Photographing with Fujifilm – New York City, NY – Fujifilm X-T4 ES – Aerochrome v2
A little over two years ago Fujifilm stated that they’re working on “wow” products, so I gave my Top 10 suggestions for that in an article entitled 10 “WOW” Products Fujifilm Should Be Making Right Now. I thought it would be fun to revisit the article. Did Fujifilm make any of those suggestions? What “wow” products have they released that didn’t make my list? Which ones should they still pursue?
To recap, my 10 ideas were:
10. Minimalist Model — no rear LCD or video mode 9. 135mm lens — really, any focal length prime in-between 90mm and 200mm 8. A new pancake lens — I suggested 15mm, 23mm, and 40mm as potential options 7. GFX 100R — 100mp successor to the GFX 50R 6. ISOCELL — bring the Fujifilm/Samsung joint technology to the X-series 5. Infrared — I suggested the X-T30 II as the model of choice 4. Digital XPan — a dedicated 65:24 aspect ratio camera 3. X200 — full-frame X100-like camera 2. X80 — successor to the X70 1. Acros-Edition — monochrome-only X100 or X-Pro camera
Fujifilm Photowalk – Ann Arbor, MI – Fujifilm X-T4 ES – Aerochrome v2
How does it look 27 months later? With nearly zero promotion, Fujifilm released the X-T4 ES (“Extended Spectrum”) infrared camera over the summer. It flew completely under the radar! While few own it, whenever I show my X-T4 ES to people, it always gets a strong “wow” reaction. As far as I’m aware, B&H is the only camera store currently selling it, and you have to order either in-person or over the phone—it’s not available online right now. So far, I’ve published two Recipes for the Fujifilm X-T4 ES: Aerochrome v1 and Aerochrome v2. If Fujifilm were to do even a little promotion for this camera and made it easier to buy, it would sell decently well, I’m certain of it. Of my 10 ideas, this is the only one so far that has come to pass.
There are “rumors” circling about potential upcoming gear. I’m not sure what may or may not come, but a few of the items (or similar) in my list have been floated on websites like Fujirumors. Even though only one has become reality, it’s possible that in a year or two more can be checked off (I’m sure that some probably won’t ever happen). My top choices would be a new pancake lens, digital XPan, X200 (perhaps GFX instead of full-frame), X80, and a monochrome-only X100 or X-Pro. It’s hard to know what the future holds, but I do believe several “wow” products are in the works right now (including the GFX Eterna cinema camera that Fujifilm recently teased).
NY Photographer in IR – New York City, NY – Fujifilm X-T4 ES – Aerochrome v2
Of course, the most obvious “wow” product released by Fujifilm is the X100VI, the most in-demand camera by any brand ever. Fujifilm is getting closer to fulfilling all of the preorders and backorders… word on the street is that if you don’t mind the black version, you might be able to get it real soon without much of a wait. Since demand is higher for the silver model, that one will likely require more patience. This camera has the potential to become the most-sold model ever. It will be interesting to see if demand remains high over the next few years—I think it certainly could.
Now it’s your turn. Let me know in the comments which wow product you’d like to see Fujifilm make next! I’m pretty excited for what’s coming down the pike, whatever it might be. I think there will be plenty of upcoming announcements over the next couple of years to get especially excited for.
Fujifilm just announced that they are creating a GFX Eterna cinema camera to be released sometime in 2025.
When I was at Fujifilm’s Create With Us event in Austin back in September, they had a Fujinon Duvo HZK 25-1000mm f/2.8-5.0 Box Lens on display. For those who don’t know, this is a quarter-million-dollar broadcast lens, used for sporting events. The camera attached to the lens was a Sony.
Fujinon lenses are renown in the cinema and broadcast world, but Fujifilm doesn’t have a filmmaking camera. Actually, Harlem Fragments was filmed on an X-H2s. A number of short films and mini documentaries have been filmed on an X-H2s, too. But, setting that aside, a true pro cinema camera—something ESPN would use, or Universal Pictures—was missing. I recognized this in Austin, and mentioned to the sales rep that Fujifilm should develop a camera to go with the lens, instead of using a competitor’s model. I guess they were already pretty far along in development, but I had no idea.
I don’t anticipate many, if any, reading this will ever buy the GFX Eterna. Maybe a couple of you. I’m sure it will be very expensive. But if you are a broadcaster or filmmaker, perhaps this is something you’re excited for. I can imagine some IMAX pictures being filmed on this.
One last thing: kudos to whoever at Fujifilm named the camera. It’s brilliant. A monochrome-only X100 Acros or X-Pro Acros would be really cool, too. Just throwing that out there.
This article pits the Fujifilm X-T50 and Fujifilm X-T30 head-to-head on an autumn photowalk in Ann Arbor, Michigan. Just to warn you, this will likely be the most unfair camera comparison anywhere on the internet. Nonetheless, I hope that you find it worthwhile, or at least enjoyable.
Fujifilm introduced the X-T30 in February of 2019. It features a 26mp X-Trans IV sensor, and was Fujifilm’s mid-tier SLR-styled camera until it was replaced by the nearly identical X-T30 II in November of 2021. Fujifilm announced the X-T50 in May of this year. It features a 40mp X-Trans V sensor and IBIS, as well as the contentious Film Dial. While it is not the X-T30 II’s successor (I assume that means an X-T30 III is a possibility in the future), the two models are clearly in the same family. They are similar in size and design, but the X-T50 is slightly larger and heavier (to accommodate IBIS), with rounded corners and is more expensive. According to the spec sheets, the X-T50 is better in pretty much every aspect, but not necessarily by leaps and bounds. Overall, these two cameras are pretty similar for stills photography; however, for video, the X-T50 is the winner.
This last Saturday, Bryan Minear and I cohosted a photowalk in Ann Arbor in conjunction with PROCAM and Fujifilm. We had an excellent turnout: I counted 48 people, including myself and Bryan. The weather was nice—a nearly perfect crisp autumn morning—and the scenery beautiful. It was a massive success, and just a ton of fun. It was so great to meet those who came out!
One especially great aspect of this photowalk for me is that my seven-year-old daughter, Johanna, was able to join us. I gave her my Fujifilm X-T30 to photograph with, set with the Kodak Portra 400 v2 Film Simulation Recipe. I’ve let her use some of my old digicams before, but not a “nice” camera like the X-T30. I wasn’t sure how well she would do with it, but gave her a quick tutorial and let her have at it. Honestly, she stole the show.
Above left: Johanna with an X-T30, captured by me with an X-T50 using the Fujicolor PRO 160C Warm Recipe; Above right: me with an X-T50, captured by Bryan Minear with a GFX100S II.
I bet you can already see where this article is going. Yes, this totally unfair camera shootout is between myself with a Fujifilm X-T50 and Fujinon 27mm f/2.8 lens and my seven-year-old daughter with a Fujifilm X-T30 and TTArtisan 27mm f/2.8 lens. Even though I had the better gear, I had absolutely no chance of winning. Johanna—with an X-T30—won in a landslide. We’ll get to the pictures in just a moment.
The Fujifilm X-T30 has a few fewer film simulations and JPEG options than the X-T50, but it is still a very, very capable camera. Even in the hands of a child, it can capture excellent images. Between the two, I’ll grab the X-T50 every time; however, if I were trying to decide to buy an X-T50 or X-T30 II, that would be a much tougher decision—the X-T30 II is a better value, while the X-T50 is a little more capable. I don’t think you can go wrong either way. Between a used X-T30 and brand-new X-T30 II, I would lean towards the X-T30 II due to Classic Negative and other firmware upgrades.
Above, top-left: by Rickey White. Above, bottom-right: by Bryan Minear. Above, all others: by my wife, Amanda Roesch. Amanda used a Fujifilm X-T5 + Fujinon 56mm f/1.2 lens + Fujicolor Negative Recipe.
The reason why I declared Johanna the winner is because I’m her dad (she was always going to win… I never had a chance—all the dads out there understand), and also because young children are oftentimes good photographers. They are naturally curious and creative. They don’t think about all the “rules” and what they “shouldn’t” do; instead, they’re just having fun. Also, their perspective is so much different—quite literally, because they are smaller, but also figuratively—so it’s a completely different take from what most adults see—they notice things that others completely overlook. If you have a child, I definitely recommend allowing them to photograph with you sometimes. Don’t be afraid to let them borrow one of your cameras (I know, it’s a risk… my oldest son dropped and broke one of mine when he was little). Those experiences might be pivotal for them, and at the least it’s something you both will remember and cherish for many years.
Below are straight-out-of-camera JPEGs captured during the Ann Arbor photowalk by Johanna using a Fujifilm X-T30 and the Kodak Portra 400 v2 Recipe and by me using a Fujifilm X-T50 and the Film Dial Recipes.
Not everyone is aware of which cameras are currently available in the Fujifilm X-series lineup, or who each one might be for. I did this last year, and thought it would be good to update it for 2024. These are my opinions, and not everyone is likely to agree with them, but I hope that some of you will find this helpful.
If you are looking for the too-long-didn’t-read version, it’s simply this: the X-H2/X-H2s is the premium flagship, the X-T5 is the top-notch retro-styled option, the X-T50 is nearly as good as the X-T5 but with a few notable differences, the X100VI is impossible to get, the X-S20 is the smaller sibling of the X-H line, the X-T30 II is the oldest option but is the best value for stills, and the X-M5 is the newest camera and is pretty good for a base-level model. Oh, and there’s a bonus at the end.
Fujifilm X-H2 / X-H2s
The X-H2 and X-H2s are Fujifilm’s flagship X-series models. These are top-of-the-line hybrid cameras with the greatest features. The X-H2s has a stacked 26mp X-Trans V sensor for maximum speed—think sports and wildlife—while the X-H2 has a high-resolution 40mp X-Trans V sensor. I’ve met a number of talented and successful photographers and videographers who use these models for their professional work, and they speak quite highly of them.
Fujifilm intended the X-H2 and X-H2s to compete against the Canikony brands. Fujifilm wanted those unhappy with their Canon, Nikon, or Sony models—particularly the lower-to-mid-tier full-frame bodies (the GFX line competes more against higher-end full-frame)—to take a close look at these cameras. It seems to be a successful strategy; my rough guestimate from my own experiences within the community is that more than half of those who purchased an X-H2/X-H2s did so as their first Fujifilm model.
If you are coming from another brand and want the easiest transition and also the top-of-the-line model, the X-H2/X-H2s is my best recommendation. For a pro (or aspiring pro) photographer or videographer, this definitely should be strongly considered. Personally, I don’t like the PASM dial philosophy, and so these models are not for me. For those who appreciate Fujifilm’s traditional tactile controls and vintage styling, the X-H2 and X-H2s might not be for you, either; however, no camera is for everyone, and just because this camera “isn’t for me” doesn’t mean that it shouldn’t exist, because there definitely is a need for it, and some people really love this line.
The Fujifilm X-T5 is nearly as capable as the Fujifilm X-H2, but smaller, lighter, and cheaper, and with traditional tactile controls and vintage styling. This camera is no video slouch, but it is a bit more stills-orientated than the flagship line. It has the 40mp X-Trans V sensor, and competes well against some full-frame models. If you want the full Fujifilm experience, this is my top recommended camera. I know some who use the X-T5 for both professional stills and video work, so it is more than capable for whatever it is you need to capture.
