Fujifilm Camera

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

Posted on by Ritchie Roesch

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

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

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

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

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

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

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

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

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

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

Film Simulation: Nostalgic Neg.
Grain Effect: Strong, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Off
White Balance: Auto, -2 Red & -4 Blue
Dynamic Range: DR200
Highlight: +1.5
Shadow: +3
Color: +4
Sharpness: -2
High ISO NR: -4
Clarity: -3
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +1 (typically)

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

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

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

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

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

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

Posted on by Ritchie Roesch

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

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

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

Posted on by Ritchie Roesch

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

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

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

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

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

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

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

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

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

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

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

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

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

Posted on by Ritchie Roesch

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

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

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

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

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

Film Simulation: Eterna Bleach Bypass
Grain Effect: Strong, Large
Color Chrome Effect: Strong
Color Chrome FX Blue: Weak
White Balance: 7700K, -9 Red & +5 Blue
Dynamic Range: DR400
Highlight: -0.5
Shadow: +1.5
Color: +3
Sharpness: 0
High ISO NR: -4
Clarity: -3
ISO: Auto, up to ISO 6400
Exposure Compensation: -1/3 to +2/3 (typically)

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

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

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

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

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

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

Posted on by Ritchie Roesch

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Getting that ’90’s Film Look with Fujifilm Cameras

Posted on by Ritchie Roesch

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

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

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

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

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

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

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

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

10 Film Simulation Recipes

Kodak Max 800

Fujicolor Analog

Fujicolor Superia 100

Superia Premium 400

Fujicolor Superia 1600

Fujicolor Natura 1600

Fujicolor NPS 160 Pulled

Pulled Fujicolor Superia

Nostalgia Color

Agfa Ultra 100

Gear

Fujifilm X100V

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

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

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

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

Fujifilm X-E4 + Lens + Flash

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

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

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

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

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

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

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

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

Posted on by Ritchie Roesch

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Answers to the 10 Most Common Fujifilm How-To Questions

Posted on by Ritchie Roesch

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

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

1. How to program a Film Simulation Recipe

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

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

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

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

2. How to resolve Clarity greyed out

The 1981 Kodak Recipe uses minus Clarity

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

3. How to fix DR200 or DR400 not available

The Fujicolor 100 Gold Recipe uses DR400

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

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

The Vibrant Arizona Recipe uses D-Range Priority

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

5. How to set a White Balance Shift

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

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

6. How to get less yellow pictures

The Fujicolor Superia 100 Recipe is Daylight-balanced

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

7. How to shoot with a manual lens

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

8. How to set Exposure Compensation

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

9. How to use older Recipes on newer models

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

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

10. How to resolve the Clarity pause

The Kodak Tri-X 400 Recipe uses plus Clarity

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

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

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

Posted on by Ritchie Roesch

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

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

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

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

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

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

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

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

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

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

Ricoh GR III

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

Fujifilm X-E4 + Fujinon 18mm f/2

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

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

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

When you just have to Grab your Camera and Shoot

Posted on by Ritchie Roesch

Fujifilm X100V — Vintage Vibes Recipe

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

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

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

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

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

The Curious Case of the Upcoming Fujifilm X-S20

Posted on by Ritchie Roesch

Fujifilm X-S10

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

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

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

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

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

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

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

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

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

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

Fujifilm X-S10:  Amazon  B&H  Moment

Slowing Down with Sandmarc ND Filters

Posted on by Ritchie Roesch

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

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

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

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

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

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

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

ND Filter + Tripod

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

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

ND Filter without Tripod

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

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

High ISO in Bright Daylight

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

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

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

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

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

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

Shooting a Roll of Fujichrome Fortia 50

Posted on by Ritchie Roesch

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

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

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

Note: This was a Creative Collective article, but now it’s available to everyone.

“Fujichrome Fortia 50” Frame 5 of 36 — Fujifilm X100V

Fujifilm made Fujichrome Fortia 50 color reversal (slide) film from 2004 to 2007, and was only available in Japan (although it did manage to slip out of the country). It was their highest saturation emulsion, even more wild than Velvia 50!

An urban legend says that someone at Fujifilm messed up a batch of Velvia 50; when it didn’t pass quality control, instead of tossing it into the trash, Fujifilm decided to package it as a new film—Fujichrome Fortia 50—and sell it during the Japanese cherry blossoms when photographers might want an extra boost in color vibrancy. It was a hit! So they brought it back the next three years during the cherry blossom season; however, it was sold under the name Fujichrome Fortia SP 50 (SP might mean “SPecial” or “Saturated Palette” or something like that). This new run of Fortia was a little different than the original, presumably because the first one was a complete accident, and the second was an attempt to recreate that accident. While Fortia was discontinued in 2007, apparently there was enough supply that it could be found fairly easily in 2008. If you are lucky to find an unexposed roll today, it will be well past the expiration date and I’m sure very expensive. If you don’t know what Fortia looks like, click here, here, and here to get an idea.

