Report: Fujifilm will Announce a “Very Small” Digital Camera THIS Month!

According to Fujirumors, there is a brand-new rumor that Fujifilm will announce a “very small” digital camera within the next couple of weeks, sometime before the end of the month. No other details were provided, so our imagination can run wild with what exactly it is.

While this is certainly exciting news, I think it’s important to keep our expectations in check. There’s no X Summit to go along with this announcement, which means that it’s not a camera that Fujifilm deems as a significant model. Fujifilm typically makes a big fuss when they reveal a new camera, but they don’t always; however, those cameras tend to be low-end budget models. There wasn’t an X Summit back when the XF10 was announced, for example.

What, then, will this camera be? Nobody yet knows, but my guess is a low-end model, most likely a Bayer camera. I thought Fujifilm was done making these, but maybe they believe there’s a market after all?

The upcoming model might be an X-A8. The X-A series was a popular line—especially in Asian countries—for many years, but the X-A7 had disappointing sales numbers, and was abruptly discontinued not long after release. The X-A7 and X-T200 were basically competing against each other, and it might have been a case of Fujifilm offering two models that were too similar. Both lines had been axed, but maybe Fujifilm feels there’s enough demand that they can resurrect one; since the X-A line was smaller than the X-T000 series, I could see it qualifying as a “very small” model.

Another possibility is something that probably nobody is thinking of: pocket digicam zoom. Something like the XF1 and XQ2 would be intriguing, but it could also be more along the lines of the FinePix T400, since there has been renewed interest in those types of cameras. Perhaps it’s a successor to the XP140 waterproof camera? That’s actually the most likely option, as unexciting as it might be.

Of course it could be an XF20, a followup to the XF10. The XF10 had mediocre sales, but with the Ricoh GR III being almost as in-demand as the X100V, Fujifilm might possibly see an opportunity. Strike while the iron’s hot, as they say—and the iron for that type of camera is certainly hot right now. Even better would be an X80, the long-hoped-for successor to the X70. I think an X80 would get an X Summit, so I’m less hopeful for that, but you never know. A lot of people wish for that camera, so I will keep my fingers crossed.

Could “very small” be in reference to an X-E5? Probably not, unless they shrunk it a bunch. Also, they’d announce it at an X Summit, I’m certain. It could be an Instax Mini EVO 2, which would technically be a digital camera, and is quite tiny in the world of Instax. Don’t be surprised if it’s this. I’ll certainly be disappointed, as it wouldn’t fit my personal definition of “very small” or “digital camera.”

Most likely, the new camera will be a FinePix XP150 (or whatever they’ll call it). If so, it’s not something I have any interest in buying. I think an XF20 or X-A8 are small possibilities, but I would be shocked, since Fujifilm has seemingly moved beyond releasing those types of cameras. Even less likely are are an X40 or XQ3, since Fujifilm hasn’t made 2/3″ sensor models in a long time. An X80 would be most ideal, and a camera that a lot of people would celebrate—I would be at the front of the line to buy it—but I don’t think Fujifilm would announce it without fanfare, so I highly doubt that is it.

Since there’s not going to be much fanfare, it’s not going to be a camera that you’ll probably get excited for. Because we don’t know what it will be—only that it’s coming, whatever it is—our imaginations can run wild, and the possibilities, no matter how unlikely, give us some excitement. Just keep your expectations low, or else you’ll probably be disappointed.

New: Reala Ace Film Simulation

Now that the X Summit is over and the GFX100 II has been officially announced, we have a little bit better idea of what exactly Fujifilm’s new film simulation is. First, the name is not Reala like was previously rumored, but Reala Ace. Not a huge difference, but different nonetheless.

Fujifilm has sometimes named certain film stocks differently in Japan than the rest of the world, and several film stocks were only made available in Japan. Fujicolor Reala Ace 100 was a color negative film sold only in Japan. Some speculated that it was the exact same thing as Fujicolor Superia Reala 100 (initially, Superia wasn’t in the emulsion name, but was added later) just sold under a slightly different name, while others said that Fujicolor Reala Ace 100 was a unique film similar to the Reala sold worldwide except fine-tuned for Japanese skin tones. For whatever reason, Fujifilm went with the name Reala Ace for their new film sim.

Prior to today’s announcement, I had speculated that “…the new film simulation will [not] be an accurate replication of Reala film, since Classic Negative is so close already; instead, I think Fujifilm is simply going to use the brand name for a film sim that has a neutral and natural rendering (true-to-life or real-like, yet leaning towards soft tonality and muted colors).” I also said, “I’m crossing my fingers that the Reala film simulation will be a tweak of Classic Negative that will more closely mimic Reala emulsions.”

I was half right and half wrong, but I’m quite happy to be half wrong. I was right that the film sim would lean towards soft tonality and have a true-to-life rendering. I was wrong that it wouldn’t look like Reala film or Classic Negative, because it does. You could call the new film sim Classic Negative v2, but Fujifilm named it Reala Ace.

Leaving the Water – Laguna Beach, CA – Fujifilm X-T5 – Fujicolor Reala 100 Recipe

How accurate is the Reala Ace film simulation to Reala film? It definitely has the right vibe, from the small number of samples I’ve found online. It isn’t all that dissimilar to my Fujicolor Reala 100 Film Simulation Recipe, either—in fact, I think just a few small adjustments to my Recipe brings the results closer to the new film simulation. Of course, I have no idea if those Reala Ace examples are unedited, and what parameter adjustments the photographer might have done, or if they’re all factory defaults.

Fujifilm has a graph demonstrating how the different film simulations fit on a tonality and saturation scale. It should be taken with a grain of salt. For example, there’s no way that Nostalgic Neg. is the second most vibrant film sim, because it’s not. PRO Neg. Hi has a little more saturation than PRO Neg. Std, yet they’re the same on the chart. Still, we can extrapolate that Reala Ace has softer tonality yet a tad higher vibrancy than Classic Negative.

Even though Reala Ace is essentially Classic Negative, I’m quite thrilled that this new film sim has an obvious analog aesthetic. Classic Negative is one of my favorite film simulations, and I’m sure Reala Ace will be, too, once I get a chance to use it someday in the future. My guess is that the upcoming Fujifilm X100Z (or whatever Fujifilm calls it… maybe they’ll name it X100Ace?) will be the first X-series camera to get Reala Ace. I won’t buy the GFX100 II (it’s way outside of my budget), so it might be awhile before I get to try it. From what I can tell, the new film sim will be found right below Classic Chrome and right above PRO Neg. Hi in the camera’s film simulation list.

Interestingly enough, there seems to be a lot of interest in this new film sim, but not necessarily by folks who will buy the GFX camera. The ones most excited seem to be those who anticipate that it will trickle to the X-series. Most of those who have reviewed the camera (who received a pre-production model from Fujifilm) barely mentioned it, and mainly as a passing thought. One did talk a little more about it (and right at the beginning), but otherwise the enthusiasm for Reala Ace seems to be much stronger from the X crowd than the GFX, despite it only found (for now) on GFX. This makes a lot of sense to me because most of those who shoot GFX cameras don’t use Film Simulation Recipes (yet there are some); however, many who have X-Trans cameras do use Recipes. Fujifilm should introduce new film sims on X-series models where they can better capitalize on that excitement, and not on GFX where it’s unimportant (generally speaking) to those buyers, essentially wasting the opportunity (hey, maybe Fujifilm should consult with me??!!).

I modified the Fujicolor Reala 100 Film Simulation Recipe on my Fujifilm X-T5, reprocessing in-camera some recent pictures on the SD Card, to more closely resemble the Reala Ace film simulation. You can find the Reala Recipe on this website (here) and on the Fuji X Weekly App. The modifications I made to the Fujicolor Reala 100 Recipe are: White Balance Shift set to 0 Red & +1 Blue (using Daylight WB… I also tried Auto White Balance with that same shift), Color Chrome FX Blue Strong, Color +1, Highlight -1.5, Sharpness 0, and Clarity -2. There are only a small number of examples of the new film sim, and it’s impossible to know if they’re 100% default Reala Ace or if they have been modified or edited in some way, but I think I’m in the ballpark with these settings. It’s pretty close. Below are some examples.

Faux Reala Ace on my X-T5
Faux Reala Ace on my X-T5
Faux Reala Ace on my X-T5
Faux Reala Ace on my X-T5
Faux Reala Ace on my X-T5
Faux Reala Ace on my X-T5
Faux Reala Ace on my X-T5
Faux Reala Ace on my X-T5
Faux Reala Ace on my X-T5
Faux Reala Ace on my X-T5
Faux Reala Ace on my X-T5
Faux Reala Ace on my X-T5
Faux Reala Ace on my X-T5
Faux Reala Ace on my X-T5
Faux Reala Ace on my X-T5

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

Fujifilm X-T5 in black:  Amazon  B&H  Moment
Fujifilm X-T5 in silver:  Amazon  B&H  Moment
Fujifilm GFX100 II:  B&H

Do 7 out of 10 Fujifilm Photographers Prefer PASM?

More Than Double Wide – Arlington, AZ – Fujifilm X-T5 – 1970’s Summer Recipe

Once the upcoming GFX100 II is announced tomorrow, seven of the last 10 Fujifilm models will have been PASM cameras. First was the X-S10 in fall 2020, then the GFX100S in early 2021, followed by the GFX 50S II in mid-2021, then the X-H2s in mid-2022, followed closely by the X-H2, then the X-S20 back in May, and now the GFX100 II. The three non-PASM cameras released during that time are the X-E4 (which has since been discontinued despite more demand than supply), the X-T30 II (which was mostly just a firmware update to the X-T30, and has also been discontinued), and the X-T5, which has been out for a little over nine months now.

PASM cameras have a shooting-mode dial on top for Program, Aperture-Priority, Shutter-Priority, and Manual modes—most cameras by other brands have this dial. Traditionally, most Fujifilm cameras don’t have a PASM dial because the retro tactile controls found on most Fujifilm models make it unnecessary. It used to be that only the low-end entry-level models had PASM, and the rest did not. Beginning with the X-S20, Fujifilm began placing PASM dials (in lieu of the traditional knobs) on cameras that weren’t entry-level. Now, the highest-end models all have PASM.

When Fujifilm began to do this, a lot of the long-time loyal customers sensed a philosophy shift within the brand. Others insisted that, by offering more options, Fujifilm could attract new users, which would only be good, and those who prefer non-PASM had nothing to be concerned about. Well, actions speak louder than words, and it is clear that the shift has happened, even if it hasn’t been publicly spoken by Fujifilm (although I do believe that they have hinted at it several times).

What does all this mean? What exactly is this shift? What’s Fujifilm’s new focus?

Canikony brands—Canon, Nikon, and Sony—are focusing less on APS-C and more on full-frame. They haven’t abandoned APS-C, but are clearly spending much more R&D time and money on their higher-end products. I believe that Fujifilm sees an opportunity to position themselves as the clear leader and king of APS-C. While Canikony brands are aiming their attention towards full-frame, Fujifilm is putting their attention towards higher-end APS-C, along with the GFX line.

Evening Charge – Santa Rosa, NM – Fujifilm X-E4 – Kodak Portra 400 v2

A camera like the X-H2 can compete not just against the competition’s top APS-C models, but pretty well against their low-end full-frame and arguably even against mid-range full-frame models. A camera like the GFX100 II can compete well not only against other medium-format models, but also against high-end full-frame models. Fujifilm is clearly trying to gain market share by competing against the full-frame options from Canikony brands, both from below and above. In order to do this, Fujifilm clearly believes that they need to become more like those brands, instead of embracing what has made them successful in the past. In my opinion, Fujifilm should double-down on what is unique about their brand, and focus on better communicating why those unique characteristics are desirable. Instead, Fujifilm seems to be moving towards becoming a part of Canikony… Canikonyfilm?

I personally don’t care that GFX has gone fully PASM, as I’m not in that system. I have no skin in the game. I don’t think as many X-series photographers jumped into the GFX line as Fujifilm first thought would; the majority of those who have bought into the new system are first-time Fujifilm photographers—in other words, photographers largely coming from Canon, Nikon, and Sony. They’re used to PASM—many of them prefer it, actually—so it made sense for Fujifilm to make that change. Those hoping for a GFX 50R successor might be waiting a really long time.

