Yesterday I mentioned that, with the current deals being offered, you could get a two-camera kit with several lenses for under $3,000. I thought I’d break down what that might look like, as it could be helpful to some of you out there. I know that people are constantly changing systems, and perhaps somebody is considering Fujifilm and wondering where to start. Or maybe someone has an older Fujifilm camera and wants to update and expand their gear. Whatever the reason, the idea of having a full Fujifilm kit for under $3,000 is fascinating.
What makes this all possible is that the X-T2 and X-T20 are heavily discounted, since the new generation X-T3 and X-T30 have replaced them. The new cameras are indeed better, but not by huge margins, and that shouldn’t diminish the fact that the X-T2 and X-T20 are excellent bodies. The X-T2 and X-T20 should still be considered great options for those in the camera market.
To begin with, I would purchase both the X-T2 and X-T20. The X-T2 is weather-sealed and slightly more feature rich, while the X-T20 is smaller and lighter and better for travel. I imagine that they’d both get plenty of use. Different tools for different jobs that deliver identical image quality. I would purchase the X-T2 body for $800 and I would purchase the X-T20 combined with the 18-55mm f/2.8-4 for $900. At this point you have two bodies and a decent zoom lens for only $1,700.
Lenses are a bit trickier because it all depends on your style and genre. Different photographers have different needs. For example, if you do astrophotography, you might want the 16mm f/1.4, but if you do portrait photography you might appreciate the 56mm f/1.2 more. I personally love the 90mm f/2. The first two lenses are $900 while the last one is $850. However, there are great alternatives that are more budget friendly. For example, you could get the 16mm f/2.8 for $400 and the 50mm f/2 for $350, which altogether is $750, and it’s not all that much different than having the 16mm f/1.4 and 56mm f/1.2. So you could buy one expensive lens or two cheaper alternatives, whatever you think would serve your photography best. I would recommend the 50-230mm f/4.5-6.7 for $400. If you went with the two-lens alternative, you could afford to get the 55-200mm f/3.5-4.8 for $500 instead of the cheaper zoom. If you don’t need a telephoto zoom, I’d recommend selecting one of the cheaper primes instead, such as the 16mm f/2.8 for $400, 23mm f/2 for $400, the 27mm f/2.8 for $400, the 35mm f/2 for $350, the 50mm f/2 for $350, or the 60mm f/2.4 for $400, whichever one best fits your needs.
If you chose one of the $900 lenses plus the $400 telephoto zoom, you’ve now spent $3,000. If you chose the $850 lens plus the telephoto zoom, you’re now $50 under budget. If you selected the two-lens alternative from the previous paragraph and the telephoto zoom (or one of the $400 primes), you’re now $150 under budget, or $50 under budget if you upgraded to the nicer zoom. If you selected the two-lens alternative plus the 35mm f/2 instead of the telephoto zoom, you’re now $200 under budget. You could also select one of the $850-$900 primes plus one of the $350-400 primes, which would put you between $2,900 and $3,000, depending on what you chose. For somewhere between $2,800 and $3,000 (depending on your combination), you have two camera bodies, a pretty good zoom, plus perhaps two primes, or one prime and another zoom, or two primes and another zoom, or three primes, just depending on what you selected. Whatever the combination is, that’s a pretty darn good kit for the money.
Right now is a great time if you’re in the market for a new Fujifilm camera. The X-T2 is an amazing bargain at only $800 for the body. The X-T20 is an amazing bargain at only $600 for the body. It’s extraordinarily impressive that you can buy those cameras for so little! There are some good deals on lenses, too, so you could assemble a nice kit for surprisingly little money. Heck, for less than $3,000, you could have a quality primary body, an excellent backup body, and a solid assortment of great glass. Or you could get into medium format for only $5,000.
As always, nobody pays me to write the articles that you find on Fuji X Weekly, so using my Amazon affiliate links is the only way to financially support this website. I would never ask you to buy something that you didn’t want, but if you were already planning to purchase something, it’s greatly appreciated if you did so using my links. It definitely helps! I want to give a special thank you to those who have done this already.
Red Hill – South Weber, UT – Fujifilm X-T30 – “Redscale”
Redscale is a photographic technique where you shoot film backwards. Instead of shooting the film through the front, you shoot it through the backside. In order to do this, one must load the film into the canister backwards, or buy film that’s already been purposefully loaded backwards. Normally, in color negative film, the red layer is exposed last, for the light has passed through other layers and filters before it reaches it. When you shoot from the wrong side, light hits the red layer first. The results can be quite unique!
What’s interesting about Redscale photography is that the results can vary greatly, depending on the film, exposure and development. Most commonly, Redscale images have a strong maroon, red, orange or yellow color cast. Sometimes the color cast can be extraordinarily bold and sometimes it can be quite subtle. Even one roll of film can produce different looks depending on the light and how it was shot. Generally speaking, darker images tend to be more red and brighter images tend to be more yellow, but there are certainly exceptions to that. A Redscale image is easy to spot when you see one, but it can be difficult to strictly define the aesthetic.
Peach Morning – South Weber, UT – Fujifilm X-T30 – “Redscale”
I was asked by Fuji X Weekly reader Aycan Gonenc to create a Redscale film simulation. He had developed one already and shared his settings with me, but was hoping that I might make some improvements. I made some changes and adjustments and the results are this recipe, so it is a collaborative effort. What I will say is that the settings can be adjusted considerably, and one can still achieve a Redscale look. Simply change the film simulation from Astia to something else and you will create a different Redscale look. The white balance can be dropped to as low as 7700K, and the shift can have blue added or subtracted. Any of the settings can be adjusted to taste. These settings are only what I felt would produce a good Redscale facsimile, and I believe it does that.