Fujifilm doesn’t have a Fortia film simulation in their cameras. The closest is Velvia, and if you go wild with it, such as The Rockwell Film Simulation Recipe, you can approach but not quite reach a Fortia look. It’s not possible to truly get a Fujichrome Fortia 50 aesthetic from your Fujifilm camera. Or is it?

The Rockwell is left, revealed by moving the slider right; Pop Color (a.k.a. Fortia) is right, revealed by moving the slider left — frame 20

Most Fujifilm cameras have what they call “Advanced Filters” which aren’t really advanced, but are instead kind of gimmicky. I’ve used Toy Camera, High Key and Low Key. They’re ok, but not something that I would choose often. There’s another that’s called Pop Color, which I never paid much attention to, until recently. Fujifilm claims that Pop Color “emphasizes contrast and color saturation.” If you want to learn more about Advanced Filters, Fujifilm has a video that you can watch about this topic.

Fortia 50 is like Velvia 50 on steroids; Pop Color is like the Velvia film sim on steroids—is Pop Color basically a built-in Fortia film simulation? Actually, yes! It’s not a perfect replication, but it’s not all that far off, either. Unfortunately, you cannot customize any aspect of Pop Color, so it’s not possible to add Weak/Small Grain, for example, or Color Chrome Effect. You get what you get, but (fortunately) what you get is actually kind of good if you are after wild colors. The best part is that it doesn’t use up a C1-C7 Custom Preset, so you can use the Pop Color Advanced Filter as a bonus option in addition to whatever Film Simulation Recipes that you have programmed.

Recently I shot 36 exposures (simulating a roll of film) of Fujichrome Fortia 50—I mean, Pop Color—on my Fujifilm X100V. Below are some of the pictures:

“Fujichrome Fortia 50” Frame 1 of 36 — Fujifilm X100V
“Fujichrome Fortia 50” Frame 4 of 36 — Fujifilm X100V
“Fujichrome Fortia 50” Frame 7 of 36 — Fujifilm X100V
“Fujichrome Fortia 50” Frame 8 of 36 — Fujifilm X100V
“Fujichrome Fortia 50” Frame 9 of 36 — Fujifilm X100V
“Fujichrome Fortia 50” Frame 13 of 36 — Fujifilm X100V
“Fujichrome Fortia 50” Frame 16 of 36 — Fujifilm X100V
“Fujichrome Fortia 50” Frame 23 of 36 — Fujifilm X100V
“Fujichrome Fortia 50” Frame 24 of 36 — Fujifilm X100V
“Fujichrome Fortia 50” Frame 25 of 36 — Fujifilm X100V
“Fujichrome Fortia 50” Frame 26 of 36 — Fujifilm X100V
“Fujichrome Fortia 50” Frame 29 of 36 — Fujifilm X100V
“Fujichrome Fortia 50” Frame 30 of 36 — Fujifilm X100V
“Fujichrome Fortia 50” Frame 31 of 36 — Fujifilm X100V
“Fujichrome Fortia 50” Frame 32 of 36 — Fujifilm X100V
“Fujichrome Fortia 50” Frame 34 of 36 — Fujifilm X100V
“Fujichrome Fortia 50” Frame 35 of 36 — Fujifilm X100V
“Fujichrome Fortia 50” Frame 36 of 36 — Fujifilm X100V

If the Velvia film simulation isn’t quite vibrant enough for you, Pop Color might just be a solid solution. If you have C1-C7 already set with your favorites, but want a colorful 8th option, give Pop Color a try. It’s not as gimmicky as I thought it would be, and (surprisingly) the results retain an analog soul despite not being a Film Simulation Recipe. I don’t think Pop Color is for everyone or every situation, but in the right situations it can look quite good. For those wanting to mimic Fujichrome Fortia 50 on their Fujifilm camera, Pop Color is as close as you’re going to get.

A Better Way To Get a Retro Film Look

Posted on by Ritchie Roesch

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

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

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

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

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

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

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

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

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

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

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

Wait, What?!? Fujifilm to Use X-Trans IV Sensor in new Cameras?

Posted on by Ritchie Roesch

Sentinel & Merced – Yosemite NP, CA – Fujifilm X100V – Vintage Color Recipe
Captured on a 26-megapixel X-Trans IV sensor

According to Fujirumors, who is almost always right, the upcoming X-S20 camera, which will likely be announced in May, will have a 26-megapixel X-Trans IV sensor, the same sensor as the X-S10 and all other X-Trans IV cameras, and not the new 40-megapixel or 26-megapixel-stacked X-Trans V sensor.

Wait, what?!? Why would Fujifilm do this?

This doesn’t make any sense because Fujifilm has historically used the same sensor in all models of a certain generation, with few exceptions. What are the exceptions? The X-M1 had an X-Trans I sensor paired with an X-Trans II processor (yet with options more like a Bayer model). The X20, X30, XQ1, and XQ2 were X-Trans II cameras with small sensors and not APS-C. Otherwise, all of the X-Trans cameras in a generation shared the same sensor. All of the X-Trans III cameras had the 24-megapixel X-Trans III sensor. All of the X-Trans IV cameras had the 26-megapixel X-Trans IV sensor. But X-Trans V is definitely different.