I do care about X-series cameras, since I’m deeply invested into that system (more than most, I assume). Traditional tactile dial models have taken a backseat to PASM cameras. Yes, there’s the X-T5, but Fujifilm “cheapened” it just a little by not offering the battery grip like all the previous iterations of that series. The X100V replacement is supposed to be announced early next year, once the X100V is four-years-old. The X-Pro4 isn’t even visible on the horizon, despite that line being due for a successor. The X-T00 and X-E series are both in limbo, with their current versions being discontinued while the new ones are possibly far off, if they come at all (the X-T40 has been long anticipated—some people thought for sure it would come out sometime in 2022). If you want one of the two flagship models that offer the best-of-the-best, you’d better be happy with PASM. If you want IBIS but not PASM, the X-T5 is your only options (…for brand new, the X-T4 and X-H1 can be purchased used), while currently there are four PASM options with IBIS: X-S10, X-S20, X-H2, and X-H2s. Yes, the X-S10 hasn’t been discontinued, even though the two models released afterwards—one of which had a long backorder list—are no longer available.

A rumor has floated around for months that Fujifilm will announce a new X-series model sometime before the end of the year, probably in November. There’s been a lot of speculation that it will be an X-Pro4, since the X-Pro line is overdue for a new iteration, but there have been zero X-Pro leaks, so either Fujifilm is being historically tight-lipped about it, or it’s not coming until summer 2024 or sometime beyond. What, then, could this upcoming camera be? Whatever it is, it’s either inconsequential enough that it’s not worth leaking, or Fujifilm is keeping the lid on super tightly. My guess is the former. I think it will be an X-T30 III, which will be the same exact thing as the X-T30 II (which is basically the same thing as the X-T30), except with the X-Trans V processor (but still the X-Trans IV sensor), allowing for some autofocus and video spec improvements (plus Nostalgic Neg., and maybe Reala, but probably not), yet still keeping it under $1,000. Like the X-T30 II, it will probably just say “X-T30” on the body, skipping the roman numerals, because it’s basically the same camera.

Golden Light in Abandoned House – North Salt Lake, UT – Fujifilm X100V – Fujicolor Reala 100

2024 might be the year of the traditional dials. I suspect we’ll see an X100V and X-Pro4. It could be that the X-T0, X100, and X-Pro series are the last remaining without PASM. If, in fact, Fujifilm releases an X-T30 III in November, that will probably be the very last iteration of that series. If an X-E5 is ever made, it won’t likely be until 2025 sometime. I’ve heard that the X-T5 has been a smashing sales success, which I’m relieved about. I think if sales had sputtered, Fujifilm would have considered putting that series on the chopping block, too. So we’ll definitely get an X-T6 at some point. I don’t think Fujifilm will keep both the X-T00 and X-E lines, or, if they do, they won’t be available simultaneously. By the time we get to “20 years of X mount” there’s a strong possibility that only three lines remain with retro dials and styling.

Markets change. Goals change. Leadership changes. Vision changes. There are some (mostly those who own a PASM model) who will argue that Fujifilm had to pivot to survive. Maybe so. There are some (mostly those who have been in the system for less than three years) who say that no such pivot has happened, that all this is much ado about nothing. Perhaps. There are some (mostly those with PASM and who have been in the system only a short time) who will say I’m just too old and I complain too much, and that Fujifilm camera’s are now for a whole new generation of photographers with different wants and needs. That could be true, too. I’m just saying that I’ve noticed a shift, and I’m personally less excited and optimistic about Fujifilm’s direction. It’s the elephant in the room that I’ll be criticized for mentioning, but literally everyone who has been shooting with Fujifilm cameras for a long time notices.

The good news is that I already own the cameras that I need. As long as they’re operational, I don’t have a need for anything brand new. If Fujifilm releases something exciting, I’ll eagerly buy it, I’m sure. But if they never do, it’s not the end of the world. I can happily play with the toys I already have.

Interestingly, Nikon is supposedly announcing a retro-designed camera in about a week and a half. Maybe Nikon will position themselves as the next Fujifilm? I doubt it, but if they play their cards right and Fujifilm plays them wrong, it could happen. Either way, the more cameras with tactile controls the better. Unfortunately, the Nikon Zf will likely still have PASM, as Nikon won’t play their cards right. This is all, of course, my personal opinions. You might disagree with all of them, and that’s ok. I’m sure that most of us—and all of the regular readers of this website—can agree that Fujifilm cameras produce wonderful straight-out-of-camera JPEGs. Fujifilm has that right, no doubt about it! I just highly doubt that seven out of 10 Fujifilm photographers prefer PASM cameras, but maybe the user demographics have shifted by that much? I think it’s more of a reflection of who Fujifilm wants their customers to be rather than who their customers actually are, but in doing this they’ve created a self-fulfilling prophecy—if you build it, they will come. They have come and will continue to come, which is great. But I will remember when Fujifilm—back before they were a part of Canikonyfilm—made some exciting cameras that were much different and more beautiful than those from other brands—in fact, I’ll be reminded each time I open my camera case.

Report: Fujifilm X100Z (or whatever Fujifilm names it) will have a New Lens

According to Fujirumors, who is rarely wrong, the upcoming Fujifilm X100V successor will have a new lens. The camera is expected to be announced sometime in early 2024, most likely late-January or early-February. I think that Fujifilm will name it X100Z, but that’s just a guess.

What’s interesting about this is that the lens was redesigned not long ago for the Fujifilm X100V, but the four prior versions—X100, X100S, X100T, and X100F—all shared the original lens. While Fujifilm improved the lens, it wasn’t a huge change. The main thing that Fujifilm addressed was corner sharpness when using a large aperture. At f/2, the old lens was a bit soft (something some people liked and others didn’t), but the new one on the X100V doesn’t have that issue. Beyond that, the update was rather insignificant.

The question is, why will the next X100-series model have a different lens than the X100V? There are a few main ideas that I think could explain it. One is that the X100Z (or whatever Fujifilm will call it) is likely to have the 40mp sensor found in the X-T5 and X-H2, and perhaps the current lens isn’t sharp enough to take full advantage of the resolution. Another idea is that, since the lens isn’t fully weather-sealed without a filter across the front, maybe Fujifilm has figured out how to fully seal it. A third possibility is that Fujifilm will include IBIS, and the lens needs to be adjusted slightly to accommodate. A final idea is that the lens redesign is to simply accommodate an improved leaf shutter. It could be a combination of those reasons or perhaps others not considered.

Gold Coast Blooms – Laguna Beach, CA – Fujifilm X100V – upcoming Recipe

There are also some wild ideas that are much less likely to be the case, but you never know. One is that Fujifilm will increase the maximum aperture to f/1.7 like the Leica Q3. Another is that Fujifilm will change the focal length to be more wide—perhaps 18mm (27mm-equivalent) or 20mm (30mm-equivalent)—or more telephoto—maybe 25mm (37.5mm-equivalent), 27mm (40.5mm-equivalent), 30mm (45mm-equivalent), or 33mm (50mm-equivalent). A third idea is that Fujifilm is working to make the next iteration more pocketable, and the lens will be slightly slimmer. The wildest idea might be that the X100Z will have a zoom lens instead of a prime (while some might like that, overall I think it would start a riot…). With how things have been going in Fuji-land, it could even be that the shutter dial and aperture ring will be removed in favor of a PASM dial. A final idea is that the redesign will remove the IR hotspot, and Fujifilm will offer a full-spectrum version. I don’t think any of these will be the case, but I’ve certainly been wrong before.

An interesting thought is that the X100V won’t actually be replaced, per se, especially since it is currently so popular, but that Fujifilm will simply introduce an alternative version with a different focal-length lens. In other words, Fujifilm could manufacture the X100V for another few years (and maybe introduce a firmware update to make it more fresh), and offer an 18mm or 20mm version that is otherwise identical. Sigma had [three or] four versions of their DP cameras, which were identical except for the focal-length of the lens: 14mm (21mm-equivalent), 19mm (28mm-equivalent), 30mm (45mm-equivalent), and 50mm (75mm-equivalent) options. Ricoh has two versions of the GR III: 18.3mm (27.5mm-equivalent) and 26mm (39mm-equivalent). Maybe Fujifilm could do something similar? Perhaps have two or three X100V options, each with a different focal-length lens? I highly doubt that Fujifilm will do this, but it would be intriguing if they did.

Time will tell what exactly the lens redesign is, but I don’t anticipate it being anything particularly revolutionary. I think it will be a mild refresh to what is already an excellent lens. Most likely it will be made a hair crisper so that it can fully resolve the 40mp sensor. At this point, though, anything is possible, so it’s fun to consider what it could be, no matter how unlikely.

Why the Upcoming Nikon Zf won’t be a “Fujifilm Killer”

Apparently, Nikon is about to announce a new retro-style full-frame camera called the Zf. The phrase “Fujifilm killer” has been floated around as if this camera will strike at the heart of Fujifilm’s market share. Let me give you a few reasons why this won’t be the case.

Before I begin, I want to applaud Nikon for creating a new retro-style camera. I believe the Zfc—their APS-C retro-looking model—has been a commercial success. I own one, although I almost never use it (the last time was on a trip to Sedona in May). Nikon hopes to build on the success of the Zfc with the upcoming Zf. Most camera companies don’t have the guts to create a beautifully designed body, so it’s great to see Nikon do it. I probably won’t buy a Zf personally (Nikon, if you want to send me one, I won’t say no!), but I’m sure it will be a very tempting camera for many.

Supposedly, the Zf will be a 24mp full-frame model with two memory card slots (one SD, one Micro-SD). It will be less plasticky than the Zfc, but it is unknown if it will be weather-sealed. Apparently, it will have IBIS and even pixel-shift. While I’m sure the Zf will generate plenty of excitement, it won’t be a “Fujifilm killer” for a few reasons.

First—and this is Nikon’s mistake—is there aren’t any Nikkor Z-mount lenses with aperture rings. I do believe that some of their lenses can be customized to make the manual-focus ring an (unmarked) aperture ring, but then you don’t have a manual focus ring. That’s not an ideal setup. Because the lenses don’t have aperture rings, Nikon will likely include a PASM dial or switch (like on the Zfc) to toggle on-and-off the knobs on the top plate, which is awkward and seemingly unnecessary. The best solution is to use a third-party lens that has an aperture ring and shoot in manual mode. Nikon should released a series of prime lenses with aperture rings along with the Zf (or, even better, back when they announced the Zfc), but I don’t think that will happen. This oversight means that you’ll have a really hard time replicating the Fujifilm shooting experience; if you want that, you’d better buy a Fujifilm camera instead.

Nikon Zfc + TTArtisan 35mm f/1.4 + Vintage Color Recipe – Sedona, AZ

Another important piece of the puzzle that Nikon lacks are JPEG Recipes. A lot of people buy Fujifilm cameras for Film Simulation Recipes, which can save you a lot of time and frustration while providing a more enjoyable experience. There are some Recipes for Nikon Z cameras (here, here, and here), but nothing like what’s available for Fujifilm. A community has even sprung up out of these Recipes, with photographers that are often extremely kind and welcoming. I don’t think there’s a better community in all of photography!

A number of people have said, “If only Fujifilm made a full-frame camera!” With Fuji, there’s either APS-C or medium-format, but not full-frame. At one time APS-C was for amateurs or hobbyists, while full-frame was for professionals and advanced enthusiasts, but that time has come and gone (yet the stigma doesn’t easily disappear, despite being outdated). Nowadays, there are tons of amazingly talented photographers who shoot with APS-C cameras.

The advantages that a 24mp full-frame sensor provides over Fujifilm’s 26mp or 40mp APS-C sensors are improved high-ISO performance and increased dynamic range, but it should be noted that Fujifilm’s cameras are quite excellent at high-ISO and dynamic range, so it only matters in extreme circumstances—and even then, only a little. People will mention depth-of-field (due to the crop factor), but that’s a bit overstated, as it depends on the lens focal-length and aperture—it’s possible to get a narrow depth-of-field on APS-C similar to full-frame, but not with identical focal-lengths and apertures.

Fujifilm X-T5 + TTArtisan 35mm f/0.95 + 1970’s Summer Recipe – Sedona, AZ

This isn’t to say that APS-C is just as good or better than full-frame. There are some advantages and disadvantages to both sensor sizes, but overall those advantages and disadvantages aren’t huge. In my opinion, the advantages of APS-C (which are size, weight, and cost) outweigh the advantages of full-frame, but each has to determine what makes the most sense to their unique desires and needs. My only point is that full-frame isn’t massively better (if better at all) than APS-C, so just because Nikon offers a similarly-styled model with a full-frame sensor doesn’t mean that Fujifilm should be quaking in their boots.

