Apparently, Fujifilm Price Increases are Coming Very Soon

According to Fujirumors, Fujifilm is likely to raise the price by about 10% on most of their cameras and lenses beginning August 1st, which is Friday. It’s unclear if this is worldwide or just in America, but my suspicion is that it will just be in America, and is related to the tariffs. I also highly doubt that the X half and X-E5 will be affected, because the increase was already built into their MSRP.

Every major camera maker has either already increased their prices, or has announced that they will be soon—or both (already raised prices, but further price increases are forthcoming). While the X half and X-E5 were on the leading edge of the increase (and both were criticized for it), Fujifilm has largely delayed price increases on everything else. My guess is, with the Japan trade deal finalized, Fujifilm has something stable to determine what the increase should be, so that’s why it’s been delayed until now. I also suspect that Fujifilm will try to manufacture more of their U.S.-bound units in Japan instead of China, something they’ve already begun doing.

It’s also possible that this will be the first in a series of price increases. If Fujifilm were to raise the cost by (say) 20% all at once, that could scare off potential customers; however, by increasing it by “only” 10% now and another 10% later (perhaps on January 1st), it allows customers to acclimate more gradually to the higher prices. It’s like the frog in boiling water thing. Hopefully, though, this will be the one-and-only increase; if it is worldwide and not limited to America, I think that could possibly be an indication of it being only a one-time thing. It’s all just speculation at this point, and time will eventually tell—until then, take it all with a very large grain of salt.

Of course some will say that this is just Fujifilm being greedy or that Fujifilm has lost the plot and is out-of-touch with their customers. That’s all nonsense, spoken largely by trolls and click-bait content creators. Every camera maker is dealing with this same issue right now, and they are all raising their prices (RED is the only camera made in America as far as I’m aware, but I’m not sure how long that will last since they’ve been purchased by Nikon). I said back when the X half was announced that it was a foreshadowing of future price increases. When everyone complained about the cost, I said in time it would seem pretty normal, once the MSRP of everything else goes up. Now they’re going up. My suspicion is that we’re still five or six months out from all the dust settling, and it’s even possible that the X half and X-E5 could see a small price reduction at some point (since they were announced when there was a lot more uncertainty), who knows?

All of that is to say, if you’ve been eyeing a certain camera or lens, you might want to get your order in now and not wait until the price goes up later this week. If you delay, you may have to pay about 10% more. This is probably just for those in America, although I’m not 100% sure, and worldwide price increases are certainly a possibility, albeit a fairly slim possibility in my estimation.

Fujifilm should begin to make fewer X100VI cameras

Fujifilm has already produced and delivered more copies of the X100VI than any other previous X100-series model. There are more X100VI’s in the hands of photographers right now than X100V, or X100F, or X100T, etc.. That’s truly amazing, since the X100VI was released only about a year-and-a-half ago, while the other models had production runs closer to four years.

The reason why Fujifilm has made so many copies of this camera is because of the unprecedented historic demand for it. By far, there were more preorders for the X100VI than any other camera by any manufacturer ever. No camera in the history of cameras has had so much interest at announcement. And, if the demand doesn’t relent anytime soon, it could possibly lead to the X100VI becoming the most-sold camera of all time (not including cellphones), which would be a highly improbable achievement. I don’t think that will happen—not even close—because surely the demand isn’t that strong. At some point, it will certainly back off to a more “normal” level, right?

There are still people lamenting that they can’t get their hands on a Fujifilm X100VI. They’d like to buy one, but can’t find it in stock anywhere. As soon as a camera store lists it in-stock, which doesn’t happen often, within hours or even minutes, they’re sold out again. So it might be easy to believe that the demand hasn’t relented. But that’s mostly just in America, and it seems to be partially related to the tariffs. Worldwide, the X100VI has been becoming easier and easier to find. It’s still out of stock at a lot of places, but overall, it’s not terribly hard to get one if you want one. People are reporting walking into their local camera store and finding a few copies on the shelf. So internationally—and depending on where exactly—the situation is a bit better than here at home.

What makes me think that supply and demand are equalizing is that there are used copies available for a reasonable price, like at B&H. Scalping continues on sites like eBay, but it’s not nearly as bad as it was last year. Things are slowly returning to normal. And this is where Fujifilm needs to be very, very careful, a situation that I’ve been predicting for more than a year.

With the X100VI, Fujifilm doubled the production numbers of the X100V from the get-go, from 7,500 units per month to 15,000. At one point last year they said that they wanted to double production again, making it four times that of the X100V, but later stated that that simply wasn’t possible. My best guess is that it is somewhere around three times more than the X100V right now, which would put it at about 22,000 copies per month, or about 265,000 units per year (these numbers are just guesses). The historically “normal” demand for an X100-series camera is 90,000 per year.

At some point, demand for the X100VI will drop. Once the majority of those who want one get one, Fujifilm will sell a lot fewer of them. If the market gets oversaturated, the value will decrease, and Fujifilm will be forced to reduce the price. Those selling them used will have to drop their price, too. This is a situation that Fujifilm really wants to avoid, as it would reduce brand strength. It would be a Lean Production failure if Fujifilm produced more X100VI’s than there are customers wanting to buy them. Fujifilm must proceed with caution.

The mistake of overproduction would be very easy. Since it takes many months from securing parts and scheduling manufacturing to delivering an assembled camera to a store, the demand must be forecasted in advance, probably at least six months. If Fujifilm is making 22,000 units per month, and the total international demand right now is 130,000, in six months Fujifilm would have overproduced 2,000 copies. That’s probably not a big deal, as they’ll surely sell those cameras; however, if they’ve still got 132,000 cameras in the process somewhere, to be manufactured over the following six months, that’s a massive and possibly devastating problem. That’s something that could sink the whole camera division.

I’m just little ol’ me sitting in my office trying to stay cool from the brutal Arizona sun, but even I can see early signs that supply and demand are equalling out. That should be a huge caution flag for Fujifilm. They should strongly consider scaling back production. Perhaps drop it back to 15,000 units monthly ASAP, and work towards “only” 7,500 units monthly by 12 months from now. Obviously Fujifilm wants to capitalize on this lightning-in-a-jar situation as much as possible, and they’d love to sell a quarter-million-plus copies per year without hardly any promotion—what a dream circumstance! But they should also listen to that nagging feeling that this won’t last forever, because it won’t.

I wouldn’t doubt if the X100VI sold twice as many units as the X100V or any other prior X100-series camera by the time its production run has ended. It might even sell four times as many. At some point, though, all the people who want one will have one. Aside from that, trends change quickly. All it takes is some shift in market dynamics or some other camera to catch the attention of social media influencers for the X100VI to be yesterday’s news. Overproduction is a real problem that Fujifilm is well acquainted with and desperately wants to avoid, and no other X-series camera has had a higher risk of overproduction than the X100VI. Fujifilm should ask themselves if now is the time to scale back, because it would be very easy to overshoot this, something that they’d certainly regret doing.

The Totally Unexpected Camera Coming in 2025… was Completely Expected

Fujirumors posted an article today entitled BREAKING: This Totally Unexpected Fujifilm Camera is Coming in 2025 – And I Know You Won’t Believe Me. I believe it and even expected it, because I’ve been saying it for over a year. If you regularly read Fuji X Weekly, you probably believe it, too, and might even have expected it yourself. I can’t tell you how many times I’ve predicted it over the last 14 months—probably a good handful. For some (including myself), this is not a surprise in the least.

In the third paragraph of my Fujifilm X-T50 review (published on May 16, 2024), I stated, “The X-T50 is not the successor to the X-T30 II, but a whole new (yet highly similar) line. Fujifilm plans to sell the X-T30 II alongside the X-T50, similarly to what they did with the X-T3 and X-T4 a few years back. This also means that there is a potential future successor to the X-T30 II, perhaps called the X-T30 III or X-T40; I don’t know that for sure, but I think it is a fair assumption. The main thing for you to know is that the X-T50 is not a replacement for any previous model, but a whole new camera.”

Just two months ago, in my article entitled My Hopes for the Fujifilm X-E5 (published on May 21st), I concluded with this: “My prediction, which is merely a guess and nothing more, is that an X-T30 III (an X-T30 II but with X-Processor 5) will be announced in the fall….” It looks like that guess was pretty much correct.

