40mp has no practical advantage for the majority of photographers (only some), while perhaps having a negative effect on storage, since the files are much larger. A photographer is unlikely to avoid a 24mp camera because it has “too much” resolution, but they might a 40mp model (I’ve had a few people tell me this), which illustrates the inverted U curve perfectly.

I’m not meaning to pick on resolution here, it’s just an example. Specs sell cameras, whether or not they have any practical benefit for the person buying. 40mp sounds a lot sexier than 16mp, but probably 80% of those buying the 40mp camera only really need 16mp, and 95%+ likely only need 24mp. One must consider what their individual needs are because we’re all different. Someone might very well find 100mp to be barely sufficient, while another would absolutely hate having such large files. Someone might have a Fujifilm GFX100S II for a specific purpose, a Fujifilm X-H2s for another, and a Fujifilm X70 for another (true story). An individual might find their needs vary greatly depending on the situation, so they have multiple options, and choose the one that best fits the purpose of what they’re creating.

Architecture Archway – San Diego, CA – Fujifilm X-T50 – Pacific Blues

Our cameras today are almost always more capable than we are (with maybe only a few extraordinarily rare exceptions). In fact, I saw that someone recently created a short film on a $9 toy camera. The limitation is not the gear, it’s only what you do or don’t do with it. Ansel Adams famously stated, “The single most important component of a camera is the 12 inches behind it.” Even though most cameras can basically auto-do-everything (and more and more people rely on that), I believe his statement is just as true today as it was when he coined it, if not more so. Those who take charge of their gear (whatever their gear is) and use it in creative ways tend to have a better chance to stand out from the crowd—and boy-oh-boy is it crowded! We’re in a day and age where everyone has a camera with them all the time.

Pretty much every aspect of our cameras—resolution, dynamic range, high-ISO, frames-per-second, autofocus capabilities, etc., etc., etc.—have all reached a point of diminishing returns. They’re all near the top of the inverted U curve. Yes, camera makers can improve these things, as they should. I have no doubts that they will continue to strive to make the greatest products that they possibly can. But… these improvements will have a practical benefit for fewer and fewer photographers. We can gripe over small things—and turn those small things into big things—but there’s never been a better time to be a photographer or videographer. Our gear—whatever it is—is truly amazing! We should appreciate just how lucky we are, and complain less about how our incredible gear just isn’t quite incredible enough for us.

Since most aspects of digital camera technology is near the peak of the inverted U curve, where can camera makers turn to for improvements that will actually have a more wide-spread impact? My advice is user experience. In my opinion, how you feel using your camera is just as important as the technical specs. This could be interpreted as ergonomics and button placement, which are both aspects of what I’m talking about, but not just merely those things. It’s not only how the camera feels, but more so it’s how the photographer feels while using it. I believe that the experience plays a notable role in the image outcome (more than we often give credit), so camera makers should focus more on the emotional side of camera design. If any and every make and model is capable of getting the job done no matter the job (which is pretty much where we are now), why should someone choose your camera? As specs and advancements matter less and less, it’s not necessarily going to be technical improvements that attract buyers, it’s going to be how people feel while getting the job done with the camera in hand.

What precisely that means will vary from person-to-person, and brand-to-brand. What provides me with a good experience might not be the same for you. We’re all different, so that’s why there are different strokes for different folks. For me, it’s Fujifilm gear with retro-inspired designs and traditional tactile controls, and also straight-out-of-camera results that don’t require any editing for the pictures to look good. Each camera brand should consider how they can improve the user experience for their customers, and design their future models with the experience in mind just as much as the technical capabilities. Make your customers feel just as good about the gear in their hand as the potential images that they’ll create with it.

Philadelphia in Aerochrome — Infrared Photography in the City of Brotherly Love

A Fall Day in Philly – Philadelphia, PA – Fujifilm X-T4 ES – Aerochrome v2

I had a great time in Philadelphia this last weekend with Allan Ali at Unique Photo as a part of their two day Camera Show. Allan and I led a photowalk through the Old City. There were about 70 in attendance, which was amazing—it just edged out Denver as the largest photowalk that I’ve hosted. It was such an honor to have been a part of the Camera Show. I don’t know if there are very many other stores that are doing what Unique Photo is doing. The photographers in Philadelphia are incredibly fortunate.