From what I can tell, the majority of people who own an X-T5 have previously owned other Fujifilm models. It’s not typically one’s introduction to the X-series. I purchased the X-T5 immediately after it was released, and I have no regrets—it’s a great camera! If you have an older Fujifilm model that you’d like to upgrade from—or a lower-tier body that you want to step-up from—the X-T5 is one to strongly consider.
The Fujifilm X-T50 is the X-T5’s little brother—the technical specs are pretty much identical, and it is essentially equally as capable. The X-T50 is smaller, lighter, and cheaper. It is not weather-sealed (although I’ve taken it out in the rain a few times with no issues), has only one SD-Card slot, and a lower-quality EVF. Also, instead of an ISO Dial (something that the X-T00 series has never had, but the X-T0 series does have), the X-T50 has a Film Dial, which I personally like, but not everyone does.
Between the X-T5 and X-T50, I think if you are new to Fujifilm, I would steer you towards the X-T50; however, if you’ve been in the system awhile, the X-T5 is better and not all that much more expensive. Since the X-T50 is smaller and more lightweight, it might be the better option for travel or walk-around photography. You cannot go wrong with either, but the X-T5 is the more premium option of the two, if you are simply after the best. I like both models, and appreciate them for different reasons.
This is the camera that everyone wants but few can get. The X100VI is by far the most pre-ordered camera in the history of photography, with unprecedented demand. Some who ordered one on the first day that it was available for purchase are still waiting. If you want to buy one, you’ll have to get in a really long line. I was quick to get my preorder in, but I still had to wait a little while; those who weren’t quite as fast have been waiting a lot longer, unfortunately.
The Fujifilm X100VI is my desert-island camera. If I could only ever have one model for the rest of my life, it would be this one. I almost always have it with me. I love the 23mm f/2 fixed lens, the leaf shutter, built-in ND filter, hybrid EVF/OVF, etc., etc.. This camera is extremely difficult to get right now, but hopefully it will be a little easier in 2025. Fujifilm has been manufacturing them at about 4 times the rate that they did the X100V, and eventually they’ll get caught up.
The X-S20 is the little brother of the X-H line. It has a 26mp X-Trans IV sensor paired with the X-Trans V processor. While it is a very capable stills camera, it is more video-centric, and is especially appealing for video content creators. I talked with several professional videographers who own both this and an X-H model, and they like using this camera over the flagship model for more casual work, such as social media videos and shorter-length YouTube videos. A couple even told me that the X-S20 is their top favorite Fujifilm X-series model.
This is another Fujifilm camera that has PASM and is intended to attract Canikony brand photographers. It competes well against Canikony brand APS-C and even some low-tier full frame offerings. From my experience, the majority of people who purchased it did so as their first Fujifilm model. It’s a great option for someone just getting into the system—especially if they’re more interested in video than stills—or as a smaller and lighter companion to their X-H2/X-H2s.
The Fujifilm X-T30 II is the oldest X-series camera that Fujifilm is currently selling. It is quickly approaching the three-years-old mark, but it was an extremely minor refresh (mostly, just a firmware update) over the nearly identical X-T30, which was released in 2019. It uses the same X-Trans IV sensor as the X-S20, but with the X-Trans IV processor (not X-Trans V).
While the X-T30 II is quite similar to the X-T50, Fujifilm has stated that the X-T50 is not its successor. Aside from the newer sensor and processor, as well as a Film Dial instead of a Drive Dial, the X-T50 has IBIS, is marginally larger and heavier, and is significantly more expensive. While I have seen some amazing video work created with an X-T30 II, the camera is definitely more stills-centric. If you’re not especially interested in video, and simply want the best value camera that will do well for photography, the X-T30 II is my top recommendation, and is an excellent introduction to Fujifilm or a good upgrade from an older model. If video is important, or if you just want the more premium option, the X-T50 is a great alternative.
The X-M5 is the newest camera from Fujifilm. It is both their smallest and most affordable model, and is very well equipped for its price point. One notable feature that its missing is an EVF. Like the X-S20, it has a 26mp X-Trans IV sensor paired with the X-Trans V processor. I think it could be an excellent first camera for someone, a solid upgrade from an old X-A model, or a good travel option due to its diminutive size.
For stills photography, if you can spend a little more, the X-T30 II is a step up despite being much older. For video, the X-M5 is better than the X-T30 II, but not quite as good as the X-S20 or X-T50; however, those cameras are a lot more money.
This is kind of a bonus. The Fujifilm X-T4 ES (Extended Spectrum) infrared camera is a unique model that’s not necessarily easy to get. It’s an “ordinary” X-T4, but without the IR filter that is normally over the sensor, which means it is sensitive to the invisible light spectrum—both IR and UV (a.k.a. “full spectrum”). As far as I’m aware, you can only buy it from B&H right now, and only as a special item, which means that you either have to call them or go in-person to their store. I’ve been having a blast with it, the X-T4 ES is so much fun!
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
I’m a little late to the party, but in case you haven’t heard, Fujifilm announced a new camera: the tiny and inexpensive X-M5.
My alarm sounded at 3:30 AM Eastern Time this morning, so that I could catch my flight from JFK International to Phoenix Sky Harbor. After running through the airport Home Alone 2 style, I barely made it, just as the gate attendant was announcing the last barding call. I made it nonetheless, and am now home after a whirlwind tour of New York City and Connecticut. It was such a great time, and I look forward to sharing more about it with you in the coming days.
In the meantime, here’s my take on the Fujifilm X-M5. I will do my best to say something different than the many reviews that have already been published across the web. To be clear: this isn’t a review. I haven’t used, touched, or even seen the camera in-person. I know as much about it as you, and maybe not even that much. It does seem to pack a lot into a tiny and inexpensive body, from what I’ve read.
I have been saying for a couple of years now that Fujifilm needs an affordable entry-level model. They used to have two, but when the X-A7 and X-T200 had sputtering sales in 2020, Fujifilm discontinued both. I’ve stated several times that, in my opinion, there is a sufficient market to justify one entry-level model—but probably not two—so if Fujifilm were to make an X-A8 or X-T300 (but not both), it would likely do just fine. Instead (and after a few years), they did something really unexpected and better, and revived the long-dormant X-M line.
Fujifilm released the X-M1 in 2013. It was unusual in that it had an X-Trans I sensor paired with the X-Trans II processor. It was announced just a few months before the X-A1, which was basically the same camera, except with a Bayer sensor instead of X-Trans. Because the X-A1 and X-M1 were nearly identical, yet the X-A1 was cheaper, the X-M1 struggled to sell, and it never had a successor… until now.
The X-M5 has been imagined and designed with the idea of what an X-M series camera would look like had it not been discontinued. How would it have evolved over the last decade? Fujifilm used their imaginations, and created the new camera. And, in the spirit of the original, it comes with the “old” X-Trans IV sensor paired with the “new” X-Trans V processor.
It is currently the most affordable X-series model, at only $799 for the body-only, and $899 when paired with the 15-45mm f/3.5-5.6 lens. For those wanting to get into the Fujifilm system but have found it to be a little outside of the budget, the X-M5 might be your best option. This is an easy camera to recommend for beginners, as it fills an obvious void in the X-series lineup.
The X-M5 is also the smallest interchangeable-lens X-series camera. It is tiny and lightweight, which makes it compelling for travel or walk-around photography. I would pair it with the Fujinon 27mm f/2.8 or Fujinon 18mm f/2… but, here is the problem: the 27mm lens is very difficult to find, and the 18mm is overdue for a refresh. This is an ideal camera (along with the X-E line) to showcase one big advantage of APS-C: size and weight; however, the lack of pancake lenses makes it less compelling than it should be. My suggestion to Fujifilm is to increase production of the 27mm f/2.8, design a new-and-improved 18mm f/2, and introduce one or more new pancake options (maybe to be released in conjunction with the next X-E camera?).
While the X-M5 is a bit video-centric, it does not have IBIS. I don’t think the lack of IBIS is a big deal whatsoever for stills photography, but I do see it as a potential problem for videography. However, for the price and size, I think its exclusion is acceptable. You can use OIS lenses, a gimbal, and/or the digital stabilizer, if necessary.
Perhaps the two biggest drawbacks are the lack of an EVF and the PASM dial. It’s understandable why the camera doesn’t have an EVF—the X-M1 didn’t have one, and if the X-M5 did, it would require the body to be both larger and more expensive—but the lack of one will be a dealbreaker for some. The PASM dial was also expected, but for me, personally, I much prefer the traditional dials instead; some people like this setup (different strokes for different folks), but it’s nearly a dealbreaker for me—nearly.
The Film Dial… I like it, but it’s controversial. You may or may not like it yourself; however, I suspect that many will find it both fun and useful on the X-M5 specifically. I’m quite happy to see its inclusion on this camera.
From what I can tell, the Fujifilm X-M5 is not for me, but it might be good as my teenage son’s first camera. Christmas is around the corner, so we’ll see. Maybe it will be wrapped under the tree (if it’s still even available…). I think it will sell very well, and serve as a gateway into the Fujifilm ecosystem for many. For those already in the X-series family, this might be a good compact camera for travel, or an inexpensive companion to a larger body.
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
Fujifilm posted a video announcing an upcoming X Summit in Tokyo on October 14th. Most likely, they will introduce one camera and two lenses. There could be other surprises, who knows. It will be at 6:00 AM Pacific Time, 9:00 AM Eastern. If you are possibly interested in the products that are expected to be announced, you might want to tune in and preorder as soon as that goes online, which is usually immediately afterwards.
Fujifilm also announced that they are planning to release a firmware update for the X-H2s, X-H2, and GFX100 II in November. This upcoming firmware update seems to be video-centric, but will also likely include some improvements and fixes for still photography. I wouldn’t be surprised to see firmware updates for some other cameras at or around that same time, but since it won’t include all of the video stuff, my guess is that they’re not making a big deal about it.
It’s been widely reported that earlier this year Fujifilm released a buggy firmware update that negatively affected autofocus on some models. While they largely fixed the issues from that buggy update (it’s always a good idea to wait a couple weeks before updating the firmware, in case there is a problem, no matter your brand of camera), there are still some persistent problems that people are reporting. Fujifilm has been working on it, and I believe that they’re about to get it all sorted out.
Captured with a Fujifilm X-M1 camera & Fujinon 90mm f/2 lens
There has been a lot of unnecessary hysteria around this topic. In my opinion, it has been largely overblown with a lot of unfair exaggerations and even some downright lying. That is not to say issues haven’t or don’t exist, because obviously they do, or that they shouldn’t be addressed—they should be, and they are. I think some of the feedback has indeed been quite helpful to Fujifilm, providing a better understanding of exactly what is going on and how to fix it; however, some other feedback has just been an embarrassment to the community at large, with chronic complainers, haters, and trolls fanning the flames with anger and hate. The comments sections of many Fujifilm related websites and videos have become unbearable. Some trolls have been posting multiple times under various aliases, so as to make it seem like the outcry is bigger and louder than it actually is (shameful behavior, for those doing it). Petapixel has even deleted some comments, something they don’t do all that often (but should do much more, in my opinion), that’s how bad it has become—a few bad apples will spoil a whole bunch, as the saying goes. I cannot tell you how many people have emailed or DMed me, expressing how tired they are of it, but they don’t want to speak up publicly for fear of being bullied by the trolls. That behavior needs to stop—no excuses—it’s unacceptable.