For those still scratching their heads, Fujirumors just leaked that the X-T30 II’s successor (which isn’t the X-T50) is coming sometime in 2025. And this is taking the Fujifilm community by surprise. Many people apparently assumed that the X-T50 was the X-T30 II’s successor, even though Fujifilm said from the get-go that it wasn’t. Fuji X Weekly might have been the only website that predicted the X-T30 III (or maybe they’ll call it X-T40, but I doubt it). I don’t have any inside information, I only took Fujifilm at their word, and followed the sequence of past releases to predict this outcome. It just made sense to me.

So what will the Fujifilm X-T30 III look like? I think it will be exactly the same as the X-T30 and X-T30 II (which was mostly just a firmware update to the X-T30), except with the X-Processor 5. In other words, it will have Nostalgic Neg. and Reala Ace, but otherwise will be pretty much identical to the X-T30 II. Some are predicting an X-T50 but with the 26mp sensor instead of 40mp, but I don’t think so, personally. There will be a price increase, because of inflation (and, in America, the tariffs). The X-T30 II was $900 in 2021, which is $1,070 today, so don’t be surprised if the X-T30 III is about $1,050-$1,100 USD for the body-only outside of America, and $1,300-$1,400 in the US due to tariffs. That’s just the new normal, I think.

The question that some will certainly ask is why does this camera need to exist. The X-M5 is the new entry-level model. The X-S20 is the hybrid PASM model underneath the X-H2/X-H2s. The X-E5 has been upgraded to a mid-tier camera. The X-T50 is also a mid-tier model. Where does the X-T30 III fit into that? I believe that it will be the lowest-tier non-PASM camera, underneath the X-T50 and X-T5. This line has been historically successful for Fujifilm. It offers a more affordable option for those who want an EVF. But… I think it will also be an indication of what’s to come very soon with the other models (aside from the X-E5 and X half): price increases (at least in America, maybe not worldwide). Other brands have already announced higher prices, and Fujifilm will be doing so soon, too, in my opinion.

Of course, I’ve been wrong about plenty of things before. For every one thing that I’ve predicted correct, I’ve predicted two or three completely incorrect. That’s the trouble with guessing the future (ask Robert Zemeckis). I cannot say with any level of certainty what the X-T30 II’s successor will be like, so my predictions should be taken with a large grain of salt. But the fact is that the X-T30 II’s successor is coming soon, and I’m not surprised by it.

Fujifilm should add these X half features to the X-series

I got a surprise package in the mail from Fujifilm: the brand-new X half! I will write a review of the camera in a few weeks probably—I haven’t had it nearly long enough to provide any proper insights. It’s a fun little camera, with some positive and negative aspects. We’ll talk about all of that at some point in the future. Today I want to write about how Fujifilm could implement some features of this camera into future X-series models.

Specifically, I want to discuss a few of the new Filters. Filters are not Film Simulations (although some of them are based on Provia); on all other X-series models, these are known as Advanced Filters. The X half has the usual array: Toy Camera, Miniature Effect, Pop Color, High-Key, Low-Key, Dynamic Tone, Soft Focus, and Partial Color. There are also some new ones, that apparently are borrowed from the Instax Evo line: Canvas, Retro, Vignette, Blur, Fisheye, Color Shift, Mirror, Double Exposure, Light Leak, Halation, and Expired Film. Some of these are uninteresting, and probably should have been left off the camera so that one could navigate the menu faster. But some of these are great, and should be included in future X-series models—just maybe not in the same way.

My favorite is Light Leak. With this filter, the camera puts a random faux light leak on your images. You don’t know what you’re going to get, and that serendipity can be thrilling, especially when it just really works with the image. I would love Light Leak to become a JPEG option (like Color Chrome Effect and Grain) on all X-series cameras moving forward. You should have three choices: All (where every picture gets a light leak), Random (where some pictures get it, but most don’t), or Off (for those who don’t want it at all). This would be such a fun thing for Fujifilm to add, and it seems like it wouldn’t be very difficult to do.

Film Leak Filter — Fujifilm X half

Next up is Expired Film, which has three options: Green, Red, and Neutral. This should be a new Advanced Filter on future X-series cameras. On the X half, your Grain settings get applied to the Filters (at least some of them; I haven’t tested them all yet), and not just the Film Simulations; however, on the X-series, you can’t apply Grain to the Advanced Filters. So this is actually two suggestions for Fujifilm: add Expired Film to Advanced Filters, and allow Grain to be selected for Advanced Filters.

Expired Film (Green) Filter — Fujifilm X half diptych

Third is Halation, which puts a red glow around bright highlights. This Filter should be a JPEG option that can be applied to any Film Simulation. I suggest three choices: Off, Weak, Strong. I would love to pair this effect with my CineStill 800T Recipe to more accurately mimic the film. The X half is not necessarily a great option for nighttime photography, so it’s almost a waste on this camera, but I definitely see potential for this effect on other X-series models.

Halation Filter — Fujifilm X half

I haven’t used Retro yet, but I’m sure it would be fine to join the Advanced Filter club. Vignette should probably be added as a JPEG option (like Color Chrome Effect and Grain). In my opinion, Fujifilm should graduate Pop Color to Film Simulation, and call it Fortia. In-camera diptychs are just a ton of fun, but I don’t see that coming to other cameras. The Film Camera Mode is pretty cool, and I’d like to see something similar be included in the next X-Pro or X100-series model (although maybe implemented slightly differently). The X half has plenty of unique features and functions, which is what makes it an interesting camera. In my opinion, some of these need to find their way into other models, and not remain solely on the X half.

Bargain or Bust? The price of a unique experience

In 1978, Pentax surprised the photographic world with the Auto 110, a tiny interchangeable-lens SLR that used 110 film cartridges. It was the smallest ILC ever made. For only $249, you got the body, a 24mm f/2.8 lens, a case, and a strap. Pentax discontinued the Auto 110 in 1986.

The concept of this camera was portability and simplicity. It was the smallest and lightest SLR ever made—probably the only one that’s pocketable. It was one of the most simple SLRs to operate. In order to accomplish these goals, Pentax built it around the 110 film format, which was considered subpar and only for amateurs. And that was the paradox: interchangeable-lens SLRs were for enthusiasts and pros, while 110 film was not.

Serious photographers would never, ever use 110 film. The camera was fully auto except for focus; at the time, anything auto was largely considered for novices, as “real photographers” used full manual. Interchangeable-lens SLR cameras were the standard for hobbyists and professionals. The Pentax Auto 110 occupied a weird space of being too robust and expensive for the uninitiated, yet too lackluster for anyone remotely serious. Who would buy it? While plenty of photographers scoffed at the Pentax Auto 110, it sold fairly well, and Pentax continued to make it for eight years—a pretty long run. So how did Pentax pull it off? Why was the camera not a flop?

There is a market for compact, unique, fun, less-serious cameras. The Pentax Auto 110 was able to get the most out of the small film format, delivering image quality that was plenty good enough for everyday moments. No, the pictures weren’t going to grace the cover of magazines or hang on museum walls, but they could be placed into photo albums, or in an 8″x10″ frame and hung in the hallway. It was so small and lightweight that the camera didn’t get in the way, and could be easily carried everywhere. It was simple enough to operate that most anyone could do it, as the complications of larger SLRs were removed. At the very least, it was a conversation starter (still is).

The Auto 110 was more affordable than other SLRs, at only $249. The Canon A-1, released the same year, was $625 (with a 50mm lens). Pentax released the iconic K1000 two years prior—in 1976—with an MSRP of $299 (with a 50mm lens), so for just $50 more one could get a much more respectable camera. It’s pretty interestingly if you adjust these numbers for inflation: $249 in 1978 is $1,230 today, $299 is $1,477, and $625 is $3,087! None of these cameras were cheap, not even the Auto 110.

Which brings me to what I want to discuss today, and that’s the cost of the Fujifilm X half. Unless something unexpected happens, this will be the last post about the new camera until after I get back from the B&H BILD Expo next month, so if you are tired of hearing about it, just bear with me a moment—I promise that we’ll get to other things. Let’s dive in!

Bench with a View – Prefumo Canyon, CA – Fujifilm X-E4 & Pentax-110 24mm – Pacific Blues Recipe

Probably the biggest criticism of the X half is the price. $850 seems like a lot of money, because it is. The camera is a little expensive. I’ve seen plenty of people say that if it was $400 or $500, that would be the right cost. If it was 2015, I might agree, but there’s been some significant inflation since then. $500 in 2015 is $680 today, which is what I estimate would be a fair price for this camera (I said $700, but close enough). The reality is that things are expensive in 2025. And if you consider that the X half is probably the first to be adjusted for the tariffs, I think it’s more of a foreshadowing of what’s to come across the entire camera market in the coming months.