I brought my Fujifilm X-T4 ES (“Extended Spectrum”) infrared camera with me to Philadelphia. This camera is a ton of fun, and it’s also a great conversation piece. It’s a “wow” camera, and people are really intrigued by it. I think if it were more widely known and available, people would buy it in much larger numbers. I had my Aerochrome v2 Recipe programmed into the X-T4 ES, and used it quite a bit on the photowalk.

Corn Exchange – Philadelphia, PA – Fujifilm X-T4 ES – Aerochrome v2

Probably the top genre for infrared photography is landscapes. The false color rendering lends itself well for photos that are bold and a bit abstract, especially when there are lots of trees and other vegetation. I’m sure that there are some doing IR urban and street photography, but probably not many. I enjoy using the X-T4 ES in unexpected ways, as it’s really a different way to see the world around you, and also serendipitous, with a lot of surprising results. I don’t know if I can convey through words just how much enjoyment that I’m getting out of this camera, but I’m really loving it!

The Fujifilm X-T4 ES with my Aerochrome v2 Recipe—due to the false colors—turns spring and summer into autumn, and it turns autumn into a more rich display—it’s like fall on steroids. With this camera and Recipe, it’s not only always autumn, but an especially brilliant autumn. That’s the most obvious use, but that doesn’t mean it can’t produce striking results for other subjects and in other situations, such as indoors and even nighttime photography.

Camera Show – Philadelphia, PA – Fujifilm X-T4 ES – Aerochrome v2
Things are Looking Up – Philadelphia, PA – Fujifilm X-T4 ES – Aerochrome v2
Leaves on a Brick Road – Philadelphia, PA – Fujifilm X-T4 ES – Aerochrome v2
Crosswalker – Philadelphia, PA – Fujifilm X-T4 ES – Aerochrome v2
Three Recycle Cans – Philadelphia, PA – Fujifilm X-T4 ES – Aerochrome v2
Standing on Steam – Philadelphia, PA – Fujifilm X-T4 ES – Aerochrome v2
Photographers in Elfreth’s Alley – Philadelphia, PA – Fujifilm X-T4 ES – Aerochrome v2
Connecting – Philadelphia, PA – Fujifilm X-T4 ES – Aerochrome v2
Vertical Composition – Philadelphia, PA – Fujifilm X-T4 ES – Aerochrome v2
Photowalking – Philadelphia, PA – Fujifilm X-T4 ES – Aerochrome v2
Photographing a Photographer Photographing a Photographer – Philadelphia, PA – Fujifilm X-T4 ES – Aerochrome v2
George’s House – Philadelphia, PA – Fujifilm X-T4 ES – Aerochrome v2
Rainbow – Philadelphia, PA – Fujifilm X-T4 ES – Aerochrome v2
Street View – Philadelphia, PA – Fujifilm X-T4 ES – Aerochrome v2
Vegan – Philadelphia, PA – Fujifilm X-T4 ES – Aerochrome v2
Fire Tree – Philadelphia, PA – Fujifilm X-T4 ES – Aerochrome v2
Red Tree in the City – Philadelphia, PA – Fujifilm X-T4 ES – Aerochrome v2
Urban Cowboys – Philadelphia, PA – Fujifilm X-T4 ES – Aerochrome v2

See also: Photographing in Aerochrome

Three AF Firmware Updates + A GFX Discount

Fujifilm just released three firmware updates, one for the X-H2s, one for the X-H2, and one for the GFX100 II. Among some video improvements (F-Log2 C, anyone?) and minor bug fixes, the main headline is autofocus improvements. Essentially, Fujifilm fully fixed the AF bug that had been plaguing these cameras for the last handful of months. Fujifilm has said that more firmware updates for other cameras (the X-T5 and X-S20 were specifically mentioned) are coming before the end of the year—my guess is in December.