Astia Dynamic Range: DR200
Highlight: +1
Shadow: +2
Color: -2
Noise Reduction: -4
Sharpening: -2
Grain Effect: Strong
Color Chrome Effect: Strong
White Balance: 10000K, +9 Red & 0 Blue
ISO: Auto up to ISO 6400
Exposure Compensation: -1/3 to +1/3 (typically)
Example photographs, all camera-made JPEGs captured using my Redscale film simulation recipe on a Fujifilm X-T30:
Building Sky – South Weber, UT – Fujifilm X-T30
Cloud Around The Ridge – South Weber, UT – Fujifilm X-T30
Red Mountain – South Weber, UT – Fujifilm X-T30
Overcast Ridge – South Weber, UT – Fujifilm X-T30
Clouds Floating Above The Mountain – South Weber, UT – Fujifilm X-T30
Orange Hill Under Red Sky – South Weber, UT – Fujifilm X-T30
Westbound I-84 – Peterson, UT – Fujifilm X-T30
Evening Freight – Henefer, UT – Fujifilm X-T30
Wood Fence Roses – South Weber, Utah – Fujifilm X-T30
Red Rose Fence – South Weber, UT – Fujifilm X-T30
Really Red Rose – South Weber, UT – Fujifilm X-T30
Pink Bud – South Weber, UT – Fujifilm X-T30
Floral Red – Ogden, UT – Fujifilm X-T30
Yellow Rose Gold – Ogden, UT – Fujifilm X-T30
Daisy Red – South Weber, UT – Fujifilm X-T30
Small Wild Blossoms – South Weber, UT – Fujifilm X-T30
Corner Trunk – South Weber, UT – Fujifilm X-T30
T is for Tree – Ogden, UT – Fujifilm X-T30
An American Home – South Weber, UT – Fujifilm X-T30
299 – Coalville, UT – Fujifilm X-T30
Red Engineer – South Weber, UT – Fujifilm X-T30
Continental Bike Tire – Ogden, UT – Fujifilm X-T30
Red Window – South Weber, Utah – Fujifilm X-T30
Night Window – South Weber, UT – Fujifilm X-T30
Red Cross – Layton, UT – Fujifilm X-T30
Tree Top – South Weber, UT – Fujifilm X-T30
Sunlit Leaf – South Weber, UT – Fujifilm X-T30
Russian Red – South Weber, UT – Fujifilm X-T30
Bolsey Orange – South Weber, UT – Fujifilm X-T30
Red Birds – South Weber, UT – Fujifilm X-T30
Red Eye Horse – South Weber, UT – Fujifilm X-T30
Girl & Hungry Horse – South Weber, UT – Fujifilm X-T30
Cat Cone – South Weber, UT – Fujifilm X-T30
Tractor Mirror – South Weber, UT – Fujifilm X-T30
Stucco Lamp – South Ogden, UT – Fujifilm X-T30
Iced Coffee Cups – South Weber, UT – Fujifilm X-T30
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All Aboard Boy – Ogden, UT – Fujifilm X-T30 – “Faded Monochrome”
I love the results of my Faded Color recipe, so creating a Faded Monochrome recipe was a natural next step. This film simulation recipe requires the use of the double-exposure feature of the camera. The first exposure is a normal photo, and the second exposure is of something plain white. I’ve tried different things, but for me a 4″ x 6″ plain white index card works well. No need for the second exposure to be in focus. It’s a simple idea that I wish I had thought of earlier. I think I’ve just scratched the surface of what can be created using this technique.
In film photography, you could achieve a similar look by printing with a low-contrast filter. You could also develop the film for low contrast by adjusting any number of things in the lab. You might also get this look by accident if you reused the fixer one too many times. Sometimes underexposed pushed-processed film has a very similar aesthetic. It’s possible for negatives to fade over time, especially if not stored correctly, and that, too, might create a similar look. While “faded” is in the title of this recipe, the look isn’t so much faded as it is low-contrast with “milky” blacks. It works especially well for high-contrast scenes.
Morning Coffee – South Weber, UT – Fujifilm X-T30 – “Faded Monochrome”
To use this recipe, you will create two exposures using the double-exposure feature of your camera. The first exposure is the main image, and the second exposure is of something plain white, such as a 4″ x 6″ plain white index card. There is no need for the second exposure to be in focus. The exposure compensation for the second exposure can vary greatly depending on how bright the white is and how you want the picture to look. You will have to play around with it to figure out what works for you. The good news is that your camera will give you a preview of the finished image and will allow do-overs.
Acros (Acros+Y, Acros+R, Acros+G) Dynamic Range: DR100 Highlight: +4 Shadow: +4 Noise Reduction: -4 Sharpening: +2 Grain Effect: Strong Color Chrome Effect: Strong Toning: 0 (Neutral)
ISO: Auto up to ISO 12800
Exposure Compensation: +1/3 to +1 (main exposure), 0 to -2 (second exposure)
Example photographs, all camera-made JPEGs using my Faded Monochrome recipe on a Fujifilm X-T30:
Grey Rose – SLC, UT – Fujifilm X-T30
Grey Lake – East Canyon SP, UT – Fujifilm X-T30
Lake Boat – Willard Bay SP, UT – Fujifilm X-T30
Tree Limbs – SLC, UT – Fujifilm X-T30
Well – SLC, UT – Fujifilm X-T30
Don’t Give – SLC, UT – Fujifilm X-T30
Urban Escape – SLC, UT – Fujifilm X-T30
Big Brick Buildings – SLC, UT – Fujifilm X-T30
Center Reflection – SLC, UT – Fujifilm X-T30
Urbanscape Monochrome – SLC, UT – Fujifilm X-T30
Less Is More – SLC, UT – Fujifilm X-T30
Urban Leaves – SLC, UT – Fujifilm X-T30
Small Flower In The Big City – SLC, UT – Fujifilm X-T30
Park Bench – Ogden, UT – Fujifilm X-T30
Joshua Monochrome – Ogden, UT – Fujifilm X-T30
Happy Girl – Ogden, UT – Fujifilm X-T30
Children On A Park Slide – Ogden, UT – Fujifilm X-T30
Instax Photographer – SLC, UT – Fujifilm X-T30
Joy In The City – SLC, UT – Fujifilm X-T30
Bank Time – SLC, UT – Fujifilm X-T30
Water On The Glass – SLC, UT – Fujifilm X-T30
Club – Ogden, UT – Fujifilm X-T30
Stepping By – Ogden, UT – Fujifilm X-T30
Vibes – Ogden, UT – Fujifilm X-T30
Quiet – SLC, UT – Fujifilm X-T30
Urban Cloud – SLC, UT – Fujifilm X-T30
Angles & Lines – SLC, UT – Fujifilm X-T30
Utah Artist – SLC, UT – Fujifilm X-T30
Treading Lightly – SLC, UT – Fujifilm X-T30
Marlboro Man – SLC, UT – Fujifilm X-T30
Come Inside – SLC, UT – Fujifilm X-T30
Mono Chrome – SLC, UT – Fujifilm X-T30
Stop In Ogden – Ogden, UT – Fujifilm X-T30
UTA Station – Layton, UT – Fujifilm X-T30
Train Ride Abstract – Kaysville, UT – Fujifilm X-T30
Empty Train Seats – Farmington, UT – Fujifilm X-T30
Train Passenger – Roy, UT – Fujifilm X-T30
Passenger Window – Layton, UT – Fujifilm X-T30
Train 19 – Farmington, UT – Fujifilm X-T30
UTA 19 – Ogden, UT – Fujifilm X-T30
Train Host – Ogden, UT – Fujifilm X-T30
Hungry Traveler – Ogden, UT – Fujifilm X-T30
Caboose Steps Monochrome – Ogden, UT – Fujifilm X-T30
Caboose Display – Ogden, UT – Fujifilm X-T30
Industrial Sunlight – Ogden, UT – Fujifilm X-T30
Ladder Climb – Ogden, UT – Fujifilm X-T30
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I get asked frequently to create different film simulation recipes, and I always put some consideration into those requests. I don’t get around to attempting all of them, although I do attempt many, but I at least think about how I might create a certain look. Even if I do attempt it, I’m not usually successful, as it just doesn’t look right quite often, so I go back to the drawing board when time and inspiration allows. On rare occasions I’m able to create a certain aesthetic quickly and easily. This recipe falls into the latter category.