I, personally, have not experienced any AF issues on my Fujifilm cameras (and I have many, and I use them all of the time). Within the last two months I have spoken with many of you in person. Just last week I spoke to some who use the affected cameras for their livelihood (very successful and talented creators), and asked them directly about this. In all of the circles that I’ve been in lately, this has not been seen as a big problem by anyone who I spoke to. That’s not to say issues weren’t noticed by some, only that they were able to work around it and get the job done without any problems whatsoever. All of this is to say, I think that those who are actually actively out there creating content with their Fujifilm cameras are doing just fine right now, and the issues have been largely overblown on the internet. Still, it’s good to see that very soon Fujifilm will have it all sorted out, so no worries for those who have been losing sleep over this.
Now, of course, I will get some angry comments about what I just said. That’s fine. Because the Fuji X Weekly community is so amazing, this website has largely been immune from the trolls that are all too common elsewhere. I have not been inundated by those over-the-top comments you see on other websites, and it’s thanks to all the good folks who regularly visit this page (that’s you!). But I’m sure I will still get some. The point of this article is simply to mention that a few new products are about to be announced, and that some firmware updates won’t be far behind. I really wish the rest didn’t need to be said, but unfortunately (and sadly) that’s the state of things right now.
According to Fujirumors, Fujifilm is working on a new camera that will have a sensor size never before used by Fujifilm. I have no idea what that means, but I thought it might be fun to speculate what some of the possibilities are. Who knows if this is an X-series camera… it could be GFX. It could be a digicam or something like the XP80 waterproof camera. It could be Instax, since they have the EVO and PAL models. It could be something else entirely. For the sake of this article, I will assume that it is X-series; however, it very well might not be. I think this is one of those times where it’s best to keep expectations in check and not get your hopes up too high. Still, it can be fun to guess.
My very first thought is that it could be an X30-like successor—perhaps called X50—with a 1″ sensor. The Fujifilm X30 had a tiny 2/3″ 12mp X-Trans II sensor, but was still a good compact zoom, and is fun to use even in 2024. While a successor would need to be significantly different, I do believe that if it has a 1″ 20mp X-Trans V sensor, a 9mm to 37mm (24mm to 100mm full-frame-equivalent) f/2-4 zoom lens, IBIS, EVF, and retro tactile controls (no PASM, please), it will do quite well. There is a renewed interest in these types of cameras right now. Alternatively, a fixed-focal-length wide-angle option could be good, too.
Another idea would be to use the sensor found in the latest GoPro models. It has a tiny 1/1.9″ 27mp sensor with an unusual (almost square) 8:7 aspect ratio. The benefit of the unusual sensor shape is it allows for vertical videos without having to tilt the camera sideways, so obviously it would be a video-centric model, perhaps in the action camera realm. Most likely this would not technically be an X-series model, but it is possible that Fujifilm could use an X-Trans array. I don’t think this is a likely option, unless Fujifilm has thought of some way to stand out in what is already a crowded scene.
I doubt that Fujifilm has any interest in Micro-4/3. I think that MFT is too close to APS-C that they would only compete against themselves; aside from that, MFT is basically a declining market. Still, it is possible that an X100-like or X70-like compact fixed-lens MFT camera is in the works, I just see it as highly unlikely.
An intriguing option that I’ve suggested a couple of times (first in 2019, actually) is APS-H. There aren’t a lot of APS-H cameras anymore, but it used to be more common. Canon made some, as did Sigma. Since APS-H is about 15% larger than APS-C, not all APS-C lenses cover the entire frame. Sigma’s solution was to automatically crop to APS-C for the lenses without full coverage, and I would suggest that Fujifilm take the same approach. While some Fujifilm lenses will fully cover APS-H, some—the majority, actually—won’t; for those that don’t, the camera would automatically crop to APS-C.
The reason why Fujifilm might do this—and the camera that Fujifilm might do this for—is XPan on the future X-Pro4 (or maybe called X-Pro5). Where APS-C lenses struggle to cover APS-H are the corners, so the not-fully-covered lenses would be just fine for the XPan aspect-ratio, since the corners are cropped out. The roughly 50mp APS-H sensor would produce roughly 27mp XPan images. For lenses without full coverage with the 3:2 aspect ratio, you’d still get a 40mp APS-C photo; however, for the lenses with full coverage, you’d get the full 50mp-ish picture.
The only other option I can think of that makes sense is perhaps a full-frame X100-like camera. I don’t believe that Fujifilm has any interest in creating a new lens mount, so I would be completely shocked if Fujifilm made any interchangeable-lens full-frame models. Fujifilm would mostly be competing against themselves, and would undercut both their X and GFX lines; aside from that, the full-frame market is quite crowded and highly competitive. But, a premium fixed-lens full-frame camera might sell very well. Fujifilm would have to do something to differentiate it from the X100VI so that they aren’t directly competing against each other, and I have no doubts that they can.
If I were to bet on what it will be, my guess is none of these, that it’s not an X-series camera. If it is in the X-series, I think the top odds are that it is a 1″ sensor compact camera of some sort. An APS-H X-Pro with the XPan aspect ratio would be super cool, but unlikely in my opinion. With the massive demand for the X100VI, a full-frame version could be a huge sales success. Eventually we will know for sure, but for now we can only speculate, and most of those guesses will turn out to be wrong. Still, it’s fun to dream.
The Fujifilm X100VI is the most preordered camera in history by far. There were more orders placed prior to the release date than there were X100V’s produced in its entire four-year run. Completely unprecedented! I quickly made my order within minutes after it was announced, and I still had to wait over a month for it to arrive. There are people who placed their preorders on day-one who are still waiting, and some have been told that it might be closer to Christmas before it can be delivered. Even though Fujifilm is right now manufacturing the X100VI at somewhere around four-times the rate that they did the X100V, they still haven’t cleared out the preorder list, let alone begin to tackle the backorders placed after the release. It’s nuts! If you’ve been patiently waiting for yours, I hope that it arrives soon. If you haven’t already ordered yours, the wait could be quite significant.
Quite obviously before Fujifilm even thinks about offering alternative versions of the X100VI, they need to catch up on all the orders already placed. I have no idea how long that might take, but I highly doubt it will be anytime in 2024, and maybe not in 2025, either. However, once they’ve managed to get this situation under control—perhaps in the spring of 2026—I would encourage Fujifilm to consider producing variations of the X100VI. While this is something I’ve suggested for awhile (first with the X100F, actually), this is the first time that I’ve dedicated an entire article to the topic.
Leica just announced a 43mm f/2 version of the Q3, called Leica Q3 43. For those who don’t know, the Q3 has a 28mm f/1.7 lens, which is equivalent to 18.6mm on Fujifilm, the same focal-length as the X70. The new 43mm version has more of a standard field-of-view, and is equivalent on Fujifilm to 28.6mm (Fujifilm doesn’t offer that exact focal-length, but it is pretty close to both 27mm and 30mm, which Fujifilm does make).
Offering multiple focal-length versions of a fixed-lens camera is nothing new. For the Ricoh GR III, which has a 18.3mm (27.5mm full-frame-equivalent) lens, there’s a 26mm (39mm equivalent) variation called GR IIIx. Sigma had up to four versions of the DP cameras: 14mm (21mm equivalent), 19mm (28.5mm equivalent), 30mm (45mm equivalent), and 50mm (75mm equivalent). Fujifilm has never taken this approach, but I think they should.
What Fujifilm does offer are conversion lenses, which screw onto the end of the camera’s fixed lens. There’s a wide-angle (WCL-X100 II) and telephoto (TCL-X100 II) option. The wide conversion lens has a 0.8x magnification, which means that the 23mm (34.5mm equivalent) lens on the X100VI becomes 18.4mm (27.6mm equivalent). The telephoto conversion lens has a 1.4x magnification, which means that the 23mm lens on the X100VI becomes 32.2mm (48.3mm equivalent). Essentially, it’s like having three versions of the camera: 18mm, 23mm, and 32mm. The downside to the conversion lenses is that they add a fairly significant amount of size and weight (especially the telephoto) to the camera, which, to an extent, defeats the purpose of it. While the teleconverters do indeed add quite a bit of versatility, I would like to see one or two alternative focal-length versions in the future, where the dimensions and weight of the camera are about the same, just with different fields-of-view.
My top two recommendations would be a 16mm (24mm equivalent) f/2.8 version, and a 35mm (52.5mm equivalent) f/2 version. Obviously 18mm f/2 would be a popular choice, so I’m sure that would be high on their list of potential focal-lengths. Fujifilm has a pancake 27mm f/2.8, and modifying those optics for use with an X100 series camera could be intriguing. Fujifilm could offer just one variation (like Leica did with the Q3, and Ricoh did with the GR III), or they could offer multiple options (like Sigma did with the DP series). Personally, I’d like both a more wide-angle and a more telephoto version.
This should not be a priority for Fujifilm whatsoever, but something to consider for down the road. Maybe it could be announced in the fall of 2025 in time for the Christmas shopping season, or in spring of 2026, or sometime later. Or maybe they don’t see any reason to offer it at all, because perhaps they don’t believe it will gain any net camera sales, only take away X100VI sales. Personally, I would likely buy whatever alternative focal-length version(s) that they do release, if they ever do, to be an addition to my X100VI. I don’t know how many other people would do the same, but it might be worthwhile for them to consider.
I don’t see Fujifilm going down this path in the near future. They may have no interest in doing it ever. But I like the idea, personally, and would encourage them to at least consider the possibility. Not everyone appreciates the 23mm (34.5mm equivalent) focal-length of the X100-series cameras, and even if they do, they may want a little variety sometimes. While I believe that it would do quite well for Fujifilm, obviously it is something that they themselves must believe in order for it to ever happen. I hope that someday it does.
In this article we’re going to discuss Fujifilm’s X-series Autofocus, which is a hot topic right now. A lot of things are being said about it on YouTube and social media and especially in the comments section of photography websites. I’m a little afraid to give my two cents, because I know it will not be well received by some of you reading this. I think most regular visitors of this website will not have any qualms about it, but no doubt this will be shared on Reddit or DPReview or a Facebook group or someplace like that, and I will receive some aggressive disagreements by some of those folks.
I cannot tell you how many times I’ve seen people online call Fujifilm’s Autofocus “garbage” or “bad” or some other negative term. Every once in awhile a person will comment on Fuji X Weekly with a similar sentiment; however, it’s vocalized a lot less here than elsewhere, it seems. This is a controversy that I’ve tried to steer clear of—people have strong opinions about this topic, and my opinions are different than many. I did write about it two months ago, but I think it needs to be addressed again.
As I’ve pondered this topic, I think there are a number of issues that are often lumped together, but need to be discussed individually. They are related in that it affects Autofocus, but otherwise they are unrelated, and lumping them together doesn’t help bring about any solutions. We’ll get to it all, but it will take some time to navigate through it. Be patient, as this will be a journey.
First and foremost, I believe that much of the negativity is a type of hysteria. Someone points out a “problem” and now everyone (it seems) is experiencing it. Echo chambers and groupthink on the internet can make people especially susceptible to this. I’m not a psychologist and offer no professional medical advice, but I did listen to a podcast recently on a flight that made me consider this as a strong possibility.