First we have the 26-megapixel-stacked X-Trans V sensor in the X-H2S, which presumably will be found only in that one model and no others. Then there is the 40-megapixel X-Trans V sensor found in the X-H2 and X-T5, which presumably will also be found in the next X-Pro and X-100 models. Now we’ll have the 26-megapixel X-Trans IV sensor (presumably paired with the X-Trans V processor) in the X-S20. Weird.

The advantage of having just one sensor for each Fujifilm era is that no matter your camera within a certain generation, you know you will get identical images out of each body. So you could have an X-T2 as your main camera, an X-T20 as a second body, and an X-E3 as a travel option, and the images will look the same, because they all share the same sensor and processor. Consistency. Or you might have an X-Pro3 and X100V, and—no matter which you used—the picture quality will be identical. Now with X-Trans V there’s a lot less consistency across the range, which in my opinion is a disadvantage.

Using the X-Trans IV sensor in the X-S20 does make sense because the sensor, while a few years old, is still excellent, and pairing it with the new processor will (potentially) get the most out of it. I have both X-Trans IV and X-Trans V cameras; while they’re all great, I actually prefer X-Trans IV. I don’t need 40-megapixels. Some people do—yes—but the vast majority don’t, and it’s overkill that for most people only exacerbates storage issues. So I would rather Fujifilm work to squeeze more—increased dynamic range, improved high-ISO, speed, etc.—out of the 26-megapixel sensor than to push more resolution. I feel like 26MP is a really good spot for APS-C, and Fujifilm shouldn’t be in a hurry to move past it. I’ve made many very nice 2′ x 3′ prints from X-Trans IV JPEGs, and the majority of people don’t print that large, let alone bigger.

One question that this raises is what will be different about the X-S20 compared to its predecessor, since they’ll share the same sensor? Apparently the X-S20 will have the new NP-W235 battery, which is certainly nice. I would be surprised if a slight design change isn’t necessary to accommodate the bigger battery, but I don’t expect any drastic changes to the design overall. I expect some improvements to autofocus, maybe image stabilization, and perhaps some small video spec upgrades (such as better time limits) will be included, but certainly nothing major. Most likely more will be alike than dissimilar; however, the upgraded battery and processor will make the X-S20 better than the X-S10, at least by a little, but probably not much more than a little.

I do think this gives some credibility to my theory that another PASM model is in the works—I don’t have any inside information, this is just my personal thoughts. I think a number of X-S10 users would like to upgrade to a higher-end body, but the X-H2/X-H2S is too big and expensive for them. I also believe that a number of X-H2/X-H2S owners would like a more compact and cheaper second body, but the X-S10 is a little too much of a downgrade for them. These folks aren’t interested in the X-T4 or X-T5 because of the traditional dials. Fujifilm has created a need for an in-between mid-tier PASM model. Don’t be surprised if an X-S2 (or whatever they will call it) is being designed right now, which will be a little larger than the X-S20 (but not as large as the X-H2/X-H2S), have weather-sealing, two SD-Card slots, seven Custom Presets, but no external fan accessory and slightly more limited video specs compared to the X-H2 (more similar to the X-T5), with an MSRP around $1,500-ish. Look for it in 2024. Like I said, this is all just a guess.

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

Another question that is raised is whether the X-T40 (or maybe they’ll call in X-T50) will have the X-Trans IV sensor like the X-S20, and I think the answer is yes. Fujifilm will use the “old” sensor to differentiate low-end models from mid and high-end bodies. If there is an X-E5, which is far from guaranteed, it would also have the 26-megapixel X-Trans IV sensor. I don’t personally believe that both the X-T00 and X-E lines will continue, and most likely the one to get axed is the X-E series, which is unfortunate because I really like the X-E line. If there eventually is an X-E5, look for it in 2025 near the very end of X-Trans V. Fujifilm should 100% be making an X80—the long awaited successor to the X70—and if they do it will certainly also have the 26-megapixel X-Trans IV sensor, but I don’t think that such a camera is in the works. I really hope I’m wrong.

I don’t know if the X-S20 (and future X-T40) will have an output more similar to X-Trans IV or X-Trans V or something unique. My guess is that the processor will be programmed to produce results more like the X-T5, which renders blue a little deeper on some film simulations and does some odd things with AWB (otherwise the differences between X-Trans IV and V are pretty small overall). We’ll have to wait until the camera comes out to find out.

Personally, I feel as though camera makers release new models much too quickly. There’s still quite some demand for X-Trans IV models. The X-E4 and especially the X100V have long backorder lists. A camera store told me that if they received zero new orders for the X100V and they continued to received new bodies at the same rate that Fujifilm has been delivering them, that it would take them six months to fulfill all of the current X100V orders; yet, they continue to receive new orders at a higher rate than bodies are being shipped to them by Fujifilm, so the backorder list is constantly growing. Fujifilm should concentrate their efforts on fulfilling current demand for X-Trans IV before pressing forward with X-Trans V. Unfortunately, camera makers will constantly push slightly improved new models because there is so much GAS and FOMO out there that people will buy them up.