Yet the X half is still much cheaper—$380 cheaper—than the Pentax Auto 110 was in 1978, accounting for inflation. I knew the late-1970’s were rough economically, but I didn’t realize just how expensive things were. While there is plenty that’s divergent, I see some parallels between the Auto 110 and the X half, namely portability, simplicity, and casual fun. If the X half was transported back in time to 1978, it would sell for $172, which would have been considered a good bargain for the time; however, in 2025, $850 is a lot of money for what it is. Even as prices seem to skyrocket, it’s still much better than it was in the late-1970’s.

So where does that leave us? I think it’s good to have a healthy historical perspective, but that doesn’t help the wallet feel any less empty. I don’t know the future, but I think it’s unlikely that the tariffs are fully settled, and as things fall into place over the coming months, the opportunity to lower the price is a strong possibility. If the camera sells really well, and the backorder list is long, even if Fujifilm could drop the price, they would be silly to do so (but who knows, maybe they will). I don’t see the historic X100VI demand, but all indications are that preorder sales have been strong. I believe that the camera will do quite well for Fujifilm. Time will tell, though.

If you can accept the X half for what it is, and forgive it for not being what it’s not, it could be a really fun camera for capturing everyday moments. It’s not a serious camera for serious photography, yet it is priced nearly as if it is—just like the Pentax Auto 110 was. If you think you’d enjoy it, then consider grabbing one at some point; if not, it’s very easy to pass, and consider a more advanced model instead—you can get a Fujifilm X-T30 II with a lens today for less than a Pentax K1000 with a lens cost in the late-1970’s, adjusting for inflation. There are plenty of options for those that want an enthusiast or pro camera. The X half is one of a kind—the most unique digital camera ever made—and as such, it’s not going to be for everyone, and that’s ok.

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 half in black:
Amazon, B&H, Moment
Fujifilm X half in charcoal:
Amazon, B&H, Moment
Fujifilm X half in silver:
Amazon, B&H, Moment

The Fujifilm X half Target Market — Why most get this wrong, and why it matters

There’s been a lot of negativity within the community about the new Fujifilm X half camera. A lot of positivity, too, but definitely a lot of gloom. I think it stems from a misunderstanding of who the camera is for. Understanding better the intended market segment might help to make sense of the camera. I think it’s also important to state that just because a particular model is not for you personally, doesn’t mean that it shouldn’t exist—if it becomes commercially successful (which I’m confident it will be), that is a strong argument that it should indeed exist because it obviously filled a market void, but maybe just not the particular void affecting you. It’s certainly ok to express your opinions about it, but preferably in a kind and constructive way. Not everything I said was positive because in all honesty, not everything about it is roses and rainbows; however, that doesn’t mean the camera is junk. With that out of the way, let’s get into this.

So who is the Fujifilm X half for? In my opinion, there are several primary groups. And just because someone doesn’t fit any of those groups, that doesn’t mean they won’t buy or appreciate the camera. I think this is a polarizing model that is definitely not for everyone, or even for most people. Some of you will love it, some of you will hate it, and that’s ok. This camera isn’t for everyone who regularly reads this website. In fact, the target audience most likely has never heard of Fuji X Weekly, or is maybe only vaguely familiar (but probably not).

One group is those who have recently discovered the joys of film photography, particularly those who have purchased the Pentax 17 or Kodak H35N—but not exclusively those people. Some have a 35mm point-and-shoot from the ’90’s. Some have been using Fujifilm Quicksnap disposable cameras. Film photography has seen a significant resurgence from the younger generation; however, it’s been hindered by the high cost of film and development, and sometimes the lack of availability. A camera that provides a similar experience and even aesthetic, but with the convenience of digital and with a one-time-fee entry point will be appealing to some of these people.

Another group is the digicam lovers. Surprisingly, the number one digital camera brand in Japan in 2024 was Kodak (actually, JK Imaging using the Kodak brand name). They’re selling a ton of cheap digicams that are basically 15-year-old tech and designs. Nobody in the camera world takes this seriously, but it is a sizable demographic. Retro digicams from 15 or 20 years ago are all the rage right now, too. The X half offers a graduation of sorts for those looking for a more premium option.

A third group is Instax users. Instax is the camera division’s money maker much more than the X-series is. Instant film photography is big and has been for awhile, and Fujifilm is king of the hill. At some point one can outgrow Instax; the Evo series is supposed to help with that, but it’s not a big step. So how can Fujifilm convince Instax photographers to take the leap into the X-series world? With a digital camera that offers a simple and analog-like experience with some Instax compatibility, of course!

In my opinion, those are the three main groups. That’s a pretty large umbrella, and you only need a small portion from each to sell a lot of copies. If you are not in one of those groups, you may still find the camera appealing, and might buy and love it (I might be one of those people); however, you’re not necessarily the target market for the X half. What’s fascinating—genius, really—is that this is a potential stepping stone into the system from the bottom. There’s always a lot of discussions about market share, and convincing those from other brands to join the fold. This camera is intended to bring in outsiders, and grow the brand unconventionally yet organically. Then, later, some of these people will buy an X-M5, X-T50, X100VI, etc., as their second X-series camera. I bet thousands get into the system this way.

Unfortunately, some of those who aren’t the target market have been trashing the camera online (not on this website, but elsewhere), and—much worse—speaking harshly of those who might buy it. My estimation is that the majority of sales will come from first-time Fujifilm photographers. I think it will sell fairly well to the existing X-series customer base because it’s a fun concept, but primarily it’s going to be someone’s first dip into the X-series pool. Instead of degrading these folks for liking and buying the camera, we should gladly welcome them into the community. If they have a good experience, they may just stick around for awhile, and that’s a very good thing for the brand and photography in-general. I think we need to be more welcoming and accepting of these newcomers, and not criticize them for making the purchase. I don’t think anyone here is doing that, but I’ve definitely seen it elsewhere, and it’s not healthy. It’s ok if this camera isn’t for you, but it is certainly for someone, and they’re going to absolutely love it.

New: Fujifilm X half

Fujifilm announced a new camera last night called X half. It also goes by the name X-HF1, apparently. This is a 32mm (full-frame-equivalent) f/2.8 fixed-lens compact camera with a vertically mounted 1″ sensor, and is probably the most unique digital camera ever made—or, at the least, it offers the most unique photographic experience in all of digital photography. This isn’t a review, but I did want to give my thoughts on the release.

I haven’t used the camera, or even seen it in-person. I was up late last night watching the announcement and various review videos that were published, trying to figure out what this camera is. Now I’m awake typing this article after less than five hours of sleep, so if there are any typos, please excuse me. I’ve barely started my first cup of coffee. Anyway, Fujifilm released two videos, which I’ve included below.

In the weeks leading up to the release, I published two article about the X-HF1, speculating what it might be. The first was Why the Upcoming Fujifilm Half-Frame Camera is Genius, and I guessed that this was going to be an amazing camera, specifically designed for both a film-like photographic experience and recording vertical videos for TikToks and Reels. The second was What if the upcoming Fujifilm Xhalf is something different?, where I second-guessed my prior article, and wondered if the camera was going to be stripped down, less video-centric, and more Instax than X-series. Well, the X half seems to fall right in-between (maybe closer to the second take), and both articles had some things right and some wrong.

The new camera is intended to produce a film-like experience, and is capable of doing so in a unique way. In Film Camera Mode, you choose your “film” (Film Simulation) and how many frames (36, 54, or 72), and then you shoot through the Optical Viewfinder until the roll is fully exposed, using the frame advance lever in-between shots. You cannot see your pictures until after the roll is finished and “developed” in their new app that is just for this camera. I think this is super cool, and I hope this mode comes to some future camera, maybe the upcoming X-E5. There is a missed opportunity: Fujifilm offers photo printing services, so you should be able to order 4″x6″ prints of your roll of “film” from the new app. It would be so much fun to order prints, then wait until they arrive in the mail before reviewing the pictures. It would encourage people to print their photos, which isn’t done nearly enough nowadays. And it would be a way for Fujifilm to make some extra money on a service they already offer. Maybe they’ll update the app to include this in the future, as it seems like an obvious oversight.