I’ve never had a problem, personally, with the autofocus on my Fujifilm X-T5 or any other model. Mostly, it seemed to affect people using some specific settings in some specific scenarios. So some photographers were greatly affected, some only sometimes, and others were not at all. Obviously this was a big deal for those greatly affected, so it is excellent news that the fix is now available—yea! For those not affected, I always recommend waiting a little while (at least a few days) before updating the firmware in case there are any issues that come up (this isn’t just for Fujifilm, but any product by any brand).

Two on the Wave – Pismo Beach, CA – Fujifilm X-E4 – Pacific Blues Recipe

Some people provided Fujifilm with valuable constructive feedback that I’m sure helped tremendously with this firmware update; however, in my opinion, there were others—haters, constant complainers, and trolls—who (sadly) only gave destructive criticism that has to some extent hurt the brand and community (which I believe was the goal for some). Their voice, unfortunately, seemed quite loud, and some of that can be attributed to trolls using multiple accounts, pretending to be multiple individuals in comment sections, Facebook groups, and forums. A troll says something outrageous, a normal person gives a reasonable response, and then the troll replies multiple times, pretending to be multiple people; those reading it might assume that the troll is “right” just because so many seem to agree with them (but it is only one person)—once you know what to look for, it’s quite easy to spot. This is toxic, and crazy (literally, not just figuratively). I would encourage website owners and administrators to crack down on this behavior; however, I know it’s hard to do because trolls will usually return under a different name. I would hope that these firmware updates would quell the outrage, but I’m sure it won’t, as it was never really about the AF for many of them—the AF woes were merely a means to reach an end (attention, chaos, trouble, hate, etc.).

Now that autofocus has been fixed via firmware, we can finally get back to appreciating just how truly wonderful our cameras are, because they are. It’s such a great time to be a photographer, we are all pretty lucky.

In other news, Amazon has the Fujifilm GFX100S II discounted to $4,599.99 with a $399.01 coupon that you have to click. I think this is a Black Friday deal.

When I was in Ann Arbor, Michigan, a week-and-a-half ago, Bryan Minear let me try his GFX100S II, and I was blown away by it. Such amazing image quality! I think, with the size and weight, perhaps it requires more thoughtful consideration of when and where to use (I tend to like smaller gear, such as my X100VI and X-E4). Also, I didn’t care much for the PASM controls. And even at $4.6K, it’s still well outside of my budget. With that said, this is an extremely affordable and capable medium-format (“more than full frame”) digital camera. If you’ve been thinking about buying one, it might be a good time to do so.

When will Fujifilm announce the X-Pro4??

I get asked somewhat regularly when I think the X-Pro4 camera will be announced, or if it will ever come. It’s long overdue. Some folks are even losing hope, believing that Fujifilm has abandoned the line altogether. I often see questions like: When will the next X-Pro come? What will be different about it? Was the X-Pro3 the last iteration?

The X-Pro1 is a historically significant camera. It was the first interchangeable-lens X-series model, and the first X-Trans camera. Fujifilm’s success in the digital camera world hinged on this one model. If it flopped, there would not likely be any X or GFX cameras being manufactured today. The X-series would be a forgotten footnote, like Samsung’s NX line. However, the camera was a success, and the rest is history, as they say.

The lifecycle of the X-Pro series has been pretty consistent. The X-Pro1 was announced in early 2012. Exactly four years later, the X-Pro2 was announced. The X-Pro3 came just a smidge early, in fall 2019 (instead of early 2020). If this pattern continued, the next X-Pro—presumably called X-Pro4, or maybe X-Pro5 since the number four is considered unlucky in Japan (sometimes, but not always, Fujifilm skips it)— should have come out either in fall of 2023 or first quarter of 2024. Obviously it didn’t. And there’s not been any indication that it is coming soon, either. The X-Pro4 is now long overdue, and seemingly abandoned. An X-Pro4 in 2024 would have made a lot of sense, as would an X-Pro5 in 2025 (assuming they skip the number four).