There’s a cycle, which I’ve certainly been caught up in, and it’s not healthy: buy a new camera every year. People often have two camera bodies (sometimes someone has only one, and sometimes someone—like me—has a bunch)—and one of the two is replaced every odd year and the other is replaced every even year. Perhaps in 2021 you replaced your X-T2 with an X-T3 and in 2022 you replaced your X100F with an X100V; maybe in 2023 you will replace your X-T3 with an X-T5, and in 2024 you’ll look to replace your X100V with an X100Z (or whatever they’ll call the next X100). The cycle goes on and on.

My most recent camera purchase was an X-T5, but I did so in order to try the new film sim and make Film Simulation Recipes for X-Trans V; otherwise I didn’t need it—yes, the X-T5 is very nice to have and I’m not complaining whatsoever, but I’d be just as happy without it. I purchased my X-E4 two years ago, and I have no desire to replace it anytime soon—it was my most-used camera in 2022. My X100V was a birthday gift from my wife nearly three years ago, and I’m sure I’ll skip the next X100 series model, unless there’s something really radical about it. A year before that I bought an X-T30, which is a good camera that would still seem fresh if Fujifilm had shown it more Kaizen love, instead of releasing the firmware as a new model. Of those four, the X100V and X-E4 are my two favorites, and I hope to be still using them in 2025 and perhaps well beyond that. If Fujifilm made an X80, monochrome-only X100 or X-Pro, or an IR model, I’d be in line to buy those, but otherwise I’m not personally interested in anything new. I have what I need, but more than that I need to break the cycle of buying a new camera every year.

The fact is that even the older Fujifilm models are good. Yes, the newer models are better in many ways, but that doesn’t mean that their predecessors weren’t good. I used my Fujifilm X-T1 exclusively for a couple of weeks last November, and, not surprising to me but perhaps a surprise to some of you, the X-T1 did exceptionally well in most situations, including sports—the biggest shortcoming was autofocus in dim-light. If your camera still works for you, there’s not likely a good reason to upgrade.

Of course, the X-S20 isn’t intended as an “upgrade” model. Its purpose is to convince those unhappy with their Canikony cameras to consider Fujifilm instead. The X-S line’s main goal is to attract those from other brands who aren’t interested in (or are intimidated by) Fujifilm’s traditional tactile controls, but want Fujifilm’s colors and such. The X-S20 is an entry-level model, so Fujifilm is hoping that those with a Nikon D3500 or Sony A6300 or Canon T7 (or another model along those lines) will take a long look at the X-S20. I’m sure it will sell well, bringing people into the Fujifilm fold who otherwise wouldn’t be.

Fujifilm Discontinues the X-E4?!?

Posted on by Ritchie Roesch

According to Fujirumors, some camera stores are beginning to mark the Fujifilm X-E4 as discontinued. It’s not uncommon for cameras to be marked as such prior to the announcement of its successor, but I don’t think that’s the case here.

I own and love my X-E4. I’ve always had a special place in my heart for the X-E line because my very first Fujifilm camera was an X-E1, which was my gateway into the Fujifilm family. The X-E4 was my most-used camera body in 2022. It’s an especially great camera for travel photography due to its small size and minimalistic design, and I’m so glad that I preordered it when it was announced.

Of course, it wasn’t without controversy. Fujifilm probably went a step or two too far in their attempt at minimalism, removing a couple of things they probably shouldn’t have. No camera is perfect. Despite that, the X-E4 has been in-demand since its release, with sales often exceeding Fujifilm’s ability to manufacture new bodies. The camera has been on backorder for the majority of the time since its release a little over two years ago. If you are a camera maker, best case scenario is that a camera’s demand exceeds your ability to make them, and they are already sold before they even reach the end of assembly. The X-E4 was one such model.

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

So why, then, is it being discontinued?

The reason why Fujifilm couldn’t keep up with demand is the global parts shortage that affected so much within the industry. Fujifilm didn’t prioritize securing parts and manufacturing efforts for the X-E4 for two reasons, I believe: 1) other models were even more in-demand, and 2) other models have higher profit margins. I don’t have any proof of that, it’s just my assumptions. Cameras like the X100V and X-T5 are more in-demand than the X-E4, and more money is made per camera sold than the X-E4, so less of an effort was made to produce more X-E4 bodies. Instead of trying to fulfill the full demand, Fujifilm prioritized other models. It’s fine that they did that, because something had to give somewhere, and Fujifilm made their tough decisions.

My guess is that parts are running especially thin now for the X-E4, so Fujifilm is telling camera stores that they cannot fulfill more orders. I think more bodies have been made and are en route to the stores, and possibly more are on the assembly line right now, but after that there will be no more. Some of those who have it backordered will get their camera, and some won’t. That’s all just a guess and so take it with a large grain of salt. I have zero inside information.

