Fujifilm Gear

Introducing the Evergreen + Fuji X Weekly Protective Case for Fujifilm X100VI / X100V / X100F

Posted on by Ritchie Roesch

I’m very proud to introduce the Evergreen + Fuji X Weekly Protective Case for Fujifilm X100 series cameras! It’s available in both clear and black for $50.00 USD.

This new camera case is dust-proof, watertight, and shock-resistant. It is intended for the outdoor adventurer who needs to keep their camera safe while backpacking or camping or exploring or other similar activites. If you’re the outdoors type who takes a camera along on your adventures, but are concerned about keeping your gear safe, this case is for you.

The Evergreen + Fuji X Weekly Protective Case is specifically designed for the X100VI, X100V, and X100F cameras. It will also fit older X100-series models. While not specifically intended for it, my Fujifilm X70 with a leather half-case fits well. My Fujifilm X-E4 with the Fujinon 27mm f/2.8 pancake will also work, but only without the lens cap. I found that a Fujifilm X-M1 with a 7Artisans 18mm f/6.3 pancake lens fits. Optimally, this case is for the latest X100-series models, so if you have an X100VI, X100V, or X100F, the Evergreen + Fuji X Weekly Protective Case will keep your camera safe as you explore.

Within the case there is space for one spare battery and one SD-Card. There’s also one slot on each side for filters. I fit both a 49mm Moment CineBloom filter and 49mm Fotasy Ultra Slim UV filter in one slot; in the other I put a Hoagle filter adapter. I can also fit a Hoagle Ultra Thin Lens Hood into the case, but not in the filter slots. It’s important to note that most lens hoods will not fit, nor will the wide or tele conversion lenses. You will most likely find that your camera strap is too big and won’t fit (it all depends on what you have); however, one strategy could be to use a quick-release strap from Peak Design and keep the strap elsewhere. Personally, I use a wrist strap, which does fit into the case.

This Evergreen + Fuji X Weekly Protective Case was a collaborative endeavor. I providing design ideas and input, and then feedback after testing various concepts. It was a team effort, so I can only take a small amount of credit. The folks at Evergreen Cases are truly professional, and they did the heavy lifting. I’m thrilled that they invited me to be a part of it, and have a hand in the design. Also, we co-created a Portra-inspired Film Simulation Recipe, called Fuji X EG400, which is included in each case.

Available now at:

Amazon
Evergreen Cases

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

Fujifilm X100VI Variant Ideas

Posted on by Ritchie Roesch

The Fujifilm X100VI is the most preordered camera in history by far. There were more orders placed prior to the release date than there were X100V’s produced in its entire four-year run. Completely unprecedented! I quickly made my order within minutes after it was announced, and I still had to wait over a month for it to arrive. There are people who placed their preorders on day-one who are still waiting, and some have been told that it might be closer to Christmas before it can be delivered. Even though Fujifilm is right now manufacturing the X100VI at somewhere around four-times the rate that they did the X100V, they still haven’t cleared out the preorder list, let alone begin to tackle the backorders placed after the release. It’s nuts! If you’ve been patiently waiting for yours, I hope that it arrives soon. If you haven’t already ordered yours, the wait could be quite significant.

Quite obviously before Fujifilm even thinks about offering alternative versions of the X100VI, they need to catch up on all the orders already placed. I have no idea how long that might take, but I highly doubt it will be anytime in 2024, and maybe not in 2025, either. However, once they’ve managed to get this situation under control—perhaps in the spring of 2026—I would encourage Fujifilm to consider producing variations of the X100VI. While this is something I’ve suggested for awhile (first with the X100F, actually), this is the first time that I’ve dedicated an entire article to the topic.

Leica just announced a 43mm f/2 version of the Q3, called Leica Q3 43. For those who don’t know, the Q3 has a 28mm f/1.7 lens, which is equivalent to 18.6mm on Fujifilm, the same focal-length as the X70. The new 43mm version has more of a standard field-of-view, and is equivalent on Fujifilm to 28.6mm (Fujifilm doesn’t offer that exact focal-length, but it is pretty close to both 27mm and 30mm, which Fujifilm does make).

Offering multiple focal-length versions of a fixed-lens camera is nothing new. For the Ricoh GR III, which has a 18.3mm (27.5mm full-frame-equivalent) lens, there’s a 26mm (39mm equivalent) variation called GR IIIx. Sigma had up to four versions of the DP cameras: 14mm (21mm equivalent), 19mm (28.5mm equivalent), 30mm (45mm equivalent), and 50mm (75mm equivalent). Fujifilm has never taken this approach, but I think they should.

Left: Fujifilm X100VI + TCL-X100 II + Kodak Portra 800 v3 / Right: Fujifilm X100VI + WCL-X100 II + Kodak Portra 400 v2

What Fujifilm does offer are conversion lenses, which screw onto the end of the camera’s fixed lens. There’s a wide-angle (WCL-X100 II) and telephoto (TCL-X100 II) option. The wide conversion lens has a 0.8x magnification, which means that the 23mm (34.5mm equivalent) lens on the X100VI becomes 18.4mm (27.6mm equivalent). The telephoto conversion lens has a 1.4x magnification, which means that the 23mm lens on the X100VI becomes 32.2mm (48.3mm equivalent). Essentially, it’s like having three versions of the camera: 18mm, 23mm, and 32mm. The downside to the conversion lenses is that they add a fairly significant amount of size and weight (especially the telephoto) to the camera, which, to an extent, defeats the purpose of it. While the teleconverters do indeed add quite a bit of versatility, I would like to see one or two alternative focal-length versions in the future, where the dimensions and weight of the camera are about the same, just with different fields-of-view.

My top two recommendations would be a 16mm (24mm equivalent) f/2.8 version, and a 35mm (52.5mm equivalent) f/2 version. Obviously 18mm f/2 would be a popular choice, so I’m sure that would be high on their list of potential focal-lengths. Fujifilm has a pancake 27mm f/2.8, and modifying those optics for use with an X100 series camera could be intriguing. Fujifilm could offer just one variation (like Leica did with the Q3, and Ricoh did with the GR III), or they could offer multiple options (like Sigma did with the DP series). Personally, I’d like both a more wide-angle and a more telephoto version.

This should not be a priority for Fujifilm whatsoever, but something to consider for down the road. Maybe it could be announced in the fall of 2025 in time for the Christmas shopping season, or in spring of 2026, or sometime later. Or maybe they don’t see any reason to offer it at all, because perhaps they don’t believe it will gain any net camera sales, only take away X100VI sales. Personally, I would likely buy whatever alternative focal-length version(s) that they do release, if they ever do, to be an addition to my X100VI. I don’t know how many other people would do the same, but it might be worthwhile for them to consider.

I don’t see Fujifilm going down this path in the near future. They may have no interest in doing it ever. But I like the idea, personally, and would encourage them to at least consider the possibility. Not everyone appreciates the 23mm (34.5mm equivalent) focal-length of the X100-series cameras, and even if they do, they may want a little variety sometimes. While I believe that it would do quite well for Fujifilm, obviously it is something that they themselves must believe in order for it to ever happen. I hope that someday it does.

Fujifilm Autofocus — An Uncomfortable Conversation We Need to Have

Posted on by Ritchie Roesch

Skates & Hoop – Tempe, AZ – Fujifilm X-E4 – Astia Azure Recipe

In this article we’re going to discuss Fujifilm’s X-series Autofocus, which is a hot topic right now. A lot of things are being said about it on YouTube and social media and especially in the comments section of photography websites. I’m a little afraid to give my two cents, because I know it will not be well received by some of you reading this. I think most regular visitors of this website will not have any qualms about it, but no doubt this will be shared on Reddit or DPReview or a Facebook group or someplace like that, and I will receive some aggressive disagreements by some of those folks.

I cannot tell you how many times I’ve seen people online call Fujifilm’s Autofocus “garbage” or “bad” or some other negative term. Every once in awhile a person will comment on Fuji X Weekly with a similar sentiment; however, it’s vocalized a lot less here than elsewhere, it seems. This is a controversy that I’ve tried to steer clear of—people have strong opinions about this topic, and my opinions are different than many. I did write about it two months ago, but I think it needs to be addressed again.

As I’ve pondered this topic, I think there are a number of issues that are often lumped together, but need to be discussed individually. They are related in that it affects Autofocus, but otherwise they are unrelated, and lumping them together doesn’t help bring about any solutions. We’ll get to it all, but it will take some time to navigate through it. Be patient, as this will be a journey.

First and foremost, I believe that much of the negativity is a type of hysteria. Someone points out a “problem” and now everyone (it seems) is experiencing it. Echo chambers and groupthink on the internet can make people especially susceptible to this. I’m not a psychologist and offer no professional medical advice, but I did listen to a podcast recently on a flight that made me consider this as a strong possibility.