I have to be honest, when I was asked to create a recipe to mimic the look of Fujicolor 100 Industrial film, I had never heard of it and knew absolutely nothing about it. I had to do some research on this film, and I found lots of good and helpful information. As it turns out, Fujicolor 100 Industrial is a negative film only sold in bulk in Japan, although you can purchase it from some camera stores who sell it individually. It’s actually re-branded Fujicolor 100, well, the Japanese version of Fujicolor 100, which is not the same film as Fujicolor 100 in America, although they’re similar to each other. Something interesting about Fujicolor 100 Industrial (and Fujicolor 100 Japan, which is the same film) is that it has a Tungsten emulsion (with a Kelvin temperature of 3200), but it is daylight balanced because the dye colors have been shifted to account for the cooler temperature. Weird, huh? Well, it turns out that you can do the same thing in your Fujifilm camera using white balance shift, and it creates a similar aesthetic.
Backyard Daisy – South Weber, UT – Fujifilm X-T30 – “Fujicolor 100 Industrial”
I find that this recipe is especially good in higher-contrast scenes, although it can still deliver interesting results in lower-contrast scenes. It’s a milder recipe that doesn’t have a lot of saturation, although sometimes just the right amount, and it handles shadows and highlights well. It creates lovely pictures that are soft and not bold. It needs the right subject and light to stand out, but it can look really great in the right situations. It definitely has a low-ISO print-film quality to it, and resembles Fujicolor 100 Industrial film surprisingly well.
PRO Neg. Std Dynamic Range: DR400 Highlight: +1 Shadow: +2 Color: +1 Color Chrome Effect: Weak
Sharpening: +2
Noise Reduction: -4
Grain Effect: Weak White Balance: 3200K, +8 Red & -8 Blue
ISO: Auto up to ISO 6400 Exposure Compensation: +1/3 to +2/3 (typically)
Sample photographs, all camera-made JPEGs, captured with a Fujifilm X-T30 using this Fujicolor 100 Industrial recipe:
US Bike Lane – SLC, UT – Fujifilm X-T30
Twilight Temple – SLC, UT – Fujifilm X-T30
Broadway Me – SLC, UT – Fujifilm X-T30
Three Stories – SLC, UT – Fujifilm X-T30
Boston Building Reflection – SLC, UT – Fujifilm X-T30
The Corporate Ladder – SLC, UT – Fujifilm X-T30
Their Bank – SLC, UT – Fujifilm X-T30
Urban Sunset – SLC, UT – Fujifilm X-T30
Partial Loaf – SLC, UT – Fujifilm X-T30
Purple Zebra – SLC, UT – Fujifilm X-T30
Leaves In The Sky – South Weber, UT – Fujifilm X-T30
Partly Cloudy – South Weber, UT – Fujifilm X-T30
Rosebud Sky – South Weber, UT – Fujifilm X-T30
In Case of Fire – South Weber, UT – Fujifilm X-T30
Watching Television – South Weber, UT – Fujifilm X-T30
Little Feet – South Weber, UT – Fujifilm X-T30
Donut Eater – South Weber, UT – Fujifilm X-T30
Plastic Hand – SLC, UT – Fujifilm X-T30
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Fujifilm just significantly dropped the price on the X-T2, which is an excellent camera that was their flagship model not very long ago. At the current price, it’s the best Fujifilm X bargain right now. You can get a weather-sealed body for only $100 more than the non-weather-sealed X-T20. Amazing!
Fujifilm just officially announced the highly anticipated 100-megapixel medium-format GFX100. This camera is most certainly a beast designed for professional photographers who need a beast camera. It has it all, including ridiculous resolution that’s far beyond what the majority of people need. It’s an all-around amazing camera, as it should be for the $10,000 price tag. While that price might seem high, it’s actually not when you consider that a 100-megapixel Hasselblad costs nearly 50 thousand dollars and a 100-megapixel Phase One costs around 30 thousand. The Fujifilm GFX100 undercuts those by a significant amount, an understatement if there ever was one. Heck, I remember when the 40-megapixel Pentax 645D was introduced, and it was celebrated as the cheapest medium-format digital camera ever made, with an MSRP of “only” $10,000. While the GFX100 is by far the most expensive camera in Fujifilm’s lineup, it’s actually quite a bargain for those who can afford it.
This new camera is clearly intended for a small number of photographers. For the vast majority of people, the GFX100 is extreme overkill. There are people that do need this tool, and those people know who they are. Fujifilm hopes to entice them to buy into their system. My guess is that Fujifilm won’t make much, if any, money from this camera, but they’re hoping to sell some lenses, which is where the real profit margin is. The question is whether or not this camera is worth the extra price over the GFX50R or GFX50S, which can be had for much less and are nearly as good. I personally would love to have any one of them, but they’re well outside of my budget.
Something interesting that I wanted to share (that’s remotely relating to all this) is this last weekend I saw some beautiful large prints of amazing landscapes, such as the Grand Tetons, Yellowstone and Glacier. Many of these prints were 2′ x 3′, some were a little larger. They looked great! When I stepped close to examine the pictures, say within 18″ of the prints, they were noticeably soft. From three feet away they looked amazing. Most people wouldn’t take the close look that I did and they’d never notice the softness. I have no idea what gear was used to capture those pictures. What I do know is that images captured from cameras like the Fujifilm X-T30 wouldn’t even be soft at those print sizes, unless I used a lesser lens or poor techniques. It makes me wonder how many people really need 50-megapixels of resolution, let alone 100-megapixels. Surely there are some who make wall-sized prints that will be viewed closely and they need a camera like the GFX100, but by far most do not. Most photographers would get pretty much the same exact results from the Fujifilm X-H1, since they’ll never print large enough to take advantage of the extremely high resolution sensor. Still, different people have different wants and needs, and this camera will fulfill that nicely for that small group. If you are one of those in that group, June 27th, which is when the GFX100 will be released, will be a great day for you.
What would be my ultimate Fujifilm X camera and lens kit? What would I have in my camera bag if money was no issue? I have been asked these types of questions several times, and I don’t really like to answer them because, like many of you, my resources are limited and I’ll probably never own an “ultimate” kit. Some of you might have the money, so perhaps you’re trying to assemble such a thing and are seeking advice, so this will be my attempt to answer the question of the ultimate Fujifilm X kit. Hopefully my opinion will be useful to someone.
I’m going to limit this to APS-C Fujifilm X, and not the medium-format GFX system. In all honesty, if I were independently wealthy, I’d likely own a GFX camera. That would be amazing! My best hope for that, perhaps in five or six years, is to buy one that’s used and is being sold at a bargain basement price. I can always dream, right?