Coastal Blooms – San Simeon, CA – Fujifilm X-E4 – Pacific Blues Recipe

Instead of trying to secure more parts and manufacture more copies of the X-E4, I think Fujifilm is trying to move onto X-Trans V as quickly as they can. I suspect that the X-Pro3 is no longer manufactured, and Fujifilm and camera stores are waiting for the current stock to dry up. I think the X-T30 II is on it’s last production run, and will soon be discontinued. My guess is that all of the X-S10’s that will be made have been already, and it’s a matter of the current stock running out. Same for the X-T4. The X100V is another story. I think Fujifilm will continue to manufacture it as long as demand remains sky-high, which will likely be until the day the X100Z (or whatever they will call it) is released; however, I do think they are giving manufacturing priority to the X-T5, X-H2, and X-H2S. Again, this is all speculation and nothing more.

Supposedly, the next Fujifilm camera to be announced will be the X-S20 sometime next month, but Fujifilm cancelled their April X Summit. Maybe they weren’t as ready for the X-S20 as they thought they would be. I think Fujifilm should prioritize the next X100-series camera, but my suspicion is that 2024 will be the year of the X-Pro4 and X100Z, and not 2023. I do think the plan is for one more X camera to be announced this year (aside from the X-S20, in or around September), but it will likely be an affordable (budget) model, such as the X-T40 (they might call it X-T50).

Old Saguaro – Buckeye, AZ – Fujifilm X-E4 – Arizona Analog Recipe

Fujifilm has three low-budget lines: X-S, X-E, and X-T00. They used to have other lower-budget lines, but that end of the camera market dried up so they discontinued them. I don’t believe that Fujifilm will continue with three models competing against each other. My guess is that either the X-T00 or X-E line is done for. Since Fujifilm has flirted in the past with discontinuing the X-E line, that series is likely on the chopping block, or at least being discussed as such within Fujifilm management. Don’t be surprised if there is no X-E5.

If the autumn camera isn’t the X-T40, what could it be? Fujifilm would be smart to prioritize the next X100-series model. That should be near the very top of their to-do list (after fixing the Cam Remote app). I wouldn’t be surprised if Fujifilm introduced a new mid-tier PASM line in-between the X-S20 and X-H2/X-H2S—I have no idea if that’s in their plans or not, but it does seem like a gap in the lineup. I’ve heard of plenty of demand for a non-PASM flagship model, but I don’t think that’s currently in the cards. Of course, I’d love to see an X80 or monochrome-only model—those are the only cameras that I’m personally interested in right now—but I’m not holding my breath. Most likely, 2023 is the year for the X-S20 and X-T40.

I hope the X-E line isn’t done for. I hope there is an X-E5. If they do make it, the series has historically been announced near the end of a sensor’s lifecycle, so perhaps we will see one in 2025, just before X-Trans VI is introduced. We’ll see.

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

Fujifilm X-E4 in black:  Amazon   B&H  Moment
Fujifilm X-E4 in silver:  Amazon   B&H  Moment

Fujifilm GFX 4:3 Aspect Ratio

Posted on by Ritchie Roesch

Shot with the 4:3 aspect ratio

The native aspect ratio of Fujifilm GFX cameras is 4:3. An aspect ratio is simply a mathematical expression of the shape of a sensor, film, picture, or screen. I’ve mostly shot with the 3:2 aspect ratio, which is the shape of 35mm film and many digital camera sensors, including Fujifilm X cameras, so the native GFX ratio isn’t something I’m used to.

The 4:3 aspect ratio has been around for a long time, and was the original shape of motion picture film beginning in the 1890’s. It would later become the standard shape of television screens and computer monitors for many decades, and today is the aspect ratio of most tablets, such as the iPad. It’s also the standard aspect ratio of Micro-Four-Thirds and digital medium-format cameras, and most old digicams and cellphone cameras use this ratio. 120 medium-format film can be (but isn’t always) shot in this aspect ratio, too.

While 4:3 is more square-like than 3:2, it is still a rectangle, yet I find it more challenging to compose within its shape. I personally like 3:2 and I’m quite comfortable with it. I even prefer to shoot 1:1 square instead of 4:3. The GFX aspect ratio just isn’t natural to me. It doesn’t seem like this should be a big deal, but for some reason it is for me. Over the last year I’ve challenged myself to use 4:3 more, so that I can be better at it.

Shot on an iPhone using my RitchieCam App in the 4:3 aspect ratio

Mainly I’ve used the 4:3 aspect ratio on my iPhone, which is the native shape of most cellphone cameras. My RitchieCam iPhone camera app does have many other ratios to choose from, and I don’t always use 4:3, but I’ve forced myself to use it more than ever before. This has certainly helped me not only refine my compositions within that shape, but become more accustomed to using it and seeing it. It has been becoming a bit more normalized for me. If you’ve used this ratio for years, that might seem like an odd statement, but I haven’t used it much ever (especially when compared to 3:2), so it has been outside of my comfort zone.