Thunderbird & Canopies – Glendale, AZ – Fujifilm X100VI – PRO Negative 160C Recipe

The podcast was Cautionary Tales with Tim Harford and the episode was entitled Sonic Poison? The Genesis of Havana Syndrome. It explains how hysteria can have a real affect on people, such as causing nuns to meow, or children to experience sickness that they don’t really have, or millions of dollars of perfectly good Coca-Cola dumped down the drain for no good reason, or spies “poisoned” by loud cicadas in Cuba. While these things were in their heads, they manifested in real physical ways.

What clued me in to the potential that this phenomena might also be happening to those who own Fujifilm cameras is when someone told me that they were really upset at Fujifilm because their Autofocus was not working as it should be and that Fujifilm needed to fix the problem right now; this person admitted that they had never experienced the issue personally, but they knew it was a problem because they had seen it in a YouTube video. Later, another person stated to me something very similar: while the “problem” had had no affect on their photography, they were aware of its existence because they had seen it on the internet—and they were demanding that Fujifilm fix it ASAP or else they would quit the brand.

I’m not suggesting that Fujifilm’s Autofocus woes are “all in your head” and that it is just psychological, but I do believe it explains a good deal of it. I think if some certain YouTube videos had never been published (and it’s fine that they were, I’m not condemning them, I’m just observing), there would not be nearly so much discussion and outrage right now. A lot of people “became aware” of a problem that they likely would not have noticed on their own otherwise, and it wouldn’t have affected them in any real way (in other words, it wouldn’t have been an issue at all). When you spend a lot of money on something, and especially if your livelihood (or hopes of a future livelihood) depends on that thing, and you believe that it is not working right, it’s easy to understand why there would be some hysteria. Nuns meowing, Coke getting dumped, and Fujifilm’s “sucky” Autofocus are related, if you ask me, and it’s something that we can all be susceptible to. But, again, I’m not a psychologist and offer no professional advice on this.

While I believe a significant amount of the outrage can be attributed to that hysteria, there are real issues that should be discussed rationally. Something that I find interesting is that for the first five or six years of this blog, Fujifilm’s Autofocus was not a big issue whatsoever. It wasn’t a hot topic. What changed? I think it was Fujifilm’s enticement of Canikony brand photographers. I think many of the complaints are by people who used to shoot Canikony brand cameras—particularly Canon and Sony—and when they switched to Fujifilm over the last couple of years, they were disappointed by Fujifilm’s Autofocus system. It’s not as good as those found on Canikony models, especially Canon and Sony.

Hit – South Weber, UT – Fujifilm X-T30 – Fujichrome Sensia 100 Recipe

There are three reasons why Canikony cameras have better Autofocus than Fujifilm. First, they’ve been doing it for much longer. Sony (through Konica and Minolta) have been making Autofocus cameras since the 1970’s, and had what was considered the first “good” AF system (not good compared to what we have today, but good for back then) with the Minolta Maxxum in the mid-1980’s; Canon and Nikon both introduced their first Autofocus cameras in the 1980’s. Second, Canikony brands have had significantly more R&D money to invest in their Autofocus systems. Finally, as PetaPixel pointed out, the Canikony brands over the last handful of years have spent very little effort on image quality improvements, while placing much of their efforts on Autofocus improvements, and in some specific cases, actually to the detriment of image quality (a path that I do not want Fujifilm to pursue, personally). Most of the Canikony cameras that Fujifilm models are often compared to are also significantly more expensive, and usually larger and heavier.

Anyone who expects Fujifilm’s Autofocus to be at the same level as the Canikony brands have not put much thought into it. Still, it’s surprising to me, considering the disadvantages that Fujifilm has faced, that they’re not very far behind, either. Fujifilm’s Autofocus is by far more than good enough for most people and situations, including for the many professional photographers who use these cameras each day even under difficult circumstances. In preparation for this article, I reached out to five highly talented and successful photographers/videographers who use Fujifilm—people I met in person this year while traveling across America—and asked if they find Fujifilm’s Autofocus “lacking” or “detrimental” to their work. All five answered no; one added a caveat that for a specific use-case this person prefers their Sony model—they could do it with their Fujifilm, but it’s a little easier on their Sony, so for that particular situation this person doesn’t use Fujifilm.

Photography has been around for a very long time. It didn’t begin two, five, or ten years ago. People have been capturing amazing photographs for well over 100 years. If you were to grab a Fujifilm X-T5, jump into a DeLorean, and travel back in time just 20 years, you’d blow away the photographers of that era with what would seem like to them impossible camera technology. Yet the photographs captured today are no more impressive than than they were then. Camera gear has advanced tremendously over the last two decades, but the great photographs from today are no more great than they were 30, 40, 50, etc., etc., years ago. I love finding vintage photography magazines and admiring the incredible photographs captured on significantly inferior gear than what we have readily available today—we’re so spoiled!

In other words, if they could do it on their lesser gear, you can do it on your greater gear. No excuses. Fujifilm’s Autofocus is really good, especially compared to what existed over the last handful of decades. No, not quite as good as the Canikony brands are right now, but really good nonetheless. The negativity just never made sense to me. It’s like complaining that a Corvette isn’t a Maserati, and calling the Corvette garbage because it isn’t more like a Maserati. If you want a Maserati, buy a Maserati! Otherwise, appreciate that you have a Corvette.

Midair – Los Angeles, CA – Fujifilm X100VI – Appalachian Negative Recipe

Many years ago I was given this advice: Either you are controlling your camera, or your camera is controlling you. I think that a lot of people allow their cameras to control them, which might typically work out fine because the current tech is so advanced, but, when it doesn’t work out, it’s an easy scapegoat to blame the gear instead of looking inward. Without self reflection, you are robbing yourself of the opportunity to learn and grow. Your gear is only a limitation if you allow it to be, and if you don’t allow it, then it’s no issue whatsoever. That might require learning some new skills or sharpening some skills that you already have but could be improved upon.

A lot of people don’t like that advice, but it is completely true. You have it within you to not allow any limitations on any gear get in the way of creating whatever it is that you want to create. The difference between those that are having a ton of success with their Fujifilm gear and those complaining about it saying they can’t is the person holding the camera, and not the camera itself. I get it: it’s much easier to blame the gear. But, if you blame the gear instead of yourself, your camera is controlling you, and you will not improve—that success will be elusive.

All that I just said is the most important part of this article. You might disagree, and that’s ok. Sometimes the truth hurts. It might be a bitter pill that you were not ready to swallow. I didn’t say anything that’s not true; perhaps it is deserving of a second read-through, and with an open mind. With all that said, there are some other things that are important to address.

I think a good deal of the negative attention regarding Fujifilm’s Autofocus issues came after Fujifilm released a firmware update earlier this year with an Autofocus bug. I didn’t experience the issue caused by that firmware personally because I always wait awhile to update the firmware. This is a good idea regardless of camera brand. Sometimes there are bugs, and sometimes the bugs are significant. If you wait a week or two, if there is some major bug, it should be well known by then—if so, just skip that firmware and wait for the next one. Fujifilm did fix that Autofocus bug; however, to a much smaller degree there is still some AF problem that seems to only affect certain use cases. It’s my understanding that Fujifilm is aware of it and working on a solution. It will get resolved, just give it a little time.

Horses on Allen Street – Tombstone, AZ – Fujifilm X-T5 – Nostalgic Americana Recipe

As Fujifilm has grown, I think one department that may not have upscaled enough is the one that is in charge of firmware. Perhaps Fujifilm needs to add a couple more to the team, or maybe they have already and are experiencing some growing pains as new folks are brought in (or combination of the two). From my perspective, it just seems that this team is stretched a little too thin and needs more resources to allow them to keep up. My advice to Fujifilm is simply to invest more in the team that is in charge of firmware, as I’m certain it will pay off in the long run. A lot of negative attention today could have been avoided had this team been given all of the necessary resources a couple years back.

The remaining Autofocus woes are related to hardware and settings. It could be that you are not using the best lenses, or don’t have your camera settings programmed optimally.

Fujifilm’s older lenses are slower. The newer options with a Linear Motor (designated with “LM” in the lens name) are often the fastest. The larger and heavier the glass elements, the slower the AF will likely be. In other words, there’s a pretty significant performance difference depending on the lens that you have on your camera. Use the right lenses and you’ll have more success; however, for most people and circumstances, all of the lenses are plenty good enough—this is more for those who demand peak performance for their situation. Also, ensure that the lens firmware is up-to-date, not just the camera—this might resolve it for you, so it is worth looking into.

Fujifilm cameras have a lot of customizable fine-tuning options for Autofocus (especially on the newer models); if those settings are optimized for your situation, you will have much success, but if not, you may have more “misses” than you’d like. There are resources online that can help you find the right AF settings for you—it’s a very individual type of thing, so what works for one person may not for another; I recommend that you look for advice from multiple sources, and experiment—try different settings and see what happens. Also, I have found that several complaints were resolved with one specific thing: Release/Focus Priority should be set to Focus and not Release. I have a feeling that this one setting is the root of many people’s AF woes.