The podcast was Cautionary Tales with Tim Harford and the episode was entitled Sonic Poison? The Genesis of Havana Syndrome. It explains how hysteria can have a real affect on people, such as causing nuns to meow, or children to experience sickness that they don’t really have, or millions of dollars of perfectly good Coca-Cola dumped down the drain for no good reason, or spies “poisoned” by loud cicadas in Cuba. While these things were in their heads, they manifested in real physical ways.
What clued me in to the potential that this phenomena might also be happening to those who own Fujifilm cameras is when someone told me that they were really upset at Fujifilm because their Autofocus was not working as it should be and that Fujifilm needed to fix the problem right now; this person admitted that they had never experienced the issue personally, but they knew it was a problem because they had seen it in a YouTube video. Later, another person stated to me something very similar: while the “problem” had had no affect on their photography, they were aware of its existence because they had seen it on the internet—and they were demanding that Fujifilm fix it ASAP or else they would quit the brand.
I’m not suggesting that Fujifilm’s Autofocus woes are “all in your head” and that it is just psychological, but I do believe it explains a good deal of it. I think if some certain YouTube videos had never been published (and it’s fine that they were, I’m not condemning them, I’m just observing), there would not be nearly so much discussion and outrage right now. A lot of people “became aware” of a problem that they likely would not have noticed on their own otherwise, and it wouldn’t have affected them in any real way (in other words, it wouldn’t have been an issue at all). When you spend a lot of money on something, and especially if your livelihood (or hopes of a future livelihood) depends on that thing, and you believe that it is not working right, it’s easy to understand why there would be some hysteria. Nuns meowing, Coke getting dumped, and Fujifilm’s “sucky” Autofocus are related, if you ask me, and it’s something that we can all be susceptible to. But, again, I’m not a psychologist and offer no professional advice on this.
While I believe a significant amount of the outrage can be attributed to that hysteria, there are real issues that should be discussed rationally. Something that I find interesting is that for the first five or six years of this blog, Fujifilm’s Autofocus was not a big issue whatsoever. It wasn’t a hot topic. What changed? I think it was Fujifilm’s enticement of Canikony brand photographers. I think many of the complaints are by people who used to shoot Canikony brand cameras—particularly Canon and Sony—and when they switched to Fujifilm over the last couple of years, they were disappointed by Fujifilm’s Autofocus system. It’s not as good as those found on Canikony models, especially Canon and Sony.
There are three reasons why Canikony cameras have better Autofocus than Fujifilm. First, they’ve been doing it for much longer. Sony (through Konica and Minolta) have been making Autofocus cameras since the 1970’s, and had what was considered the first “good” AF system (not good compared to what we have today, but good for back then) with the Minolta Maxxum in the mid-1980’s; Canon and Nikon both introduced their first Autofocus cameras in the 1980’s. Second, Canikony brands have had significantly more R&D money to invest in their Autofocus systems. Finally, as PetaPixel pointed out, the Canikony brands over the last handful of years have spent very little effort on image quality improvements, while placing much of their efforts on Autofocus improvements, and in some specific cases, actually to the detriment of image quality (a path that I do not want Fujifilm to pursue, personally). Most of the Canikony cameras that Fujifilm models are often compared to are also significantly more expensive, and usually larger and heavier.
Anyone who expects Fujifilm’s Autofocus to be at the same level as the Canikony brands have not put much thought into it. Still, it’s surprising to me, considering the disadvantages that Fujifilm has faced, that they’re not very far behind, either. Fujifilm’s Autofocus is by far more than good enough for most people and situations, including for the many professional photographers who use these cameras each day even under difficult circumstances. In preparation for this article, I reached out to five highly talented and successful photographers/videographers who use Fujifilm—people I met in person this year while traveling across America—and asked if they find Fujifilm’s Autofocus “lacking” or “detrimental” to their work. All five answered no; one added a caveat that for a specific use-case this person prefers their Sony model—they could do it with their Fujifilm, but it’s a little easier on their Sony, so for that particular situation this person doesn’t use Fujifilm.
Photography has been around for a very long time. It didn’t begin two, five, or ten years ago. People have been capturing amazing photographs for well over 100 years. If you were to grab a Fujifilm X-T5, jump into a DeLorean, and travel back in time just 20 years, you’d blow away the photographers of that era with what would seem like to them impossible camera technology. Yet the photographs captured today are no more impressive than than they were then. Camera gear has advanced tremendously over the last two decades, but the great photographs from today are no more great than they were 30, 40, 50, etc., etc., years ago. I love finding vintage photography magazines and admiring the incredible photographs captured on significantly inferior gear than what we have readily available today—we’re so spoiled!
In other words, if they could do it on their lesser gear, you can do it on your greater gear. No excuses. Fujifilm’s Autofocus is really good, especially compared to what existed over the last handful of decades. No, not quite as good as the Canikony brands are right now, but really good nonetheless. The negativity just never made sense to me. It’s like complaining that a Corvette isn’t a Maserati, and calling the Corvette garbage because it isn’t more like a Maserati. If you want a Maserati, buy a Maserati! Otherwise, appreciate that you have a Corvette.
Many years ago I was given this advice: Either you are controlling your camera, or your camera is controlling you. I think that a lot of people allow their cameras to control them, which might typically work out fine because the current tech is so advanced, but, when it doesn’t work out, it’s an easy scapegoat to blame the gear instead of looking inward. Without self reflection, you are robbing yourself of the opportunity to learn and grow. Your gear is only a limitation if you allow it to be, and if you don’t allow it, then it’s no issue whatsoever. That might require learning some new skills or sharpening some skills that you already have but could be improved upon.
A lot of people don’t like that advice, but it is completely true. You have it within you to not allow any limitations on any gear get in the way of creating whatever it is that you want to create. The difference between those that are having a ton of success with their Fujifilm gear and those complaining about it saying they can’t is the person holding the camera, and not the camera itself. I get it: it’s much easier to blame the gear. But, if you blame the gear instead of yourself, your camera is controlling you, and you will not improve—that success will be elusive.
All that I just said is the most important part of this article. You might disagree, and that’s ok. Sometimes the truth hurts. It might be a bitter pill that you were not ready to swallow. I didn’t say anything that’s not true; perhaps it is deserving of a second read-through, and with an open mind. With all that said, there are some other things that are important to address.
I think a good deal of the negative attention regarding Fujifilm’s Autofocus issues came after Fujifilm released a firmware update earlier this year with an Autofocus bug. I didn’t experience the issue caused by that firmware personally because I always wait awhile to update the firmware. This is a good idea regardless of camera brand. Sometimes there are bugs, and sometimes the bugs are significant. If you wait a week or two, if there is some major bug, it should be well known by then—if so, just skip that firmware and wait for the next one. Fujifilm did fix that Autofocus bug; however, to a much smaller degree there is still some AF problem that seems to only affect certain use cases. It’s my understanding that Fujifilm is aware of it and working on a solution. It will get resolved, just give it a little time.
As Fujifilm has grown, I think one department that may not have upscaled enough is the one that is in charge of firmware. Perhaps Fujifilm needs to add a couple more to the team, or maybe they have already and are experiencing some growing pains as new folks are brought in (or combination of the two). From my perspective, it just seems that this team is stretched a little too thin and needs more resources to allow them to keep up. My advice to Fujifilm is simply to invest more in the team that is in charge of firmware, as I’m certain it will pay off in the long run. A lot of negative attention today could have been avoided had this team been given all of the necessary resources a couple years back.
The remaining Autofocus woes are related to hardware and settings. It could be that you are not using the best lenses, or don’t have your camera settings programmed optimally.
Fujifilm’s older lenses are slower. The newer options with a Linear Motor (designated with “LM” in the lens name) are often the fastest. The larger and heavier the glass elements, the slower the AF will likely be. In other words, there’s a pretty significant performance difference depending on the lens that you have on your camera. Use the right lenses and you’ll have more success; however, for most people and circumstances, all of the lenses are plenty good enough—this is more for those who demand peak performance for their situation. Also, ensure that the lens firmware is up-to-date, not just the camera—this might resolve it for you, so it is worth looking into.
Fujifilm cameras have a lot of customizable fine-tuning options for Autofocus (especially on the newer models); if those settings are optimized for your situation, you will have much success, but if not, you may have more “misses” than you’d like. There are resources online that can help you find the right AF settings for you—it’s a very individual type of thing, so what works for one person may not for another; I recommend that you look for advice from multiple sources, and experiment—try different settings and see what happens. Also, I have found that several complaints were resolved with one specific thing: Release/Focus Priority should be set to Focus and not Release. I have a feeling that this one setting is the root of many people’s AF woes.
Political Skateboarder – Nashville, TN – Fujifilm X-T50 – Kodak Film Recipes
In my opinion, Fujifilm’s Autofocus problems have been significantly overblown—Mount Everest has been made out of an ant hill. The internet has spread hysteria. Some people have unrealistic expectations. For others its user-error, and could be resolved with a little effort. Blaming the camera is easy to do, but it stifles your growth. Control your camera, don’t let it control you. Many people have the same exact gear as you do and they do not experience your issues. It’s not the camera—it has never been the camera, and it never will be the camera. Your gear is much more than capable. As Ansel Adams stated, “The single most important component of a camera is the twelve inches behind it.” You have it within you to not allow it to adversely affect you, but it might require some practice or learning new skills. That’s not a message that people usually want to hear, but it’s one that needs to be said. If you require optimized peak Autofocus performance, make sure that you are using the right lenses and have the best settings selected for your situation. For Fujifilm: provide more resources to the firmware team so that they can ensure they are not producing buggy updates (by the way, this is not an issue unique to Fujifilm by any stretch).
Please keep your comments civil. I know that chronic complainers, haters, and trolls will come out of the woodworks when an article like this is published. Unlike most websites, I don’t put up with that here. If you disagree, please be kind in your disagreement. I feel like this article needs to be published to counteract all the negativity that is much too prevalent across the internet. My hope is that—if you have experienced issues with Fujifilm’s Autofocus—you’ll be encouraged to create amazing content with the gear you own, because your camera is, in fact, more than capable just so long as the one using it is also capable (and you can be!). Excuses get in the way, but you don’t have to let them. That’s the message of this article.
What I love about Dan’s project is that it repurposes beautiful antique cameras with modern instant film, and even incorporates Fujifilm’s X-series. It’s a poetic melting pot of old and new to create fascinating art that is simultaneously vintage and modern.
I know that you are going to appreciate this post, and perhaps even be inspired to try it for yourself. Thank you, Dan, for sharing your project with us—it is such an honor to publish this story!
Take it away, Dan!
Photo by Dan Allen.
I grew up in the golden age of film photography. I was a kid during the 1980’s, and lived in Rochester, New York—the home of Kodak. Film photography and cameras were interwoven into the very fabric of our local culture. Everyone in our city had at least one or two family members that worked for the big yellow box. At its peak, Kodak employed more than 60,000 people locally. We were the center of the photographic universe. What could possibly go wrong?
Enter Fujifilm.
In the 1980’s, Fuji became a direct competitor to Kodak in the U.S. film market. They slowly cut into Kodak’s market share, and in my eyes as a kid, they were the enemy. It was a mortal sin to even think about shooting a roll of Fuji’s film. Given the title of this post, I think you can see where I am going with this.