Fujifilm should add 4:3 as an aspect ratio choice on their X-series cameras. The current options are 3:2, 1:1, and 16:9. Why not add 4:3, 5:4, and 65:24? It doesn’t seem like it would take much programming effort to do so. Instead, if you want 4:3, you have to shoot GFX.

What about that top picture? What about the five pictures below? Which camera did I use for those to get a 4:3 aspect ratio? I didn’t crop them. They’re straight out of a Fujifilm camera—captured over the last two days and completely unedited—and they are all 4:3. Did I just buy a GFX camera, and, if so, which one? You’ll have to keep scrolling down to find out!

I did not buy a GFX camera, which you probably already guessed based on the photographs’ image quality. While I would certainly love to own one, it’s just not something that it’s in my budget. If Fujifilm ever wanted to give me one, I’d certainly accept the offer, but I’m definitely not holding my breath on that one!

So which Fujifilm camera did I shoot those images with? It couldn’t have been an X-series, right? Actually, the 2/3″ sensor X cameras—X10, X20, X30, XQ1, XQ2—do shoot naively in the 4:3 aspect ratio. But it wasn’t any of those models. And it wasn’t GFX. So what was it?

I used a lowly Fujifilm AX350 point-and-shoot digicam. This camera was number one in my The 5 Worst Fujifilm Cameras That You Should Never Own list, which was a tongue-in-cheek look at Fujifilm’s lesser appreciated models. Of course, any camera is “good enough” in the hands of a skilled photographer, including the AX350.

Interestingly, these old pocket point-and-shoot digicams are all the rage right now, particularly among Gen-Z. Why? There is a nostalgic aesthetic to their image quality. If you existed between 2000 and 2012, there’s a good chance that some of your most important or favorite life moments were captured on one of those cameras. These types of cameras were around before 2000, but film was still king by far. These types of cameras existed well after 2012, too, but more and more they were replaced by cellphones. If you were young between 2000 and 2012, you’re childhood memories are in part viewed through the aesthetic of cheap point-and-shoot digicams, so it makes sense that there would be some nostalgic feelings about it.

You can pick up these old digicams for next to nothing. If you don’t have one sitting in an old box or drawer somewhere, they commonly show up at thrift stores or yard sales for just a few dollars. I got mine from Goodwill about three-and-a-half years ago. It was in a box of various film and digital models, which I paid $40 for. I sold the two film cameras on eBay, and that paid for the lot. There were two kids cameras, which I kept—my youngest two children still play with them. There were two other point-and-shoot digital cameras that didn’t work, so they got tossed in the trash. The AX350 is the only thing that I kept for myself. I don’t use it often at all, but it’s fun to dust off every once in awhile. Although simple to operate, it’s a challenge to get quality results, so I find it to be a good photographic exercise.

Why I Haven’t Published a Fujifilm X-T5 Camera Review

Posted on by Ritchie Roesch

I purchased my Fujifilm X-T5 when it was released back in November. I’ve received several messages lately asking why I haven’t published a review of the new camera. I think it’s because they are considering buying one themselves, and they want to know if it’s actually “worth” upgrading to or if there is something they should be aware of. Basically, some people want to either be talked into buying it or talked out of buying it, as it’s a lot of money and a big decision—which can be paralyzing—and you want to be wise with it. Lots of research is essential, and finding opinions from those you trust can be invaluable. I’m honored and flattered that many of you consider this website to be trustworthy.

At the beginning of each year, I like to take some time to consider how things went the prior year, what the current trajectory is, and where I want things to go. For Fuji X Weekly, I really feel that a slight shift in trajectory is needed, and in some ways I began moving towards that last year, even if I wasn’t sure the why and where. After much consideration, I have a clearer vision of where I want this website to go in 2023, and how to achieve it. I haven’t communicated these changes to you (until now, I suppose), but you’ve probably already noticed some.

There’s actually a lot going on behind the scenes. Many different projects are in the works. I’m juggling quite a bit right now. When the time is right, there are many exciting things that I look forward to announcing and sharing with you. Some projects might never work out, which has happened before (that’s just they way it goes sometimes), but I do believe that most of these will come to fruition. Some will take much longer than others, so stay tuned for these announcements over the coming weeks and months.

Lemon Bowl – Buckeye, AZ – Fujifilm X-T5 – “Superia Xtra 400”

One thing that I haven’t announced (but you might have already picked up on) is that I’m doing more to explain and suggest when to use various Film Simulation Recipes. There are so many to choose from, and it can be difficult to know which to try. Then, when you find one you like, maybe the weather or light changes, and you don’t like it nearly so much in that situation. Now what do you do?

The trouble with suggesting Recipes is that, while one person might love one for a certain light and situation, another person might hate it for the same light and situation. For example, in the very same day, one photographer told me that they used the Kodak Portra 400 Recipe for a professional portraiture photo shoot and they couldn’t be more happy with the results, while another photographer told me that they tried that same Recipe for portraits and the results were horrible. Each person has their own tastes and style, and what will work for one person won’t work for another. I could suggest to you the Recipes that I think are good for various situations, but you might completely disagree with my assessment. Still, it can be helpful have a starting point.