In my opinion, camera makers refresh camera lines much too quickly. A four-year cycle should be pretty normal, and some models should take longer than that. I don’t have a problem with the next X-Pro coming out five or even six years since the last. I do wish that the X-Pro3 hadn’t been discontinued. I can’t say for sure, but its discontinuation was likely due to the ribbon wiring harness to the rear screen not being reliable enough, which caused problems for some X-Pro3 owners. The backwards rear screen was a bold experiment that I applaud Fujifilm for having the guts to try, but ultimately I think it was a bust. Between the screen issues and so-so sales after the initial demand faded, I think Fujifilm felt the X-Pro3 had run its course after three years.

Twisted Tree – Keystone, SD – Fujifilm X-Pro2 – Acros Recipe

Just to be clear, I have no inside information. Sometimes people assume that I do, but I don’t. I get my information the same way that you do. All I have are guesses. Please take this article with a grain of salt.

I believe that Fujifilm is currently developing the next X-Pro camera right now. I don’t know if they’re at the beginning stages or near the end or somewhere in-between (probably somewhere in-between). It’s possible that a few people already have their hands on a prototype, I don’t know. But I do have a lot of confidence that the work has begun on the camera and it is somewhere on the path to becoming a reality. There will be an X-Pro4 (or maybe called X-Pro5) in the future, I’m 99.9% sure of it.

When exactly the camera comes out and what will be different about it is something I don’t know. Back in 2023 I speculated that it was likely to be released in 2024. Earlier this year I speculated that it was likely fall of 2024, or maybe spring 2025 at the latest. Obviously I was wrong about those dates. Some speculation that I’m mildly confident will prove to be true: the next X-Pro iteration won’t be X-Trans V, but X-Trans VI.

Fujifilm introduced the world to X-Trans technology with the X-Pro1. The X-Trans I sensor was fairly short lived (only the X-Pro1, X-E1, and X-M1 cameras had it… the X-M1 paired the sensor with the X-Trans II processor). The X-Pro series completely skipped over the X-Trans II sensor. Fujifilm introduced the X-Trans III sensor with the X-Pro2. The X-Pro3 was the third X-Trans IV camera; however, they introduced Classic Negative, Grain size, Color Chrome FX Blue, and Clarity with it. My guess is that—like X-Trans II—Fujifilm will skip X-Trans V and go straight for X-Trans VI, introducing that sensor with the next X-Pro camera.

From Dust To Dust – Great Sand Dunes NP, CO – Fujifilm X-Pro2 – Kodachrome II Recipe

I don’t know what will differentiate X-Trans VI from X-Trans V, but my guess is speed and efficiency. Probably not megapixels. I suspect that Fujifilm will look to improve autofocus, frame rates, sensor readout, heat dispersion, and things like that, with the next X-Trans sensor. Most of these improvements are unlikely to significantly impact an X-Pro model due to how people typically use these cameras, but I’m sure they will be welcomed nonetheless—especially if the Clarity pause can (finally) be shortened. Fujifilm might (should, in my opinion) introduce a new Film Simulation—Fortia? XPro (cross-process)? Natura? PRO Neg H (looks like 400H and turns pastel with overexposure)?—and maybe a new JPEG tool or two (faded shadows? split toning? Medium Grain strength and size? mid-tone boost? half-step WB Shift?) with the X-Pro4. Increasing the number of Custom Settings presets from 7 to 10 (or more) would be celebrated. The XPan aspect ratio is a must, I think. There’s plenty that Fujifilm could do.

But there’s also plenty that Fujifilm shouldn’t do. I will be mildly surprised if the X-Pro4 has a backwards screen like the X-Pro3 (my guess is that it will be more like the X100VI and X-T5); otherwise, the less they change the better. Look at the feedback from the X-Pro2 and X-Pro3, and change as little as possible. In my opinion, the best X-Pro iteration was the Fujifilm X-Pro2, so if the upcoming X-Pro is more like it I certainly won’t complain.