The X half has a 20mp 1″ Bayer sensor, but only uses 18mp because it crops out 2mp to accommodate the 3:4 aspect ratio (the sensor is 2:3). If you want to crop your pictures to 2:3, you’ll lose a little more resolution, but it is still plenty for social media and web use, as well as prints smaller than 16″x24″. It would have been nice if one could choose to use the full sensor and the 2:3 aspect ratio, but with the X-HF1, Fujifilm significantly stripped down the menu and customizations. They made the camera about simplicity, but in doing so you lose out on some of what makes Fujifilm cameras special; namely, you cannot use Film Simulation Recipes with this camera, since you cannot control the various parameters like you can on any other X-series model.

Instead of 20 Film Simulations, this camera only has 13: Provia, Velvia, Astia, Classic Chrome, Reala Ace, Classic Negative, Nostalgic Negative, Eterna, Acros, Acros+Y/+R/+G, an Sepia. It’s too bad Sepia made the cut over PRO Neg. Hi, PRO Neg. Std, and Eterna Bleach Bypass. While you cannot use Recipes, the Film Simulations seem to produce a slightly divergent look than the standard Film Sims, almost as if Fujifilm programmed each with its own Recipe, for what that’s worth. There are also so-called Advanced Filters, including a few new ones borrowed from the Instax Evo cameras.

While the X half does shoot vertical video, the quality seems suspect. I’m sure there are some who will appreciate this and will create some interesting content with it, but it’s a big miss in my opinion. They should have allowed 1080p in the 9:16 aspect ratio so it would have been more useful for social media video creation. The X-HF1 could have been a trendy camera for TikToks, Reels, and Shorts, but I just don’t see that happening with the video implementation. The capability of video-video and still-video diptychs are a bit intriguing, but I don’t think that will catch on as anything more than a passing curiosity. Or don’t included video capabilities at all—I think that would have made a bigger statement (and would have been viewed more positively) than how it was implemented.

So what do I make of the X half? It looks nice. It’s very compact, which is perfect for everyday carry or travel. It’s minimalistic, which can be good. It offers a very unique shooting experience that looks like a lot of fun. It seems like a bridge between Instax and the X-series, and I think it’s fair to consider it more like a very-high-end Instax Evo camera without a printer than a bottom-end X-series model (it’s basically both). It will certainly be a very controversial camera (maybe the most), with perhaps the biggest controversy being the price: an MSRP of $850, which seems high for what it is. Some people are going to love it, and some are going to hate it. I think it will be especially popular with Gen Z and Gen Alpha, who are currently fascinated with classic digicams and film cameras, including half-frame models like the Pentax 17. Me? I applaud Fujifilm for daring to be different, and going way outside the box. I did preorder one last night, but I’m a bit unsure if I’m actually going to like it or not. Now excuse me while I pour that second cup of coffee….

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 half in black:
Amazon, B&H, Moment
Fujifilm X half in charcoal:
Amazon, B&H, Moment
Fujifilm X half in silver:
Amazon, B&H, Moment

My Hopes for the Fujifilm X-E5

One of Fujifilm’s most beloved lines is the X-E series. While never the most popular, X-E cameras have a passionate cult-like following. My first Fujifilm camera was an X-E1, so I have a special place in my heart for the line. The X-E4 is currently my favorite for travel photography, especially when paired with pancake lenses. At this time, Fujifilm doesn’t offer an X-E camera—the last one was the X-E4, but it was discontinued over two years ago.

The X-E1, which was announced in the fall of 2012, was a striking camera that caught a lot of people’s attention with its retro styling and compact design; however, there were some initial issues (later rectified via firmware updates) that hindered the perception of it. One year later, Fujifilm released the X-E2, which had a new sensor and was largely free of the problems that had given its predecessor bad press. This was a successful model for Fujifilm, but the X-series was still pretty new, with a small (but quickly growing) market share. The X-E2s was released three years later; it was almost just a firmware update disguised as a new camera, and Fujifilm later gave that same firmware to the X-E2. A lot of people consider the X-E2 and the X-E2s (which had a pretty short run) to be the same camera, because they basically are (although not 100%). In the fall of 2017, Fujifilm announced the X-E3, at a time when the X-series seemed to be hitting its stride, with several commercially successful models coming before (X-Pro2, X100F, X-T2, X-T20). I think there were some high sales expectations for the X-E3; however, demand turned out to be sluggish, and the camera had to be discounted in order to move the inventory. Because it was considered a bit of a “flop” (too many copies were manufactured for the actual demand), there were some rumblings that the X-E3 might be the last model in that series. Thankfully it wasn’t.

White Bridge across Pond – Charleston, SC – Fujifilm X-E4 – Pacific Blues Recipe

In March of 2021, Fujifilm released the X-E4. I preordered my copy the moment it was announced; if I hadn’t, I might not own one today. Fujifilm used the sales figures of the X-E3 to estimate the demand for its successor, which was a fair assumption, but what they didn’t know is that the X100V was about to go viral, and it was going to take the X-E4 with it. Demand for the X-E4 turned out to be much greater than it had been for the X-E3; however, as luck would have it, this was during the Covid global parts shortage, and Fujifilm had trouble securing materials to manufacture more copies. Two years after it was released, and with a very long backorder list, the camera was discontinued.

Because there was so much unfulfilled demand, the second-hand market for the X-E4 went nuts. It was pretty common to find a used X-E4 selling for 50% more than the MSRP of a new model, and sometimes double. Crazy! If sales had been slow, it very well might have been the final nail in the X-E coffin; however, sales were good, except that Fujifilm discontinued the camera at the peak of its popularity because they ran out of parts. Now, a little over two years later, apparently a new model is forthcoming. Interestingly, in 2023 I predicted that the X-E5 might come in the spring of 2025… not a bad guess, only slightly off. Let me quickly discuss what I hope for with the X-E5.

Beach Chairs – Folly Beach, SC – Fujifilm X-E4 – Velvia Film

A lot of people wanted to buy the X-E4 but just couldn’t find one in stock, so I wouldn’t change much. If it ain’t broke, don’t fix it. There are five things I would do different, and otherwise I’d leave it alone. I don’t think Fujifilm needs to reinvent the wheel here.

The five things that I would change, which would make the X-E5 pretty much perfect in my eyes, are simple: use the Shutter/ISO combo dial of the X100/X-Pro series, include an M/C/S switch, include a rear command dial, improve the EVF resolution, and use the X-Processor 5. That’s it. Keep the design the same, keep the sensor the same, use the same battery—keep almost all of it the same. Do this, and it will be a very successful camera.

Some people will demand IBIS and claim that the X-E5 must have it or the camera’s a dud. I don’t care if it does or doesn’t have IBIS, I’m fine either way. For still photography, IBIS is nice, but is oftentimes very overstated. It’s not a critical feature whatsoever for most people and circumstances. It does add weight (and probably size), cost, and battery life—in other words, there are tradeoffs. I’m ok with either choice, but I definitely lean towards its exclusion.

Tram Track – Houston, TX – Fujifilm X-E4 – Pacific Blues Recipes

Will it have a small grip like the X-E3? It could, but if it doesn’t have IBIS, it’s lightweight enough that the omission is not a problem (it’s not a problem on the X-E4); personally, I’d welcome it for times when a larger lens is attached to the camera. They could include a built-in flash (the X-E1 and X-E2 had a flash), but it doesn’t bother me even slightly that the X-E4 doesn’t have one. I’d be a little surprised if the X-E5 has the 40mp X-Trans V sensor, but it certainly could. I’m more inclined to believe that it will have the 26mp X-Trans IV sensor like the X-S20 and X-M5, if for no other reason than to keep the cost down. The Film Dial? I like it personally, and I’d be curious to see how it might be implemented, but it doesn’t seem like an easy addition (the EVF is in the way), so I’m guessing no, the camera won’t have it.

One final point I’d like to make in this article is in regards to timing. The X-E1 was the second-to-last X-Trans I camera (X-M1 was last), the X-E2s was the second-to-last X-Trans II camera (X70 was last), the X-E3 was the second-to-last X-Trans III camera (X-H1 was last), and the X-E4 was the second-to-last X-Processor 4 model (X-T30 II was last). Fujifilm has used the X-E series to mark the sunset of each generation, with one camera model to follow. It’s reasonable to assume that we’re nearing the end of the fifth-generation. My prediction, which is merely a guess and nothing more, is that an X-T30 III (an X-T30 II but with X-Processor 5) will be announced in the fall, and the X-Pro4 (maybe called X-Pro5), which will be the first sixth-generation camera, will be announced in January or February of 2026. I’ve guessed wrong many times before, so take this with a massive grain of salt.