Political Skateboarder – Nashville, TN – Fujifilm X-T50 – Kodak Film Recipes

In my opinion, Fujifilm’s Autofocus problems have been significantly overblown—Mount Everest has been made out of an ant hill. The internet has spread hysteria. Some people have unrealistic expectations. For others its user-error, and could be resolved with a little effort. Blaming the camera is easy to do, but it stifles your growth. Control your camera, don’t let it control you. Many people have the same exact gear as you do and they do not experience your issues. It’s not the camera—it has never been the camera, and it never will be the camera. Your gear is much more than capable. As Ansel Adams stated, “The single most important component of a camera is the twelve inches behind it.” You have it within you to not allow it to adversely affect you, but it might require some practice or learning new skills. That’s not a message that people usually want to hear, but it’s one that needs to be said. If you require optimized peak Autofocus performance, make sure that you are using the right lenses and have the best settings selected for your situation. For Fujifilm: provide more resources to the firmware team so that they can ensure they are not producing buggy updates (by the way, this is not an issue unique to Fujifilm by any stretch).

Please keep your comments civil. I know that chronic complainers, haters, and trolls will come out of the woodworks when an article like this is published. Unlike most websites, I don’t put up with that here. If you disagree, please be kind in your disagreement. I feel like this article needs to be published to counteract all the negativity that is much too prevalent across the internet. My hope is that—if you have experienced issues with Fujifilm’s Autofocus—you’ll be encouraged to create amazing content with the gear you own, because your camera is, in fact, more than capable just so long as the one using it is also capable (and you can be!). Excuses get in the way, but you don’t have to let them. That’s the message of this article.

Fujifilm X-E5 should have the Combo Shutter/ISO Dial

Posted on by Ritchie Roesch

Fujirumors posted a poll today asking whether people would prefer the (someday upcoming) Fujifilm X-E5 to have the same Shutter Knob as the X-E4, or replace the Shutter Knob with a Film Dial, or use a Shutter/ISO combo Knob like the X100/X-Pro cameras. As of this writing, a little over 70% would prefer the Shutter/ISO Knob, according to the poll.

Way back in March of 2021 when the X-E4 was brand-new, I said “It would have been a nice touch if Fujifilm had included an ISO ring around the shutter knob.” It should not surprise anyone that my vote is for the Shutter/ISO combo. In my opinion, if the X-E4 had had that combo Knob, had kept the M/C/S switch, and had kept the rear Command Dial, the camera would have been pretty much perfect. I understand that the Shutter/ISO combo Knob is much more complicated and more expensive, but it would be worthwhile to include it on X-E series cameras, in my opinion.

There’s a vocal group of people who didn’t like the X-E4, but prefer the X-E3 instead, and want the X-E5 to be more similar to the X-E3 than the X-E4. That’s because the X-E4 was slimmed down with a minimalistic approach, but perhaps just a bit too minimalistic. It’s completely understandable that not everyone appreciated it. The reason why the X-E5 is much more likely to have more in common with the X-E4 than the X-E3 is simple: the Fujifilm X-E3 did not meet sales expectations, while the X-E4 exceeded them. Fujifilm had to steeply discount the already affordable X-E3 just to clear the warehouse, and even then had trouble selling them (the X-E3 could be found rather easily a year after it was discontinued, and for a discount). The X-E4 was difficult to find in-stock throughout its production life, and had months-long backorder lists when it was suddenly discontinued, presumably because Fujifilm ran out of parts and couldn’t secure enough to justify keeping the assembly line open. Now, the X-E4 sells for a few hundred more used than it did brand-new. I’m not saying that the X-E3 is a lesser camera, only that Fujifilm had trouble selling it and had trouble meeting the demand of its successor, so it is logical that they’d follow the formula that worked well for sales.

The less that Fujifilm changes from the X-E4, the better in my opinion. If it ain’t broke, don’t fix it. Give it the X Processor 5, an improved EVF, the M/C/S switch, rear Command Dial, and that combination Shutter/ISO Knob, and you’ve got a really compelling camera. But, who knows, Fujifilm might do a complete overhaul. I have no idea.

While I actually really like the Film Dial on the Fujifilm X-T50, and I found a way to make it work quite well, I would not replace the Shutter or Exposure Compensation Knobs with it. That just doesn’t make any sense. If Fujifilm really wants to include the Film Dial on the X-E5, it would need to be an additional feature, and not a replacement of something already existing. Maybe similar to how Leica integrated the ISO Dial into the M11?

It will be interesting to see how Fujifilm evolves the X-E line. It’s much beloved by those who have owned them, but always on the chopping block, it seems. Apparently it’s not mainstream enough to have a secure spot in the X-series lineup, but the passionate fanbase prevents Fujifilm from axing it. If the X-E5 existed today, it would sell like hotcakes; heck, if the X-E4 was still being manufactured, it would be selling like hotcakes right now. Whenever the X-E5 is eventually released, perhaps next year, it will likely do very well for Fujifilm. But, I do think it’s important to strike while the iron is hot, and it’s hot at this very moment—so the sooner the better.

Pushed Analog — Fujifilm X-T50 (X-Trans V) Film Simulation Recipe

Posted on by Ritchie Roesch

Rainbow over Hoboken – Hoboken, NJ – Fujifilm X-T50 – Pushed Analog Recipe

I created this new Film Simulation Recipe while on my four-city photowalk tour. I didn’t have any specific film in mind, but wanted something contrasty, colorful, and warm—perhaps vaguely reminiscent of a push-processed Kodak emulsion without mimicking anything specific. In fact, I didn’t even reference any photographs when I created this (which is unusual for me), just used my experience making Recipes to achieve the aesthetic that I was after. Since it is only similar to pushed film in a very generic way, I named this Recipe very simply Pushed Analog.

Pushing film is where you purposefully underexpose, and then increase the time in the developer to compensate. This Recipe might be more similar to ISO 100 film pushed one stop or maybe two at most (but probably not two stops). Pushing film increases the contrast and grain, and makes the images more punchy and gritty. The more you push, the stronger the effect. The warmth in this Recipe is similar to using a warming filter, such as an 81A or something similar, with daylight balanced film, which used to be common in the film era.

Ciao & Church – Boston, MA – Fujifilm X-T50 – Pushed Analog Recipe

This Pushed Analog Film Simulation Recipe isn’t for every subject or situation, and not everyone is going to like it. Some of you will love it, I’m certain; however, this is not an everyday option that everyone will appreciate. I found that it works best in sunny daylight, and can also be a good option for dusk or dawn. It’s so-so for overcast days, and not good for artificial light. You can get dramatic results, but you might not find every image to be striking. This Recipe is compatible with all fifth-generation X-series cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50.

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

Example photographs, all camera-made JPEGs captured using this Pushed Analog Film Simulation Recipe on a Fujifilm X-T50:

Upper Manhatten – Hoboken, NJ – Fujifilm X-T50
Richie’s Lemon Ice – Boston, MA – Fujifilm X-T50
Yellow Umbrellas – Hoboken, NJ – Fujifilm X-T50
P is for Parking – Hoboken, NJ – Fujifilm X-T50
Chimney between the Trees – Salem, MA – Fujifilm X-T50
Vines on the Building – Salem, MA – Fujifilm X-T50
Maria Pepe – Hoboken, NJ – Fujifilm X-T50
Two Motorcycles – Boston, MA – Fujifilm X-T50
Lost Shoes – Salem, MA – Fujifilm X-T50
Apartment Reflections – Hoboken, NJ – Fujifilm X-T50
Lego Bricks – Boston, MA – Fujifilm X-T50
Troupe – Braintree, MA – Fujifilm X-T50
Back Door – Braintree, MA – Fujifilm X-T50
Green Cans – Nashville, TN – Fujifilm X-T50
Church Parking – Salem, MA – Fujifilm X-T50
St Stephen’s – Boston, MA – Fujifilm X-T50
Fire – Boston, MA – Fujifilm X-T50
W.B. Mason – New York City, NY – Fujifilm X-T50
PHX – Boston, MA – Fujifilm X-T50
Bova’s Bakery – Boston, MA – Fujifilm X-T50
Paul Revere’s House – Boston, MA – Fujifilm X-T50
John P. Felt House – Salem, MA – Fujifilm X-T50
St. Anthony’s Feast Parade – Boston, MA – Fujifilm X-T50
New York from New Jersey – Hoboken, NJ – Fujifilm X-T50

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-T50 in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-T50 in silver:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-T50 in charcoal:
Amazon, B&H, Moment, Wex

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Camera Makers are Trading Image Quality for Speed — Should Fujifilm join them?