A fun side-by-side experiment would be the Fujifilm X-T5 with the Fujinon 33mm f/1.4 and the Nikon Zf with the Nikkor 50mm f/1.8. The Fujinon lens is 2/3-stops brighter, while the Nikkor has about 1/3-stop less depth-of-field (f/1.4 on APS-C has a depth-of-filed more similar to f/2 on full-frame, everything else being equivalently equal). Both offer the same field-of-view. While the Zf is full-frame, on paper the X-T5 has several spec-sheet advantages. The X-T5 is smaller, lighter, and cheaper; however, since the Fujinon lens is more expensive, the cost of these two kits will be similar. The “winner” of this experiment would likely depend on the photographer (one might lean Fujifilm while another might lean Nikon), but I bet it would be a very close call.

The yet-to-be-announced Nikon Zf will certainly be an excellent camera, and I think it’s smart for Nikon to make it. I don’t believe it will have any significant impact on Fujifilm sales. In fact, if it does well enough, it could even boost Fujifilm’s sales (similarly to how the X100V’s success has caused a spike in Ricoh GR III sales). Most of those who buy the Zf will likely be those already in the Z system. There might be some disgruntled Sony or Canon shooters who are considering switching brands who could be attracted to Nikon by the Zf. There might even be some Fujifilm X-T3 owners who are peeved that Fujifilm left their camera on an island who take a long look at the Zf. Overall, though, I don’t think the Zf will be a “Fujifilm killer” because—while it might have some lovely retro styling similar to what Fujifilm has become known for—it doesn’t offer the same shooting experience, due to the lack of an aperture ring, the inclusion of a PASM switch or dial, and the small number of JPEG Recipes available for it (plus the community built around that). The Nikon Zf will certainly be a popular model, but so is the Fujifilm X-T5—they both can exist simultaneously, and not step on each other’s toes.

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

Fujifilm X-T5 in black:  Amazon  B&H  Moment
Fujifilm X-T5 in silver:  Amazon  B&H  Moment
Nikon Zfc:  Amazon   B&H

Will there be a new Fujifilm X camera announced in September?

Fujifilm will be announcing some new gear on September 12; Fujirumors is reporting that it will be GFX cameras and lenses, including a GFX100 successor (which, apparently, wasn’t the GFX100S), GF 55mm f1.7, GF 30mm f/5.6 tilt-shift, and GF 110mm f/5.6 tilt-shift. A rumor has floated for awhile now that two X-series cameras would be released in 2023. The first was the X-S20. What will the second be? And will it be announced in September?

We know that the X100V replacement won’t come until next year, so which one will be next? There’s been a lot of speculation that it could be the X-Pro4 because it’s long overdue; however, if it is, something would have likely already leaked about it, so I’m marking it as unlikely. How about an X80? Fujifilm absolutely should release this camera, but I think that ship has sailed in their minds, and it’s not even on the list of potential future models. X-A8 or X-T300? Those lines have been discontinued, so no. It’s much too soon for an X-H3 or X-T6 or X-S30. What does that leave? The X-E5 or X-T40 (which they might call X-T50). Let me give a few quick reasons why I think it will and won’t be each of those models.

Evening Charge – Santa Rosa, NM – Fujifilm X-E4Kodak Portra 400 v2

It will be the X-E5 because the X-E4 was a hot commodity just before being surprisingly discontinued (presumably so that manufacturing efforts could be diverted to the X100V). It was backordered everywhere and even sometimes selling for more than MSRP. There’s still quite a demand for it, but so very little supply. It was strange that Fujifilm axed an in-demand model, but if they were preparing to release a successor, it makes a lot more sense.

It won’t be the X-E5 because Fujifilm will probably only offer one base-level camera going forward (due to shifting markets), and between the X-T00 and X-E lines, it’s more likely the X-E that’s not renewed. Besides that, historically, the X-E line comes at the very end of a sensor generation, not towards the beginning or middle.

Wearing Grandpa’s Hat – South Weber, UT – Fujifilm X-T30 – Kodacolor

It will be the X-T40 (or X-T50) because this line is long overdue for an update. The X-T30 was released over four years ago. The X-T30 II was an extremely minor upgrade, mostly just a firmware update that should have been given to the X-T30. Both the X-T30 and X-T30 II have been discontinued, so it makes sense that a new version is about to come out. Besides, the X-T00 line has been a good seller for Fujifilm, and the current lineup is in desperate need for a camera of its class.

It won’t be the X-T40 because the X-T30 II was released only two years ago. While it sold well, it wasn’t as in-demand or trendy as the X-E4. Aside from that, Fujifilm is clearly focusing more on higher-end models, and not entry-level.

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

What’s my opinion? I think, if an X-series camera is announced on September 12, it will be the X-T40. I don’t think the X-T40 will likely be a major upgrade, so including it on the same day as the GFX150 (or whatever the new GFX camera will be called) makes sense. Just as likely, no X-series models will be announced on September 12; perhaps the next camera will be the X-Pro4 in November (that’s just speculation, I have zero inside information).

The X-T40 will probably be the exact same thing as the X-T30 II, except with the X-Processor 5, which brings improved autofocus and video specs, along with the Nostalgic Neg. film simulation. I suspect that it will have the same X-Trans IV sensor and the same NP-W126S battery, and be 95% the same camera. I don’t think it will be revolutionary; however, it will be Fujifilm’s sub-$1,000 option, which I think is still important to offer. Don’t be surprised, if Fujifilm does decide to eventually release an X-E5, that the X-T00 and X-E lines aren’t available at the same time. In other words, they might manufacture the X-T40 for a year or two (depending on how it sells), and then discontinue it as they prepare to release the X-E5. Once that’s been on the market for a year or so, it’ll get discontinued in time for the next X-T00. I think Fujifilm sees these two models as competing against themselves to some degree. I wouldn’t be surprised at all if one of these two lines was simply (and quietly) discontinued.

Indoor Blooms – Salt Lake City, UT – Fujifilm X-Pro3Fujicolor Superia 800

In my opinion, I think Fujifilm has been secretly working on the X-Pro4, and I wouldn’t be shocked if it was released in November (like the X-T5 was last year). I think it would make a ton of sense. They’ll probably readdressed the rear screen somehow. I do believe it will have the 40mp sensor, and don’t be surprised if it is the first X-series camera with the XPan aspect ratio as an option. This would be a smart move, I think, and it would fall within Fujifilm’s shift towards focusing more on higher-end cameras and less on lower-end.

What do you think? Will an X-series camera be announced on September 12? Which model will it be? What do you hope for? Let me know in the comments!

1976 Kodak — Fujifilm X-T5 (X-Trans V) Film Simulation Recipe

All the World’s a Summer Day – Buckeye, AZ – Fujifilm X-T5 – 1976 Kodak

The 1976 Kodak Film Simulation Recipe began as an attempt to recreate the aesthetic of legendary photographer Joel Meyerowitz, an American New Color photographer first known for serendipitous street photos of New York City. Meyerowitz has had one of the most prolific careers of any photographer, and he’s still active today at 85 years old! His look has been one of the most requested to replicate on Fujifilm cameras, so I eagerly delved into what exactly that is and how to mimic it.

One of the first roadblocks I encountered is that Joel Meyerowitz doesn’t have one unique style. His aesthetics vary significantly through the years. That shouldn’t be surprising because he’s on his seventh decade of photography. It’s well known that Meyerowitz used a lot of Kodachrome—in fact, he shot with all three eras of the film. In his early days it was the original ISO 10 Kodachrome, but very quickly that was replaced by Kodachome II and X; a significant chunk of his iconic street photography was captured during this time. Then Kodachrome 25 and 64 came along. All of those emulsions, while very similar, had their unique characteristics. I have a number of Film Simulation Recipes that can produce a Meyerowitz look because they replicate a film that he frequently used, including Vintage Kodachrome, Kodachrome 1, Kodachrome II (here, too), Kodachrome 25 (here, too), and Kodachrome 64 (here and here, too).

While Meyerowitz was known for Kodachrome, many of his most famous photographs were not captured on that film. He used Ektachrome sometimes for his 35mm work, and he used it extensively for his 8×10 large format photography. There have been over 40 different emulsions that carried the Ektachrome brand name, so it’s hard to know which specific ones he used. Some Ektachrome Film Simulation Recipes are Old Ektachrome, Kodak Ektachrome 100SW, Kodak Ektachrome E100VS, Ektachrome E100GX, Ektachrome, Ektachrome 320T, and Thommy’s Ektachrome. Some of these can probably be used to replicate a Meyerowitz look, too.

Closed Red Umbrella – Goodyear, AZ – Fujifilm X-T5 – 1976 Kodak

He didn’t just shoot with Kodachrome and Ektachrome, but also Anscochrome sometimes. He might have used other emulsions, too, it’s not real clear. One thing is for sure: whichever film he used, the emulsion wasn’t the finished picture, the print was (or the replication of the print in a book). Today, film is often scanned, and that’s how we see the photos captured with it, but for much of Meyerowitz’s career, the print (and not the scan) was what we saw. The printing process—the chemicals, the paper, and a host of other factors—could significantly affect the end result. That process changed and evolved over the decades. All of this is to say that no one Film Simulation Recipe will ever be able to replicate all of Joel’s various aesthetics. Probably not even ten Recipes. Aside from the ones already mentioned, 1970’s Summer and especially Summer of 1960 are a couple that could potentially produce a Meyerowitz look.

I studied about fifty of Joel’s photographs, mostly from the 1970’s. Some of them were urban street pictures, some were suburban or small-town images, and others were coastal photos. I looked for commonalities between the various pictures. I paid close attention to the lighting. I focused in on about two dozen that seemed similar enough, and tried to replicate the look with my Fujifilm X-T5. This 1976 Kodak Film Simulation Recipe was my sixth iteration. It’s not perfect, because, even within those 20+ similar Meyerowitz photographs, there are still some subtle differences. Aside from that, Fujifilm’s options, which are much more robust than they used to be, are still limited, and you can only do so much. Still, sometimes the resemblance between some of Joel’s pictures and the images captured with this Recipe are remarkable!

This Film Simulation Recipe got its name because the majority of the pictures that it is based on were captured in 1976. Some were 35mm and likely Kodachrome 25 and Kodachrome 64, but could also be Ektachrome-X and/or Ektachrome Pro 64, or even Anscochrome 64. Some were large format and likely Ektachrome Pro 64, Ektachrome 6118 Tungsten, and/or Ektachrome 160 Daylight, or even possibly Aschochrome 32. 1976 was a pivotal and transitional year for Joel Meyerowitz, as he began to explore landscapes and small-town life, particularly along the Massachusetts coast. He also began shooting with a large format Deardorff view camera. Since this was such an important year in Meyerowitz’s photographic journey, since many of the pictures that this Recipe was modeled after were captured in 1976, and because the vast majority of his photos were shot on Kodak film, I call this Recipe 1976 Kodak.

Two Birds – Tempe, AZ – Fujifilm X-T5 – 1976 Kodak

The 1976 Kodak Film Simulation Recipe is quite versatile, and works well in many lighting situations and for many genres of photography. You might find it to be slightly overly warm in artificial light, but otherwise use it anytime. It’s compatible with Fujifilm X-Trans V cameras, which (as of this writing) are the X-T5, X-H2, X-H2s, and X-S20. Those with newer GFX cameras can use it, too, although it will likely render slightly different (use it anyway!). Try this Recipe with a vintage lens to further replicate a retro aesthetic.