Ode to my First Fujifilm Camera

Tree of Broken Glass – North Salt Lake, UT – Fujifilm X-E1

Ever since I first saw the Fujifilm X100, X-Pro1, and X-E1 in 2011 and 2012, I wanted to buy one. These cameras were significantly different from the other digital models on the market, and seemingly more similar to classic film cameras. I’d see them in various camera magazines, and I’d eagerly read the reviews and study the pictures. I was fairly new to digital photography, having purchased my first DSLR in 2009, but I found the experience frustrating and disappointing. It was so much different than film, and I felt like I was learning photography all over again.

I had been a stubborn digital holdout for a decade, choosing film because I disliked digital. I would brag that I could easily distinguish a digital image from a film photo. But digital technology quickly advanced, becoming better and better. I knew that I needed to get onboard the train before getting completely left behind at the station. Because I had a couple of 35mm Pentax bodies, and you could use K-Mount lenses on Pentax DSLRs, I initially went with that brand. I have absolutely nothing against Pentax (I own a couple of Ricoh GR cameras), but it just wasn’t a good fit for me.

Barn by the Tetons – Grand Teton NP, WY – Fujifilm X-E1

Unfortunately, at the time that the original Fujifilm X-series cameras were released, I could not afford them. They were outside of my budget. Oh, if I just had a few hundred dollars more to spend on a camera, I’d buy one, I would tell myself. However, Fujifilm was just out of reach.

Time went on, and I jumped from brand-to-brand-to-brand, never satisfied with my gear. I thought maybe I was just being discontented, and I should try harder to find gratification with what I had. But contentment seemed illusive. After a number of years, I sold all of my digital gear except for one point-and-shoot digicam and my cellphone (I still had a couple of film cameras), and—for the most part—took a break from photography. Well, that break was short-lived, because I moved to Utah, which is a photographer’s playground, and I couldn’t resist the urge to create photographs.

Bison In The Road – Antelope Island SP, UT – Fujifilm X-E1

This time, I was determined to buy a Fujifilm camera. I had never owned one, and didn’t really know what to expect, but I knew they were different. I couldn’t afford the current offerings, so I purchased a used Fujifilm X-E1, which was now a four-year-old model. The X-Pro2 was brand-new, and I would have loved to buy it, but it was not anywhere near my budget. The current X-E model was the X-E2s, and that was also unattainable for me at the time. Happily, I found an X-E1 that I could afford, so I bought it. The manual controls felt natural and made so much sense to me. I was reminded of why I loved photography. It was instantly clear to me that Fujifilm cameras were what I had been looking for all along.

The purchase of that X-E1 sent me on a path that I’m still on today, and it’s been an incredible journey! To say that it changed my life is a massive understatement, no hyperbole. Although it wasn’t a brand-new camera, I loved it. I have a special place in my heart for the X-E1, and all of the other X-E models, including my Fujifilm X-E4, which is one of my favorite cameras today. I find it sad that Fujifilm is not currently making any X-E bodies (the X-E4 was discontinued two years ago), but I’m hopeful that the series will continue on, and the next iteration isn’t too far out.

Some People Don’t Like the Fujifilm GFX100RF, This is What Fujifilm Should Do

Fujifilm recently released the GFX100RF; while the press has been largely positive, there have been a lot of criticisms in the comments section of articles and in forums. The complaints mostly revolve around two things: the lack of IBIS, and a maximum aperture of only f/4. What should Fujifilm do about this?

It’s important to understand that the Fujifilm GFX100RF is the smallest, lightest, and cheapest digital medium-format camera-lens combo ever made. It’s the most affordable (aside from used) and portable option for digital medium-format photography. That was Fujifilm’s goal for this model, and they achieved it quite fantastically. With that in mind, all of the positive press is easily understood. So what accounts for all the negative comments? I believe there are a few possible explanations.

First, the GFX system is niche, and is not for everyone. Most photographers don’t need it, but some do, and some who don’t “need” it enjoy GFX anyway; however, it’s not mainstream, and likely never will be. Because the initial expectations were that the GFX100RF was a medium-format X100VI, people thought this was going to be a camera for the masses. It’s not. It’s a niche camera in a niche system. While it might offer the best way to dip your toes into GFX before deciding whether or not to take the plunge, it is not a camera that most will appreciate. It will never sell nearly as many copies as the X100VI (although it could become the best-selling GFX model). Perhaps the comparisons to the X-series camera created some unrealistic expectations. Even though there are some similarities to the X100VI and even the X70, this camera is definitely divergent from both, and those comparisons should be taken with a grain of salt. If the new camera was literally a medium-format X100VI, it would be a lot different, including bulkier and more expensive. Some might want that, but this camera is not a medium-format X100-series model. It should be appreciated for what it is (smallest, lightest, cheapest), and not criticized for not being what it was never intended to be (a medium-format X100VI).

Second, I think most of the complaints are from those who have little or no experience with medium-format cameras, and have unrealistic understandings of the norms and physics of the format. Literally, there are some who have said they’d never buy the camera unless it had an f/1.7 lens. Yeah, Fujifilm could do that, but it would be so large, heavy, and expensive, I doubt anyone would buy. My guess is that the majority of those criticizing the camera were never going to buy it, but were always going to find an excuse to pass. Interestingly, the closest medium-format camera-lens combo in size and weight is the Hasselblad 907X (plus CFV 100C back) with the 28mm f/4 lens—which also lacks IBIS, has an f/4 maximum aperture, and costs nearly twice as much as the GFX100RF.

Which brings me to third: trolls. The internet is full of them, and the Fujifilm community is no exception. In fact, I’d say that the number of trolls lurking around Fujifilm content has dramatically increased over the last couple of years. It doesn’t help that one troll can have many accounts, and use a variety of personas. You might see a whole thread conversion, and not realize that it’s just one person talking to themselves using multiple names. It makes them appear to hold a popular opinion, but in reality most disagree. If you are an internet troll, you quite literally need professional help, and I urge you to seek out the mental health help you obviously desperately need. Interestingly, when you meet photographers in-person, you realize that trolls don’t exist in real life, they’re only on the internet. I met hundreds and hundreds of photographers over the last year, and can attest that none of them are trolls. But go to the comments section of most photography sites (thankfully, not this one), and probably anywhere from a quarter to a half of the comments are from trolls. I’d encourage content creators to crack down on internet trolls—if you don’t put up with them, they tend to go away, which makes the experience better for the real people who want to enjoy your website.

Now, this is what I propose to Fujifilm: make an actual medium-format X100VI. Call it the GFX100RF-XL. Give it a 45mm f/2 lens, or, if that’s just an impossible maximum aperture (which it probably is), go with f/2.8. Give it IBIS and an optical viewfinder (maybe like what’s in the X-Pro2). Yes, the body might need to be 25% or even 50% bigger. The lens would likely be 150% or 200% larger, maybe more. It might weigh twice as much as the GFX100RF. It’ll probably cost three thousand dollars more. But there are a lot of people who claim to want this, so give it to them. Let them have the opportunity to put their money where their mouth is. If it’s a big success, then they’ll have proven their criticisms both valid and valuable. Win-win. If the camera struggles to sell well, then Fujifilm knows to ignore those people in the future (so you better pony up if Fujifilm does this!).

I do think it’s worth exploring if the demand is actually real—I believe that some of it is real. There are people who would be all over a medium-format X100VI, despite the size, weight, and cost increase. It would be a dream-come-true for them. Why not find out just how many there are? If money was no object to me, I’d happily own both a GFX100RF and a GFX100RF-XL. At the very least, this camera would grab headlines, and bring attention to the brand. Most likely it won’t sell as many copies as the GFX100RF, but it would likely sell well enough to justify its existence, and become a legendary model in time, if not right away.

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

Fujifilm GFX100RF in black:
Amazon, B&H, Nuzira, WEX
Fujifilm GFX100RF in silver:
Amazon, B&H, Nuzira, WEX
Fujifilm X100VI in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X100VI in silver:
Amazon, B&H, Moment, Wex, Nuzira

Introducing the Fuji X Weekly + WEX Photo Video Fujifilm X-T50 Collaborative Bundle

Last year, WEX Photo Video asked if I’d be interested in assembling a Fujifilm-related camera bundle. It could be anything that I wanted, just as long as the products made sense together. I decided on a first-time-Fujifilm type of kit. If you are in the market for your very first Fujifilm camera, this bundle would serve as an excellent all-in-one starting point.