Some of the articles that I’ve published so far in 2023 to help out with this are Five Film Simulation Recipes Every Social Media Influencer Should Try on Their Fujifilm X100V, Using Film Simulation Recipes to Recreate Vintage Looks — 10 Recipes to Try Today!, Elevating Your Street Photography with Fujifilm Film Simulation Recipes + 5 Recipes to Try Today!, Creative Collective 040: FXW Zine — Issue 15 — February 2023 (with the article: 10 Film Simulation Recipes for Cloudy Days), The 10 Best Film Simulation Recipes on the Fuji X Weekly App, and 5 Film Simulation Recipes every Fujifilm X-T5 Photographer Should Try. This actually started late last year with the Which Film Simulation Recipe, When? series. You can expect a lot more similar content moving forward because this is where I want to focus more of my time and energy. Even when I’m publishing new Recipes, I’m trying to do a better job of briefly explaining what situations or light they might work best in. Hopefully this is helpful to you.

None of this is completely new. For example, in the SOOC Live broadcasts, not only have we discussed at length a Film Simulation Recipe in each show, but for awhile now we’ve suggested several Recipe for use in specific situations or for various genres of photography. Without giving away what’s in store of Season 3, which kicks off tomorrow, I can tell you that we’re doubling-down on that concept. Be sure to tune in, and subscribe to the new SOOC Live YouTube channel.

What does any of this have to do with a review of the Fujifilm X-T5? Simple: I’m moving away from product reviews. For now—and I don’t know if this will last forever or if it’s just for a time—I won’t be publishing any camera or lens reviews. I want to focus a lot less on telling you what is good or bad about various gear, and focus more on how to use your get to achieve the aesthetics you want straight-out-of-camera. I’m not going to publish a review of the X-T5, but instead publish more articles on using Recipes with that camera (and other camera, too, definitely not just or even mostly the X-T5). I want to help you get the results you want out of your camera, and product reviews, which take a lot of time to put together, get in the way of that. Besides, there are so many reviews of the Fujifilm X-T5 already, what could I possibly add? The only things I would say is that X-Trans V renders the color blue slightly deeper on some film simulations, Auto White Balance can be quirky, Nostalgic Neg. is similar to Eterna, and if you are doing long broadcasts the camera might overheat. Those are the only things that I would add to what others have discussed, and I’ve already said them. If you have been waiting patiently for my review (that won’t come), I hope this is somehow helpful to your decision to buy or not buy; mostly I would say trust your gut, because deep down you know whether or not you actually “need” that new camera, or if it’s just Gear Acquisition Syndrome, New Camera Envy, or Fear of Missing Out.

While not publishing camera and lens reviews might be seen as negative, I hope that the revised vision for Fuji X Weekly is very positive, and that the benefits of the changes far outweigh what must be left behind. I invite you to come along for the ride, and let’s see where all of this goes.

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

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

Thoughts on the Upcoming X-S20

Posted on by Ritchie Roesch

According to Fujirumors, who has a reputation for being quite accurate, the next Fujifilm model will be the X-S20, which will be announced at the X-Summit in April. What are my thoughts on this upcoming camera?

First of all, I want to state that I have zero inside information. Fujifilm doesn’t tell me anything. I haven’t spoken with anybody who has knowledge about upcoming cameras. What I state about the X-S20—or any unreleased model—is my opinion (nothing more) and should be consumed with a grain of salt.

The X-S10 was a successful model for Fujifilm, doing what it was intended to do: attract those unsatisfied with their Canikony camera who have an interest in Fujifilm but are intimidated by the traditional dials because they have only ever used PASM. I have no doubt that the X-S20 will be just as successful, if not more so.

I believe it will have the same 40-megapixel sensor as the X-H2 and X-T5. It won’t be weather-sealed. It will be 95% the same camera as the X-S10, just with the new sensor and processor. I would be surprised if there were any big surprises. If the X-H2 is too expensive for you, or if you have an X-H2 but want a smaller and cheaper second body, the X-S20 will be the one to consider.

What will separate the X-S20 from the X-S10? Megapixels. Autofocus. Improved IBIS algorithm. Nostalgic Neg. 6K video. I don’t expect the new version to be head-and-shoulders better, but an improvement nonetheless, but with some give-and-take, so an argument could be made that the X-S10 is actually “better” (subjectively, of course), just like the X-T4 might be considered better than the X-T5 by some.

I do wonder if Fujifilm has intentions of introducing a mid-level PASM model. The X-H2/X-H2S cameras are “flagship” cameras that are true “hybrid” models (excellent for both stills and video), but unfortunately those are PASM models, which means long-time Fujifilm photographers were left out in the cold—the X-T4 and X-H1 are the only “flagship hybrid” cameras for you to choose from (yes, an argument could be made for the X-T5, but it is clear Fujifilm intends it for those who primarily are still photographers, not videographers). The X-S10 and X-S20 are entry-level (as in the new entry-level, which used to be mid-level). What’s in-between the high-end X-H2 and the low-end X-S20? For the PASM shooter, nothing. I’m not certain if something is needed, but I wouldn’t be surprised if Fujifilm is exploring that possibility, or even in the process of creating it.