Film Simulation: Nostalgic Neg.
Grain Effect: Strong, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Off
White Balance: Auto, -2 Red & -4 Blue
Dynamic Range: DR200
Highlight: +1.5
Shadow: +3
Color: +4
Sharpness: -2

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

Example photographs, all camera-made JPEGs using this 1976 Kodak Film Simulation Recipe on my Fujifilm X-T5:

Country Truck – Buckeye, AZ – Fujifilm X-T5
Truck being Photographed – Buckeye, AZ – Fujifilm X-T5
Tonka Wall – Buckeye, AZ – Fujifilm X-T5
Nissan Nature – Buckeye, AZ – Fujifilm X-T5
Pro4X – Buckeye, AZ – Fujifilm X-T5
Empty Campus – Avondale, AZ – Fujifilm X-T5
Street Glimpse – Buckeye, AZ – Fujifilm X-T5
Leaf & Treats – Buckeye, AZ – Fujifilm X-T5
Evening Reflected in Glass – Buckeye, AZ – Fujifilm X-T5
Dead Decorative Flowers – Buckeye, AZ – Fujifilm X-T5
Old Tricycle – Buckeye, AZ – Fujifilm X-T5
Two Red Chairs – Buckeye, AZ – Fujifilm X-T5
Locked Bike – Buckeye, AZ – Fujifilm X-T5
Circles of Life – Buckeye, AZ – Fujifilm X-T5
Fountain Not Flowing – Buckeye, AZ – Fujifilm X-T5
Orange Pot – Buckeye, AZ – Fujifilm X-T5
Mineral Discoloring – Buckeye, AZ – Fujifilm X-T5
Covered Promenade – Avondale, AZ – Fujifilm X-T5
Curious Closed Curtain – Buckeye, AZ – Fujifilm X-T5
Office Abstract – Buckeye, AZ – Fujifilm X-T5
Plastic Green – Buckeye, AZ – Fujifilm X-T5
Joshua Waiting in a Blue Chair – Avondale, AZ – Fujifilm X-T5
Photography is Life – Avondale, AZ – Fujifilm X-T5
Friendly Neighborhood Spiderman – Buckeye, AZ – Fujifilm X-T5
Guitar Practice – Buckeye, AZ – Fujifilm X-T5
Happy – Buckeye, AZ – Fujifilm X-T5
Green Leaves Hiding Behind Gate – Buckeye, AZ – Fujifilm X-T5
Park Bench – Buckeye, AZ – Fujifilm X-T5
Rainbow & Trumpets – Buckeye, AZ – Fujifilm X-T5
Ceramic Tile Roof – Buckeye, AZ – Fujifilm X-T5
Suburban Home – Buckeye, AZ – Fujifilm X-T5
Date Palm – Buckeye, AZ – Fujifilm X-T5
Bougainvillea Garden – Buckeye, AZ – Fujifilm X-T5
Distant Thunderstorm Building – Buckeye, AZ – Fujifilm X-T5
Uptown Snake – Sedona, AZ – Fujifilm X-T5
Red Bell – Sedona, AZ – Fujifilm X-T5
Green Soccer Field – Buckeye, AZ – Fujifilm X-T5
Scootering – Buckeye, AZ – Fujifilm X-T5
Rooftop at Dusk – Buckeye, AZ – Fujifilm X-T5
Distant Sunset – Buckeye, AZ – Fujifilm X-T5
Pastel Sunset over Ball Field – Buckeye, AZ – Fujifilm X-T5
Foul Pole & Full Moon – Buckeye, AZ – Fujifilm X-T5
Saguaro at Sundown – Buckeye, AZ – Fujifilm X-T5
Dramatic Sunset behind Saguaro – Buckeye, AZ – Fujifilm X-T5
Purple Sky – Buckeye, AZ – Fujifilm X-T5
Sunset over School – Buckeye, AZ – Fujifilm X-T5
Sunset Lit Cloud – Buckeye, AZ – Fujifilm X-T5
Fast Scooter at Night – Buckeye, AZ – Fujifilm X-T5
Basketball Moon – Buckeye, AZ – Fujifilm X-T5
Moon Through the Hoop – Buckeye, AZ – Fujifilm X-T5
Moonshot – Buckeye, AZ – Fujifilm X-T5

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

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

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Creative Collective 052: FXW Zine — Issue 21 — August 2023

The August issue of FXW Zine is out now! Creative Collective subscribers can download it today. Not a Creative Collective subscriber? Join to gain access to this issue plus all pervious issues of FXW Zine and the many bonus articles. 

Issue 21 takes a look at five budget-friendly Fujifilm cameras that are fairly inexpensive on the used market. If you are considering adding another camera but don’t have a lot to spend, or if you are looking for a good-yet-cheap first Fujifilm model—maybe for your kid or a friend—then the August issue is for you!

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Fujifilm X100-? — What Should Fujifilm Name the Upcoming Model?

Fujifilm will be announcing the upcoming X100V replacement in early 2024, according to Fujirumors. What will be different on the new model is unknown, but most likely it will be nearly the same, and will probably be a little more expensive. It will be interesting to see what exactly Fujifilm changes and what they keep the same. Will it have a 26 or 40 megapixel sensor? XPan aspect ratio? IBIS? NP-W235 battery? Anything is a possibility right now, but historically the X100-series doesn’t change a whole lot with each new iteration.

I hope that Fujifilm—and it would be really smart for them to do this—introduces a brand-new film simulation with this model. Yes, it will have Eterna Bleach Bypass and Nostalgic Neg., but it should have one more fresh film sim. I have no idea if that’s in the plans or not, but it should be.

Probably the least important aspect of any new camera—from a usability perspective—is the name; however, from a marketing perspective, the name is fairly important. If the camera is called something awkward or uninspiring, it might mean fewer sales, while if it is called something catchy and cool, it could increase camera sales. Fujifilm likely has a shortlist of potential names written on a board in Japan right now, and they’re trying to decide which one to pick.

Fans of Fujifilm are—just for fun—also contemplating the new name. I correctly picked the name of the X100V well before it was announced, and I’m hoping to go 2-0 with the upcoming version. It’s not important in the scheme of things, but I do enjoy guessing. Others have taken a stab at it, too. Let’s discuss some of the potential options.

My best guess is that Fujifilm will name the new model X100Z. Why Z? First, it sounds cool (think Nissan 350Z). Second, “Z” (Zeta) is the sixth letter in the Greek alphabet, and this will be the sixth iteration of the camera. Third, Fujifilm used Z in some of their film emulsion names, such as Fujicolor Pro 800Z (if they did introduce a new film simulation, it could be based on Pro 800Z and called PRO Neg. Z). It makes a lot of sense to me, and seems to check a lot of boxes that I imagine Fujifilm has for any potential name.

In the original X100 naming system, S stood for Second, T for Third, and F for Fourth. Once number five came around, the naming system no longer worked, so Fujifilm jumped to Roman Numerals for the current model. V not only means Five, but there’s also a V in the word. Some people think that Fujifilm will continue with Roman Numerals, and the next version will be X100VI. This is likely high on Fujifilm’s list of possibilities, but it just seems so Sony, and not so much Fujifilm; however, Fujifilm has been trying to be more like Sony lately, so maybe they’ll go this route. I personally would be surprised if Fujifilm uses another Roman Numeral until the tenth model, which will surely be called X100X, but I have no doubts that this option is on their list.

Another possibility—and this one seems to be the most popular among Fuji fans—is R, because that’s the sixth letter in the Japanese alphabet. The letter is pronounced Roku, which you might recognize as a well-established brand name for streaming television. If Fujifilm went this route, surely there will be plenty of jokes (for example, watch your favorite YouTuber right on your camera…). I could see Omar Gonzalez or Kai Wong having a field day with this! I would think that Fujifilm would avoid this option simply for the name association, but they could say that R stands for Rangefinder or Resolution (if they choose the 40mp sensor), but of course we’ll all know what it really means: plug the X100Roku into your TV for streaming made easy!

Some have speculated that Fujifilm will start over, going with X200 (followed by X200S, X200T, etc.). I don’t think this option makes much sense. I imagine that a full-frame X100 model would be called X200, but I don’t see Fujifilm completely renaming an established and popular line. If they were to go this route, the X200 would have to be significantly different than the X100V to justify such a dramatic name change, and I don’t see that happening.

If Fujifilm keeps everything pretty much the same and only makes minor modifications to the new model, I could see X100Vs (like the X-E2s, or if they use the stacked sensor of the X-H2s) or X100V II (like the X-T30 II) as the name. I think a lot of people will be disappointed that the new camera is pretty much the exact same thing as the (at the time of the new announcement) four-year-old X100V; however, if it ain’t broke, don’t fix it, right? So if not much changes, X100Vs and X100V II are both possibilities, but I imagine that enough will be different that Fujifilm won’t choose these options.

Another one I’ve seen floated around is X100H, where H stands for Hex, which means Six in Latin. It also means curse in English, so I’d be really surprised if Fujifilm made a bewitched model. I think this one will be avoided like the plague!

Of course, the one I’d really like to see is the X100-Acros, a monochrome-only version. I think there would be a lot of buzz surrounding that, and would be a “wow” camera. I hope that Fujifilm is at least considering such a version—I’d be first in line to buy it!

Now it’s your turn: what do you think Fujifilm will name the sixth edition of the X100-series? Let me know in the comments!

Pushed CineStill 800T — Fujifilm X-T5 (X-Trans V) Film Simulation Recipe

July Bougainvillea – Buckeye, AZ – Fujifilm X-T5 – Pushed CineStill 800T

CineStill 800T is a Kodak Tungsten-balanced motion picture film (specifically, Vision3 500T) that has had the Remjet layer removed so that it can be processed in C41 chemistry. It’s intended for use in indoor artificial light and at night (but could be used anytime with the appropriate color correction filter). Awhile back I found some examples of CineStill 800T that had been shot during the day in overcast conditions and had been push-processed. I liked the picture aesthetics, so I set out to recreate it.

While this Film Simulation Recipe is intended for daytime photography (particularly on overcast days), it does really well at night, too. For the after-dark pictures in this article, I used a 5% CineBloom diffusion filter, but a 10% or 20% might have been more appropriate for replicating the emulsion. I do recommend the use of a diffusion filter for nighttime photography when shooting with this Recipe.

Mellow Mushroom – Tempe, AZ – Fujifilm X-T5 – Pushed CineStill 800T

This Pushed CineStill 800T Recipe isn’t new, but simply a modification of the X-Trans IV version for use on X-Trans V cameras. Because X-Trans V renders blue more deeply on some film simulations, a tweak to Color Chrome FX Blue—selecting Weak instead of Strong—was necessary for my Fujifilm X-T5. This Film Simulation Recipe isn’t for everyone or every situation, but some of you will really appreciate it for certain pictures.

Film Simulation: Eterna Bleach Bypass
Grain Effect: Strong, Large
Color Chrome Effect: Strong
Color Chrome FX Blue: Weak
White Balance: 7700K, -9 Red & +5 Blue
Dynamic Range: DR400
Highlight: -0.5
Shadow: +1.5
Color: +3
Sharpness: 0

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

Example photographs, all camera-made JPEGs captured using this Pushed CineStill 800T Film Simulation Recipe on my Fujifilm X-T5:

Flower Stems in Colored Water – Buckeye, AZ – Fujifilm X-T5
Playing Video Games – Buckeye, AZ – Fujifilm X-T5
Yellow Flowers on a Dreary Day – Buckeye, AZ – Fujifilm X-T5
Birdcage Wall – Buckeye, AZ – Fujifilm X-T5
Empty Cage – Buckeye, AZ – Fujifilm X-T5
Green Tree on a Blue Day – Buckeye, AZ – Fujifilm X-T5
Suburban Grey – Buckeye, AZ – Fujifilm X-T5
Street Train – Tempe, AZ – Fujifilm X-T5
Hand Signal – Tempe, AZ – Fujifilm X-T5
Spin – Tempe, AZ – Fujifilm X-T5
Ice – Tempe, AZ – Fujifilm X-T5
Hair Chairs – Tempe, AZ – Fujifilm X-T5
Mellow Mushroom Pizza – Tempe, AZ – Fujifilm X-T5

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

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

Find this Film Simulation Recipe and nearly 300 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Why the Fujifilm X-T5 is Not my Favorite Camera (…and the X100V is)

Someone asked me for advice: should they sell their Fujifilm X100V (plus the wide and tele conversion lenses) and buy an X-T5 (plus some f/2 Fujinon lenses), or just keep the X100V? They really like the X100V, and it works well for their photography, but they think the X-T5 might be better. I was going to answer this question personally, but I can’t find the email or DM (sorry); instead, I will answer the question publicly, and hope they find it. Maybe it will also be helpful to some of you considering a similar scenario.

Because there is so much demand for and so little supply of the X100V, they’re selling for an inflated price right now. If a camera like the X-T5 is financially out-of-reach, yet you can get a good amount for your X100V, now the X-T5 is a possibility. But is it worth it?

I have a Fujifilm X100V. It was a birthday gift from my wife over three years ago, and it’s been my favorite camera ever since. Even though my X100V is far from new, it is still such a great camera, and I use it all of the time. I feel like it is the perfect tool 90% of the time, 8% of the time it’s not ideal but can be made to work, and 2% of the time it is just the wrong tool for the job. That’s for my photography. You might find it to be perfect 100% of the time for yours, or only 50%, or something else entirely. Each person is different. My opinion is that, while the X100V is my favorite camera, it is best when you have an interchangeable-lens option for those situations when it is not ideal.

I have a Fujifilm X-T5. I purchased it when it was announced so that I could try the new Nostalgic Neg. film simulation. The X-T5 is such a great camera, too—very wonderful! Fujifilm did an excellent job with this one. But I don’t like it nearly as much as the X100V. If I put the two models next to each other, most of the time I’d grab the X100V and not the X-T5. Let me give you five reasons for this.