My interest in creative photography started as a young kid and continued through high school, where I first learned how to develop film and make a print in the darkroom. Cameras took a backseat as I focused on college, then a career in engineering, and started a family. Basically, photography stopped after graduating high school. Fast forward to Covid-19 lockdowns, which is when I discovered Ritchie’s Fuji X Weekly website. I was enamored with his Kodachrome 64 Film Simulation Recipe. I couldn’t believe those Kodak looking pictures were produced on a modern (yet retro looking) Fujifilm digital camera. It made all of those photographic childhood memories come rushing back. Soon after, I bought my first Fujifilm: an X-T3.
Photos by Dan Allen.
I quickly became a Fuji X Weekly film sim junkie, trying out each possible combination my camera could handle. The Kodak-based recipes were my favorite, though. At some point, I realized it was possible for Kodak and Fujifilm to be in the same room together!
In 2022, I decided to pick up the only working film camera I owned, a Canon Rebel with a nifty-fifty. I shot a roll of Kodak Ultramax and brought it to the local film lab. The circle of photography was now complete—I was right back where I left off, and it felt like home. From this point forward, I adopted a mixed photographic workflow, often carrying one film camera and one Fujifilm digital. I liked the convenience of Ritchie’s “no edit” Recipes, but I also enjoyed the unique challenges inherent to the analog film photography I grew up with. It was truly the best of both worlds.
As most photographers do, I caught a bad case of Gear Acquisition Syndrome (G.A.S.). I started buying vintage film cameras from thrift stores and yard sales. The older Kodak cameras from the early 1900s really caught my eye, especially the ones that were made right here in Rochester.
Twenty or so film cameras later, I stumbled across a 1916 Kodak Vest Pocket Autographic for $40. This was known as the “Soldier’s Kodak” during World War I, and was marketed to troops going overseas to document their trip. It really was a pocketable camera, not much bigger than a deck of playing cards. It was the Fujifilm X70 of the early 1900’s!
Photo by Dan Allen.
The Vest Pocket Autographic takes 127 roll film, which Kokak introduced in 1912 and manufactured until 1995. The negative size is roughly 44mm x 66mm, and is quite a bit bigger than a 24mm x 36mm negative from a full-frame 35mm camera. When the Vest Pocket arrived I gave it a good cleaning, and was able to get the shutter to fire. It has speeds of 1/25 and 1/50, and an apertures marked with 1, 2, 3, and 4—these aperture values equate to f/11, f/16, f/22, and f/32. It has a unique design, as the lens is mounted behind the shutter and aperture. This protected the lens from scratches; the optics on mine were in great shape. Everything on the camera appeared to be fully functional. All I needed now was some 127 film!
There are a few places that make 127 film by cutting down modern 120 film. I was able to find ReraPan 400 in 127 size from B&H Photo and placed an order. While I was waiting for the 127 film to be delivered, I happened to look at a few Fuji Instax Mini prints sitting on my desk. I thought, Hey, that looks like it would fit perfectly inside the Kodak Vest Pocket Autographic! Sure enough, it was almost a perfect match at 46mm x 62mm. The light bulbs were going off in my head. Could I really shoot Fujifilm Instax film in a 108 year old Kodak camera? Spoiler alert. YES!
I went outside and made my first test shot and it turned out great. The exposure was spot on, and the image looked to be in focus. Somehow this kid from the 1980’s that grew up in Kodakville had resurrected an 108-year-old World War I Kodak camera using modern Fujifilm Instax film. I wonder what George Eastman would think of this combination?
I bet you are wondering… can I shoot Instax in my grandpa’s old camera? Keep reading and I will detail the technical process below.
Photos by Dan Allen.
I must warn you, though: if you continue reading, you may find yourself going down a photographic rabbit hole from which there is no returning. The fact is that you can shoot Instax film in almost any vintage camera, so long as it fits in the back, and the camera doesn’t have a focal plane shutter that moves near where the film is (think Canon AE-1). I’m afraid that you may damage the shutter if the Instax print were to come in contact with any moving part of the camera; however, most rangefinder, folding, and TLR style cameras with a leaf shutter inside the lens should work fine.
This process requires two things: a film changing dark bag that you can buy for $30 or less, and an analog Fujifilm Instax camera, such as the Instax Mini 12 or similar model. Here is a general outline of how it works:
Test fit a sheet of Instax Mini, Square, or Wide film in your vintage film camera to see which size works best. Instax Mini is the size that fits into the Kodak Vest Pocket Autographic.
Load a fresh pack of film into your analog Instax camera. Note: any of the Instax cameras that have a “digital” image component like the Mini Evo will not work.
Fire the shutter to eject the dark slide from the Instax film pack.
Place both the vintage camera and analog Instax camera into the film changing dark bag, and zip it shut so it’s light tight. Don’t forget to remove any smart watches that could possibly light up and expose the film.
Stick your hands inside the film changing dark bag and open the back cover of the Instax camera. Be very careful to avoid turning on the Instax camera by accident. Some of them have lights which could expose the film.
Remove the Instax film cartridge pack. Slide one sheet out, then put the cartridge back in the Instax camera and close the back door.
Open the vintage film camera and insert the single Instax sheet and align it where the film would normally get exposed. Remember, Instax film exposes from the back not the front, so you have to face the dark back of the Instax sheet towards what you want to photograph. If the Instax sheet is loose or has a big size difference, you may need to tape it in place, or make a mask out of construction paper so that you can tape the Instax sheet to it. You do not want the Instax sheet sliding around inside the camera.
Close up the vintage film camera and remove it from the film changing dark bag.
Instax film has an ISO speed of 800. When you expose your picture, you will need to take a light meter reading. If you don’t have a light meter, you can use an app on your smartphone, or even use your Fujifilm camera with the ISO dial set to 800. Once you get your light meter reading, if the shutter speed is faster than the maximum shutter speed of your camera, you may need to use an ND filter to reduce the light. When I used the Vest Pocket Autographic camera, I needed to hold a 3 stop ND filter over the lens in bright sun.
Photos by Dan Allen.
Once you have exposed your Instax sheet:
Put the vintage camera and Instax camera back in the film changing dark bag and zip it up so it is light tight again.
Remove the Instax sheet from your film camera and set it aside.
Open the back of the Instax camera and remove the film cartridge.
Insert the exposed Instax sheet into the film cartridge, then put the cartridge back into the Instax camera and close the back door. For this to work, you must put the exposed frame back into the film cartridge, and it must be in the same way that it was removed, and as the first sheet.
Remove both cameras from the dark bag.
Fire the shutter on the Instax camera with your hand or something else dark to cover the lens. Instax film starts the development process when it is ejected from the camera.
The first time I tried this, I wasted a few frames of Instax film on purpose by pulling out the cartridge in daylight when I had about three shots left. This let me practice the entire procedure in the light where I could see what I was doing. It is not difficult to do, but remember: once it is inside the film changing dark bag, you will be doing the entire process by feel only, so it is best to practice several times with some ruined sheets in daylight, until you get the hang of it.
Photos by Dan Allen.
If you made it this far, you are officially a camera nerd. Now go out and shoot some Instax film in a vintage camera! Feel free to reach out to me on Instagram with questions at @dan.allen.photo. I use my Fujifilm X-T5 with a Fujinon 30mm Macro lens to digitally “scan” the Instax prints, which really makes it all come full circle.
A special thanks to Ritchie at Fuji X Weekly for inspiring me to get my first Fujifilm camera, and introducing me to the amazing Film Simulation Recipe community.
P.S. This Instax film process works with homemade pinhole cameras too!
I get asked occasionally which Fujifilm cameras are the very best. Sometimes people want to jump into the Fujifilm system, but are unaware of which camera to buy; however, they know that they want the “best” model, whichever one that is. Of course, best is highly subjective—what is “best” for one person may not be for another. My list might look a lot different from another’s. This is simply my opinion as a long-time experienced Fujifilm photographer, so take it for what it’s worth, which might only be two pennies.
My list of Fujifilm’s seven best cameras is limited to X-series models. I’m not including GFX, Instax, Fujica, or anything else. I’m only discussing the APS-C line that Fujifilm introduced with the fixed-lens X100 in 2011, and the interchangeable-lens X-Pro1 in 2012. Those cameras and the ones introduced afterwards are the models being considered for this list.
Without any further delay, let’s get started!
#7: Fujifilm X70
The Fujifilm X70 is a fixed-lens X-Trans II camera that was released in 2016. It had a short sales-life because Sony suddenly discontinued production of the 16mp APS-C sensor that the camera used, and by the end of that year the X70 was discontinued, and out-of-stock shortly thereafter. As a compact camera with an 18.5mm (28mm full-frame-equivalent) lens, it competed directly with the Ricoh GR II. I like the X70 better than the GR II because it has the traditional tactile controls that Fujifilm is known for, while the GR cameras utilize PASM.
Today, at eight-years-old, the camera often sells for more than when it was brand-new. It’s much beloved by many who own one. Some proclaim it to be their favorite Fujifilm camera of all time. Compared to the latest models, the X70 is less advanced and with fewer options, but it does what few Fujifilm cameras can: fit into your pocket. In my opinion, it’s the best carry-everywhere camera ever made by Fujifilm. A successor—an X80—should be a high priority for Fuji.
#6: Fujifilm X-Pro2
While all three of the X-Pro cameras are great, there’s something especially special about the Fujifilm X-Pro2. It’s the seemingly perfect balance of form and function. It’s one of those cameras that will be desired and used for many years to come. While other digital cameras of its era will be long forgotten, I’m convinced that the X-Pro2 will still be sought out even when it’s 20 years old or older.
Introduced at the same time as the X70, the Fujifilm X-Pro2 is an X-Trans III model, and as such it doesn’t seem quite as dated as the X70. It still holds up fairly well in ability and features compared to the latest models. I would be perfectly happy if it were my only camera; unfortunately, I let it get away from me twice.
#5: Fujifilm X-E4
The X-E4 is the smallest and most minimalistic of Fujifilm’s modern offerings. While it is not perfect (no camera is), it does offer a slightly unique experience for Fujifilm that some like and some don’t. Personally, I appreciate the camera—it is one of my favorite Fujifilm models—and I find it especially great for travel or just everyday walk-around photography, thanks to its compactness. I have more expensive cameras, but often choose the X-E4 instead.
While the Fujifilm X-E4 doesn’t have IBIS or 40mp or the newest couple of film simulations, it is one of the last X-Trans IV models, and as such is quite advanced and capable. Unfortunately, Fujifilm greatly underestimated the demand for the X-E4, and failed to secure enough parts to manufacture as many copies as they should have, inexplicably discontinuing it when there were lengthy backorder lists. Because of that, right now the X-E4 sells for several hundred dollars more used than when it was brand-new.
#4: Fujifilm X100V
The X100 is where the X-series began; the X100V is the model that unexpectedly wen’t viral when it was over two years old. This list could be filled with X100 cameras—in fact, I debated if the X100F should have been placed in the #6 or #7 positions (it was a tough cut). The X100V is the fifth iteration—the X-Trans IV version—and served as my “desert island” camera until the introduction of the X100VI earlier this year.
I love the X100V because it is small and lightweight, and has great features like a built-in ND filter and leaf shutter plus a fill-flash that just seems to work perfect. For a fixed-lens camera, it is surprisingly versatile. I don’t travel without an X100 model. It’s no wonder why the X100V was the camera to have in 2023 (although few could get it); in 2024, it’s still an excellent choice. And it might be easier to find than an X100VI.