What cameras would be in my bag? Well, probably the Fujifilm X-T3, which is the ultimate X camera right now (I know, an argument could be made that the X-H1 is the top X camera). Later this year the X-Pro3 should be released, and I’d prefer that over the X-T3, but it’s a close call between the two, and since the X-T3 is available right now, that’s the camera that I would own. I would have a backup interchangeable-lens camera, one that’s smaller and lighter and better for walk-around and travel, and that would be the Fujifilm X-T30, which is a camera I already have, so I suppose that’s a start to my ultimate kit. I would also own a compact fixed-lens camera for travel and street photography, and that would be the Fujifilm X100F, which is an incredible camera for that purpose. The X100F is not essential, but it is an extraordinarily enjoyable camera, and so it would definitely be in my ultimate bag.
All of those cameras and lenses are going to add up to a lot of money. This would not be a cheap kit! Of course, that’s the point, as this would be a money-is-no-object situation. Most people, myself included, are on a tight budget with limited resources. So I will give alternative suggestions for a more budget-friendly ultimate kit. Maybe this will be helpful to some of you.
If you still want an “ultimate” Fujifilm X kit but the suggestions above are out of budget, I would choose instead the Fujifilm X-T2 and Fujifilm X-T20, which will save you several hundred dollars right off the bat, and will get you essentially the same exact thing. If that’s still too much, get the X-T20 and the Fujifilm X-T100, or skip having a second camera body altogether. You could skip the X100F and purchase the Fujinon 23mm f/2 lens and get similar results to that camera without actually owning it, which will save some money. Alternatively, if you really want the X100F, buy one used or get the X100T, or even choose the Fujifilm XF10 instead.
For lenses, you could save money by choosing the Fujinon 16mm f/2.8 lens over the 16mm f/1.4, and the Fujinon 60mm f/2.4 instead of the 56mm f/1.2. Or just skip those lenses altogether, and get the Fujinon 16-55mm f/2.8, which would cover those focal lengths pretty well. If you chose carefully, you could have an almost-as-good ultimate kit for probably half the price as my suggested ultimate kit. There are certainly options for those on a small budget. And don’t be afraid to buy a lens here-and-there when you can, slowly building your glass collection. Nobody says you have to buy everything all at once.
There are some great deals on a few Fujifilm cameras currently at Amazon. As you may know, I’m an Amazon affiliate partner, which means that I get a small kickback from Amazon whenever you order something through my links. Nobody pays me to write the content you find on this blog, such as my film simulation recipes or my review of the Fujifilm X-T30. If you find these articles helpful and you want to support this website, ordering something that you were already intending to purchase using my links is a great way to be a part of this. I would never want to pressure anyone into buying anything, so please only order something if you were already planning to do it. I hope that making you aware of these sales is a service to some of you.
The X-T30 lens bundle deal is pretty nice. I ordered mine with the 35mm f/2 (review coming soon). The X-T2 body for only $900 and the X-T20 body for only $500 are just incredible bargains! If you were considering a new body, I’d go with one of those because you’re not going to find a better value. I have no idea how long these deals will last.
Is this camera for me? That’s the number one question those searching the web for camera reviews are hoping to find the answer to. Usually you wait until the bottom of the article to find the reviewer’s opinion. To save you time, I’m placing my answer to the question right at the top: the Fujifilm X-T30 is indeed the camera for you! Or, really, any of the X-T00 series, which also include the X-T10 and X-T20. These cameras combine the right design, features, usability, image quality, build quality, size, weight and price to be appealing to anyone, no matter your skill level. This could be a great option for a beginner’s first interchangeable-lens camera, and this could be a great option for a pro’s take-anywhere camera or backup body. This series is the Goldilocks of cameras, and it is no wonder that it’s Fujifilm’s best-selling line. Now that I’ve got that out of the way, let’s move onto the rest of the review.
The Fujifilm X-T30 is a mirrorless interchangeable-lens camera with design inspiration from classic film-era SLRs. It has an APS-C sized 26-megapixel X-Trans IV sensor. The advantage of X-Trans, aside from not being susceptible to moire pattern distortion, is that it contains more green-light sensitive sensor elements (which is where luminosity information comes from) than an equivalent Bayer-pattern sensor with the same pixel count. Because of this, X-Trans has a slightly higher apparent resolution, a larger dynamic range, and better high-ISO performance than a Bayer-pattern sensor. Of course, “slightly” is the key word in that last sentence, but every bit counts, so it’s worth mentioning for those who might not know. X-Trans takes more processing power, and the big challenge that Fujifilm has faced is heat dispersion. This new X-Trans IV sensor, which is back-side illuminated, runs cooler, and that allows Fujifilm to crank up the speed of the camera. Quickness is the advantage the new sensor.
I want to make my point-of-view for this review clear, which is probably a little different than most. I’m an experienced Fujifilm user and a JPEG shooter. That’s the lens from which my opinions are coming through. There are things about the X-T30 that other reviewers might focus on that I won’t, and there are things that I will talk about that might not get much attention from others. You can expect this review to be a little different than many others that you’ll find on the internet. Hopefully this will be useful to some of you, as I suspect there are others with a similar point-of-view as myself.
This last weekend I went to Moab, Utah, and made almost one thousand exposures with the Fujifilm X-T30. I kept about 25% of the pictures. The time it took me to post-process the trip, from reviewing to editing to transferring to storing the images, was less than three hours total. That’s actually quite amazing, and it’s all thanks to Fujifilm’s wonderful in-camera JPEG engine. Before using Fujifilm cameras, I used Sony and Nikon for a little while and shot RAW. With those cameras it would have taken me a minimum of eight hours to finish post-processing that amount of exposures. Five years ago I had a Sigma Merrill camera that would have taken me eight hours to finish only half of the exposures! I’m thrilled with all of the time that I save by using Fujifilm and shooting JPEGs.
Red Mesa – Castle Valley, UT – Fujifilm X-T30
Red Rock Castles – Castle Valley, UT – Fujifilm X-T30
One thing that I have noticed with the X-T30, and I have not seen much discussion on this, is the improved sharpening that the camera is applying to JPEGs. Fujifilm has programmed a better sharpening algorithm into the X-T30 than the X-T20. On X-Trans III cameras, such as the X100F, X-Pro2 and X-T20, all of which I have used, I felt that +2 was the highest Sharpness setting that one should use, and even at +2 there were occasionally artifacts and weird side-effects of over sharpening. Eventually I settled on 0 as my standard Sharpness setting for those cameras. On the X-T30, which has the new X-Trans IV sensor and processor, I can go all the way to +4 Sharpness, and I’m not experiencing artifacts or weird side-effects. Besides that, the amount of sharpening that’s being applied at each setting is slightly more heavy-handed on X-Trans IV than on X-Trans III. For example, at +1, it’s noticeable to my eyes that the X-T30 is applying a slightly stronger amount of sharpening to the file than the X-T20, yet without negative consequence. The outcome is a crisper, more detailed picture. I wonder if this stems from the collaboration between Fujifilm and Phase One.