Before I do—just real quick—I want to make it clear that this article is not about bashing the Fujifilm X-T5 or any other camera. I’m sure for some of you the X-T5 is your all-time favorite model, and you’ve never been happier. It could be that if you purchased it, you’d find the perfect camera for you. Each person will have their own preferences because we’re all different, and we have some excellent options to choose from. I’m simply speaking about my personal experiences and preferences.

First, the Fujifilm X-T5, while still fairly small and lightweight, is bigger and heavier than my X100V. This matters a lot to me, because the X100V rarely gets in the way, while the X-T5 can and sometimes does. After awhile of carrying around, the X-T5 gets tiring a lot quicker than the X100V. Also, I have a travel kit that I really like, and the X100V fits really well in it, while the X-T5 doesn’t.

Second, the Fujifilm X100V has some features that I find especially useful, such as the built-in fill-flash that works incredibly well (thanks to the leaf shutter and Fujifilm’s programming) and a built-in ND filter. The X-T5 has IBIS, which is also a useful feature, so this isn’t completely lopsided in favor of the X100V, but I use the fill-flash and ND filter fairly frequently, while IBIS is only occasionally useful for me—you might find the opposite to be true for you.

Third, the Fujifilm X-T5 is designed like an SLR, and the viewfinder is in the middle; the X100V is designed like a rangefinder, and the viewfinder is on the corner. When I use the X-T5, my nose gets smooshed against the rear LCD, and often leaves a smudge. With the X100V, my nose sits next to the camera completely unsmooshed (did I just make up a new word?), and the rear LCD remains smudgeless (another made-up word?).

Fourth, the X100V has more manageable file sizes than the X-T5. The 26-megapixel images from the X100V are plenty for me. I’ve printed 2′ x 3′ from straight-out-of-camera JPEGs, and they look great. I don’t print larger than that, so I don’t really need the extra resolution. If I needed to crop deeply I could with the X-T5, but since it’s an interchangeable-lens model, I’d simply change the lens as my first option. The X-T5’s 40-megapixel pictures fill up an SD card and my phone’s storage noticeably quicker. Sometimes more resolution means more problems.

Fifth, the Fujifilm X-T5 is subject to dust on the sensor. Technically, it’s possible to get a dirty sensor on the X100V (and that would be a big problem), but it would take a combination of a crazy scenario (I’m thinking haboob) and mishandling (no filter attached). I’ve never had a single dust spot (knock on wood) on my X100V, but it’s a constant battle with my X-T5 (and my other interchangeable-lens models).

So my recommendation is to keep the Fujifilm X100V, and not sell it to fund the purchase of an X-T5. That’s my advice, but it is up to each person to determine what is most appropriate for their unique situation. What’s best for me may not be what’s best for you.

With that said, I do think it makes a lot of sense to have an interchangeable-lens option to go with the X100V. I have a Fujifilm X-E4 that I especially love, and I use it more often than the X-T5. Yes, you heard that correctly: the X100V is my most used camera, the X-E4 is number two, and the X-T5 is in third place right now. They’re all wonderful options, and you should be happy with any of them. In the specific situation I was asked about, I do believe that cost is a significant consideration, and I’d look into a used Fujifilm X-E3 as a companion to the X100V, since the X-E4 might be too expensive or difficult to find.

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

Fujifilm X100V — Amazon   B&H  Moment
Fujifilm X-E4 — Amazon   B&H  Moment
Fujifilm X-T5 —  Amazon  B&H  Moment

Getting that ’90’s Film Look with Fujifilm Cameras

Captured with a Fujifilm X100V + Kodak Max 800 Recipe + 10% CineBloom filter + Flash

A lot of people are interested right now in achieving a 1990’s film look. If you’re unfamiliar, the specific aesthetic is that of cheap 35mm point-and-shoot and disposable cameras. You know, the 4″ x 6″ prints from the 1-hour photo lab that’s in your (or your parent’s) photo album or picture box. If you are older than 25 (and maybe as young as 20) there might be some nostalgia associated with this look. If you own a Fujifilm model, it’s not too difficult to achieve the ’90’s film aesthetic straight-out-of-camera.

While Kodak was king of film, a surprisingly significant extent of this aesthetic was influenced by Fujifilm. There are a few key reasons for this.

First, Fujifilm’s QuickSnap disposable cameras were a huge hit, and Kodak was often playing catch-up with their FunSaver line. While both were really popular, odds are that if you are looking at a disposable camera picture, it was captured on a QuickSnap, which often used a Fujicolor Superia film.

Second, for those pictures captured on reloadable point-and-shoot cameras, while Kodak sold more film, Fujifilm sold a heck-of-a-lot, too. The majority of pictures were likely shot on Kodak emulsions, but a very large chunk were captured with Fujicolor film.

Third, a lot of 1-hour photo labs used Fujifilm’s machines, chemicals, and paper. Even if the film was Kodak, Fujifilm still had an influence in the final picture aesthetic. The majority of snap-shooters in the 1990’s in the U.S. were dropping their film off at cheap labs inside drug stores or box stores, such as (for example) Walmart. Because Fujifilm sold their photo development equipment and supplies at a slightly lower price than Kodak, many of these labs went with Fujifilm over Kodak. Also, if you had the film scanned by the 1-hour lab (and placed on a CD), it was likely done with a Frontier scanner by Fujifilm.

If you want to recreate this ’90’s film aesthetic on your Fujifilm camera, the best starting point is the Classic Negative film simulation, because it is closely based off of Fujicolor Superia film. Any Film Simulation Recipe that uses Classic Negative as the base is going to get you halfway there. For those who own a Fujifilm camera that doesn’t have Classic Negative (X-Trans III and older, plus X-T3 & X-T30), look for Recipes with Classic Chrome (such as Kodak Gold 200 and Kodacolor) for a retro Kodak look or PRO Neg. Std (such as Fujicolor Superia 800 and Fujicolor 100 Industrial) for a Fujicolor look.

I shot with 10 different Film Simulation Recipes that use Classic Negative as the base for this article. As of this writing, there are over 45 Recipes that use Classic Negative, so there are many more to choose from—just because I didn’t use a particular Recipe here doesn’t mean that it wouldn’t work well or that you shouldn’t try it (finding Classic Negative Recipes on the Fuji X Weekly App is easy for Patron subscribers). I do think these 10 are all good options, and they produce a variety of characteristics. Some are more contrasty and some less. Some are more warm and others more cool. Some are more vibrant and some less so. Take a look at each, and if you are drawn more to the pictures in a particular Recipe, give that one a try for yourself.

10 Film Simulation Recipes

Kodak Max 800

Fujicolor Analog

Fujicolor Superia 100

Superia Premium 400

Fujicolor Superia 1600

Fujicolor Natura 1600

Fujicolor NPS 160 Pulled

Pulled Fujicolor Superia

Nostalgia Color

Agfa Ultra 100


Fujifilm X100V

We discussed Film Simulation Recipes before talking about gear because choosing the right Recipe is more critical than the gear you use. With that said, gear is important, too. One critical component is flash. While not all ’90’s film snapshots were captured using a flash, a lot were, and so it has become associated closely with the aesthetic. I used flash in all of the Recipe example pictures above.

The Fujifilm X100V has a great fill-flash built into the camera, making it an ideal choice for this style. It also has a leaf shutter, which makes flash photography much easier. There are other Fujifilm cameras that also have a flash and leaf shutter, such as the X100F, X70, and XF10 (to name a few), but the X100V is the only one that also has Classic Negative.

One problem with using the X100V is that the fixed lens is too good. It’s not really believable as a ’90’s point-and-shoot (although there are some examples that have high-quality glass). To tone it down a little, I used a 10% CineBloom diffusion filter, which helps to produce a more analog-like rendering.

When using the Fujifilm X100V, choose the Classic Negative Recipe of your preference, screw a diffusion filter onto the lens (you’ll need an adapter if you don’t have one already), and turn the flash On (TTL). You’re now good to go!

Fujifilm X-E4 + Lens + Flash

Of course, you don’t need a camera with a built-in flash to do this. My Fujifilm X-E4 doesn’t have a flash, for example, but by attaching an external unit, such as my Godox Lux Junior, to the hot-shoe on top of the camera, I can now do flash photography. This is a lot trickier than using the X100V, and takes some practice if you don’t have experience with a flash, but it is certainly one way to do it.

What I do appreciate about this approach is that the camera is interchangeable-lens, which means you can use a more lofi option, such as the 7Artisans 18mm f/6.3 II. This is softer glass with strong vignetting, and perhaps not one you’d use much for other purposes; however, for replicating the aesthetic of a cheap point-and-shoot it is great!

Combining the Fujifilm X-E4 with the 7Artisan 18mm f/6.3 II lens and using the Godox Lux Junior flash is an affective way to replicate a ’90’s film aesthetic. All of the Fujicolor Analog and Agfa Ultra 100 examples above were captured with this combination, as well as some of the other pictures. If you don’t have a built-in flash on your Fujifilm camera, this is a good way to achieve the look.

While the picture quality from cheap point-and-shoot and disposable cameras were not considered great, this is how many important memories and ordinary life moments where captured in the 1990’s. Many people look back with fondness on these photographs. The image aesthetics conjure up nostalgic feelings, so it should not be too surprising that this look is currently in-style. You can achieve it yourself on your Fujifilm camera without much fuss—it’s mostly just choosing the right Film Simulation Recipe and turning the flash on.

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

Fujifilm X100V — Amazon   B&H  Moment
Fujifilm X-E4 — Amazon   B&H  Moment
7Artisans 18mm f/6.3 II — Amazon   B&H
Godox Lux Junior — Amazon   B&H

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

Report: Fujifilm X100Z to be Released in Early 2024 — Now Let’s Dream

Fujirumors is reporting that the Fujifilm X100V successor, which I’m calling the X100Z, will be announced in early 2024 (and they’re almost always right). Going by previous models, that means Fujifilm will announce the camera in either late-January or early-February, and it will likely ship in late-February or early-March.

That’s good news, especially if you’ve been trying to get an X100V but just can’t. Reinforcements are coming soon enough, and the wait will be over before you know it.

Here are some issues, though. If you’ve been patiently waiting for an X100V, and you’ve been on a backorder list for months and months—are you going to be happy when your X100V ships just a little prior to the announcement of the new model? The X100V is great, so I hope that the timing won’t sour your opinions or experience, but it might. Or this: will those on the waitlist for the X100V be given priority for the X100Z? Let’s say you’ve been waiting six months for your X100V and it hasn’t shipped. Suddenly the X100Z is announced. Will the store offer to bump you to the top of the preorder list for the new model? I know of one store that told me this will be their plan. Is it fair to those who don’t have an X100V on backorder but who preorder the X100Z within minutes of its announcement, but can’t get their camera shipped timely because others jumped the line from the X100V? It could be that you’ll have to cancel your long-awaited order and place a new one for the new camera, getting in a whole different line, possibly not at the top. Is that fair? I don’t have any answers, I’m just posing the questions—it’s something that Fujifilm and camera stores will have to carefully consider and tread lightly with.

I don’t know what Fujifilm will call the next X100-series model, but I’m betting on X100Z. Why? First, it sounds cool. Second, “Z” (Zeta) is the sixth letter in the Greek alphabet, and this will be the sixth iteration of the camera. Third, Fujifilm used Z in some of their film emulsion names, such as Fujicolor Pro 800Z. It makes a lot of sense to me, so that’s why I think it’s what they’ll choose. But I have no idea.

I don’t believe Fujifilm will bring very many changes to the new model. The X100-series doesn’t evolve much. I do believe it will include the 40-megapixel X-Trans V sensor and processor. Some want the 26mp stacked sensor of the X-H2s, and some want the X-Trans IV sensor of the X100V. While anything is possible, I would be pretty darn surprised if it isn’t the 40-megapixel sensor. Due to the fixed-focal-length limitation, having more resolution offers more versatility. Also, Fujifilm could give us the X-Pan 65:24 aspect ratio (Fujifilm: hint, hint)….

Speaking of that, the Digital Teleconverters will benefit from the 40mp sensor, and Fujifilm could even include a third option, something like 80mm or possibly 85mm. I hope, though, that they fix the problem of the faux Grain not scaling. As it is now, the Grain appears huge when using the 70mm Digital Teleconverter; however, it should scale so that it is the same size as when not using the Digital Teleconverter.

Another potential benefit of the 40mp sensor would be digital image stabilization for video. Some sort of hyper-smooth digital cropping that still renders 4K would make the camera more useful for videography. I know that a lot of people want IBIS, but I’d be surprised if Fujifilm put it into this model. Who knows, maybe they will (and it would certainly make the new model an upgrade), but if I were betting money, I’d say that the X100Z doesn’t have IBIS.