My guess is that the X-Pro4 (maybe called X-Pro5) will be announced either in September/October of 2025 or (more likely) the first quarter of 2026. Prior to its announcement, I would expect that Fujifilm will release an X-E5 (the X-E series is almost always released at the end of a sensor generation) and maybe an X-T30 III. Both of those will likely have an X-Trans IV sensor paired with the X-Trans V processor (although it is certainly possible that the X-E5 will get the 40mp X-Trans V sensor). I wouldn’t be surprised to see another model, such as the 1″ sensor camera that’s been rumored, also announced in 2025. My best guess—and remember, it’s just a guess—is that the next X-Pro, along with the X-Trans VI sensor, will arrive in early 2026, approximately 15 to 16 months from now. I know a lot of people are looking forward to it, and it will surely eventually happen, but I think it’s still a little ways out.

Revisiting 10 Fujifilm “Wow” Products

Photographing with Fujifilm – New York City, NY – Fujifilm X-T4 ES – Aerochrome v2

A little over two years ago Fujifilm stated that they’re working on “wow” products, so I gave my Top 10 suggestions for that in an article entitled 10 “WOW” Products Fujifilm Should Be Making Right Now. I thought it would be fun to revisit the article. Did Fujifilm make any of those suggestions? What “wow” products have they released that didn’t make my list? Which ones should they still pursue?

To recap, my 10 ideas were:

10. Minimalist Model — no rear LCD or video mode
9. 135mm lens — really, any focal length prime in-between 90mm and 200mm
8. A new pancake lens — I suggested 15mm, 23mm, and 40mm as potential options
7. GFX 100R — 100mp successor to the GFX 50R
6. ISOCELL — bring the Fujifilm/Samsung joint technology to the X-series
5. Infrared — I suggested the X-T30 II as the model of choice
4. Digital XPan — a dedicated 65:24 aspect ratio camera
3. X200 — full-frame X100-like camera
2. X80 — successor to the X70
1. Acros-Edition — monochrome-only X100 or X-Pro camera

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

How does it look 27 months later? With nearly zero promotion, Fujifilm released the X-T4 ES (“Extended Spectrum”) infrared camera over the summer. It flew completely under the radar! While few own it, whenever I show my X-T4 ES to people, it always gets a strong “wow” reaction. As far as I’m aware, B&H is the only camera store currently selling it, and you have to order either in-person or over the phone—it’s not available online right now. So far, I’ve published two Recipes for the Fujifilm X-T4 ES: Aerochrome v1 and Aerochrome v2. If Fujifilm were to do even a little promotion for this camera and made it easier to buy, it would sell decently well, I’m certain of it. Of my 10 ideas, this is the only one so far that has come to pass.

There are “rumors” circling about potential upcoming gear. I’m not sure what may or may not come, but a few of the items (or similar) in my list have been floated on websites like Fujirumors. Even though only one has become reality, it’s possible that in a year or two more can be checked off (I’m sure that some probably won’t ever happen). My top choices would be a new pancake lens, digital XPan, X200 (perhaps GFX instead of full-frame), X80, and a monochrome-only X100 or X-Pro. It’s hard to know what the future holds, but I do believe several “wow” products are in the works right now (including the GFX Eterna cinema camera that Fujifilm recently teased).

NY Photographer in IR – New York City, NY – Fujifilm X-T4 ES – Aerochrome v2

Of course, the most obvious “wow” product released by Fujifilm is the X100VI, the most in-demand camera by any brand ever. Fujifilm is getting closer to fulfilling all of the preorders and backorders… word on the street is that if you don’t mind the black version, you might be able to get it real soon without much of a wait. Since demand is higher for the silver model, that one will likely require more patience. This camera has the potential to become the most-sold model ever. It will be interesting to see if demand remains high over the next few years—I think it certainly could.

Now it’s your turn. Let me know in the comments which wow product you’d like to see Fujifilm make next! I’m pretty excited for what’s coming down the pike, whatever it might be. I think there will be plenty of upcoming announcements over the next couple of years to get especially excited for.

See also: Evergreen + Fuji X Weekly Protective Case for Fujifilm X100VI / X100V / X100F

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:
AmazonB&HMomentWexNuzira
Fujifilm X100VI in silver:
AmazonB&HMomentWexNuzira