#3: Fujifilm X-T5
The X-T5 is Fujifilm’s flagship SLR-styled traditional tactile control model. If you want the best, look no further—it’s the cream of the crop: IBIS, 40mp, weather-sealing, dual SD-card slots, etc., etc.. The X-T5 is notably smaller and lighter than the X-T4. It’s such a great camera, there’s not much negative that can be said about it. This camera could very easily be #1 on this list, and on paper it should be.
While the Fujifilm X-T5 is technically a great camera, and it did slim down compared to its predecessor, it’s more camera than I need much of the time. Because of this, I will often choose a different model, including technically inferior options like the X-E4. Sometimes data sheets and spec charts don’t tell the full story. You don’t always need a fully loaded Land Cruiser, sometimes a Camry will get you there more efficiently; still, sometimes you need the Land Cruiser.
#2: Fujifilm X-T50
The X-T50 is an X-T5, but without weather-sealing, with only one SD-card slot, with a Film Dial instead of an ISO Dial, a lower resolution-EVF, the old battery, in a smaller and lighter body, and a little cheaper. Technically speaking, the X-T5 is superior, but, over the summer, I used an X-T50 far more than an X-T5. Between the two, most of the time I chose the X-T50.
The X-T30 II is in the same series as the X-T50; however, Fujifilm says that the X-T50 is not the X-T30 II’s successor. The X-T50 is closely related and similar, but is not the X-T30 II’s replacement, as they are currently manufacturing both models. The X-T30 II is a better value (and I almost placed it at #7); overall, the X-T50 is the better camera of the two. For those wanting to get into the Fujifilm system, the X-T50 is my top recommendation, but the X-T30 II isn’t far behind.
#1: Fujifilm X100VI
I love the Fujifilm X100V, and the X100VI is even better! It is my “desert island” camera, which is to say that if I could choose only one model to use for the rest of my life, it would be this one. It is my absolute favorite photography tool, and it gets a lot of use. In my opinion, this is Fujifilm’s best camera.
The Fujifilm X100VI is by far the most preordered camera by any brand in history. We’re over six months since it was announced, and some people who preordered on Day 1 are still waiting for their camera to arrive, and some have been told that it might be closer to Christmas. There were more preorders for the X100VI than there were X100V’s manufactured over its four-year production life. Fujifilm is assembling far more X100VI’s each month than they did the X100V, yet they still can’t even make enough to fulfill the orders that were placed back in February. This is the most viral camera ever, and if the hype continues (and it might), the X100VI could potentially end up as the most-sold model of all time by any brand. If you didn’t order one right away when it was announced, you may have to wait a long time to get one.
Some of you may have noticed that both the X-H2 and X-H2s, which are Fujifilm’s top-tier flagship models, did not make this list. Nor did the very capable X-S20. The reason is very simple: those are PASM models, and I don’t care much for PASM, personally. Those cameras are intended to give the most Canikony-like experience of any Fujifilm models; if you are coming from a Canikony brand, those models are going to feel more familiar to you. I never appreciated the (modern) Canikony approach, so I’m very much drawn to the traditional tactile controls that Fujifilm is known for. Fujifilm offers a unique experience in the camera world, which is one of the big reasons why I love Fujifilm, and that unique experience is found on each of the seven models in my list. While some might see it as merely “retro” (which it is), to me its preferable. It’s better—much better, in fact. You may or may not agree with that, and that’s fine—different strokes for different folks—I’m just explaining why those particular models didn’t crack my list.
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
The Fujifilm X-T50 has a Film Dial, a new feature that likely will begin to appear on other Fujifilm models in time. It’s possible that it might eventually find its way onto most bodies (or some alternate iteration of the concept). While the Film Dial has been controversial, I think it has been largely misunderstood, and I don’t believe a lot of people realize the great potential of it. Back in May, I created a strategy—a universal Recipe—for getting the most out of the Film Dial, which really makes it a useful feature. I thought it would be worthwhile to show what that looks like in real-life practice.
In August I had the wonderful opportunity to travel from coast-to-coast, leading photowalks in San Diego, Denver, Nashville and Philadelphia. It was so great to meet you all! Throughout the tour I had a Fujifilm X-T50, and utilized the Film Dial several times. Interestingly, even if you don’t own an X-T50, you can still use this strategy by programing a Fn button to open the Film Simulation menu—the Film Dial Recipe doesn’t actually require the Film Dial to use. In this case, though, I used the X-T50 and the Film Dial, and I want to share with you four times where I put it into practice. I think seeing the results from actual use will help to demonstrate just how nice the Film Dial is.
The universal Film Dial Recipe (click here) works well with every film simulation. Some are better than others, but all of them are decent enough (even Sepia). Since the Film Dial only changes the film simulation and nothing else, the universal Recipe parameters—other than the film sim—remain exactly the same when you turn the Film Dial. Each time you turn the Film Dial and select a different film simulation, it is like having a different Recipe (even though the Recipe parameters didn’t budge), because each film simulation is so unique. Essentially, the Film Dial gives you up to 12 bonus Recipes right at your fingertips!
Denver Nighttime Street Photography
Nostalgic Neg. a.k.a. “Nostalgic Film”
Classic Negative a.k.a. “Superia Negative”
Eterna a.k.a. “Cinematic Film”
Classic Chrome a.k.a. “Kodak Film”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Eterna a.k.a. “Cinematic Film”
Reala Ace a.k.a. “Fujicolor PRO 160C Warm”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Classic Negative a.k.a. “Superia Negative”
Exploring Nashville
Classic Negative a.k.a. “Superia Negative”
Classic Negative a.k.a. “Superia Negative”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Acros a.k.a. “Neopan Negative”
Eterna a.k.a. “Cinematic Film”
Eterna a.k.a. “Cinematic Film”
Reala Ace a.k.a. “Fujicolor PRO 160C Warm”
Reala Ace a.k.a. “Fujicolor PRO 160C Warm”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Classic Chrome a.k.a. “Kodak Film”
Classic Negative a.k.a. “Superia Negative”
Velvia a.k.a. “Velvia Film”
Reala Ace a.k.a. “Fujicolor PRO 160C Warm”
Reala Ace a.k.a. “Fujicolor PRO 160C Warm”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Classic Negative a.k.a. “Superia Negative”
Reala Ace a.k.a. “Fujicolor PRO 160C Warm”
New York & New Jersey
Classic Negative a.k.a. “Superia Negative”
Classic Negative a.k.a. “Superia Negative”
Classic Negative a.k.a. “Superia Negative”
Reala Ace a.k.a. “Fujicolor PRO 160C Warm”
Reala Ace a.k.a. “Fujicolor PRO 160C Warm”
Acros a.k.a. “Neopan Negative”
Acros+G a.k.a. “Neopan Negative”
Massachusetts
Nostalgic Neg. a.k.a. “Nostalgic Film”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Reala Ace a.k.a. “Fujicolor PRO 160C Warm”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Acros+G a.k.a. “Neopan Negative”
Acros a.k.a. “Neopan Negative”
Classic Negative a.k.a. “Superia Negative”
Classic Negative a.k.a. “Superia Negative”
Eterna a.k.a. “Cinematic Film”
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
Fujirumors posted a poll today asking whether people would prefer the (someday upcoming) Fujifilm X-E5 to have the same Shutter Knob as the X-E4, or replace the Shutter Knob with a Film Dial, or use a Shutter/ISO combo Knob like the X100/X-Pro cameras. As of this writing, a little over 70% would prefer the Shutter/ISO Knob, according to the poll.
Way back in March of 2021 when the X-E4 was brand-new, I said “It would have been a nice touch if Fujifilm had included an ISO ring around the shutter knob.” It should not surprise anyone that my vote is for the Shutter/ISO combo. In my opinion, if the X-E4 had had that combo Knob, had kept the M/C/S switch, and had kept the rear Command Dial, the camera would have been pretty much perfect. I understand that the Shutter/ISO combo Knob is much more complicated and more expensive, but it would be worthwhile to include it on X-E series cameras, in my opinion.
There’s a vocal group of people who didn’t like the X-E4, but prefer the X-E3 instead, and want the X-E5 to be more similar to the X-E3 than the X-E4. That’s because the X-E4 was slimmed down with a minimalistic approach, but perhaps just a bit too minimalistic. It’s completely understandable that not everyone appreciated it. The reason why the X-E5 is much more likely to have more in common with the X-E4 than the X-E3 is simple: the Fujifilm X-E3 did not meet sales expectations, while the X-E4 exceeded them. Fujifilm had to steeply discount the already affordable X-E3 just to clear the warehouse, and even then had trouble selling them (the X-E3 could be found rather easily a year after it was discontinued, and for a discount). The X-E4 was difficult to find in-stock throughout its production life, and had months-long backorder lists when it was suddenly discontinued, presumably because Fujifilm ran out of parts and couldn’t secure enough to justify keeping the assembly line open. Now, the X-E4 sells for a few hundred more used than it did brand-new. I’m not saying that the X-E3 is a lesser camera, only that Fujifilm had trouble selling it and had trouble meeting the demand of its successor, so it is logical that they’d follow the formula that worked well for sales.
The less that Fujifilm changes from the X-E4, the better in my opinion. If it ain’t broke, don’t fix it. Give it the X Processor 5, an improved EVF, the M/C/S switch, rear Command Dial, and that combination Shutter/ISO Knob, and you’ve got a really compelling camera. But, who knows, Fujifilm might do a complete overhaul. I have no idea.
While I actually really like the Film Dial on the Fujifilm X-T50, and I found a way to make it work quite well, I would not replace the Shutter or Exposure Compensation Knobs with it. That just doesn’t make any sense. If Fujifilm really wants to include the Film Dial on the X-E5, it would need to be an additional feature, and not a replacement of something already existing. Maybe similar to how Leica integrated the ISO Dial into the M11?
It will be interesting to see how Fujifilm evolves the X-E line. It’s much beloved by those who have owned them, but always on the chopping block, it seems. Apparently it’s not mainstream enough to have a secure spot in the X-series lineup, but the passionate fanbase prevents Fujifilm from axing it. If the X-E5 existed today, it would sell like hotcakes; heck, if the X-E4 was still being manufactured, it would be selling like hotcakes right now. Whenever the X-E5 is eventually released, perhaps next year, it will likely do very well for Fujifilm. But, I do think it’s important to strike while the iron is hot, and it’s hot at this very moment—so the sooner the better.
Rainbow over Hoboken – Hoboken, NJ – Fujifilm X-T50 – Pushed Analog Recipe
I created this new Film Simulation Recipe while on my four-city photowalk tour. I didn’t have any specific film in mind, but wanted something contrasty, colorful, and warm—perhaps vaguely reminiscent of a push-processed Kodak emulsion without mimicking anything specific. In fact, I didn’t even reference any photographs when I created this (which is unusual for me), just used my experience making Recipes to achieve the aesthetic that I was after. Since it is only similar to pushed film in a very generic way, I named this Recipe very simply Pushed Analog.
Pushing film is where you purposefully underexpose, and then increase the time in the developer to compensate. This Recipe might be more similar to ISO 100 film pushed one stop or maybe two at most (but probably not two stops). Pushing film increases the contrast and grain, and makes the images more punchy and gritty. The more you push, the stronger the effect. The warmth in this Recipe is similar to using a warming filter, such as an 81A or something similar, with daylight balanced film, which used to be common in the film era.