I think bringing back the four-way D-Pad on the back would be a nice touch. I believe that Fujifilm was trying to move away from it, but there was a lot of outcry from the community. That’s something Fujifilm could do to differentiate the X100Z from the X100V and make a lot of people happy.

I suspect that whatever part or parts Fujifilm was having difficulty securing in order to manufacture more copies of the X100V, will be replaced by some alternative(s) that will more easily be available. How that affects the camera, I have no idea. Maybe a slightly different rear LCD? I’m sure I’m in the minority here, but I’d actually prefer no rear screen, or maybe just the little box-top rear screen like on the X-Pro3. Maybe a slightly different viewfinder? Whatever it is, I’m sure there will be something different that allows the camera to be more readily produced.

The most obvious thing that Fujifilm could do—and they absolutely should do—with the X100Z is introduce a new film simulation. I don’t know if Fujifilm realizes just how important film sims and Film Simulation Recipes are for camera sales and customer retention. If they do end up naming the camera X100Z, then a Fujicolor Pro 800Z-inspired (maybe called PRO Neg. Z) film sim would make a lot of sense; otherwise, Fujicolor Pro 400H (that with overexposure behaves similarly to the film), Fujichrome Sensia, Fujichrome Fortia, cross-process, infrared, Instax, and Neopan 400CN are a few other ideas. Obviously, Eterna Bleach Bypass and Nostalgia Neg. will also be included in the new camera.

Beyond that, I don’t think there will be a whole lot of differences between the X100V and X100Z. They will be much more alike than dissimilar. I said, though, that we were going to dream, so let’s throw some wild ideas out there, and see if any of them happen to come to pass.

My first wild idea is that Fujifilm uses an APS-H sensor instead of APS-C. I have no idea if the camera’s lens has APS-H coverage—my guess is that it does not—but if by chance it does, I believe that the current 40mp chip cut to APS-H size would be about 60mp (that may not be accurate… let me know if I got my calculation wrong). The 1.3 crop factor would make the lens 30mm full-frame equivalent. On paper the X100Z would be more similar to the Leica Q3, but at a fraction of the cost—it would be the Q3 killer!

Next, an interesting idea someone suggested was that the IR filter, which normally is directly on the sensor, could be moved next to the ND filter, and—like the ND filter—it could be enabled and disabled. In other words, with the push of a button, your X100Z could convert to full-spectrum! The lens has, apparently, an IR hot-spot in the center, but maybe it’s something Fujifilm could correct in-camera (similar to vignetting). It’s a crazy idea, but would be super cool!

I mentioned IBIS already, stating that I don’t think it’s likely to happen, but if Fujifilm can include it on the X100Z with minimal effect on size, weight, heat, and cost, that would be amazing! I hope they can, but I doubt they will. We can dream, though, right?

Of course, I’d love to see a monochrome-only version. If Fujifilm doesn’t do it with an X100-series body, they should do it with an X-Pro model. In other words, Fujifilm should definitely make an Acros-version of one of their cameras, and the X100 is a logical option.

How about three different versions, each with a different focal length? Sigma did something like this with their DP line. There could be 18mm, 23mm, and 33mm options, each identical, except for the focal length.

Fujifilm could also make special edition models, like Dura Silver or brown leather or something like that. It would have to be really well done and not cheesy. Charge a little extra for these variations.

That’s all I have. What crazy ideas can you think of for the upcoming X100Z (or whatever Fujifilm will call it)? Let me know in the comments!

Answers to the 10 Most Common Fujifilm How-To Questions

Because I’m one of the more knowledgable people in the Fujifilm community when it comes to the ins and outs of camera settings, I’m constantly asked how-to type questions. I’m always happy to help, but I have to say, most of the time the answers are easily found in the owner’s manual. You mean that boring technical book packaged with my camera? Yes, exactly. Thankfully, Fujifilm has made them available online, and most of the manuals are easily navigated and even searchable. Digging into the owner’s manual for your camera has never been easier. Can’t find the answer with a Google search? I bet you can find it in the manual pretty quickly and painlessly. That really should be everyone’s starting point.

Not everyone will look through the manual, or maybe you did and still can’t find the answer. I decided to take this opportunity to answer the 10 most common how-to questions that I receive. Maybe you are searching for the answer and Google brought you here. My hope is that this article will be helpful to some of you as you’re trying to figure things out on your Fujifilm camera.

1. How to program a Film Simulation Recipe

I’m most known for Film Simulation Recipes—I have published pretty darn close to 300, which you can find on this website and the Fuji X Weekly App—so it shouldn’t be surprising that I’m asked about it the most. Programming Film Simulation Recipes into your Fujifilm camera is easy, once you’ve done it once or twice. While the process is similar across the range, not every camera is exactly the same, so you’ll want to review the Image Quality (IQ) Menu section of your manual, and also Edit/Save Custom Settings (not all Fujifilm cameras have this, but most do).

More than two years ago I published an article explaining how to program Film Simulation Recipes into your Fujifilm camera. That might be a good place to start, but not everyone learns well by reading. You might be just as confused afterwards as you were before. Thankfully, Scott Dawson made a video walking you through the process of programming a Recipe. Between my article, Scott’s video, and your camera’s manual, you shouldn’t have too much trouble with this one.

Sometimes that’s not enough, so here’s the quick answer: if your camera has C1-C7 (or C1-C4) Custom Presets (most models do, but the Bayer models and a couple of the really old cameras don’t), press the Q-button, then press-and-hold the Q-button, and the Edit/Save Custom Settings Menu will appear (except on a couple of the really old models). That’s where you can enter the parameters (or most of the parameters) of a Recipe. Alternatively, and for those cameras without C1-C7, you can enter the parameters by pressing Menu/OK, then adjusting the appropriate settings, which are found in the IQ subset.

You should now be good to go. Once you’ve done it a few times, it will be a piece of cake.

2. How to resolve Clarity greyed out

The 1981 Kodak Recipe uses minus Clarity

This is simple: the drive mode must be set to Single frame (S) in order to use Clarity. Your camera will disable Clarity for any continuous shooting (burst) mode, HDR, or bracket. If you find Clarity greyed out, set your camera’s drive mode to Single frame (S).

3. How to fix DR200 or DR400 not available

This is another simple answer: the Dynamic Range options are ISO dependent. If DR200 and/or DR400 are not available, simply increase the ISO. For X-Trans III and older, a minimum ISO of 400 is required for DR200 and a minimum ISO of 800 is required for DR400. For X-Trans IV, ISO 320 is required for DR200 and ISO 640 is required for DR400. For X-Trans V, ISO 250 is required for DR200 and ISO 500 is required for DR400. Make sure the minimum ISO threshold has been met for the Dynamic Range setting you are attempting to use.

4. How to set Highlight & Shadow with D-Range Priority

The Vibrant Arizona Recipe uses D-Range Priority

This one can be a little confusing. In my Recipes, D-Range Priority should always be set to Off unless otherwise stated. Most Recipes do not use D-Range Priority, but a few do. Sometimes D-Range Priority is confused with the Dynamic Range settings (DR100, DR200, DR400), but they are two separate things. When you enable D-Range Priority, it is in lieu of Dynamic Range, Highlight, and Shadow, so those three options will not be available to select. In other words, you can either use Dynamic Range (such as DR200) and the Tone Curve (Highlight and Shadow) or you can use D-Range Priority, but you can’t do both options simultaneously. Also, like Dynamic Range, D-Range Priority is ISO dependent.

5. How to set a White Balance Shift

The Cross Process Recipe uses a WB Shift of -3 Red & -8 Blue

This used to be the most asked question, but not so much lately. I wrote an article about it almost three years ago, so if you are stuck, be sure to check it out (click here). The simple answer: find the White Balance submenu in the IQ menu subset, highlight the desired White Balance option, then arrow-to-the-right to open the White Balance Shift menu for that particular WB type. Cameras older than the X-Pro3—X-Trans I, II, III, and the X-T3 & X-T30—cannot save a WB Shift within the C1-C7 Custom Presets, but the X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, and X-Trans V can. If you have a model that cannot save a WB Shift within the Edit/Save Custom Settings Menu, I did publish a solution that you might find helpful (click here). Models that can save the WB Shift offer a much improved experience.

6. How to get less yellow pictures

The Fujicolor Superia 100 Recipe is Daylight-balanced

Like film, many Film Simulation Recipes are intended for use in a particular light, mostly sunny daylight. When used in the “wrong” light, you might not get desirable results, and your pictures could come out yellow. My best advice is to use the right Recipe for the lighting situation that you find yourself in, or pick an Auto White Balance Recipe, which are usually more versatile.

7. How to shoot with a manual lens

I like manual lenses, whether it’s classic film gear or inexpensive third-party glass. They often have great character, which is missing in most precision-engineered modern lenses. Fujifilm has a weird quirk where you have to find Shoot Without Lens in the Menu (and it’s not always in an easy-to-spot location), or else the camera won’t let you capture a picture with one of these lenses attached. Once enabled, you can use manual lenses, but if disabled, your camera won’t capture a picture. If you cannot find it, look for Shoot Without Lens in your camera’s owner’s manual, and it will instruct you where to find it.

8. How to set Exposure Compensation

I’m surprised by how often this question comes up, and I think it’s because each Recipe lists a typical exposure compensation, usually with a range, such as +1/3 to +1. First, the suggested exposure compensation is simply meant as a starting point and is not a rule; each exposure should be judged individually, and you might need to use an exposure comp that’s outside of my recommendation. Second, if you are shooting full manual, think about how much you might need to increase or decrease the exposure over what the light meter is telling you in order to achieve the desired results—you aren’t using the exposure comp dial, so you’ll be manually doing it yourself with the aperture/shutter/ISO triangle. Third, you cannot set an exposure comp range or save exposure compensation to the C1-C7 Custom Presets. Fourth, Exposure Compensation, with rare exceptions, is found on a dial on top of the camera: +1 equals one f-stop, and the dots in-between equal 1/3 stops.

9. How to use older Recipes on newer models

The Kodak Vision3 250D Recipe is intended for the X-T3/X-T30, but used here on an X-E4

X-Trans III Film Simulation Recipes can indeed be used on X-Trans IV models. For the X-T3 and X-T30, simply set Color Chrome Effect to Off; for the X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II, additionally set Color Chrome FX Blue to Off, Clarity to 0, and choose a Grain size (either Small or Large)—do this also for adapting X-T3/X-T30 Recipes to the newer models. X-Trans IV Recipes can technically be used on X-Trans V, but, because blue renders more deeply on some film simulations, you should make an adjustment to Color Chrome FX Blue: if the X-Trans IV Recipe calls for CCEB set to Strong use Weak on X-Trans V, and if it calls for Weak use Off. This is for Recipes that use Classic Chrome, Classic Negative, Eterna, and Eterna Bleach Bypass; for the other films sims, no adjustment is needed.

10. How to resolve the Clarity pause

The Kodak Tri-X 400 Recipe uses plus Clarity

Most of the Film Simulation Recipes made for the newer models use Clarity; however, if Clarity is set to anything other than 0 it will cause a storing pause. I use this pause, which is about the same amount of time as advancing to the next frame on a film camera, to slow myself down, which I think is beneficial. If you are in a hurry, this pause can be annoying, and you might want to avoid it. So what are your options? You could forget Clarity and just accept the results for what they are. Switching to a burst mode, such as Continuous Low (CL), will disable Clarity; if you shoot RAW+JPEG, you could reprocess in-camera (or X RAW Studio) and add Clarity after the fact (this is Fujifilm’s recommendation). If a Recipe calls for minus Clarity, you could use a diffusion filter, such as CineBloom or Black Pro Mist, to produce a similar effect (5% CineBloom and 1/8 BPM are roughly equivalent to -1 & -2 Clarity, 10% CineBloom and 1/4 BPM are roughly equivalent to -3 & -4 Clarity, and 20% CineBloom and 1/2 BPM are roughly equivalent to -5 Clarity); however, there is no substitution for plus Clarity.

Those are the 10 most common how-to type questions I get asked. Hopefully this article will be helpful to a few of you who are searching for answers. Don’t be afraid to ask if you are still stuck with whatever issue you’re facing with your Fujifilm cameras. I don’t work for Fujifilm so I can’t guarantee an answer, but I’ll try to help if I can. I just ask that you attempt to find the answer in your camera’s owner’s manual first, because you probably don’t actually need my help; however, if you do, I’m happy to try.