I don’t think, in the current market, that it makes sense to have three entry-level models. That means either the X-E line or X-T00 line is likely on the way out. The X-T00 has historically been more popular, but the X-E line is beloved, and the X-E4 has been especially successful. I’m not sure what might get the ax or when, but it’s possible that the X-T30 II or X-E4 was the last in their respective series. Or maybe the X-T40 (or X-T50… they might skip using four because it is an unlucky number in Japan) or X-E5 will be the last. I hope I’m wrong about this, and both lines continue for years to come, but I don’t think that will be the case.

I’m disappointed that the X-S20 is the next camera to be announced. Six out of the last nine Fujifilm cameras will have been PASM models—X-S10, GFX100S, GFX50S II, X-H2S, X-H2, and X-S20—while one of the three non-PASM models—X-T30 II—wasn’t much more than a firmware update (so essentially 3/4 of Fujifilm’s latest releases have been PASM). I think it’s clear that Fujifilm is more interested in becoming a part of Canikony (Canikonyfilm?), which they see as their future growth potential, than to embrace and better communicate what makes them unique (and why that uniqueness is desirable). Shame. But, at the same time, the X-S line was due for an update, so I’m not too surprised that this is their next model. Still, I think with the current demand for the X100V, which Fujifilm cannot keep up with due to parts shortages, that they would expedite the X100Z (or whatever it will be called). To me, that would have made more sense.

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

Fujifilm X-S10:  Amazon  B&H  Moment

Why I Don’t Like the New AI AWB on the Fujifilm X-T5

Posted on by Ritchie Roesch

Fujifilm used “deep-learning AI Technology” to improve Auto White Balance on the X-T5 (or, more accurately, on X-Trans V cameras—not just the X-T5). According to the promotional statement, the camera is able to more accurately identify warm tints, and adjust to compensate for that when using Auto White Balance. Sounds impressive, right?

When I first learned about this, I was a little concerned that the new Auto White Balance would affect Film Simulation Recipes that use AWB. So I took a few test shots with the X-T5 and an X-Trans IV model side-by-side to compare, and I didn’t notice any difference between the two regarding white balance. It looked the same to me. But now that I’ve used the X-T5 a little longer, I do, in fact, at times notice something that I initially overlooked.

In the banner above, which comes from Fujifilm’s promo materiel for the X-T5 (even though the X-H2 has this same feature, it wasn’t promoted with that camera), you can see the “conventional model” vs the X-T5 AWB rendering in identical light. I assume that the so-called conventional model wasn’t a Sony or Canon, but an X-T4 (or other X-Trans IV camera). I personally prefer the more golden rendering of the “conventional” AWB to the copper rendering of the AI AWB, but each has their own tastes, so there’s no right or wrong answer. Perhaps you prefer the image on the right over the one on the left. It’s definitely subjective.

Something I have noticed—and I don’t like—is that this new rendering is inconsistent. From one exposure to the next, with identical lighting and identical settings, you can get something more like the “conventional model” rendering or something more like the AI AWB rendering. I’ve noticed it in artificial light, and I’ve noticed it in golden-hour/sunset situations. Two exposures, one right after the other—nothing’s changed—but the camera produces two very different tints when using AWB. Take a look at the two pictures below for an example of this. They were captured under identical light with identical settings, but they clearly aren’t identical. This was in a set of 32 pictures (of my son opening birthday gifts); 19 had the golden-ish cast and 13 had the copper-ish cast (these are frames nine and ten, for those wondering).

Obviously if you are a wedding or event photographer, and you rely on Auto White Balance, this could be a big issue for you, because you want consistent results. You don’t want the white balance to be bouncing back-and-forth between two tints. I don’t even want it for my son’s birthday pictures! If the camera chose one rendering in the situation, and consistently applied that to each image, whether gold or copper or something else entirely, that’s fine—it’s what is expected to happen—but bouncing between renderings is bad and should not happen. If you can’t trust AWB, and if it’s a tool that you commonly use, the X-T5 (or any of the X-Trans V models) might not be the camera for you.

Of course, for many people this might not be an issue whatsoever. Maybe you don’t even use AWB. Perhaps you do but you don’t care if the results are different between exposures. It could be that you’re going to adjust white balance in software later anyway, so what the camera records makes no difference to you. If that’s you, and none of this matters to you, great! But I do want to point it out for those who it might matter for, because they should know. It’s better to find out now before dropping so much money on something that’s just going to frustrate you.

I imagine that this is something Fujifilm could fix fairly easily via a firmware update. A simple tweak to the code could possibly make this behavior happen much less frequently. Fujifilm should address this issue. I hope in a few months from now this will all be a past problem that was fixed and forgotten. Or it could be the expected behavior that all Fujifilm X-Trans V cameras will have, and it will only be fixed by an even more improved AI-AWB on X-Trans VI models. Time will tell.

See also: Five Fujifilm X-T5 AI AWB Workarounds