Posted on by Ritchie Roesch

Skates & Hoop – Tempe, AZ – Fujifilm X-E4 – Astia Azure Recipe

PetaPixel published an interesting article today entitled Camera Makers Are Increasingly Happy to Trade Image Quality for Other Benefits by Jaron Schneider. I found it fascinating, particularly in light of my Let’s talk Fujifilm AF article that I published a little over a week ago. When I typed that post, I hadn’t considered that there might be an actual cost to image quality in order to produce blazing fast cameras with extraordinarily exceptional autofocus.

In my article, I said, “Fujifilm’s autofocus is very good—fantastic, actually. However, Sony and Canon (and arguably Nikon) have a bit more fantastic autofocus system than Fujifilm (as you’d expect). I really don’t understand the complaints about Fujifilm’s autofocus. It is like complaining that a Corvette isn’t a Maserati, and calling the Corvette garbage because it isn’t more like a Maserati. If you want a Maserati, buy a Maserati! Otherwise, appreciate that you have a Corvette.”

Corvette Abstract – Buckeye, AZ – Fujifilm X-H1 – Mystery Chrome Recipe

PetaPixel’s article essential states that the big three camera makers—Canon, Nikon, and Sony (a.k.a. Canikony)—are chasing faster camera processing, improved autofocus, and increased video specs at the expense of pure image quality. It might be that they’re so focused (pun intended) on those things that improving image quality for still photographs just isn’t a priority, so it remains stagnate from one model to the next. Perhaps they simply feel that image quality has neared the ceiling for the current tech, so there’s no need to push things further. On the other hand, the tech they’re using in some cameras to achieve speed plus autofocus and video specs is actually detrimental to image quality, particularly for dynamic range and high-ISO noise.

I’ve never even been inside of a Maserati or Corvette, but perhaps the Corvette, while not as fast or agile as the Maserati, offers a more comfortable ride for significantly less money, while still delivering a thrill. No camera is perfect, and each has advantages and disadvantages—what I can say for certain is that I’d choose a “Corvette” camera over a “Maserati” any day of the week. And I’m glad that Fujifilm is not compromising still image quality in pursuit of speed and specs. Jaron wrote, “One company that is finding its products suddenly becoming more compelling because of this: Fujifilm.”

Hit – South Weber, UT – Fujifilm X-T30 – Fujichrome Sensia 100 Recipe

I hope that Fujifilm doesn’t cave in to the negativity by some who would prefer that they simply become a part of the Canikony brands (Canikonyfilm?). In my opinion, Fujifilm should continue to blaze their own trail, and not concern themselves too much with what the other brands are doing. They need to continue to produce compelling cameras—trendworthy and timeless products—and do more to communicate with potential customers why their unique approach is desirable and maybe even preferable.

I really don’t want Fujifilm to pursue a path that leads to reduced image quality. Those who appreciate image quality above technical specs and extreme performance will turn to—and have already been turning to—Fujifilm as the Canikony brands ignore them. Those who prefer speed and specs above all else have three brands to choose from—for certain those things sell cameras (or else they wouldn’t be doing it), but those who actually need it are a very small percentage of the total customers. Most of those who buy those cameras do so because of marketing or hype or FOMO; however, they don’t need a “Maserati” by any stretch, and would be quite happy with a “Corvette” instead.

What is your opinion? Should Fujifilm give up some image quality in order to make faster cameras like Canon, Nikon, and Sony have been doing? Or should Fujifilm work more towards improvements in image quality instead? Comment below with your opinions!

Denver was Amazing – San Diego is Next!!

Posted on by Ritchie Roesch

The Film Simulation Summer Photowalk this past Saturday in Denver was a huge success! We had a ton of fun. The weather was perfect and the vibe was great. It was so wonderful to meet everyone!

The turnout was just incredible—almost everyone who signed up showed up, which is nearly unheard of for free photowalks (a 50%-60% turnout is more typical). Despite the lead time being so short—it was officially announced just days before the event—there were between 60 and 65 photographers that came out. The furthest away someone traveled for this photowalk was Italy(!!). I was blown away by the turnout, but I was even more impressed with the kindness and spirit of those who came—you all are awesome people!

It wasn’t without a hitch. A police officer approached us before we even began, and with an aggressive voice wanted to know what we were doing. I told him that we were just there for photography, and he was satisfied with that answer. Apparently someone (not from our group) had set off an alarm, and he was investigating that. He moved along and all was good, but for a moment I wondered if the photowalk was going to end before even beginning. There were a couple of other small issues that we had to work through. Overall, though, it just went really well. If the next three photowalks are only half as good as this one was, they will all be great!

Speaking of the next three photowalks:

San Diego is only four days way! We’re meeting on August 9th at 2 PM at the Spreckels Organ Pavilion in Balboa Park. It’s 70% full, but there’s still some space available for anyone who wishes to join us.

Nashville is on August 15th. Pixel Connection is having a popup event from 4-7 PM, and our photowalk follows that at 7:15 PM at the Cumberland Park Amphitheater. There’s still plenty of space available. If you know anyone in Tennessee or the surrounding area who might be interested in attending, please help spread the word.

Philadelphia is on August 17th at Unique Photo at 4:15 PM. This photowalk is 100% fully booked!!!

Click here for more information and to register for San Diego or Nashville. I cannot wait to meet you all in person. This is going to be epic!

I didn’t get to do a whole lot of photography at the Denver photowalk (I was too busy chatting, which was great!), but below are some of my pictures, all camera-made JPEGs captured on a Fujifilm X-T50 & Fujinon 16-50mm lens:

Fujifilm X-T50 + Fujinon 16-50mm lens + upcoming Recipe
Fujifilm X-T50 + Fujinon 16-50mm lens + upcoming Recipe
Fujifilm X-T50 + Fujinon 16-50mm lens + Superia Negative Recipe
Fujifilm X-T50 + Fujinon 16-50mm lens + Nostalgic Americana Recipe
Fujifilm X-T50 + Fujinon 16-50mm lens + Nostalgic Americana Recipe
Fujifilm X-T50 + Fujinon 16-50mm lens + Kodak Portra 400 v2 Recipe
Fujifilm X-T50 + Fujinon 16-50mm lens + Kodak Tri-X 400 Recipe
Fujifilm X-T50 + Fujinon 16-50mm lens + Kodak Tri-X 400 Recipe

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

Fujifilm X-T50 in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-T50 in silver:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-T50 in charcoal:
Amazon, B&H, Moment, Wex

Fujifilm X30 — Fujifilm’s Forgotten Retro Compact Zoom

Posted on by Ritchie Roesch

The Fujifilm X30 is an amazing and fun little camera. All it does is create wonderful pictures. It was quite surprising, and just blew away my expectations! I bet some of you aren’t even aware that this camera exists.

MPB is the sponsor of this article. They loaned me a Fujifilm X30 to try out for a couple of weeks. For those who don’t know, MPB is an online platform where you can buy, sell, or trade used photo and video gear. “At MPB, there’s something for everyone who wants to try something new, hone their skills, or pursue their passion—and it won’t cost the earth.” If you’re in the market for used camera gear, be sure to check out their platform—you can learn more about MPB here. Thank you, MPB, for making this article possible!

The Fujifilm X30 is a compact fixed-lens zoom camera with a tiny 12MP X-Trans II sensor. The third iteration in the series, the X30 was already a bit dated when it was released in 2014. With its discontinuation in 2016, Fujifilm abandoned the series altogether. The camera has a 28mm-112mm full-frame-equivalent f/2-2.8 lens, so it covers a lot of focal lengths. It has pretty good close focus capabilities and even optical image stabilization. There’s a lot to like on paper, but the 2/3″ CMOS sensor is just really small, and I think it’s hard to take a camera seriously with such a tiny sensor—especially when that tech is a decade old or more. That’s all on paper, of course, and real world use is what actually matters.

Despite the tiny sensor, the Fujifilm X30 is actually a similar size (just a tad smaller) to the Fujifilm X-E4 with the Fujinon 18mm f/2 pancake. The camera is not nearly as compact as I had expected. I had anticipated the dimensions to be more similar to the Fujifilm X70—perhaps even be pocketable—but it’s actually noticeably larger. In place of the usual Shutter Dial is a PASM Dial (which was common on Fujifilm’s lower-end models at the time); otherwise, the X30 looks and functions like many other Fujifilm X-series cameras. Because of the tiny sensor, it has significantly lower high-ISO capabilities than the APS-C models—I think it’s best to keep the camera at ISO 800 and below, but I did use ISO 1600 in some low-light situations and it was ok enough.

I programmed seven Film Simulation Recipes into the camera’s C1-C7 Custom Presets: Classic Kodak Chrome, Kodachrome 64, Pro Film, Lomography Color 100, Provia Negative, CineStill 800T, and Monochrome Red. This is a good set that covers most situations. Also, because each one uses a different White Balance type, the camera will remember the White Balance Shift for each. On the older cameras, which aren’t capable of saving a WB Shift within the C1-C7 presets, the experience is much improved if each Recipe uses a different White Balance type. I used Kodachorme 64 the most, and Classic Kodak Chrome second most—at one point or another, each of the seven came in handy.