Ricoh GR III vs. Fujifilm X-E4 + Fujinon 18mm f/2

What’s better, the Ricoh GR III or the Fujifilm X-E4 with a Fujinon 18mm f/2 lens? They’re both compact APS-C cameras that are reasonably affordable. They are both capable of producing excellent straight-out-of-camera JPEGs that don’t require editing. But which one is the best? If put head-to-head, which one will come out on top? Let’s find out!

First, I want to point out that I have Film Simulation Recipes for the Fujifilm X-E4 and Recipes for the Ricoh GR III. I have a Film Simulation Recipes App for Fujifilm, and I have a Film Simulation Recipes App for Ricoh. While there are significantly more Recipes for the Fujifilm X-E4, there are still quite a few for the Ricoh GR III; both camera are capable of producing analog-like results out-of-camera. With that said, let’s look at some pros and cons to each camera.

The biggest pro for the Ricoh GR—and let’s be honest, this is the reason to own it—is its super compact size—the smallest APS-C camera, in fact. The GR III easily fits into my pants pockets or nearly anywhere. It’s perfect for travel or for just carrying around. The inconspicuous design lends itself well for street photography. The GR III has IBIS, albeit a mediocre one that’s not particular necessary with an 18mm lens (but, still, it has it). Snap focus is a pretty useful feature. Ricoh just gave it a new Image Control Effect (their version of a Film Simulation) with a Kaizen firmware update, something Fujifilm hasn’t done in a long time. Perhaps the second biggest pro to the Ricoh GR III is that you can actually buy one without too much difficulty.

The biggest con for the Ricoh GR is that it has a fixed lens. That could be good or bad, depending on your perspective, but for certain it lacks versatility—the GR III is a one-trick pony, but of course it does that one trick very well. Another big con is that it lacks a viewfinder; because the LCD doesn’t move, the camera can be hard to use in harsh light conditions. I don’t like that it has a PASM dial, as I much prefer the manual tactile controls found on most Fujifilm cameras. While the camera-made JPEGs do look good, I prefer those from the Fujifilm X-E4, as I think Fujifilm’s JPEGs are a little better than Ricoh’s. Finally, the GR III is now over four years old, and it’s perhaps beginning to feel slightly dated.

For the Fujifilm X-E4, the biggest pro is Fujifilm’s renown JPEG output and the large number of Film Simulation Recipes available for it. For straight-out-of-camera photography, it’s very hard to beat this camera! The X-E4 has an electronic viewfinder, as well as a tilting LCD. You can attach any number of different lenses to it; the Fujinon 27mm f/2.8 is my favorite. The Fujinon 18mm f/2 is a full stop brighter than the f/2.8 lens on the Ricoh GR III, which can occasionally be a big deal, but most of the time isn’t. The X-E4 has the traditional camera controls that Fujifilm cameras are known for. Fujifilm released the X-E4 two years after Ricoh released the GR III, and to a small extent you can tell.

The biggest con for the Fujifilm X-E4 is that it’s difficult to find, and, if you do, it might be at an inflated price. Due to parts shortages, Fujifilm couldn’t keep up with demand, and then they (inexplicably) discontinued the camera. Good luck finding one. While the X-E4 is small and pocketable if your pockets are large enough, it’s significantly bigger than the Ricoh GR III. It doesn’t have IBIS, although with the 18mm lens it’s not really necessary. The Fujifilm X-E4 paired with the Fujinon 18mm f/2 has an MSRP of $1,450, while the Ricoh GR III has an MSRP of only $900.

Fujifilm X-E4 + Fujinon 18mm f/2 + Kodak Tri-X 400 Recipe
Ricoh GR III + Monochrome Film Recipe
Fujifilm X-E4 + Fujinon 18mm f/2 + Fujicolor Superia 800 Recipe
Ricoh GR III + Classic Emulsion Recipe

Comparing the Ricoh GR III to the Fujifilm X-E4 with the Fujinon 18mm f/2 lens isn’t really fair. They’re two different tools for two different purposes. But there are enough similarities and crossover that they do make some sense to test side-by-side. I like the Fujifilm X-E4 better—much better, in fact—than the Ricoh GR III, but that doesn’t mean it’s the best camera. Best is subjective, and it kind of depends on your goals and how you’ll use the cameras.

The Ricoh GR III is significantly cheaper and you can buy it right now without too much trouble. The Ricoh GR III is easier to carry around and is more inconspicuous. The Fujifilm X-E4 offers a more fun shooting experience and is much more versatile. I prefer the pictures from the X-E4, but those from the Ricoh GR III are still very good. Ultimately the winner is the one that makes the most sense to you. I own both cameras, and I use the Fujifilm X-E4 probably ten or maybe fifteen times more often than the Ricoh GR III, so it is my winner; however, you might prefer the GR III for various reasons, so it could be your winner. Even though I use the X-E4 much more often, there are times that the GR III is more practical to have with me, so I’m glad that I own it.

Below are some pictures that I recently captured with a Ricoh GR III and a Fujifilm X-E4 with a Fujinon 18mm f/2 lens.

Ricoh GR III

Ricoh GR III + Royal Supra Recipe
Ricoh GR III + Royal Supra Recipe
Ricoh GR III + Royal Supra Recipe
Ricoh GR III + Royal Supra Recipe
Ricoh GR III + Royal Supra Recipe
Ricoh GR III + Royal Supra Recipe
Ricoh GR III + Royal Supra Recipe
Ricoh GR III + Classic Emulsion Recipe
Ricoh GR III + Classic Emulsion Recipe
Ricoh GR III + Classic Emulsion Recipe
Ricoh GR III + Classic Emulsion Recipe
Ricoh GR III + Classic Emulsion Recipe
Ricoh GR III + Classic Emulsion Recipe
Ricoh GR III + Monochrome Film Recipe
Ricoh GR III + Monochrome Film Recipe

Fujifilm X-E4 + Fujinon 18mm f/2

Fujifilm X-E4 + Fujinon 18mm f/2 + Fujicolor Superia 800 Recipe
Fujifilm X-E4 + Fujinon 18mm f/2 + Fujicolor Superia 800 Recipe
Fujifilm X-E4 + Fujinon 18mm f/2 + Fujicolor Superia 800 Recipe
Fujifilm X-E4 + Fujinon 18mm f/2 + Fujicolor Superia 800 Recipe
Fujifilm X-E4 + Fujinon 18mm f/2 + Fujicolor Superia 800 Recipe
Fujifilm X-E4 + Fujinon 18mm f/2 + Fujicolor Superia 800 Recipe
Fujifilm X-E4 + Fujinon 18mm f/2 + Fujicolor Superia 800 Recipe
Fujifilm X-E4 + Fujinon 18mm f/2 + Fujicolor Superia 800 Recipe
Fujifilm X-E4 + Fujinon 18mm f/2 + Fujicolor Superia 800 Recipe
Fujifilm X-E4 + Fujinon 18mm f/2 + Fujicolor Superia 800 Recipe
Fujifilm X-E4 + Fujinon 18mm f/2 + Fujicolor Superia 800 Recipe
Fujifilm X-E4 + Fujinon 18mm f/2 + Fujicolor Superia 800 Recipe
Fujifilm X-E4 + Fujinon 18mm f/2 + Kodak Portra 400 v2 Recipe
Fujifilm X-E4 + Fujinon 18mm f/2 + Kodak Tri-X 400 Recipe
Fujifilm X-E4 + Fujinon 18mm f/2 + Kodak Tri-X 400 Recipe

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

Ricoh GR III:  Amazon  B&H  Moment
Fujifilm X-E4 in black:  Amazon   B&H  Moment
Fujifilm X-E4 in silver:  Amazon   B&H  Moment
Fujinon 18mm f/2:  Amazon   B&H   Moment

When you just have to Grab your Camera and Shoot

Fujifilm X100V — Vintage Vibes Recipe

A couple of weeks ago I had this realization that I hadn’t been using my Fujifilm X100V as much as I would have liked to or normally would have. I was grabbing some of my other cameras, like the Fujifilm X-E4 and Fujifilm X-T5, instead. But I really like shooting with my X100V—it’s my “desert island” camera; if I could only ever shoot with one for the rest of my life, it would be the X100V.

While having the realization that the camera was collecting more dust than usual, I also noticed that the light was changing and becoming favorable for photography. I snatched the X100V, set it to my Vintage Vibes Film Simulation Recipe, and headed out the door, in search of an interesting picture opportunity nearby.

Just as the sun was nearing the horizon, I found a spot in the desert with some pops of late-spring color. I decided this was my opportunity, so I began capturing images. The light didn’t last long, and the bugs were becoming a nuisance; nevertheless, I was able to snap a few interesting pictures before heading home.

Perhaps more important than the images, I used the camera that I love most. I dusted it off, put it in my hand, took some steps outside, and pressed the shutter release button. Whether or not the pictures turned out was less critical than the act of actively using it. Yes, pictures are important, but so is the experience—actually, the experience is probably the most important. If you haven’t used your beloved gear much lately, be sure to get it in your hands ASAP and take some pictures!

Fujifilm X100V — Vintage Vibes Recipe
Fujifilm X100V — Vintage Vibes Recipe
Fujifilm X100V — Vintage Vibes Recipe
Fujifilm X100V — Vintage Vibes Recipe
Fujifilm X100V — Vintage Vibes Recipe

The Curious Case of the Upcoming Fujifilm X-S20

Fujifilm X-S10

On May 24th, Fujifilm will announce some new products, and, according to Fujirumors, who is almost always right, the headliner will be the Fujifilm X-S20. What initially seemed like a mild update to an entry-level model is now becoming a little more interesting as details emerge of what exactly the X-S20 will be.

I had actually typed out quite a bit, but decided to delete it (11 paragraphs!) after my second cup of coffee. If you want to know the leaked specs so far, definitely visit Fujirumors. From my perspective, the biggest upgrade from the X-S10 will be the bigger NP-W235 battery. The improvements to autofocus and video specs will be nice, too, I’m sure, but probably not a big deal for a lot of people in practical use. It will have a Vlog mode complete with faux-bokeh and product-tracking-autofocus. Otherwise, there will be a lot more similar than dissimilar between the X-S10 and X-S20, but the price will be significantly divergent, as the X-S20 will be $300 more!

I realize that the X-S20 is not intended for me. It’s probably not intended for you, either. Who, then, is it for? The X-S20 is specifically for YouTubers or TikTokers who are making unboxing videos or how-to tutorials or things like that. I think Fujifilm intends the X-S20 to compete against the Sony ZV-E1, as a similar yet cheaper camera. The biggest difference between the X-S10 and X-S20 is that Fujifilm has defined a little more clearly who exactly the camera is for.

So if you are a YouTube or TikTok content creator looking for something a little more advanced than the cellphone or GoPro that you’ve been using so that you can step up your game, the X-S20 is for you, and quite a bit cheaper than Sony’s offering. Even though this camera is intended for that group, it will still be a capable photographic tool no matter who is using it.

Captured with a Fujifilm X-E4 in Sedona, AZ, last week using the Fujicolor Natura 1600 Recipe

Unfortunately, it won’t have the traditional tactile controls or striking retro design that Fujifilm is known for. Or, used to be known for, as six out of the last nine Fujifilm cameras will have been PASM models—X-S10, GFX100S, GFX50S II, X-H2S, X-H2, and X-S20—while one of the three non-PASM models (X-T30 II) wasn’t much more than a firmware update (so essentially 3/4 of Fujifilm’s latest releases have been PASM). The three most recent traditional Fujfilm cameras are the X-E4, which is nearly two-and-a-half years old, the X-T30 II (the firmware-update model), and the X-T5. The only retro-designed tactile control cameras currently offered by Fujifilm are the X-T5 and the three-year-old-and-impossible-to-find X100V, all the rest have been discontinued, including the X-E4 and X-T30 II. Oh, and apparently Fujifilm is experiencing a shortage of X-T5’s…. In other words, if you want to buy a traditional Fujifilm camera, good luck with that—you’ll probably have to go the used route, and even that can be tough.

Fujifilm had previously stated that they are working on some “wow” products; the X-S20 isn’t one of those—or, if it is, their idea of “wow” and mine are two entirely different things.

If you had been thinking about buying a Fujifilm X-S10, but then thought maybe to wait for the X-S20 and get that instead… unless you just need the new Vlog mode or battery life, or just have-to-have the improved autofocus and video specs (which, on paper, sound wonderful, but aren’t a huge deal in practical use for most people), I’d consider saving a few hundred bucks and buying the X-S10 instead. That’s just my opinion.

The good news, though, is that on May 24, according to Fujirumors, Fujifilm will announce a new app to replace the terrible Cam Remote app. That’s exciting! Much more exciting than the X-S20, in fact.