Between the improved sharpening and the extra 2-megapixels of resolution, JPEGs from the X-T30 appear more crisp, rich and detailed than those from the X-T20. There’s a noticeable difference. I saw it but didn’t say anything about it to my wife (who is the actual owner of the X-T20), and when I showed her some of the pictures that I had captured with the X-T30, she spotted it pretty quickly and commented, “This is more clear than what I get with my camera, like I’m actually there!” The out-of-camera JPEGs from the X-T30 remind me of post-processed RAW files from a Sigma Merrill captured at low ISO, which is saying a lot if you know anything about the Sigma Merrill cameras. I would bet that the JPEGs from the X-T30 can hold their own against post-processed RAW files from older full-frame cameras like the Nikon D610, or even newer full-frame cameras like the Canon 5D IV. I’m not going to do any side-by-side comparisons, but simply state that I believe the X-T30 delivers fantastic JPEGs that go beyond anything from any other APS-C camera (except for the X-T3, which it is equal to since they share the same sensor and processor).
Horse & Girl – South Weber, UT – Fujifilm X-T30
Massive crop from the above photo. I printed this crop and it looks surprisingly good.
So far I have only made a few prints from X-T30 exposures, but I do believe that 24″ x 36″ prints will look great even when viewed up close, and 40″ x 60″ prints will look good at a normal viewing distance but will show a some softness and pixelation when viewed up close. It seems like, if you use ISO 800 or less, set Sharpness to +4, set Noise Reduction to -4, use a sharp prime lens and don’t crop, the sky is the limit for printing sizes. The photographs from the X-T30 look great even when you pixel-peep.
While Fujifilm has clearly improved sharpening on the X-T30, I don’t feel the same about noise reduction, specifically at the higher ISOs. At ISO 3200 and below there’s no difference in noise between the X-T20 and X-T30, but above that there is, and I prefer the X-T20 when it comes to high-ISO color photographs (for black-and-white it doesn’t matter). In fact, I don’t really like ISO 12800 for color images on the X-T30 (which I found usable on the X-T20) as there are blotchy colors that just don’t look good. However, for grainy black-and-white photographs I find that ISO 25600 is good on the X-T30, which I didn’t find usable on the X-T20. My opinion is that high-ISO has worsened by one stop on the X-T30 for color photographs and improved by one stop for black-and-white.
Bolsey Brownie – South Weber, UT – Fujifilm X-T30 – ISO 25600
Church Seats Empty – Layton, UT – Fujifilm X-T30 – ISO 12800
The X-T30 has several new JPEG features, including D-Range Priority, B&W toning, Eterna Film Simulation and Color Chrome Effect. They are all good tools for better achieving your desired look in-camera. I don’t know if any of them are particularly useful to the RAW shooter, but for the JPEG shooter you might appreciate these new features. I will give a short synopsis of each, but you can click on the links above for a more detailed explanation.
D-Range Priority is essentially a step beyond DR400. It produces a flat image to help combat high contrast scenes. The options are Weak, which might remind you of DR400 with both Shadow and Highlight set to -2, and Strong, which is appropriately titled. In very harsh lighting situations, this allows you to maximize the dynamic range of the sensor for your JPEGs beyond anything Fujifilm has offered before. It works, but it requires the right situation to work well. I’ve actually used it more than I thought I would, but it is definitely an every-once-in-a-while type thing.
Green Tree On Red Cliff – Dead Horse Point SP, UT – Fujifilm X-T30 – D-Range Priority Weak – captured in harsh midday light.
Clouds Over Canyonlands – Dead Horse Point SP, UT – Fujifilm X-T30 – toned +1 warm
The ability to tone your black-and-white images, either warm or cool, is a highly welcomed feature. I love it! It’s something I suggested awhile back, and now Fujifilm has included it on the X-T30. This is one of my favorite new features of the camera!
Eterna is the lowest saturated and lowest contrast color film simulation option on the X-T30. It’s the antithesis of Velvia. It has a lovely quality to it, but requires the right subject and light to be effective. I’m looking forward to experimenting more with it.
Eating Crackers – South Ogden, UT – Fujifilm X-T30 – Eterna
North Window Arch – Arches NP, UT – Fujifilm X-T30 – Color Chrome Effect Strong
Color Chrome Effect, which can be enabled for any film simulation, deepens the shade of bright colors so as to retain tonality. It’s intended for highly saturated scenes and pairs well with Velvia. There are two options, Weak and Strong, and they’re both pretty subtle, especially Weak. It’s a neat trick, but it’s not a big difference maker for many photographs.
For those who use camera-made JPEGs, the X-T30 is a better camera than the X-T20. Between the improved sharpening and the new features, I appreciate the results more on this camera than the old model. It’s not a night-and-day difference, but there is indeed a difference! Since the image is whats important, I’m thrilled with the upgrade. Fujifilm already had the best JPEG engine in the business with X-Trans III, and X-Trans IV is even better.
Dead Desert Tree – Moab, UT – Fujifilm X-T30
Rock Castles – Castle Valley, UT – Fujifilm X-T30
There are, of course, other changes, some of which are improvements and some are not. The focus joystick on the X-T30 is nice sometimes, but so is the D-Pad on the X-T20. I’m still undecided which I prefer, but I’m leaning towards the D-Pad. The best setup is both a joystick and D-Pad, but you’ll have to go with a higher-end model, such as the X-T3, to get that. The location of the Q button, which is now on the thumb grip, is also nice sometimes, and not so nice other times. I have accidentally pushed it more than I can count, but on the flip side it’s easy to find without looking.
What everyone has been talking about regarding the X-T30 is focus speed. It’s fast! It’s much quicker in dim-light situations than the X-T20. Fujifilm has improved focus tracking and facial recognition, as well. The X-T30 is undoubtedly better at auto-focus, but I never found the X-T20 to be lacking in this department. If your subject or style requires super quick auto-focusing, the X-T30 is the camera for you. If not, then the improved auto-focusing is more gee-whiz than anything that’s especially practical.
Perhaps the biggest difference between the X-T30 and X-T20 is video capability and quality. The X-T30 is a highly capable video camera that can be used by serious videographers. I’m not a video guy myself, so this upgrade doesn’t matter much to me, but for those who might use this camera for video, it’s a pretty big deal. If that’s you, you will definitely want to choose the X-T30 over the X-T20. I made a short test video just to demonstrate the quality.
There’s a lot more that I could talk about. I could discuss all of the different menu changes. I could give a rundown of everything on the stat sheet. I could add some graphs that show this or that. However, that’s not my style, so I won’t bore you. I want to give you my impressions of actually using the camera. In real world use, the Fujifilm X-T30 is an impressive little camera. Is it as good as the X-T3? No, but it’s not very far from it, and yet in a smaller, lighter and less expensive package. Is it better than the X-T20? Yes, in most regards, it is better, but is it worth the upgrade? If you already own an X-T20, unless you just need the improved video or auto-focus capabilities, I would not recommend upgrading. Use the money for a new lens or a photographic adventure instead. Are you trying to decide between the X-T20 and X-T30? If you rely on camera-made JPEGs, need super fast auto-focus, or shoot a lot of video, the X-T30 is the camera to get, otherwise save yourself a little money and buy the nearly as good X-T20.