Fujifilm X30 – Classic Kodak Chrome Recipe
Fujifilm X30 – Kodachrome 64 Recipe
Fujifilm X30 – Pro Film Recipe
Fujifilm X30 – Lomography Color 100 Recipe
Fujifilm X30 – Provia Negative Recipe
Fujifilm X30 – CineStill 800T Recipe
Fujifilm X30 – Monochrome Red Recipe

The pictures from this camera are amazing! They have a ton of character—I especially love the lens flare. I think the photographs are the selling point of the X30. It doesn’t have a ton of resolution, so you probably can only print up to 11″ x 14″ and not likely any larger; however, the files are plenty large enough for web and social media use, which is how most pictures are seen nowadays. I could see myself using this as an everyday-carry. Just grab it while heading out the door on ordinary outings.

Once again, a big “thank you” to MPB for loaning me a Fujifilm X30. It definitely is “outdated” in 2024, but the images that it creates are surprisingly wonderful, which makes it worthwhile to own and use. I think this could also be an excellent option for someone just learning photography. Even though the X30 is an easy to overlook model—especially since compact zooms have largely been forsaken by the industry—the retro design of this camera and especially the nostalgic photographs that it makes are easy to love.

Example photographs, all camera-made JPEGs captured on a Fujifilm X30:

Fujifilm X30 – Kodachrome 64 Recipe
Fujifilm X30 – Kodachrome 64 Recipe
Fujifilm X30 – Kodachrome 64 Recipe
Fujifilm X30 – Kodachrome 64 Recipe
Fujifilm X30 – Kodachrome 64 Recipe
Fujifilm X30 – Kodachrome 64 Recipe
Fujifilm X30 – Classic Kodak Chrome Recipe
Fujifilm X30 – Classic Kodak Chrome
Fujifilm X30 – Classic Kodak Chrome Recipe
Fujifilm X30 – Classic Kodak Chrome Recipe
Fujifilm X30 – Classic Kodak Chrome Recipe
Fujifilm X30 – Classic Kodak Chrome Recipe
Fujifilm X30 – Classic Kodak Chrome Recipe
Fujifilm X30 – Kodachrome 64 Recipe
Fujifilm X30 – Pro Film Recipe
Fujifilm X30 – Pro Film Recipe
Fujifilm X30 – CineStill 800T Recipe
Fujifilm X30 – Monochrome Red Recipe

Previously in this series:
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

Up next: Close Up with the Fujinon XF 30mm F/2.8 R LM WR Macro

BTW, in the top picture the camera is sitting on Kyle McDougall’s book An American Mile. An excellent photoessay, and great for inspiration—I highly recommend it.

ISO 51200 — Why?!? — Or, is it actually useful?

Posted on by Ritchie Roesch

Fujifilm X-T50 – ISO 51200 – Nostalgic Negative

Today’s digital cameras are exceptionally good at high ISO. For those unaware, ISO can be understood as a measurement of the sensitivity of a digital sensor or film emulsion to light. The more sensitive, the more grainy or noisy, which degrades the image quality. My question is: why do our Fujifilm X-series models even have ISO 51200? Who would ever use it?

I remember way back in the film days that ISO 400 was considered to be “high ISO”—that’s what the “H” stands for in Fujicolor PRO 400H, actually. ISO 800 was largely used only if you really had to (or for the novice that didn’t know any better—Kodak made a lot of sales of ISO 800 and ISO 1000 film back in the day marketed specifically to the uninformed). ISO 1600 was basically for emergency situations. ISO 3200—the upper limit—was for the truly brave. The higher ISOs were more acceptable (and more widely used) for B&W than color, where the grittiness could be used artistically. Still, the rule of thumb back then was to always use the lowest ISO that you thought you could get away with.

Nowadays, with modern gear, I use ISO 800 without even batting an eye. ISO 1600 is more like how ISO 400 was back them—perfectly usable, but the high-ISO limit for some. ISO 3200 on my Fujifilm cameras is actually much more usable than ISO 800 film ever was—ISO 6400 is probably a closer parallel to ISO 800 film, yet cleaner.

Fujifilm X-T30 – ISO 25600 – Ilford HP5 Plus 400 Push Process Recipe

For color photography, ISO 6400 is often my upper limit, but sometimes I’ll use ISO 12800, like with the GAF 500 Recipe. For B&W, ISO 12800 is often my upper limit; however, there are times when I’ve used ISO 25600 or (more rarely) ISO 51200, like with the Ilford HP5 Plus 400 Push-Process Recipe. I feel like ISO 25600 is probably the closest equivalent on Fujifilm X cameras to ISO 3200 with film.

The fact that I use ISO 6400 and sometimes ISO 12800 (particularly for B&W) without being too concerned about the quality is mind blowing. Even going back just 15 years… I remember accidentally shooting at ISO 1600 on my first DSLR, and the pictures were essentially ruined by it. ISO 800 was pretty much the upper limit for that camera before the image quality degraded too much. Some people probably don’t realize just how good their Fujifilm cameras are at high ISO photography.

Several people have told me that they avoid Film Simulation Recipes that use DR400 because the Dynamic Range settings are ISO-dependent, and DR400 requires a higher ISO than they are comfortable using. Everyone has their own tastes and preferences, but I would encourage anyone who is afraid to try higher ISOs to just give it a try and see what you discover. Don’t be afraid to bump it up a little.

Fujifilm X-T5 – ISO 25600 — Ilford HP5 Plus 400 Push Process Recipe

On Fujifilm models that don’t have a dedicated ISO Dial, I will use the front Command Dial to adjust the ISO. The unfortunate aspect of this is that I occasionally bump the Command Dial, which changes the ISO—most often, to ISO 51200, which is the camera’s maximum ISO. I usually catch it right away, but sometimes it’s not until after a few exposures.

Whenever this happens, I wonder why Fujifilm even has ISO 51200. Why not top it out at ISO 25600? While ISO 25600 isn’t especially useful for color photography, it can be good for gritty B&W. ISO 51200 is marginal even for gritty B&W, and is pretty much unusable for color. And who needs ISO 51200 anyway? Certainly the situations are extremely rare where ISO 12800 is too low, let alone ISO 25600.

Fujifilm X-T50 – ISO 51200 – Nostalgic Negative

Just recently, though, I had a change of heart. Actually, I had an epiphany: ISO 51200 on Fujifilm is a lot like Kodak Kodacolor VR 1000 film. When Kodak released that emulsion in the early 1980’s, it was the highest ISO color film available. However, the pictures were quite grainy and textured, and the film was shunned by most “serious” photographers at the time (and discontinued after just four years). Nowadays, there are actually some people who search out the film (which has long since expired), and shoot it for its aesthetic. Instead, they could simply use ISO 51200 on a Fujifilm camera and get similar results. You won’t want to print very large, but for web use or small prints, it’s surprisingly fine.

Below are some pictures that I captured recently using ISO 51200 on a Fujifilm X-T50. It began as an accident, but then I did it on purpose. The “Recipe” is a modification of an upcoming Film Simulation Recipe that I’ve been working on. Most of the pictures below are the Nostalgic Neg. film simulation, and one is Eterna. Those two film sims seem to be the best for ultra high ISO color photography.

Fujifilm X-T50 – ISO 51200 – Nostalgic Negative
Fujifilm X-T50 – ISO 51200 – Nostalgic Negative
Fujifilm X-T50 – ISO 51200 – Nostalgic Negative
Fujifilm X-T50 – ISO 51200 – Nostalgic Negative
Fujifilm X-T50 – ISO 51200 – Nostalgic Negative
Fujifilm X-T50 – ISO 51200 – Eterna

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-T50 in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-T50 in silver:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-T50 in charcoal:
Amazon, B&H, Moment, Wex

Let’s talk Fujifilm AF

Posted on by Ritchie Roesch

Captured with a Fujifilm X-M1 camera & Fujinon 90mm f/2 lens

There have been a lot of vocal complaints recently about Fujifilm’s autofocus. I cannot tell you how many times I’ve seen people online call it “garbage” or “bad” or some other negative term. Every once in awhile a person will comment on Fuji X Weekly with a similar sentiment; however, it’s vocalized a lot less here than elsewhere, it seems. This is a controversy that I’ve tried to steer clear of—people have strong opinions about this topic, and I believe that my take is not going to be well received by those with the strong opinions. But I feel someone needs to say something, so I will.