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

Fujifilm X-S10:  Amazon  B&H  Moment

Slowing Down with Sandmarc ND Filters

Neutral Density filters, more commonly called ND filters, are very useful. It’s worthwhile to have at least one ND filter available for your photography. Maybe you don’t know which one (or ones) to own and why you’d use it. I recently got some ND filters, and perhaps my story will be helpful to you.

In my How to get Filmic Photographs from your iPhone article I explained that my wife has a Sandmarc case for her iPhone 13 Pro. I thought she’d also appreciate some ND filters for her phone, since she uses it regularly for videography, so I got her three Sandmarc ND filters that can attach to her iPhone case. You see, ND filters are common in cinematography because you want a shutter speed close to the frames-per-second you’re recording in order to avoid jutter (a.k.a. stutter or choppy) when panning or whenever there is movement. Getting a slow enough shutter speed in bright conditions can be difficult without an ND filter. Unfortunately, the ND filters didn’t really work out with her iPhone workflow, so they initially went unused. Not wanting to let the filters go to waste, I reimagined how they could be utilized, and I figured out how to make them work for me. Now I see them as an essential tool for my photography!

Before I get to the filters, I want to briefly talk about one other Sandmarc item I have: iPhone Tripod, Compact Edition. This was also for my wife, but she doesn’t use it often—only occasionally—so I borrow it regularly, except that I use it with my Fujifilm cameras and not my phone. I need a small tripod for my desk when I do the SOOC Live broadcasts, but the one I’ve owned for years kind of sucks and just barely works; however, with Season 3, I began using the Sandmarc tripod, and it is so much better—perfect for the job! I also discovered that it’s great for travel because it folds up very small and doesn’t take up much space (about 8.5 inches). The tripod only expands to a little taller than two feet, but it is sturdy enough to hold my X-T5 with a lens as large as the Fujinon 90mm, so for occasional casual use—which is all I ever use tripods for in my photography—it is just fine. Since getting it, the Sandmarc tripod has become my most-used. I don’t think that it’s intended for “real” cameras like the Fujifilm X-T5, but that’s what I use it for, and it works great. I bring this up because tripods are closely associate with ND filters.

Neutral Density filters block the amount of light entering the lens, which allows for slower shutter speeds. Why would you want to do this? I already mentioned that in cinematography, slowing the shutter can reduce juttering. In still photography, slowing down the shutter allows you to show motion by way of blurring moving things, and it allows for high-ISO photography in bright conditions.

Sandmarc’s iPhone ND filters come in a pack of three: ND16, ND32, and ND64. The ND16 reduces light by four stops, the ND32 reduces by five stops, and the ND64 reduces by six stops. I most commonly use the ND16, but for longer exposures, the other two certainly come in handy. Did I mention that Sandmarc’s ND filters are also polarized? They are! Polarizers reduce glare and haze, which can be particularly useful when photographing water. Pretty cool, eh?

So if these ND filters are made for iPhones, how am I using them on my Fujifilm cameras? Technically, I’m not using them on my camera, I’m attaching them to my Fujinon 27mm f/2.8 lens. The ND filters have 40.5mm threads, and the 27mm lens accepts 39mm threads, so I purchased a cheap Rise 39mm-40.5mm step-up ring, which allows me to use the Sandmarc ND filters on my Fujinon lens. It works like a charm!

There are three ways in which I’ve integrated ND filters into my photography: slow shutter with a tripod, slow shutter without a tripod, and high-ISO in daylight. I’ll briefly explain each below.

ND Filter + Tripod

1.4 Second Exposure — Upcoming Recipe
1/9 Second Exposure — AgfaChrome RS 100 Recipe

The classic way ND filters are used for still photography is with a tripod. By utilizing a slow shutter speed, things within the frame that are moving will become a blur. Waterfalls are probably the most common subject for this technique, where water appears to be a streak of blur or even a mist if the exposure is long enough. Typically, a maximum shutter speed of 1/15 is required for blurring the subject, but there are a few factors—lens focal length, speed and distance of the subject, desired blur—that could affect the necessary shutter speed, either faster or slower. The longer the shutter is open, the more blur you will get. Because you want everything that’s not moving to be sharp, a tripod is required for this technique.

ND Filter without Tripod

1/20 Second Exposure — Reggie’s Portra Recipe
1/2 Second Exposure — Emulsion ’86 Recipe

Who says that pictures have to be sharp? Maybe you want everything in the frame to be blurry! For this, you simply remove the tripod and use a slow shutter while the camera is handheld. Panning is one example of this. Using a slow shutter speed without a tripod is probably the most difficult ND filter technique, but there is a lot of opportunity for creativity, which means there is potential for dramatic or interesting photographs. The longer the exposure the more difficult this technique is—unless you’re really going for abstract art—so be careful not to set the shutter too slow.

High ISO in Bright Daylight

ISO 12800, f/8, 1/550 — GAF 500 Recipe
ISO 12800, f/8, 1/450 — GAF 500 Recipe
ISO 12800, f/4, 1/3200 — Ilford Delta Push Process Recipe
ISO 12800, f/8, 1/400 — Ilford Delta Push Process Recipe
ISO 25600, f/4, 1/1900 — Ilford HP5 Plus 400 Push Process Recipe
ISO 25600, f/2.8, 1/350 — Ilford HP5 Plus 400 Push Process Recipe

You might think that purposefully setting a high-ISO in bright daylight is a weird thing to do. The general advice given since the beginning of photography is to use the lowest ISO that you can get away with. If you can use ISO 200, use ISO 200. If you need to bump it up to ISO 400 because the light is dimmer, use ISO 400. Only use ISO 800 if you have to. And ISO 1600 should be used with extreme caution. ISOs higher than that are for emergency purposes only. But is that still good advice? In my opinion, Fujifilm cameras are excellent at high-ISO because—thanks to the X-Trans sensor and processor—they better control the aesthetic of digital noise, rendering it more like film grain. In other words, purposefully using high-ISOs can produce a more analog-like result. Some of my Film Simulation Recipes actually require ultra-high ISOs, and using them in bright daylight can be difficult; however, ND filters make it much more practical. My X100V has a built-in ND filter, but my other Fujifilm cameras do not; ND filters have opened up the opportunity to use these high-ISO Recipes in situations that would be much more difficult otherwise—this is how I’m most often using my Sandmarc ND filters.

Find these Film Simulation Recipes and nearly 300 more on the Fuji X Weekly — Film Recipes App!

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

Fujifilm X-T5 in black:  Amazon  B&H  Moment
Fujifilm X-T5 in silver:  Amazon  B&H  Moment
Fujinon 27mm f/2.8:  Amazon   B&H   Moment

Note: the top four pictures were captured with a Fujifilm X-E4 & Fujinon 35mm f/2; images 1, 2 & 4 are Pacific Blues and image 3 is Kodak Portra 400 v2. The other pictures were captured using my Fujifilm X-T5 & Fujinon 27mm f/2.8 with a Sandmarc ND filter attached.

Creative Collective 045: Shooting a Roll of Fujichrome Fortia 50

“Fujichrome Fortia 50” frame 18 of 36 — Fujifilm X100V

I shot a 36-exposure roll of Fujichrome Fortia 50 on my Fujifilm X100V.

Right now you are thinking one of a few things. What is Fujichrome Fortia 50? Fortia was discontinued a long time ago, and is well expired now and difficult to find. Anyway, you can’t shoot film in a Fujifilm X100V! There’s not a Fujichrome Fortia 50 Film Simulation Recipe, is there? All of that and more will be explained in this article!

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A Better Way To Get a Retro Film Look

Rodeo Cold – Cave Creek, AZ – Fujifilm X-T5 & Pentax-110 24mm – AgfaChrome RS 100

Is there a better way to get a retro film look? In my opinion, the answer is yes!

Notice that I didn’t say the best way, only a better way. The best way to get a retro film look is to shoot actual analog film on a retro film camera; however, film is expensive and the process inconvenient. Digital is much more convenient, but digital images inherently don’t resemble film—one must manipulate them. There are numerous programs, plugins, and presets that will provide you with a film look without a lot of fuss, but it does require some level of post-processing; editing pictures is a good way to get a retro film look, but a couple downsides are 1) you must have access to (and pay for) the software and know how to use it and 2) it takes time to edit all of your pictures. There is another way, which I believe is a better way.

It’s very simple: shoot JPEGs on Fujifilm cameras programmed with analog-like Film Simulation Recipes and use vintage lenses. I say that this is a better way because you can achieve a retro film look without the hassle of picture manipulation. Better, of course, is subjective, but this is an increasingly popular method, largely because more and more photographers are deciding that it is indeed a better way for them.

Arizona Honeysuckles – Buckeye, AZ – Fujifilm X-T5 & Pentax-110 70mm – AgfaChrome RS 100

Fujifilm cameras are an important ingredient to this because, when programming their digital output, Fujifilm utilized their film department to assist with the image rendering. In other words, using their vast film experience, they set out to infuse an analog aesthetic into their digital photographs. Film Simulation Recipes take it a step further by fine-tuning the camera settings to better replicate specific film stocks and/or processes or mimicking certain looks. There are nearly 300 Recipes on the Fuji X Weekly App (available for Android and Apple), so be sure to download it if it’s not already on your phone. You can do pretty much the same thing as Recipes with software, but it will not 100% match the straight-out-of-camera images and you will have to work for it (at least a little), while camera-made JPEGs are good-to-go without editing (the work is already done for you). This is a paradigm shift that can dramatically transform your workflow by drastically simplifying it, which saves you a lot of time, hassle, and potentially money, while simultaneously making photography more fun. Like I said: better.

The final ingredient is the glass. Modern lenses are often precision engineered, making them nearly flawless. That’s great if you want a digital look, but if you want a retro film look you should employ the same lenses that were used to shoot film, which often have flaws that give them character—an important aspect of the analog aesthetic. Find some old glass and shoot through it! You’ll need an adapter—the exact one depends on the mount of the lens—and set the camera to “Shoot Without Lens” in the Menu settings. These lenses are manual focus, which can be tricky at first, but thankfully Fujifilm provides you with some excellent tools to assist with it, making manual focus much easier and more enjoyable. Alternatively, you could use inexpensive third-party lenses, which often have similar characteristics to vintage lenses, and you won’t need a special adapter.

For the pictures in this article, I used a Fujifilm X-T5 programed with my AgfaChrome RS 100 Film Simulation Recipe shot through various tiny Pentax-110 lenses. The straight-out-of-camera results are very analog-like, and could probably pass as actual film photographs if I didn’t provide any background information. You’re not likely to think that these are out-of-camera pictures from a modern camera. If you weren’t convinced that they’re film, you’d likely assume some post-processing was done to make them appear film-like, yet they’re unedited. In any event, if you want a better way to get a retro film look, use Fujifilm cameras programmed with Film Simulation Recipes and shoot through vintage lenses. Simple. Easy. Convincing. Fun.

Colorful Wheel – Vulture City, AZ – Fujifilm X-T5 & Pentax-110 24mm – AgfaChrome RS 100
Turn Signal – Cave Creek, AZ – Fujifilm X-T5 & Pentax-110 24mm – AgfaChrome RS 100
Rockshop – Rock Springs, AZ – Fujifilm X-T5 & Pentax-110 24mm – AgfaChrome RS 100
Out the Upstairs Window – Rock Springs, AZ – Fujifilm X-T5 & Pentax-110 24mm – AgfaChrome RS 100
Pie – Rock Springs, AZ – Fujifilm X-T5 & Pentax-110 24mm – AgfaChrome RS 100
Kokopelli – Rock Springs, AZ – Fujifilm X-T5 & Pentax-110 24mm – AgfaChrome RS 100
Fuzzy – New River, AZ – Fujifilm X-T5 & Pentax-110 70mm – AgfaChrome RS 100
Yellow – New River, AZ – Fujifilm X-T5 & Pentax-110 70mm – AgfaChrome RS 100
Desert Spring – New River, AZ – Fujifilm X-T5 & Pentax-110 70mm – AgfaChrome RS 100
Two Cholla – New River, AZ – Fujifilm X-T5 & Pentax-110 70mm – AgfaChrome RS 100
Spring Lupine – New River, AZ – Fujifilm X-T5 & Pentax-110 50mm – AgfaChrome RS 100
Purple Lupine – New River, AZ – Fujifilm X-T5 & Pentax-110 50mm – AgfaChrome RS 100
Yellow Spring – New River, AZ – Fujifilm X-T5 & Pentax-110 50mm – AgfaChrome RS 100
Blossoms Among Ocotillos – Vulture City, AZ – Fujifilm X-T5 & Pentax-110 24mm – AgfaChrome RS 100

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

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