Ciao & Church – Boston, MA – Fujifilm X-T50 – Pushed Analog Recipe
This Pushed Analog Film Simulation Recipe isn’t for every subject or situation, and not everyone is going to like it. Some of you will love it, I’m certain; however, this is not an everyday option that everyone will appreciate. I found that it works best in sunny daylight, and can also be a good option for dusk or dawn. It’s so-so for overcast days, and not good for artificial light. You can get dramatic results, but you might not find every image to be striking. This Recipe is compatible with all fifth-generation X-series cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50.
Film Simulation: Reala Ace Dynamic Range: DR200 Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome FX Blue: Strong White Balance: Fluorescent 1, -3 Red & -2 Blue Highlight: +1.5 Shadow: +2 Color: +4 Sharpness: -1 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 Analog Film Simulation Recipe on a Fujifilm X-T50:
Upper Manhatten – Hoboken, NJ – Fujifilm X-T50
Richie’s Lemon Ice – Boston, MA – Fujifilm X-T50
Yellow Umbrellas – Hoboken, NJ – Fujifilm X-T50
P is for Parking – Hoboken, NJ – Fujifilm X-T50
Chimney between the Trees – Salem, MA – Fujifilm X-T50
Vines on the Building – Salem, MA – Fujifilm X-T50
Find this Film Simulation Recipe and over 350 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
The Film Simulation Summer Photowalk in San Diego was epic… even if it got off to a rocky start. You see, the photowalk was at Balboa Park, which is typically a popular place, and parking can normally be somewhat challenging; however, the San Diego Zoo, which is also in Balboa Park, just so happened to get some Giant Pandas from China the day before, creating a panda-monium. Needless to say, parking was a nightmare!
Even so, somewhere around 60 photographers came out to the event, which is a very large group. A number of people showed up late (due to the parking situation), so it was impossible to get an accurate head count. I bet more would have been there had the parking situation been better, so I apologize to everyone who tried to come but just couldn’t find parking. Once we got going, it was a lot of fun, and I think everyone had a good time. It was great to meet everyone and talk cameras and photograph with you all. Thanks so much to everyone who braved the parking situation and came out for the photowalk—you made it epic!
Tom – San Diego, CA – Fujifilm X-T50 – Pacific Blues Recipe
This was a collaborative effort. It took a lot of people to pull it off. I want to shout-out Tom Baumgaertel (bewaremyfuji) who co-lead the photowalk. Tom is amazing! It was great to hang with him for the day. Thanks to Fujifilm for all the behind-the-scenes work, and also helping out during the walk. Thank you to Nelson’s Photo & Video for being a big part of it. I don’t know how many individuals it took to make this photowalk happen, but it was a lot!
Next up is Nashville on August 15th, which is this coming Thursday. There are only a few slots left, so be sure to register (click here) if you haven’t done so yet. Philadelphia is two days later on August 17th, and it is completely booked. If you are attending one of those photowalks, I will see you very soon!
Below are some photos from the San Diego photowalk that I captured on a Fujifilm X-T50:
Fujifilm X-T50 + Fujinon 27mm f/2.8 + Pacific Blues Recipe
Fujifilm X-T50 + Fujinon 27mm f/2.8 + Pacific Blues Recipe
Fujifilm X-T50 + Fujinon 27mm f/2.8 + Pacific Blues Recipe
Fujifilm X-T50 + Fujinon 27mm f/2.8 + Pacific Blues Recipe
Fujifilm X-T50 + Fujinon 27mm f/2.8 + Pacific Blues Recipe
Fujifilm X-T50 + Fujinon 27mm f/2.8 + Pacific Blues Recipe
Fujifilm X-T50 + Fujinon 27mm f/2.8 + Pacific Blues Recipe
Below are some photos from the San Diego photowalk that Amanda captured on a Fujifilm X-T5:
Fujifilm X-T5 + Fujinon 56mm f/1.2 + Pacific Blues Recipe – by Amanda Roesch
Fujifilm X-T5 + Fujinon 56mm f/1.2 + Pacific Blues Recipe – by Amanda Roesch
Fujifilm X-T5 + Fujinon 56mm f/1.2 + Pacific Blues Recipe – by Amanda Roesch
Fujifilm X-T5 + Fujinon 56mm f/1.2 + Pacific Blues Recipe – by Amanda Roesch
Fujifilm X-T5 + Fujinon 56mm f/1.2 + Pacific Blues Recipe – by Amanda Roesch
Fujifilm X-T5 + Fujinon 56mm f/1.2 + Pacific Blues Recipe – by Amanda Roesch
Fujifilm X-T5 + Fujinon 56mm f/1.2 + Pacific Blues Recipe – by Amanda Roesch
Fujifilm X-T5 + Fujinon 56mm f/1.2 + Pacific Blues Recipe – by Amanda Roesch
Fujifilm X-T5 + Fujinon 56mm f/1.2 + Pacific Blues Recipe – by Amanda Roesch
Fujifilm X-T5 + Fujinon 56mm f/1.2 + Pacific Blues Recipe – by Amanda Roesch
The Fujifilm X30 is an amazing and fun little camera. All it does is create wonderful pictures. It was quite surprising, and just blew away my expectations! I bet some of you aren’t even aware that this camera exists.
MPB is the sponsor of this article. They loaned me a Fujifilm X30 to try out for a couple of weeks. For those who don’t know, MPB is an online platform where you can buy, sell, or trade used photo and video gear. “At MPB, there’s something for everyone who wants to try something new, hone their skills, or pursue their passion—and it won’t cost the earth.” If you’re in the market for used camera gear, be sure to check out their platform—you can learn more about MPB here. Thank you, MPB, for making this article possible!
The Fujifilm X30 is a compact fixed-lens zoom camera with a tiny 12MP X-Trans II sensor. The third iteration in the series, the X30 was already a bit dated when it was released in 2014. With its discontinuation in 2016, Fujifilm abandoned the series altogether. The camera has a 28mm-112mm full-frame-equivalent f/2-2.8 lens, so it covers a lot of focal lengths. It has pretty good close focus capabilities and even optical image stabilization. There’s a lot to like on paper, but the 2/3″ CMOS sensor is just really small, and I think it’s hard to take a camera seriously with such a tiny sensor—especially when that tech is a decade old or more. That’s all on paper, of course, and real world use is what actually matters.
Despite the tiny sensor, the Fujifilm X30 is actually a similar size (just a tad smaller) to the Fujifilm X-E4 with the Fujinon 18mm f/2 pancake. The camera is not nearly as compact as I had expected. I had anticipated the dimensions to be more similar to the Fujifilm X70—perhaps even be pocketable—but it’s actually noticeably larger. In place of the usual Shutter Dial is a PASM Dial (which was common on Fujifilm’s lower-end models at the time); otherwise, the X30 looks and functions like many other Fujifilm X-series cameras. Because of the tiny sensor, it has significantly lower high-ISO capabilities than the APS-C models—I think it’s best to keep the camera at ISO 800 and below, but I did use ISO 1600 in some low-light situations and it was ok enough.
I programmed seven Film Simulation Recipes into the camera’s C1-C7 Custom Presets: Classic Kodak Chrome, Kodachrome 64, Pro Film, Lomography Color 100, Provia Negative, CineStill 800T, and Monochrome Red. This is a good set that covers most situations. Also, because each one uses a different White Balance type, the camera will remember the White Balance Shift for each. On the older cameras, which aren’t capable of saving a WB Shift within the C1-C7 presets, the experience is much improved if each Recipe uses a different White Balance type. I used Kodachorme 64 the most, and Classic Kodak Chrome second most—at one point or another, each of the seven came in handy.
Fujifilm X30 – Classic Kodak Chrome Recipe
Fujifilm X30 – Kodachrome 64 Recipe
Fujifilm X30 – Pro Film Recipe
Fujifilm X30 – Lomography Color 100 Recipe
Fujifilm X30 – Provia Negative Recipe
Fujifilm X30 – CineStill 800T Recipe
Fujifilm X30 – Monochrome Red Recipe
The pictures from this camera are amazing! They have a ton of character—I especially love the lens flare. I think the photographs are the selling point of the X30. It doesn’t have a ton of resolution, so you probably can only print up to 11″ x 14″ and not likely any larger; however, the files are plenty large enough for web and social media use, which is how most pictures are seen nowadays. I could see myself using this as an everyday-carry. Just grab it while heading out the door on ordinary outings.
Once again, a big “thank you” to MPB for loaning me a Fujifilm X30. It definitely is “outdated” in 2024, but the images that it creates are surprisingly wonderful, which makes it worthwhile to own and use. I think this could also be an excellent option for someone just learning photography. Even though the X30 is an easy to overlook model—especially since compact zooms have largely been forsaken by the industry—the retro design of this camera and especially the nostalgic photographs that it makes are easy to love.
Example photographs, all camera-made JPEGs captured on a Fujifilm X30:
BTW, in the top picture the camera is sitting on Kyle McDougall’s book An American Mile. An excellent photoessay, and great for inspiration—I highly recommend it.
The Denver photowalk is only two days away—it’s coming up fast! We’re going to meet at Washington Park at 8:30 AM right in front of the Boathouse. Almost half of the slots have been reserved, but there is still plenty of availability; if you’d like to join us, just be sure to register (click here). Tommy Christie will be co-leading this photowalk. If you live in or near Denver, I hope to see you soon!
The San Diego photowalk is on August 9th at 2:00 PM in Balboa Park at the Spreckels Organ Pavilion. It’s about 60% full, so don’t procrastinate if you’re considering coming (click here to register). Tom, better known as bewaremyfuji, will be co-leading this with me. It’s just over one week away, so it will come up fast!
The Nashville photowalk, which will be co-lead by Gabe Wasylko, is on August 15th—about two weeks away. The photowalk will begin at 7:15 PM at the Cumberland Park Amphitheater, which is right after a popup event that you are also invited to. Only about 20% of the slots have been reserved, so there’s still plenty of room for anyone in that area who wants to join us, just be sure to register (click here). If you know of any photographers who lives in or near Nashville who might be interested, be sure to let them know and help spread the word.
The Philadelphia photowalk is on August 17th at 4:00 PM. We’ll meet at Unique Camera, and photograph around the nearby Historic District. Allen Ali will be co-leading this with me. The Philadelphia photowalk is already about 85% full, so if you want to come, be sure to register ASAP (click here) so that you don’t miss out.
These four photowalks are going to be so much fun, and I’m looking forward to meeting many of you in person very soon. This is going to be epic! I can’t wait!
Today’s digital cameras are exceptionally good at high ISO. For those unaware, ISO can be understood as a measurement of the sensitivity of a digital sensor or film emulsion to light. The more sensitive, the more grainy or noisy, which degrades the image quality. My question is: why do our Fujifilm X-series models even have ISO 51200? Who would ever use it?
I remember way back in the film days that ISO 400 was considered to be “high ISO”—that’s what the “H” stands for in Fujicolor PRO 400H, actually. ISO 800 was largely used only if you really had to (or for the novice that didn’t know any better—Kodak made a lot of sales of ISO 800 and ISO 1000 film back in the day marketed specifically to the uninformed). ISO 1600 was basically for emergency situations. ISO 3200—the upper limit—was for the truly brave. The higher ISOs were more acceptable (and more widely used) for B&W than color, where the grittiness could be used artistically. Still, the rule of thumb back then was to always use the lowest ISO that you thought you could get away with.