First, let’s begin with this important perspective: no camera is perfect. Each and every model, no matter the manufacturer, has advantages and disadvantages. No Sony, Canon, Nikon, Fujifilm, etc., etc., will ever be perfect, because each and every person has different wants and needs. Someone will desire a camera that’s especially compact, while someone else will want one with a large grip. The first person would likely greatly dislike a Canon EOS R1, and the second person would likely greatly dislike a Nikon Zfc; however, the first person might like the Zfc and the second person might like the R1. The first person might like a Ricoh GR III significantly more than the Zfc, and the second person might like a Fujifilm GFX100 II a little more than the R1. For the first person, the GR III might be the most perfect camera currently available, while for the second person, the GFX100 II might be. Now realize that there are 10,000 or more various takes on what is or isn’t the “best” camera, and those opinions are likely fluid and evolving.

Fujifilm X-T30 — Fujichrome Sensia 100

Second, let’s not forget that photography has been around for a very long time. It didn’t begin two, five, or ten years ago. People have been capturing amazing photographs for well over 100 years. If you were to grab a Fujifilm X-T5, jump into a DeLorean, and travel back in time just 20 years, you’d blow away the photographers of that time with what would seem like to them impossible camera technology. Yet the photographs captured today are no more impressive than than they were then. Camera gear has advanced tremendously over the last two decades, but the great photographs from today are no more great than they were 30, 40, 50, etc., etc., years ago.

If you disagree with the complaints, a common rebuttal that people will make regarding this topic is that “you must only photograph things that don’t move.” Interestingly, if you Google search photos of the Olympic games from the ’60’s or ’70’s, you can find some really amazing sports images captured well before autofocus was even invented. You can do the same with wildlife photography. They did this on equipment that was far less advanced and sophisticated than what exists today. If they could do it with the gear they had, why can’t you with the gear that you have? (Hint: it’s not the gear, and never has been).

Fujifilm X-T1 — Kodak Portra 160

Third, Fujifilm’s autofocus should not be expected to have the same level of performance as pretty much any other camera maker. Both Canon and Nikon’s first autofocus SLRs were released in 1986. Konica made the very first autofocus camera back in the 1970’s, and Minolta made the first “good” autofocus camera in 1985 (Sony cameras trace their heritage to both Konica and Minolta). Fujifilm has been making autofocus cameras for a much shorter time; Fujifilm also has had less R&D money to spend in-general than the Canikony brands. Anyone who expects that Fujifilm’s autofocus would be at the same level as those brands (who had a big head start and more money to spend) hasn’t put much thought into this. Even so, Fujifilm isn’t all that far behind Sony and Canon, and is arguably on par with Nikon. I have a Canon EOS 5DS R, Sony A7 IV, and Nikon Zfc (and have owned other cameras from those brands in the past), and I haven’t personally noticed any difference in autofocus performance between any of those cameras in my photography.

Fujifilm’s autofocus is very good—fantastic, actually. However, Sony and Canon (and arguably Nikon) have a bit more fantastic autofocus system than Fujifilm (as you’d expect). I really don’t understand the complaints about Fujifilm’s autofocus. It is like complaining that a Corvette isn’t a Maserati, and calling the Corvette garbage because it isn’t more like a Maserati. If you want a Maserati, buy a Maserati! Otherwise, appreciate that you have a Corvette.

Fujifilm X-T5 — Fujicolor Reala 100

The fact is that autofocus is a crutch, and I don’t mean that in a bad way. A lot of tech is a crutch, which can make things easier for you—they can oftentimes be quite helpful. I almost always use crutches of some sort in my photography, and I suspect that most other people do as well. But like any crutch, you don’t need it, or, at the least, you can learn how to make it work for you. Someone told me a long time ago that either you control your camera or your camera controls you. That has to be much more true today than when it was told to me. Whatever subject that you are photographing, people have been capturing amazing pictures in that genre for longer than you’ve been alive and with gear much less advanced and “capable” than yours. If they could do it, so can you. Your gear is only a liability if you allow it be—if it is a liability to you, you have the power to not allow it (control your camera vs it controlling you). The gear has never been the issue, but it’s a lot easier to blame the gear than to look inward. It’s important to remember that whatever you are photographing, there are people in that same genre using Fujifilm gear with much success. The gear isn’t a problem for them, so why is it for you?

Which brings us to your choice. If you own a Fujifilm camera and are dissatisfied with the autofocus, you have three options: 1) figure out how to make it work for you (you absolutely have the power to do this), 2) find a different camera that has better autofocus (a more sophisticated crutch), or 3) do neither, and just complain about it and be miserable. I can’t think of any other options, so those are your choices.

Fujifilm X-T30 — Velvia v2

The complaints about Fujifilm’s autofocus have really only been over the last couple of years. Yes, there have been discussions about it since the original X100 back in 2011; however, I’ve seen a sharp increase in the complaints over just the last couple of years, and especially over the last year. I believe what accounts for this is people coming to Fujifilm from Canikony brands (especially Canon and Sony), and being dissatisfied with the autofocus of Fujifilm compared to the cameras that they previously had (my question is: why did they leave their previous brand if it was so good??). Fujifilm’s autofocus is not quite as advanced as Sony’s or Canon’s, but that should be expected (as was already outlined), and it doesn’t mean that Fujifilm’s is garbage or bad, only that the photographer needs to rely just a bit more on their own personal skills to compensate for the slightly diminished crutch.

It is true that I’m neither a sports nor wildlife photographer—I’ve dabbled in both at times, but those are not my main photographic interests by any stretch. I do have kids, and have captured a ton of successful pictures of them, as well as many other moving subjects. I don’t personally have any issues with Fujifilm’s autofocus—not even on the older models, which have far less sophisticated autofocus capabilities than the latest fifth-generation cameras. With that said, your photographic wants and needs might be different than mine, which brings us right back to the start: no camera is perfect, and each has advantages and disadvantages. If you don’t feel that a certain one is “right” for you, you have a lot of options. If you feel like the camera is controlling you (and not the other way around), I wholeheartedly believe that you have it within you to take control of your photography.

Fujifilm X-T4 ES Available Now (sort of….)

Posted on by Ritchie Roesch

I have a limited edition Fujifilm X-T4 ES (Extended Spectrum) camera that I purchased from Fujifilm a month ago (but arrived a couple weeks ago). It was briefly sold directly from the Fujifilm website, but only for a handful of days. Right now, the Fujifilm X-T4 ES is available for purchase from B&H as a special order. You have to agree to some terms and restrictions and be a resident of the USA; one such term is to be a “professional” photographer or videographer with the express purpose of creating “fine art” content. I don’t know what their definition of a “professional” is, but if you’re in America and want this camera, you should at least inquire about it. I don’t believe that there are very many copies of the Fujifilm X-T4 ES, so if you want one, you should definitely act fast, as it won’t last long, I’m certain.

Red Founders – Buckeye, AZ – Fujifilm X-T4 ES – Aerochrome v1

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-T4 ES (Extended Spectrum)
B&H

See also:
The Colorful World of Infrared — Experiments in Full Spectrum Photography
Aerochrome v1 — Fujifilm X-T4 ES (Full Spectrum Infrared) Film Simulation Recipe

What are Advanced Filters? Plus, what Fujifilm should do to make them better

Posted on by Ritchie Roesch

Fujifilm X-T50 – Advanced Filters – Pop Color

There’s a feature on most Fujifilm cameras that few use—you might not even be aware that they exist—called Advanced Filters. Fujifilm introduced it in 2013 with the X100S and X20 models. With the exception of a few early models, your Fujifilm camera has Advanced Filters—find it on the Drive Dial or Drive Menu (depending on the specifics of your model). For older models, Advanced Filters are JPEG only; however, on newer models, you can save a RAW file in addition to the JPEG.

So why are the Advanced Filters so obscure and not widely used? Worse, why is it actually detested by some who have tried it? Well, the short answer is that Advanced Filters aren’t “advanced” at all, and are probably the most gimmicky and sometimes cringy thing Fujifilm has included in what are otherwise sophisticated cameras. My personal opinion is that some of the Advanced Filters aren’t half bad, and some are indeed bad and definitely out-of-date; none are especially good (although a couple have potential). Below I’ll briefly explain what each one of the Advanced Filters do. Also, this will serve as an open letter to Fujifilm, with suggestions on how to improve this feature for future cameras.

Here we go!

Toy Camera

Fujifilm X-T50 – Advanced Filters – Toy Camera

Fujifilm describes this Advanced Filter as “a retro toy camera effect”, which is to say that it is roughly modeled after a Holga or Diana film camera aesthetic. The Toy Camera Advanced Filter is ok, but the big issue—and this is a problem with all the filters—is that it cannot be customized. You get what you get, and what you get is mediocre. I have used Toy Camera several times over the years because I like the idea, but I’m always a bit disappointed in the execution.

Fujifilm could make the Toy Camera filter much better by allowing it to be customizable. First, you should be able to choose any film simulation to use with it. Second, the vignetting should be adjustable, such as Weak or Strong, with the current amount being the Strong option. You should be able to add Grain (Weak or Strong, and Small or Large). Soft Focus—which we’ll talk more about in a moment—should be merged into Toy Camera, with the options of Off, Weak or Strong (Strong being the current Soft Focus, and Off being default). You should be able to adjust the contrast: Low, Standard, and High. Finally, Fujifilm should allow you to use any White Balance that you’d like, so that you can control the tint.