The camera I chose for this bundle is the Fujifilm X-T50. It’s simple and fun enough for beginners, yet sophisticated and capable enough for advanced users—in other words, the camera will keep up with you as you grow. No matter where you are on your photographic journey—from brand-new hobbyist to experienced pro—the Fujifilm X-T50 is an excellent camera, so it’s easy to recommend. The silver version is my favorite, so that’s what I chose for the bundle.

“Fuji X Weekly is an amazing resource for photography enthusiasts, especially those diving into the world of Fujifilm. Created by Ritchie Roesch, Fuji X Weekly has become the go-to for Fujifilm photographers looking to explore their camera’s potential. Known for its collection of Film Simulation Recipes, Fuji X Weekly empowers users to recreate the iconic looks of classic film stocks directly in their cameras without the need for post-processing. This bundle celebrates the creativity that Fuji X Weekly represents and is picked by Ritchie to offer you a perfect starting point to explore the Fujifilm system and capture stunning images with ease.”

—Wex Photo Video

What’s a camera without a lens? The Fujinon 35mm f/2 is one of my favorites. It’s small, lightweight, optically excellent, and affordable. I’ve owned this lens for a long time, and still use it regularly. On X-series cameras, because of the APS-C crop factor, it’s a “nifty-fifty” standard prime, something every photographer should have, and the perfect lens for learning composition. The silver version of the Fujinon 35mm f/2 looks strikingly good on the silver X-T50.

To complete the kit, included is a spare NP-W126S battery, SanDisk Extreme 256GB SD Card, and SmallRig Leather Half Case. A memory card is essential to get started, and this SanDisk is one that I personally have in a few of my cameras. The extra battery isn’t essential, but very nice to have—especially for traveling—so I wanted it included. The SmallRig Half Case adds a little style and extra protection.

Altogether, these five items—silver Fujifilm X-T50 camera, silver Fujinon 23mm f/2 lens, spare battery, 256GB SD Card, and leather half case—is an excellent kit for someone just getting started with Fujifilm. With this bundle, you’re good to go—there’s nothing else you need to buy to begin your photographic journey.

This Fuji X Weekly + Wex Photo Video collaborative bundle is not available anywhere else. Fujifilm doesn’t offer the X-T50 and 35mm f/2 as a kit (they should!). The only place you can get these bundled together is at Wex. Right now, this kit is only £1,661.90 (about $2,100 USD). The MSRP for these five items, if purchased separately, is £1,841.90; however, because the X-T50 and 35mm lens are currently on sale, the price is £180 less. There’s no extra discount for purchasing these items together; this is meant to simplify the purchasing process for someone in the market for their first Fujifilm camera.

Fuji X Weekly + Wex Photo Video Fujifilm X-T50 Collaborative Bundle
Included:
– Silver Fujifilm X-T50 camera
– Silver Fujinon 35mm f/2 lens
– Spare NP-W126S battery
– SanDisk 256GB SD Card
– Small Rig Leather Half Case

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

See also:
Fujifilm X-T50 — The “Digital Film” Camera — But who is it for?
Fujifilm X-T50 Film Dial Settings + 14 New Film Simulation Recipes
Putting the Film Dial to Practice — Four Cities with the Fujifilm X-T50

Find nearly 400 Film Simulation Recipes for Fujifilm cameras in the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Film Simulation Recipes for Fujifilm GFX Cameras

One of the first things that I hoped to accomplish after buying a Fujifilm GFX100S II camera last month is to understand how compatible X-series Film Simulation Recipes are with GFX, and what adjustments should be made, if any. I had anticipated this being a fairly easy task, and in a sense it was, but I really struggled with this project.

Fujifilm has made a number of GFX models since February of 2017: GFX50S, GFX50R, GFX100, GFX100S, GFX50S II, GFX100 II, and GFX100S II. There are a few different sensors and processors, and the cameras can be separated into different generations. The GFX50S, GFX50R and GFX50S II share the same sensor, but the GFX50S II falls into a different generation than the original two. The GFX100 and GFX100S share the same sensor, but are different generations. The GFX100 II and GFX100S II share the same sensor, but not the same sensor as the first two 100mp GFX models. It’s a bit of a puzzle. The only GFX camera that I own is the GFX100S II, and I briefly had the opportunity to borrow a GFX50S four years ago. My GFX experience is very limited at this point.

One issue that I found when comparing Recipes captured on X-Trans vs GFX is that the lenses are not the same. Different lenses can produce slightly different results depending on the micro-contrast and coatings. While not a big deal, it would have been preferable to have used the same lens across all the tests; however, even if I could, the focal length wouldn’t be the same. For example, when I adapt my vintage Helios 44-2 lens, the focal length on X-Trans is 87mm while it is 46mm on GFX; aside from that, the Helios is noticeably softer on the GFX. So the comparisons I made were never fully 1:1, unfortunately.

Fujifilm GFX100S II & Helios 44-2 – Fujicolor PRO 160C Warm

I did make a number of comparisons between the photos captured with the GFX100S II and those made on an X-T5 and X-E4, utilizing the same Recipes. The main difference between X-Trans IV and X-Trans V rendering is that blue is a little deeper on X-Trans V with the Classic Chrome, Classic Negative, Eterna, and Eterna Bleach Bypass film simulations—there are some other minor differences, but the blue rendering is the main one. On the GFX100S II, blue behaves more like X-Trans V. The overall rendering is very similar to X-Trans V, but not 100% identical. For example, Grain is scaled differently on GFX. There are several insignificant differences that I noticed upon close side-by-side comparisons, but without carefully studying deep crops, the GFX images look pretty identical to the X-Trans V photos. Except they also don’t.

This is the paradox I discovered: the pictures look so similar when comparing colors, tints, shadows, etc., etc., but there is something that’s clearly different. But what? I couldn’t put my finger on it.

I asked a few people I know who have a GFX camera, and one suggested color fidelity, that the same exact colors just seem more alive (or maybe more lifelike) on GFX. My wife, Amanda, suggested that it’s depth, that it feels like you can step into the GFX photos, while the X-series photos seem a little flat in comparison. This could simply be the depth-of-field or the micro-contrast of the GFX lenses (or both). As I thought about it, I was reminded of the Sigma DP2 Merrill camera I used to own that similarly had a (so-called) “3D pop” to the pictures. High-ISO digital noise looks different on GFX, with splotchy colors that are typical from a Bayer sensor (and not the more film-grain-like noise from X-Trans); however, it’s not particularly obvious, buried in all that resolution. It’s probably a combination of all of those things and more that make the nearly identical colors and contrast appear different in a way that is difficult to describe, but it’s all so subtle that it’s easy to miss and dismiss, so perhaps it doesn’t matter.

Fujifilm GFX100S II & 80mm f/1.7 – Kodachrome 64

With that information, I made a decision regarding Film Simulation Recipes in the Fuji X Weekly App. I added the GFX100 II and GFX100S II as compatible cameras to all X-Trans V Recipes, as well as X-Trans IV Recipes (excluding those for the X-T3/X-T30) that don’t use Classic Chrome, Classic Negative, Eterna or Eterna Bleach Bypass (the same Recipes as the X-T5, for example). Use those Recipes on the GFX100 II and GFX100S II, as they look great. I updated the App yesterday to show those Recipes as compatible with those two cameras. For the other (non-X-T3/X-T30) X-Trans IV Recipes, dropping Color Chrome FX Blue down one spot (Weak instead of Strong, Off instead of Weak) also makes them compatible.

After that, I thought about the other GFX models. Shouldn’t they be in the App, too? Why should they be left out? I don’t own any of those other GFX models, so I dug through the manuals—plus did several Google searches—to try to piece together how they should be categorized in the Fuji X Weekly App. That took a few verified and unverified assumptions. Also, I realized an assumption I made several years back was incorrect.

I categorized GFX100S the same as the newer X-Trans IV cameras; Recipes that are compatible with (for example) the X-T4 are also compatible with the GFX100S. I categorized the GFX100 the same as the X-T3 and X-T30.