Nowadays, with modern gear, I use ISO 800 without even batting an eye. ISO 1600 is more like how ISO 400 was back them—perfectly usable, but the high-ISO limit for some. ISO 3200 on my Fujifilm cameras is actually much more usable than ISO 800 film ever was—ISO 6400 is probably a closer parallel to ISO 800 film, yet cleaner.
Fujifilm X-T30 – ISO 25600 – Ilford HP5 Plus 400 Push Process Recipe
For color photography, ISO 6400 is often my upper limit, but sometimes I’ll use ISO 12800, like with the GAF 500 Recipe. For B&W, ISO 12800 is often my upper limit; however, there are times when I’ve used ISO 25600 or (more rarely) ISO 51200, like with the Ilford HP5 Plus 400 Push-Process Recipe. I feel like ISO 25600 is probably the closest equivalent on Fujifilm X cameras to ISO 3200 with film.
The fact that I use ISO 6400 and sometimes ISO 12800 (particularly for B&W) without being too concerned about the quality is mind blowing. Even going back just 15 years… I remember accidentally shooting at ISO 1600 on my first DSLR, and the pictures were essentially ruined by it. ISO 800 was pretty much the upper limit for that camera before the image quality degraded too much. Some people probably don’t realize just how good their Fujifilm cameras are at high ISO photography.
Several people have told me that they avoid Film Simulation Recipes that use DR400 because the Dynamic Range settings are ISO-dependent, and DR400 requires a higher ISO than they are comfortable using. Everyone has their own tastes and preferences, but I would encourage anyone who is afraid to try higher ISOs to just give it a try and see what you discover. Don’t be afraid to bump it up a little.
Fujifilm X-T5 – ISO 25600 — Ilford HP5 Plus 400 Push Process Recipe
On Fujifilm models that don’t have a dedicated ISO Dial, I will use the front Command Dial to adjust the ISO. The unfortunate aspect of this is that I occasionally bump the Command Dial, which changes the ISO—most often, to ISO 51200, which is the camera’s maximum ISO. I usually catch it right away, but sometimes it’s not until after a few exposures.
Whenever this happens, I wonder why Fujifilm even has ISO 51200. Why not top it out at ISO 25600? While ISO 25600 isn’t especially useful for color photography, it can be good for gritty B&W. ISO 51200 is marginal even for gritty B&W, and is pretty much unusable for color. And who needs ISO 51200 anyway? Certainly the situations are extremely rare where ISO 12800 is too low, let alone ISO 25600.
Fujifilm X-T50 – ISO 51200 – Nostalgic Negative
Just recently, though, I had a change of heart. Actually, I had an epiphany: ISO 51200 on Fujifilm is a lot like Kodak Kodacolor VR 1000 film. When Kodak released that emulsion in the early 1980’s, it was the highest ISO color film available. However, the pictures were quite grainy and textured, and the film was shunned by most “serious” photographers at the time (and discontinued after just four years). Nowadays, there are actually some people who search out the film (which has long since expired), and shoot it for its aesthetic. Instead, they could simply use ISO 51200 on a Fujifilm camera and get similar results. You won’t want to print very large, but for web use or small prints, it’s surprisingly fine.
Below are some pictures that I captured recently using ISO 51200 on a Fujifilm X-T50. It began as an accident, but then I did it on purpose. The “Recipe” is a modification of an upcoming Film Simulation Recipe that I’ve been working on. Most of the pictures below are the Nostalgic Neg. film simulation, and one is Eterna. Those two film sims seem to be the best for ultra high ISO color photography.
Fujifilm X-T50 – ISO 51200 – Nostalgic Negative
Fujifilm X-T50 – ISO 51200 – Nostalgic Negative
Fujifilm X-T50 – ISO 51200 – Nostalgic Negative
Fujifilm X-T50 – ISO 51200 – Nostalgic Negative
Fujifilm X-T50 – ISO 51200 – Nostalgic Negative
Fujifilm X-T50 – ISO 51200 – Eterna
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Captured with a Fujifilm X-M1 camera & Fujinon 90mm f/2 lens
There have been a lot of vocal complaints recently about Fujifilm’s autofocus. I cannot tell you how many times I’ve seen people online call it “garbage” or “bad” or some other negative term. Every once in awhile a person will comment on Fuji X Weekly with a similar sentiment; however, it’s vocalized a lot less here than elsewhere, it seems. This is a controversy that I’ve tried to steer clear of—people have strong opinions about this topic, and I believe that my take is not going to be well received by those with the strong opinions. But I feel someone needs to say something, so I will.
First, let’s begin with this important perspective: no camera is perfect. Each and every model, no matter the manufacturer, has advantages and disadvantages. No Sony, Canon, Nikon, Fujifilm, etc., etc., will ever be perfect, because each and every person has different wants and needs. Someone will desire a camera that’s especially compact, while someone else will want one with a large grip. The first person would likely greatly dislike a Canon EOS R1, and the second person would likely greatly dislike a Nikon Zfc; however, the first person might like the Zfc and the second person might like the R1. The first person might like a Ricoh GR III significantly more than the Zfc, and the second person might like a Fujifilm GFX100 II a little more than the R1. For the first person, the GR III might be the most perfect camera currently available, while for the second person, the GFX100 II might be. Now realize that there are 10,000 or more various takes on what is or isn’t the “best” camera, and those opinions are likely fluid and evolving.
Second, let’s not forget that photography has been around for a very long time. It didn’t begin two, five, or ten years ago. People have been capturing amazing photographs for well over 100 years. If you were to grab a Fujifilm X-T5, jump into a DeLorean, and travel back in time just 20 years, you’d blow away the photographers of that time with what would seem like to them impossible camera technology. Yet the photographs captured today are no more impressive than than theywere then. Camera gear has advanced tremendously over the last two decades, but the great photographs from today are no more great than they were 30, 40, 50, etc., etc., years ago.
If you disagree with the complaints, a common rebuttal that people will make regarding this topic is that “you must only photograph things that don’t move.” Interestingly, if you Google search photos of the Olympic games from the ’60’s or ’70’s, you can find some really amazing sports images captured well before autofocus was even invented. You can do the same with wildlife photography. They did this on equipment that was far less advanced and sophisticated than what exists today. If they could do it with the gear they had, why can’t you with the gear that you have? (Hint: it’s not the gear, and never has been).
Third, Fujifilm’s autofocus should not be expected to have the same level of performance as pretty much any other camera maker. Both Canon and Nikon’s first autofocus SLRs were released in 1986. Konica made the very first autofocus camera back in the 1970’s, and Minolta made the first “good” autofocus camera in 1985 (Sony cameras trace their heritage to both Konica and Minolta). Fujifilm has been making autofocus cameras for a much shorter time; Fujifilm also has had less R&D money to spend in-general than the Canikony brands. Anyone who expects that Fujifilm’s autofocus would be at the same level as those brands (who had a big head start and more money to spend) hasn’t put much thought into this. Even so, Fujifilm isn’t all that far behind Sony and Canon, and is arguably on par with Nikon. I have a Canon EOS 5DS R, Sony A7 IV, and Nikon Zfc (and have owned other cameras from those brands in the past), and I haven’t personally noticed any difference in autofocus performance between any of those cameras in my photography.
Fujifilm’s autofocus is very good—fantastic, actually. However, Sony and Canon (and arguably Nikon) have a bit more fantastic autofocus system than Fujifilm (as you’d expect). I really don’t understand the complaints about Fujifilm’s autofocus. It is like complaining that a Corvette isn’t a Maserati, and calling the Corvette garbage because it isn’t more like a Maserati. If you want a Maserati, buy a Maserati! Otherwise, appreciate that you have a Corvette.
The fact is that autofocus is a crutch, and I don’t mean that in a bad way. A lot of tech is a crutch, which can make things easier for you—they can oftentimes be quite helpful. I almost always use crutches of some sort in my photography, and I suspect that most other people do as well. But like any crutch, you don’t need it, or, at the least, you can learn how to make it work for you. Someone told me a long time ago that either you control your camera or your camera controls you. That has to be much more true today than when it was told to me. Whatever subject that you are photographing, people have been capturing amazing pictures in that genre for longer than you’ve been alive and with gear much less advanced and “capable” than yours. If they could do it, so can you. Your gear is only a liability if you allow it be—if it is a liability to you, you have the power to not allow it (control your camera vs it controlling you). The gear has never been the issue, but it’s a lot easier to blame the gear than to look inward. It’s important to remember that whatever you are photographing, there are people in that same genre using Fujifilm gear with much success. The gear isn’t a problem for them, so why is it for you?
Which brings us to your choice. If you own a Fujifilm camera and are dissatisfied with the autofocus, you have three options: 1) figure out how to make it work for you (you absolutely have the power to do this), 2) find a different camera that has better autofocus (a more sophisticated crutch), or 3) do neither, and just complain about it and be miserable. I can’t think of any other options, so those are your choices.
The complaints about Fujifilm’s autofocus have really only been over the last couple of years. Yes, there have been discussions about it since the original X100 back in 2011; however, I’ve seen a sharp increase in the complaints over just the last couple of years, and especially over the last year. I believe what accounts for this is people coming to Fujifilm from Canikony brands (especially Canon and Sony), and being dissatisfied with the autofocus of Fujifilm compared to the cameras that they previously had (my question is: why did they leave their previous brand if it was so good??). Fujifilm’s autofocus is not quite as advanced as Sony’s or Canon’s, but that should be expected (as was already outlined), and it doesn’t mean that Fujifilm’s is garbage or bad, only that the photographer needs to rely just a bit more on their own personal skills to compensate for the slightly diminished crutch.
It is true that I’m neither a sports nor wildlife photographer—I’ve dabbled in both at times, but those are not my main photographic interests by any stretch. I do have kids, and have captured a ton of successful pictures of them, as well as many other moving subjects. I don’t personally have any issues with Fujifilm’s autofocus—not even on the older models, which have far less sophisticated autofocus capabilities than the latest fifth-generation cameras. With that said, your photographic wants and needs might be different than mine, which brings us right back to the start: no camera is perfect, and each has advantages and disadvantages. If you don’t feel that a certain one is “right” for you, you have a lot of options. If you feel like the camera is controlling you (and not the other way around), I wholeheartedly believe that you have it within you to take control of your photography.
I have a limited edition Fujifilm X-T4 ES (Extended Spectrum) camera that I purchased from Fujifilm a month ago (but arrived a couple weeks ago). It was briefly sold directly from the Fujifilm website, but only for a handful of days. Right now, the Fujifilm X-T4 ES is available for purchase from B&H as a special order. You have to agree to some terms and restrictions and be a resident of the USA; one such term is to be a “professional” photographer or videographer with the express purpose of creating “fine art” content. I don’t know what their definition of a “professional” is, but if you’re in America and want this camera, you should at least inquire about it. I don’t believe that there are very many copies of the Fujifilm X-T4 ES, so if you want one, you should definitely act fast, as it won’t last long, I’m certain.
Red Founders – Buckeye, AZ – Fujifilm X-T4 ES – Aerochrome v1
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