Miniature

Fujifilm X-T50 – Advanced Filters – Miniature

This filter adds blur to the top and bottom of the frame, similar to using a tilt-shift lens. When you are photographing from an elevated vantage point, this Advanced Filter can give the illusion that the subject is a miniature model. It’s better to use an actual tilt-shift lens to get this effect, but if you don’t own one, this is an easy way to approximate it.

The Miniature filter, along with many of the others, are modeled after photography trends that were popular 15 years ago. By the time Fujifilm introduced Advanced Filters in 2013, these trends were already on their way out. Now, eleven years later, they’re very dated. While I don’t have any issues with Miniature being included, I also don’t think anyone would mind of Fujifilm axed it, or replaced it with something different entirely. How about a filter that gives an Aerochorme-like infrared aesthetic?

Pop Color

Fujifilm X-T50 – Advanced Filters – Pop Color

Pop Color is my favorite Advanced Filter; however, it suffers from the same problem that they all do—it cannot be customized. The solution for Fujifilm is quite simple, actually: make Pop Color the next film simulation. Obviously it wouldn’t be called Pop Color; instead, Fujifilm should call it Fortia, as it resembles Fujichrome Fortia 50 film. Perhaps they’ll need to fine-tune some aspects of it in some way in order to make it a film simulation—whatever it is that they need to do, I believe that Pop Color absolutely should graduate from Advanced Filters into the film simulation list as Fortia.

High Key / Low Key

Fujifilm X-T50 – Advanced Filters – High Key
Fujifilm X-T50 – Advanced Filters – Low Key

There’s nothing especially special about the High Key and Low Key Advanced Filters—both can be easily replicated using the Provia film simulation. You might occasionally use these two in lieu of having a Film Simulation Recipe programmed into C1-C7 with a similar look, but I don’t believe many people are doing that. Instead, you could use Recipes like Bright Kodak or Low Key for better results.

Fujifilm should replace these two Advanced Filters with something else entirely. How about a split-tone effect? Select any of the film simulations, have three-to-five different split-tone options (highlight and shadow with a different tints), plus have grain and contrast options for further customization.

Dynamic Tone

Fujifilm X-T50 – Advanced Filters – Dynamic Tone

“Dynamic tone expression is used for a fantasy effect,” is how Fujifilm describes it. What it reminds me of is HDR photography with aggressive tonemapping, which was all the rage 15 years ago despite being hideous. This is one that Fujifilm should definitely axe, in my opinion. They could replace it with something like a high-contrast effect, where you can choose any film sim, but where the contrast is stronger than Highlight and Shadow set to +4 (Dynamic Range, White Balance and Grain should be customizable).

Soft Focus

Fujifilm X-T50 – Advanced Filters – Soft Focus

This is kind of like setting Clarity to -20 and Sharpness to -10 on your Fujifilm camera. Obviously that’s not possible, but it it were, Soft Focus is what it would look like. Aside from being much too strong generally speaking, Soft Focus should be integrated into the Toy Camera filter instead of being standalone. A better Advanced Filter might be a faded effect similar to my Film Simulation Recipes that utilize double exposures like Faded Color, Vintage Color Fade, Bleach Bypass, and Faded Monochrome.

Partial Color (Red, Orange, Yellow, Green, Blue, Purple)

Fujifilm X-T50 – Advanced Filters – Partial Color Red
Fujifilm X-T50 – Advanced Filters – Partial Color Green

The six Partial Color filters are the Monochrome film simulation (with everything set to factory defaults), but with one color recorded (either red, orange, yellow, green, blue, or purple—the singular color is the Provia film simulation). This is another effect that was popular 15 years ago, and I’m sure very few utilize it in 2024. If Fujifilm wants to keep Partial Color, they should allow it to be customized similar to how I described for the other effects; however, I doubt that many would miss it if Fujifilm got rid of it entirely. I think a cross-process filter would be much more interesting—perhaps like cross-processed Velvia, with deep contrast, vibrant colors, pronounced grain, and shifted hues. Something along the lines of the picture below, which is actual cross-processed Velvia 50 film.

FED 5c & Industar 61 lens – Fujichrome Velvia 50 cross-processed

To conclude, your Fujifilm camera has something called Advanced Filters that are rather mediocre at best and cringeworthy at worst. Pop Color is my personal favorite—it’s the closest your camera can get to straight-out-of-camera Fujichrome Fortia 50—and it should be made into a film simulation so that it can be customized with Grain, Color Chrome Effects, Highlight, Shadow, etc., etc.. Most of the Advanced Filters should be replaced with something else entirely, and I think I offered a number of good suggestions for that (for those keeping score, that’s Aerochrome, Split-Tone, High Contrast, Faded, and Cross Process, plus an improved Toy Camera). If you find yourself bored one day, perhaps try out some of the Advanced Filters for yourself—Pop Color is my recommendation if you’re only going to try one; otherwise, just know that you’re not missing out on much. If you are Fujifilm reading this, I would suggest working right away on new-and-improved Advanced Filters for the next generation of Fujifilm cameras.

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-T50 in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-T50 in silver:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-T50 in charcoal:
Amazon, B&H, Moment, Wex

The Colorful World of Infrared — Experiments in Full Spectrum Photography

Posted on by Ritchie Roesch

Captured with a Fujifilm X-T4 ES

The Fujifilm X-T4 ES is an ordinary X-T4 but without the IR filter—it’s actually full-spectrum. Fujifilm has produced several IR cameras in the past, but the X-T4 ES is the first that they made available to the general public. Despite no fanfare, the camera sold-out quickly. Hopefully Fujifilm will produce and sell some more copies of the X-T4 ES (or another similar model), because I’m certain there is demand for such a camera.

While I’ve only had my Fujifilm X-T4 ES for a few days now, I’ve been busily photographing with it any chance that I get. Already I’ve made some wonderful discoveries that I cannot wait to share with you in the coming weeks and months. Capturing the invisible light spectrum is extremely fun and rewarding because it transforms an ordinary scene into something truly extraordinary. The world becomes a fanciful place filled with unexpected colors.

Common advice found everywhere on the internet is that you need some specific infrared filters (which are often expensive), and most likely you will need to significantly edit the RAW files, which likely includes color channel swaps. With a couple exceptions, there’s not a good way to get good straight-out-of-camera results. I’m happy to report that that is not true. You will (for the most part) need some filters, but probably not the ones you’ve been told that you need. And you can get excellent results straight-out-of-camera, no editing needed.

The pictures below demonstrate several different looks that I’ve been able to achieve right out of the Fujifilm X-T4 ES. They’re unedited JPEGs (other than some cropping and straightening). Capturing striking pictures like these on a full-spectrum Fujifilm camera is very easy. You can expect some Film Simulation Recipes for infrared photography to come soon. I haven’t named the Recipes yet (or even finalized them… they still might be tweaked), so I’ve sorted them by prominent color.

Purple/Lavender

Sort of reminiscent of LomoChrome Purple film.

Raspberry/Red

An Aerochrome film aesthetic.

Salmon/Pink

Also an Aerochrome film aesthetic.

Brown

The color of late-autumn.

Yellow

Yellow fall-like rendering.

B&W

No color, but interesting nonetheless.

Fujifilm X-M5???

Posted on by Ritchie Roesch

According to Fujirumors, the “camera line that most of us thought axed” that Fujifilm will be reviving is the X-M series. Apparently it will be called X-M5 and will be released sometime before the end of the year—September and November are a couple of months that Fujifilm likes to use for announcements, so maybe then. Nothing else is known at this time.

For those who don’t remember, the X-M1 was a short-lived camera near the beginning of the X-series that wasn’t particularly successful. It was unusual in that it had an X-Trans I sensor paired with an X-Trans II processor. It was a predecessor to the X-A line (the X-A1 had an identical body), and positioned lower than the X-E series. While it had a rangefinder look, it was given a PASM dial and didn’t have a viewfinder.

The X-M1 was released in the summer of 2013, right after Fujifilm began rolling out X-Trans II cameras. They also announced the nearly identical X-A1 just a few months afterwards. Those who were more familiar with the X-series and cameras in-general opted for the X-E1 or (a few months later) X-E2 because the X-E1 line was better (build quality, EVF, etc.), while those who were unfamiliar opted for the X-A1 instead because it was cheaper and the advantage of the X-M1 wasn’t obvious or well communicated. The X-M series was axed about a year later, but supplies lasted for another year due to unsold inventory.

While the upcoming camera will be called X-M5, I’m not sure what might be similar or dissimilar compared to the X-M1. I have some guesses, but it’s pure speculation. I have some suggestions for Fujifilm, but it might be too late in the design process to be implemented; however, I’ll give them anyway. I think the X-M5 is actually a smart move because Fujifilm is desperately missing a budget-friendly option for those who wish to get into the X-series but don’t have a ton to spend.