Desert River – Dead Horse Point SP, UT – Fujifilm X-T30
Water & Stone – Moab, UT – Fujifilm X-T30
To conclude, the Fujifilm X-T30 is a rare Goldilocks camera that anyone could be happy using. It’s not perfect, as no camera is, but it is very good. It has a lot of attractive features and delivers beautiful images. It’s a great example of just how far camera technology has come! The X-T30 has a very reasonable MSRP of $900 for the camera body. I have no doubt that it will be successful for Fujifilm, just as the X-T10 and X-T20 were before it. If you decide to buy the X-T30, I’m sure you’ll be quite happy with it. You can purchase the Fujifilm X-T30 from Amazon by clicking here, which helps to support this website. I hope that you found something in this review that has been useful to your camera purchase decision.
Below are example photographs, all camera-made JPEGs using the Fujifilm X-T30.
Color
Balance Rock Evening – Arches NP, UT – Fujifilm X-T30
Castles To The Sky – Castle Valley, UT – Fujifilm X-T30
Red Hill – Castle Valley, UT – Fujifilm X-T30
River Colors – Moab, UT – Fujifilm X-T30
Fresh Neighborhood Snow – South Weber, UT – Fujifilm X-T30
Snowfall In Downtown Park City – Park City, UT – Fujifilm X-T30
Castle Spire – Castle Valley, UT – Fujifilm X-T30
Rock Balanced – Arches NP, UT – Fujifilm X-T30
B&W
Monochrome Mesa – Castle Valley, UT – Fujifilm X-T30
Two Pots – Layton, UT – Fujifilm X-T30
Collecting Rain – Layton, UT – Fujifilm X-T30
Piano Wire – Layton, UT – Fujifilm X-T30
Microwave – Moab, UT – Fujifilm X-T30
It’s Lit – Layton, UT – Fujifilm X-T30
Storm Beyond The Frozen Lake – Echo Lake, UT – Fujifilm X-T30
White Tree – Moab, UT – Fujifilm X-T30
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Something that Fujifilm introduced on the X-T3 and included on the X-T30 (and is also found on the GFX line) is Color Chrome Effect. This is not a new film simulation, but an effect that can be added to any film simulation. What exactly is this new feature? How does it change your photos?
The inspiration for Color Chrome Effect came from one of Fujifilm’s films: Fortia 50. Fortia was a short-lived color reversal (slide) film that was basically Velvia on steroids. It had more saturation and more contrast than Velvia 50, which is saying a lot because Velvia is known for its saturation and contrast. What the engineers at Fujifilm did to create Fortia was deepen the color shades so as to retain tonality in highly saturated areas. That’s essentially what Color Chrome Effect does.
Take a look at these pictures to see how Color Chrome Effect changes the image:
Color Chrome Effect Off
Color Chrome Effect Weak
Color Chrome Effect Strong
I don’t think that Color Chrome Effect is actually adding saturation or contrast (if it is, it’s only a little), but by deepening the colors and retaining color gradation, it appears to be doing just that. It’s a neat trick, especially when you have bright colors in a scene. It’s definitely useful, and I find it pairs with the Velvia film simulation particularly well. I like to also use it with Acros+R when shooting landscapes with a blue sky.
There are two Color Chrome Effect options: Weak and Strong. I like Strong more, but occasionally it is too strong, so I will go with Weak instead. I find that Weak looks nice with Classic Chrome, and so I have been using it with that film simulation. Each picture and shooting situation should be looked at individually to determine if Color Chrome Effect will benefit the photograph, and if Weak or Strong is the better choice.
While Color Chrome Effect is a slick feature, it’s not a game-changer. It’s not something that I imagine I will use with every image, but more when the situation calls for it. And perhaps the beauty of this effect is the subtle way it changes a picture. There’s not a dramatic difference between Off and Strong, let alone Off and Weak or Weak and Strong. I appreciate that. I’m still trying to decide how Color Chrome Effect might change any of my film simulation recipes. Once I figure that out I will let you know.
Below are some photographs I captured using Color Chrome Effect:
Snowfall In Downtown Park City – Park City, UT – Fujifilm X-T30
Red Mesa – Castle Valley, UT – Fujifilm X-T30
Red Hill – Castle Valley, UT – Fujifilm X-T30
Balance Rock Evening – Arches NP, UT – Fujifilm X-T30
North Window Arch – Arches NP, UT – Fujifilm X-T30
Rock Castles – Castle Valley, UT – Fujifilm X-T30
Monochrome Mesa – Castle Valley, UT – Fujifilm X-T30
One great new feature found on the Fujifilm X-T30, which first appeared on the X-T3, is the ability to tone black-and-white photographs in-camera, either warm or cool. Back in the days of film, in the darkroom you would dip your prints into certain chemicals to tone them. You could make them warm or cool or any number of different colors, including split toning, depending on the exact process and chemicals. I’m glad that Fujifilm has finally created the option to tone black-and-white photographs in-camera.
The reason you might want to tone a photograph is to add emotion to it. A warm image will give a different feel than a cool image. It’s part of the nonverbal communication of the photograph. In the days of film there may have been other benefits, such as archival, but that won’t apply to a digital image. I used sepia quite frequently myself, both for the warm tone and the archival benefit.
The X-T30 has the option to tone from +1 through +9 for warm, and -1 through -9 for cool, with 0 being not toned. I find that +9 and -9 are both much too much, and that +5 and -5 are the limits for my tastes. I think that plus or minus one is often enough, and plus or minus two is more than plenty for most pictures. Subtlety is often preferred when it comes to black-and-white toning. Below is an example of +5, 0, and -5:
Toned +5 (warm)
Set to 0 (not toned)
Toned at -5 (cool)
It’s easy to see how toning an image changes how it feels. It’s also easy to see that plus or minus five is quite pronounced, and you can imagine how going beyond that would be even more so. My opinion is that the beauty of the toning that Fujifilm offers on the X-T30 can be found in the weaker application of it, such as plus or minus two or less. But everyone has different tastes, so you might prefer different settings than me.
Below are a few more examples of toned black-and-white photographs that I captured with the X-T30.
Snow Falling Gently On The Mountain – South Weber, UT – Fujifilm X-T30
Wasatch Rain – South Weber, UT – Fujifilm X-T30
Storm Beyond The Frozen Lake – Echo Lake, UT – Fujifilm X-T30
Piano Wire – Layton, UT – Fujifilm X-T30
Filmed In Black & White – South Weber, UT – Fujifilm X-T30
The X-T30 has Fujifilm’s latest film simulation: Eterna. The only other cameras that have Eterna are the X-H1 and the X-T3. This film simulation mimics the look of actual Eterna film, which was a motion picture film that also had a very limited run for still photography. You’ve likely seen movies and television shows that were captured on Eterna and just didn’t know it. I’ve never shot this film myself, so I have no personal experience with it.
I was quite excited to try the Eterna film simulation. It is the lowest contrast and lowest saturated color film simulation that Fujifilm offers, kind of the antithesis of Velvia. It definitely has a cinematic quality to it. It makes lovely pictures that have a softer feel, but I think it requires the right lighting and the right subject to really work. Below you’ll find a few images that I created using the Eterna film simulation. At some point, once I’ve played around with it more, I’ll make a film simulation recipe that uses Eterna.