Fujifilm GFX100S II + 80mm f/1.7 – 1970’s Summer

The 50mp GFX cameras are a bit of a problem because shadows are rendered slightly lighter, and a .5 Shadow increase is necessary for those models (the GFX50S and GFX50R don’t have .5 Highlight and Shadow adjustments). A few years ago when I had the GFX50S for a few weeks, I created three Recipes for 50mp GFX. I made an assumption that those Recipes would also be compatible with the GFX100, but I believe that camera has deeper shadow rendering like the other 100mp cameras, so that assumption was incorrect; however, I left it alone in the App. If not for the shadow rendering, X-T3/X-T30 Recipes would be compatible with the GFX50S and GFX50R—you can still use those Recipes, just know that it will look slightly different (try them anyway, you might like the results). The one camera that was left out of the App is the GFX50S II. You can use X-Trans IV Recipes the same as the GFX100S; however, a .5 Shadow adjustment should be made. If a Recipe calls for -1 Shadow, use -0.5 instead, and if a Recipe calls for +2 Shadow, use +2.5 instead.

This isn’t a perfect categorization of the GFX models, but I think it’s good. If I made a mistake in this, please let me know—like I said, my GFX experience is quite limited. For those with GFX cameras, I hope this provides a little clarity as to which Recipes to use. I’m sure that having these cameras in the App will be helpful to some photographers with GFX models, so if you have a GFX camera, open up the Fuji X Weekly App and take a look.

Fujifilm GFX100S II + 80mm f/1.7 – Kodak Gold Max 400 Expired

Find Film Simulation Recipes for your Fujifilm cameras in the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

See also: 10 Frames in New Mexico — Fujifilm GFX100S II XPan Photographs

Fujifilm Grain Comparison: GFX100S II vs. X-T5

Unfair Comparisons – Buckeye, AZ – Fujifilm GFX100S II – Astia Summer

I’m planning to do a number of comparison tests between the JPEGs from the Fujifilm GFX100S II and my X-series models, like the Fujifilm X-T5. What’s different? What’s the same? I haven’t come to very many conclusions yet. There’s clearly a difference, but it seems so subtle it is tough to put a finger on what exactly is divergent.

For this article, I’m comparing the faux Grain between the GFX100S II and the X-T5. This isn’t a carefully controlled scientific test. When my wife (on the X-T5) and I (on the GFX100S II) captured these images, we did not intend for them to be used in any sort of comparison test. I chose these because they were made in the same location (White Sands National Park in New Mexico). They were captured with the new Kodak Gold Max 400 Expired Recipe, and reprocessed in-camera with the Astia Summer Recipe. I chose those two Recipes because of their Grain: Weak/Small and Strong/Large.

Fujifilm X-T5 – Astia Summer – Grain Weak/Small
Fujifilm GFX100S II – Astia Summer – Grain Weak/Small
Fujifilm X-T5 – Kodak Gold Max 400 Expired – Grain Strong/Large
Fujifilm GFX100S II – Kodak Gold Max 400 Expired – Grain Strong/Large

You cannot tell much at all from the above photos. From examining the pictures more closely, I can state that the size of the faux grain is a little larger in the X-T5 JPEGs than the GFX100S II, but you can’t really tell without cropping in. So let’s crop in!

In the first set (identified simply by “Crop”), I’ve made the pictures roughly the same size. If you look carefully, the Weak/Small Grain is slightly more visible in the X-T5 pictures, but it’s not overtly obvious. In the second set (identified by “Bigger Crop”), I’ve tried to match the Grain, and I had to crop much more deeply on the GFX100S II pictures to do so. These are significant crops, and you’d have to print large to view them this big. I think if a Grain size Medium existed on GFX, that would more closely match Grain size Small on the X-series.

Crop – Fujifilm X-T5 – Astia Summer – Grain Weak/Small
Crop – Fujifilm GFX100S II – Astia Summer – Grain Weak/Small
Bigger Crop – Fujifilm X-T5 – Astia Summer – Grain Weak/Small
Bigger Crop – Fujifilm GFX100S II – Astia Summer – Grain Weak/Small

Below is a repeat, except for with Strong/Large Grain. I think if a Grain size Medium existed on the X-T5, it would more closely match Grain size Large on the GFX100S II.

Crop – Fujifilm X-T5 – Kodak Gold Max 400 Expired – Grain Strong/Large
Crop – Fujifilm GFX100S II – Kodak Gold Max 400 Expired – Grain Strong/Large
Bigger Crop – Fujifilm X-T5 – Kodak Gold Max 400 Expired – Grain Strong/Large
Bigger Crop – Fujifilm GFX100S II – Kodak Gold Max 400 Expired – Grain Strong/Large

I don’t know that it makes any practical real-world difference, but the size of the Grain—whether Small or Large—is not identical on GFX as it is on X-series cameras. It’s not scaled the same. It’s smaller on GFX and larger on X-series, specifically when comparing the 100mp images from the GFX100S II to the 40mp images from the X-T5. There are also likely variances between the 26mp APS-C sensor and the 50mp GFX sensor.

The way to look at this, I suppose, is that film grain appears more fine on medium-format film than 35mm. The difference in silver grain between—say—120 film and Advanced Photo System Type-C film is much, much more significant than the difference in Grain between GFX and X. I think you’d expect the Grain to be more “fine” on GFX—and that’s what you find—but it isn’t nearly as much of a difference as with actual film.

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, Wex, Nuzira
Fujifilm X-T5 in silver:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm GFX100S II:
Amazon, B&H, Wex

Possible Fujifilm Film Camera Coming??

In a recent interview, Theo Georghiades, general manager of Fujifilm Imaging Solutions UK, told Amateur Photographer that there is a possibility of a Fujifilm film camera coming in the future. Some have called this a “bombshell revelation”, but is it really?

Theo was asked, “Would Fujifilm ever consider launching a film camera again, especially if it had the retro look of an X100VI?”

He responded, “I’ve been with Fujifilm for 25 years, so have learned to never say never—but I don’t know. There is without doubt a massive resurgence in film as we see from film sales. Go down to the markets around Westminster in London and you can see the popularity of film cameras again. And it’s the same in Japan, as I found on a recent trip. As I say, I’ve learned to never, ever say never! However, any business needs to analyze the prospects for a long-term opportunity over a short-term fad.”

I’m not sure how some have interpreted this to mean Fujifilm is in development of a film camera (outside of Instax), but some have insinuated that. Others are taking a more pragmatic interpretation, that Fujifilm simply hasn’t shut the door on a film camera, which is probably the more accurate analysis.

Photography in the ’80’s – Fujifilm X-T30 – Kodacolor Recipe

My guess is that Theo was speaking off-the-cuff, and didn’t mean to make any official statements on this topic. In other words, a large grain of salt should be taken. Perhaps there has been water-cooler talk of the possibility, perhaps not even that. I think he is simply saying that Fujifilm does unexpected things sometimes, so you just never know what they might do in the future, but there are no current plans at this time.

If I were Fujifilm, this is what I would do: rerelease the Fujica Compact Deluxe. They already have the designs. Maybe modernize the light meter, but mostly it should stay the same. I’m sure it would sell well enough to justify manufacturing it. But time is of the essence, so if they want to do this, they should be quick about it. If they hesitate, the market for 35mm film cameras might decrease by the time it hits the shelves. You’ve got to ride the waves while they’re high and before they crash.

Fujifilm currently makes “digital film” cameras, which isn’t the same thing, but in some ways it’s better. In my opinion, the X-series bridges the gap between the positive aspects of both film and digital photography. It’s still apples-to-oranges, and I’m not suggesting otherwise, but there is enough crossover that it’s worth pointing out, and even celebrating. I have no idea whether or not Fujifilm will release a 35mm film camera, but I’m extremely happy with my X-series gear. Still, it would be really cool if they did make a brand-new film camera, so I hope they do.

Firmware Updates for Fujifilm X-T5, X-T50, X100VI, X-S20 & GFX100S II

Fujifilm released a new set of firmware updates, which they had promised would come before the end of the year: one for the X-T5, one for the X-T50, one for the X100VI, one for the X-S20, and one for the GFX100S II. This is simply an autofocus fix for the bug introduced earlier in the year that was partially fixed already, and should be fully fixed now. Unlike the firmware updates last month for the X-H2s, X-H2, and GFX100 II, this one doesn’t include F-Log2 C or some of the other improvements that were given to those cameras, only the AF fix. It’s possible those things might still come in a future firmware update, but I’m not sure.

I haven’t yet updated any of my cameras, because I always like to wait awhile—you never know if there will be some unexpected issue. For example, Sony famously released a firmware update earlier this year that cost their customers $700 to fix. A good rule of thumb is to wait a week or two to see if any issues arise. Most of the time there is not an issue, and I don’t suspect any problems with this one specifically, but since it does happen every once in awhile, it’s prudent to wait at least a few days, and if something major comes up, it should be well known by then.

I’m sure that you’ve read about the AF woes somewhere, or seen a YouTube video or two about it; however, in my opinion it has been largely overblown and misunderstood. Let me explain why.

First, most people weren’t affected. Some were, for sure, but not the majority; however, the large vocal outcry caused a bit of hysteria, which made it seem like a much bigger issue than it actually was—essentially, trolls took over the Fujifilm corner of the internet for awhile. A few different people told me something to the effect of, “I didn’t know my camera was broken until I saw it demonstrated on a YouTube video, and now I’m mad because I paid a lot of money for it.” It didn’t affect them personally and they would have never known without someone telling them, but since they did know, they were pissed. A lot of people got angry over something that had no negative implications for them personally, only the idea that it possibly could.

Second, Fujifilm’s AF can perform very different depending on the specific lenses used and the specific settings programmed, and if you are using lenses and/or settings that are not ideal for the specific situation, you might get less than ideal results. An example of this comes courtesy of Camera Conspiracies, as Kasey discovered that his prior criticisms of Fujifilm’s AF—including the bug—were at least partially user-error by him. I suspect that is true of a lot of the criticisms, but people tend to get offended when you suggest that the gear isn’t the primary problem. Perhaps something can be said of the intuitiveness of the AF system—there’s certainly room for improvement—however, a lot of the blame that was directed at the camera wasn’t fully the camera’s fault, but largely the lens and/or setting choices made by the one using it.

Third (and this is related to second), some people seem to want AF to automatically focus precisely as they wish it would without any input from the user. It’s like if you put your exposure triangle into full-auto, and then complained that it didn’t choose the specific aperture, shutter speed, or ISO that you wished it had. Autofocus doesn’t necessarily mean that you should set-and-forget it; like with the exposure triangle, a little control can go a long ways. After all, we’re photographers, not merely button pushers. I see people all of the time create wonderful images and videos with the gear that supposedly has sucky AF, and it isn’t a limiting factor for them (proving that it isn’t sucky after all). As Ansel Adams famously stated, “The single most important component of a camera is the twelve inches behind it.”

Fourth, I think some people have unrealistic expectations of how Fujifilm’s AF should perform, ignoring that the Canikony brands have been developing autofocus systems since the 1960’s and ’70’s, have significantly larger R&D budgets for it, and have even prioritized AF over image quality in recent years. Of course theirs is better, but that does not mean Fujifilm’s AF is bad, because it is not—far from it. If you could take any current Fujifilm model back in time 15 years, you’d shock the camera world with seemingly impossible technology. Photography has been around for nearly 200 years, and videography for over 135 years, and not just since the invention of our incredibly capable modern gear. People created amazing photos and videos in the past with their subpar gear (as compared to what is available today), so literally nothing should stop you from doing so with your superior gear. If something is stopping you, it is only you, and you have the power to change that.

Thankfully, Fujifilm’s AF has been fully fixed. Can it be improved? Sure, just like everything else, there is always room for improvement (there is no such thing as a perfect camera). Those who continue to moan about it are either haters, constant complainers, or trolls, or they are experiencing user-error and are blaming the gear instead of themselves. It’s beyond time for all that negativity to end—I’m sick of it, and I know a lot of other people are, too. Let’s get back to enjoying our gear, and creating awesome content with it.

Selling and Trading my Unwanted Gear

Over the years I have accumulated quite a collection of photography gear. I have cameras and lenses that I rarely—if ever—use. They’re on my shelf collecting dust, or packed away in a box. I’ve been meaning to get rid of some of these items, but I just never seem to get around to it.

The number one reason why I hold onto my old, unused gear is not because I want to keep it, but because I dislike the process of selling. Over the years I have used sites like Craigslist, eBay, Facebook Marketplace, and even Instagram Stories to sell my stuff, but it has rarely been an easy and smooth process. I’ve been ghosted more times than I can count, and even scammed a couple of times. It’s such a headache!

I want to be transparent upfront: MPB is the sponsor of this article. If you don’t know it yet, they are the largest global platform to buy, sell and trade used photo and video gear—each piece checked by hand before being MPB Approved. MPB asked me to create a series of articles sharing my honest opinion about using gear loaned from their platform (you can find the links at the bottom of this article). 

A couple of weeks back, they asked me about testing the selling and trading process for myself—and since I’d been putting off selling my old gear to raise funds for a camera I had my eye on, I jumped at the suggestion to try (fingers crossed) an easier way. It is important to note that they didn’t give me any special treatment or pricing. So while I have purchased from MPB a couple of times in the past, this article is about my experience going through the sell and trade process as a normal customer for the first time. Free, fast, and fair is how they describe their instant quote process, so let’s put that to the test.

I had three items that I no longer needed: My Fujifilm X-M1, Fujinon 100-400mm lens, and Canon EOS 5DS R. For the X-M1, I wanted to trade for a Fujinon TCL-X100 II Conversion Lens, which MPB had loaned to me back in October. For the zoom lens and Canon DSLR, I wanted cash. I did this in two separate transactions—one trade, and one sell.

How to sell with MPB

When you visit the MPB platform, you are presented with a path choice: “Shop” or “Sell/Trade”. When you click “Sell/Trade”, you are prompted to provide information about the gear you’re looking to sell—what exactly is it, and what is the condition it’s in (there’s even a quick guide if you’re not sure how). After that, you just select “Get Instant Quote”, provide some basic information (name, email, and optionally your phone number), and MPB presents you with a tentative offer. All quick, easy, and painless.

For my Fujifilm X-M1, since I was planning to trade, I added the TCL-X100 II lens to the Buying category, selected my desired cosmetic condition, and chose the specific one that I wanted to trade for. When I clicked “Get Instant Quote”, I was presented with a price for the X-M1 that was well above what I had anticipated being offered—I didn’t expect so much! I added some batteries and accessories to the trade, and still had ample cash leftover. The next step was to box up the camera, and ship it for free via FedEx. I should note that trading gear doesn’t increase or decrease the price of whatever you are buying or selling.

A few days later I received an email from MPB that my item was received. The next day another email came stating that my item had been inspected, and my quote updated. They reduced the amount they wanted to pay for it by a little and I could either accept or reject it. I had the option to reject the offer and get my gear returned for free if I wasn’t happy, but I accepted. It was still more than I had anticipated, and there was still cash leftover after the trade. I provided MPB with banking info, and two days later I was paid. Just yesterday, the TCL-X100 II, batteries, and accessories arrived in the mail, and I couldn’t be happier with the whole process.

Next, I went through the same process to sell my Fujinon 100-400mm lens and Canon 5DS R camera; however, the quote for these two items were both less than I had hoped for. I needed them gone fast, so I decided to send them in anyway. When MPB reviewed the lens and camera, they once again adjusted the quote, this time significantly increasing the value of the Canon DSLR. It was still less than I would have liked to have sold them for, but the overall increase made me feel a little better about it. I later learned they use MPB Re.Value—the world’s leading proprietary dynamic pricing engine for used camera gear with millions of data points—to provide real-time prices for buyers and sellers.

I was curious how much of a markup MPB would give my items (after all, they’ve got to earn a profit), so I found them on their website. The X-M1 has a markup of $149, which seems quite reasonable. The Fujinon 100-400mm has a markup of $339, and the Canon EOS 5DS R has a markup of $333, which leans in their favor. You could say that I left money on the table, had I sold these items myself instead of using MPB, but that’s assuming I would have been able to sell them for that price, and that I wouldn’t have had to pay shipping and other fees. Add to that the time and hassle of doing it, plus the risk of being scammed or worse, and I would say that selling to MPB was undoubtedly preferable.

After selling gear through MPB for the first time, I’ve learned that it’s a quick, easy, and painless process. While I would have liked to have received a little more for two of the three items that I sold, overall I am pleased with the outcome, and I will certainly use MPB again in the future.

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

My new Fujifilm camera is…

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Fujifilm GFX100S II:
Amazon, B&H, Wex
Fujinon GF 80mm f/1.7:
Amazon, B&H, Wex

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Captured with a Fujifilm X100VI using the Texas Sun Recipe

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

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

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

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

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

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

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

Thoughts on the upcoming Fujifilm GFX100RF

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

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

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

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

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

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

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