Johanna Eating A Cracker – South Ogden, UT – Fujifilm X-T30 – Eterna
What Do You Want? – Layton, UT – Fujifim X-T30 – Eterna
Empty Church Pews – Layton, UT – Fujifilm X-T30 – Eterna
Last year I made an Eterna film simulation recipe, but one that doesn’t use Eterna. Instead, it uses PRO Neg. Std, and it’s designed for X-Trans III cameras that don’t have Eterna. It’s “Eterna” for those who don’t have Eterna. It was a guess, since I had not used the actual film or the film simulation, but had only seen some samples online. Now that I’ve had a chance to use the Eterna Film Simulation, I can say that it was close but not quite right. Below you’ll find my updated faux “Eterna” film simulation recipe:
PRO Neg. STD
Dynamic Range: DR400
Hightlight: +2
Shadow: -2
Color: -3
Noise Reduction: -4
Sharpening: 0
Grain Effect: Weak
White Balance: Auto, 0 Red and 0 Blue
ISO: Auto up to ISO 6400
Exposure Compensation: +1/3 to +2/3
Here’s a comparison of real Eterna and fake Eterna:
Eterna Film Simulation
Faux “Eterna” using PRO Neg. Std
I debated about the Highlight setting. I feel that +2 is too much but +1 is not enough (if only there was a +1.5 option). I went with the brighter option, but +1 is a legitimate choice, so you’ll have to decide which you like better. I also debated on the Color setting, as -3 is almost not saturated enough, but I felt that -2 was too saturated, so there’s another choice that you’ll have to make. Another thing I went back and forth on was the White Balance Shift, as I think -1 Blue or even +1 Red and -1 Blue could be justified, so there’s another thing to consider. There are different settings that can be fine-tuned to taste, but I think overall this is pretty close to actual Eterna for those who don’t have Eterna.
My brand-new Fujifilm X-T30 showed up at the door yesterday evening, a whole day early. That was a pleasant surprise! I haven’t had a chance to use it a lot yet, but I have made some exposures and have some quick impressions that I wanted to give ahead of the full review and host of other articles that will begin to appear in the coming weeks and months. I know that some of you are interested in this camera and are eager to learn more about it.
The first thing that I noticed, which is the only real change to the body, is the focus joystick. This has been well-publicized and I don’t want to talk too much about it now, but I will say that there are both positives and negatives to this setup. I don’t love it or hate it. It is what it is, I guess. I know that I’ll get used to it quickly and I won’t even think about it anymore. I did want to mention that the placement of the Q menu button on the thumb grip, which is similar to how the X-E3 is designed, is a bit frustrating, as I have accidentally pressed it a number of times already.
I have not yet used the X-T30 for video, but between the impressive stat-sheet and extended menu options, it is clear that Fujifilm designed this camera to be a more serious option for videography. If you do a lot of video, the X-T30 is clearly an upgrade over the X-T20.
Warm Light On A Cold Mountain – South Weber, UT – Fujifilm X-T30
I wasn’t anticipating being overly impressed with the improved auto-focus system because I never found the X-T20 to be lacking in this area. It was plenty sufficient for my photography. However, the X-T30 is noticeably faster and tracks moving objects better, in the small tests that I have put it through so far. There’s a definitely a difference, and if you need fast auto-focus, the X-T30 is the camera you want to get. I would say that all-around the new camera is snappier than its predecessor.
If you shoot RAW, Fujifilm included several new features that won’t matter to you whatsoever. But if you shoot JPEG, these new features will help you get the polished look you want right out of camera. One is Color Chrome Effect, which I’ve been impressed with right from the start. It deepens colors and makes them more vibrant. It’s something that I want to play around with more, and it might be a feature that I use routinely. Another is toning black-and-white images, making them either warm or cool. I really appreciate this new addition and I’m glad that Fujifilm included it on the X-T30.
There are a number of other new things. The camera’s menu is noticeably longer. There’s a lot that I have yet to try. Heck, I’m still trying to set up the camera! While the outside of the X-T30 is quite similar to the X-T20, the inside has a lot of additions. I’m impressed with what I’ve seen so far. This new model is an upgrade over the previous one, no doubt about it, but if you don’t shoot video, don’t require a super fast auto-focus system, and don’t rely on camera-made JPEGs, there’s not a lot here to justify choosing this camera over the X-T20. For me and my photography, I can immediately see the benefit of the X-T30. It’s a darn good camera, and I’ve only just begun to use it.
Snow In The Bowl – South Weber, UT – Fujifilm X-T30
Strongs Peak In The Distance – South Weber, UT – Fujifilm X-T30
Surviving Succulent – South Weber, UT – Fujifilm X-T30
Neon Red – Riverdale, UT – Fujifilm X-T30
Wasatch Rain – South Weber, UT – Fujifilm X-T30
Wasatch Front In March – South Weber, UT – Fujifilm X-T30
I received an email last night that my Fujifilm X-T30 is on its way! The tracking information states that it will arrive sometime on Friday. Needless to say, I’m excited! You can expect many articles in the coming weeks and months regarding this camera and the X-Trans IV sensor.
If you didn’t pre-order, you might have a hard time getting this camera right away. Amazon has a limited quantity left, and they’re currently on back-order for the prime lens bundles (which, by the way, I understand that this great discount won’t last much longer). The charcoal version will be released on June 30.
A few days ago my wife and I visited one of our favorite places nearby: Antelope Island State Park. I captured a bunch of images, but one frame (and only one frame) showed something strange. I’m not sure what it is. There are some unusual dark vertical lines on the right side of the frame. Take a look at the photo above to see for yourself.
The camera I used was a Fujifilm X-T20 and the lens was the Fujinon 50-230mm zoom. It was near sunset and the hill at the bottom-right is hiding the low sun. There were some distant clouds and plenty of haze. Below are a few other pictures captured near this same location and near this same time.
Distant Sailboats – Antelope Island SP, UT – Fujifilm X-T20
Frary Evening – Antelope Island SP, UT – Fujifilm X-T20
Rocky Bluff – Antelope Island SP, UT – Fujifilm X-T20
Buffalo Point Puddle – Antelope Island SP, UT – Fujifilm X-T20
Citrus Sky – Antelope Island SP, UT – Fujifilm X-T20
Low Sun Over The Salt Lake – Antelope Island SP, UT – Fujifilm X-T20
Afterglow – Antelope Island SP, UT – Fujifilm X-T20
Vibrant Salt Lake Glow – Antelope Island SP, UT – Fujifilm X-T20
The weird lines only appear in that one frame, and I didn’t notice them when I made the exposure. It wasn’t until later when reviewing the pictures at home that I noticed the lines. I’m really unsure what it is. Was it how the light from the setting sun was interacting with the haze? Is it something with the camera’s sensor? The shutter? I guess I’m wondering if this was a natural phenomenon or a gear issue, and if it was a gear issue, what specifically happened to cause this.
Here’s a closer look at it:
What do you think it is: natural or gear, and if gear, what caused it? Have you ever seen something like this in your photographs? I’d love to get your feedback!
I doubt that anyone with any position of influence within the Fujifilm corporation reads Fuji X Weekly, but I’m writing this open letter to Fujifilm on the off chance that someone who can enact change within the company will find and read this. There is one piece of feedback regarding Fujifilm cameras that I have received far more than anything else. By “far more” I mean probably 10-1 this one thing verses everything else combined. It’s a landslide! I feel that perhaps the only reason Fujifilm has not addressed it is because they are unaware that there is a big demand from their users for this thing.
What is this thing that I’m talking about? The ability to save white balance shifts with each custom preset in the Q menu. If you select Auto-White-Balance for each of your presets, whatever the one white balance shift that’s been selected is applied to every preset. But, if your presets are anything like my film simulation recipes, each one likely requires a different white balance shift. Every time that you change to a different custom setting, you have to also go into the menu and change the white balance shift. It adds extra steps and button presses. You should be able to save a unique white balance shift with each preset in the Q menu.
Please, Fujifilm, update your cameras to allow each custom preset to have a white balance shift saved with it. This would save your customers time and frustration and otherwise make using Fujifilm X cameras a more enjoyable experience. It’s a little thing, but it would be a big deal to a lot of people. It really doesn’t seem like it would take much effort to update the firmware to allow this. It should be a fairly simple software change that your programmers could handle with relative ease.
I really hope that someone at Fujifilm reads this and takes these words into consideration. I’ve been saying this for probably a year-and-a-half or more, and I’ve not been heard. Perhaps this open letter will be more visible. The reality is that this will likely be unseen by those who could bring about this change, so I’m not holding my breath. But it’s good that I do what I can do, which is use my voice on this blog, to make a long-shot plea to get this one issue fixed. Maybe, just maybe, it will work.
There are some fantastic deals on Fujifilm gear currently at Amazon. For instance, the upcoming X-T30 is currently available for pre-order bundled with one of three f/2 prime lenses for a ridiculously good price. The X-T2 bundled with a vertical power grip is an insanely good price. There are some other great deals, too. Check them out!
I’m an Amazon Affiliate partner. Nobody pays me to write the articles you find on this blog. One way that you can help support Fuji X Weekly, if you were already planning to purchase one of these items through Amazon, if you use my links, I will get a small kickback from Amazon. I appreciate everyone who has already done so!
B&W Film With Colored Filters – South Weber, UT – Fujifilm X-T20
Fujifilm has included on X-Trans III and IV cameras four Acros Film Simulation options: Acros, Acros+Y, Acros+R, and Acros+G. I’ve been asked a few times to explain the differences between these options. On my Acros Film Simulation recipes I never mention which one to use, I only say to use any or all of them, so that has left some confusion on what’s the best choice. Which Acros Film Simulation should you choose?
With real black-and-white film, you can use colored filters to manipulate the shades of grey. Since there are no colors, the film interprets colors between black and white. You can change how the film interprets the color, and what grey you get, by using different filters. Take a look at the graphic below to see an explanation of how different color filters change the grey on black-and-white film.
You cannot use colored filters on your X-Trans camera to achieve this same effect, so Fujifilm has given you three “filter” options for Acros: +Y, which simulates the use of a yellow filter, +R, which simulates the use of a red filter, and +G, which simulates the use of a green filter. You might notice that, in black-and-white film photography, there are more options than you are given on your X-Trans camera, but at least you have some choices.
While these different “filter” Acros options simulate the look of using filters, the actual results aren’t a 100% match. The manipulation of grey is not nearly as pronounced as using colored filters on film, and it’s not exactly the same shift, either. One thing that can help achieve desired results is using the white balance shift in conjunction with the different Acros options. It takes a little extra thought to figure out how adjusting the color balance will change the way the film simulation interprets the color in grey, but it can be worth the effort.
To help you understand what the different Acros Film Simulation options are doing to different colors, I made an image in color and re-processed it in-camera using all four Acros choices. Take a look!
Fujifilm X-T20 – Velvia
Acros
Acros+Y
Acros+R
Acros+G
The differences between the different Acros Film Simulations might not seem immediately obvious, but take a closer look. Notice that the red paint is a little lighter and the blue paint is a little darker in the Acros+R image. However, in the Acros+G image the red paint is darker and the blue paint is lighter. These small manipulations in the shades of grey are what the different Acros options provide.
How do you use this information in a practical way? When should you consider using the different Acros Film Simulations? When would you want to change the shade of grey of a particular color? It’s really difficult to give generalized answers to those questions because what works for one person and one photograph may not work for another. You really must think in grey and consider how contrast will work in an image, and how to best achieve that using the different Acros options.
Monochrome Mountain Majesty – South Weber, UT – Fujifilm X-T20 – Acros+R
A common example of when Acros+R might work well is in landscape photography where the sky is a deep blue. You can turn the sky dark grey or even black, which will create dramatic contrast against clouds or a snow-capped peak. Acros+R will lighten reds, so sometimes in portraits it can lighten a face, but it can make lips blend in, which might be bad. Acros+G, which darkens reds, can sometimes work well for dramatic portraits.
There is a lot to consider when it comes to choosing the most appropriate Acros Film Simulation for a particular circumstance. You have to know what each one will do, and decide what shade of grey you want the different colors to be, in order to make the right selection. There’s no one-size-fits-all answer, but it’s not too hard to figure out with practice. My suggestion is to try them all in different situations, and study the differences closely to better understand what each one does.
With the X-T30 release about three weeks away, I’ve been thinking about what other Fujifilm APS-C cameras might be in the pipeline. I don’t have any inside information, so my guesses should be taken with a large grain of salt. I will speculate what I think might be released in the coming months and years, but please just know that these are simply guesses. I could very well be wrong, as I’ve been wrong before.
In my estimation, sometime in late summer or early fall, Fujifilm will announce the successor to the X100F, which might be called X100V, X110 or X200. I think the X-Pro3 will be announced near the same time, and released sometime before Christmas. Also, don’t be surprised if the X-A6 is released before the end of the year, or perhaps early next year.
I believe in 2020 there will be a number of new Fujifilm X cameras. I’m guessing that first will be the X80, released in the first quarter of the new year. Near the same time will be the X-H2, which will be dubbed “the ultimate APS-C camera” by Fujifilm. In the summer of 2020 the successor to the X-T100 (X-T100S? X-T110? X-T200?) will be released. There might be an X-A20 (think cheaper X-A6) around the same time. I expect that in the fall the successor to the X-E3, perhaps called X-E3s, X-E4, or X-E5, will be announced.
In spring of 2021 I think that the next generation of X-Trans will be announced, and the first camera will be the successor to the X-T3, which might be called X-T4 or X-T5. In the fall the X-T30’s successor will come out, which might be called X-T35, X-T40 or X-T50. And that concludes my guesses for what Fujifilm X cameras are in the pipeline for the coming months and years.
Let me know in the comments what Fujifilm X cameras you think will be the next!