If I were Fujifilm, I would design it with a rangefinder-like shape that’s not too dissimilar to the X100VI and X-E4. In other words, it should look like the X-M1 to a large degree. I think they would be smart to keep the size down as much as possible—in fact, make the X-M5 the smallest interchangeable-lens X-series camera ever produced. Personally, I would ditch the PASM dial and use a shutter knob—the X-H series wen’t from non-PASM to PASM, so no reason X-M can’t go the other route. I doubt that it will have IBIS, unless the idea is not to keep the price down—an X-M5 with IBIS will likely be at least $900-$1,000 for the body alone, an X-M5 without IBIS should be in the $700-$800 range.

I would use the 26mp X-Trans IV sensor paired with the X-Processor V (like the X-S20, which also parallels the X-M1) and the old NP-W126S battery. Because of the small body size and heat dispersion issues, the camera will likely need some performance limitations to prevent it from overheating, which will simultaneously differentiate it from more premium (a.k.a. expensive) models. It won’t likely have an EVF, but it should have a tilting screen similar (identical?) to the one on the X-T50; however, if they do choose to add IBIS, don’t be surprised if it has a flippy screen like the X-S20. I would hope that Fujifilm would give it C1-C7 custom presets, but the X-M1 didn’t, so it’s possible that the X-M5 won’t either; however, that would be a mistake if they did—perhaps just C1-C4 if they feel the need to limit it (please give it C1-C7, though).

It seems like a safe assumption that the X-M5 will sit below the (discontinued) X-E4, eventual future X-E5, and the X-T30 II as Fujifilm’s low-budget base-level camera. Since Fujifilm discontinued both the X-A and X-T000 lines a few years back, there hasn’t been a good option for those on a tight budget to get into the X-series, except to hope for a good deal in the used market. I cannot tell you how many times people have asked me for advice on purchasing an inexpensive Fujifilm camera, but there just aren’t any options for brand-new bodies (the X-T30 II being the closest, currently). With the X-M5, there might finally be an inexpensive camera to recommend.

Fujifilm X-T4 ES (Extended Spectrum) Infrared Camera

Posted on by Ritchie Roesch

Fujifilm quietly released a special edition of the Fujifilm X-T4, and nobody noticed. Specifically, it’s the X-T4 ES (“Extended Spectrum”), which is a full-spectrum infrared camera. Digital camera sensors are sensitive to light outside of what humans can see, and a filter is added to the top of the sensor to block those wavelengths so that you get normal-looking colors. The Fujifilm X-T4 ES is an ordinary X-T4, just without the infrared filter over the sensor, allowing the camera to capture invisible light, which dramatically transforms an ordinary scene into something dreamlike.

I’ve wanted to try infrared photography for decades. A long time ago I shot one roll (I believe it was Ektachrome EIR, but I don’t remember for certain); however, none of the frames turned out—mostly because I really didn’t know what I was doing way back then. More recently, I learned that many Fujifilm cameras have some IR sensitivity, so I made several infrared photographs with a non-converted camera; however, that was only a tease.

The problem with modern infrared photography is that (with a few exceptions) it requires you to ship out your old gear to have an expensive and invasive procedure performed in order to remove the IR filter. There are a couple of places that will do it, and at a few different times I strongly considered sending out my old X-T1 to be converted to full-spectrum. You can also buy one that’s already done, but it will either be a used model with a roughly $500 premium, or a new model with that same premium and without a warranty. Two years ago I suggested that Fujifilm should offer an IR camera, and now they have, so I bought it!

The Fujifilm X-T4 ES is not the first infrared camera made by Fujifilm. The first was the S3 Pro UVIR in 2006, followed by the IS-1 (infrared version of the FinePix S9100) in 2007, then X-T1 IR in 2015, then GFX100 IR in 2020, and finally the X-T4 ES in 2024. However, the X-T4 ES is the first made available to the general public, as the others were specifically for “forensic, scientific, and cultural preservation applications.” Fujifilm very quietly released the X-T4 ES only on their website and with almost no promotion. Nobody even noticed it! Well, almost nobody—the camera was sold out within about a week. I’m not sure how many copies were produced—whatever the number, they were gone very quickly. I think it goes to show that there is a demand for such a camera, and Fujifilm should do something similar soon, but have more units available for purchase.

Yesterday a Fujifilm X-T4 ES arrived at my doorstep. I’m very underprepared, and excitedly waiting for some infrared filters to arrive in the mail (you need various filters to control the light to achieve different outcomes) within the coming week; however, I was surprised to learn that my old color filters for B&W film photography work for infrared. Also, unfiltered full-spectrum pictures can be quite interesting, too. I have so much to learn, and a ton of experiments to do, but so far I’m thrilled and amazed by the results—there’s a ton of potential!

I’ve only captured a small number of photographs with the new camera, and just right around the house—nothing even remotely series. The general rule of thumb that I have seen online is that IR pictures require significant editing (including color channel swaps) to get good results, particularly for color images. Of course—you know me—I’m interested in straight-out-of-camera pictures that don’t require editing, so my goal is to create Film Simulation Recipes for use with the full-spectrum Fujifilm X-T4 ES. I have a long ways to go, so it will likely be awhile before I publish anything. With that said, the pictures below are all unedited camera-made JPEGs that I’ve captured with my Fujifilm X-T4 ES, so maybe it won’t take so long afterall.

Infrared with Fujifilm

Posted on by Ritchie Roesch

A straight-out-of-camera B&W IR picture from my Fujifilm X-E4

I’ve had a fascination with infrared photography for a very long time. Using light beyond the visible spectrum to create pictures often produces unusual results—an ordinary scene can become extraordinary with infrared photography. While I’ve been interested in this type of photography for awhile, I’ve not experimented much with it. Many years ago I shot a roll of IR film, but it didn’t turn out very well; that’s mostly my entire IR experience. I’m an infrared novice.

Even though digital cameras have a filter to block infrared light, many cameras are still IR sensitive. You can test your camera by pointing a TV remote (which works via infrared light) at it. When you press a button on the remote, if your camera is IR sensitive, you’ll see the infrared light in the LCD or electronic viewfinder. It turns out that my Fujifilm X-E4 is indeed IR sensitive (I believe that many Fujifilm cameras are). A few years ago I experimented using a non-IR converted X-E4 with a 720nm IR filter, and I indeed got some infrared pictures.

The big problem with IR photography, of course, is that—at least for color pictures—it requires significant editing, including swapping color channels. If you are a JPEG photographer who doesn’t want to hassle with all that, your options are quite limited. Black-and-white IR is a completely different story; you can get dramatic results out-of-camera without much trouble. For color, either you’ve got to be happy with a red picture, or you’ve got to edit. If you have a full-spectrum camera, there is one option that doesn’t require editing, but it does require that the camera be full-spectrum and not just IR converted.

SOOC JPEG from my Fujifilm X-E4 using a 720nm IR filter.
Same picture after a crude R/B color channel swap and a quick edit.

Anyway, I’m writing all of this because I told you that I’d update you regarding the Fujifilm X-T4 ES (Extended Spectrum) camera that I ordered from the Fujifilm website. Right in the middle of my move, I received an email from Fujifilm (the “monthly content roundup” email that many of you might also receive), and towards the bottom of it was an add for the Fujifilm X-T4 ES. “Look into the infrared extended spectrum and document the results in beautiful detail with this specialist version of the popular X-T4.”

There was a link in the email to the official Fujifilm online store where the X-T4 ES was listed with very little information about what it is exactly. Even though I did not know much about the specifics of its IR capabilities, I decided to order the camera anyway. The link no longer works (and hasn’t for a week-and-a-half), and the X-T4 ES can no longer be found on the website. I assumed that either the listing was a mistake, or it was sold out quickly.

Then today (two weeks after ordering) I received an email stating that the camera has shipped. Apparently the Fujifilm X-T4 ES has traversed from New Jersey to Tennessee, and just departed Memphis for Arizona within the last few minutes. It’s supposed to arrive at my door on Monday. Yea!

I searched the internet, and found very little information about the Fujifilm X-T4 ES. It was briefly listed at B&H (apparently mistakenly) back in February of last year. Fujifilm has made two other IR models—the X-T1 and GFX100—but those were specifically for “forensic, scientific, and cultural preservation applications, and will not be made available to general customers for personal use.” But the X-T4 ES was made available to the general public, just in a very limited quantity and without much fanfare. I’m not sure what “extended spectrum” even means, so that’s something I look forward to finding out.

It won’t be much longer before I’m capturing infrared pictures on a dedicated Fujifilm IR camera, but in the meantime, I have a lot of questions and very few answers. Once I have the Fujifilm X-T4 ES in my hands, I’ll be able to tell you a lot more about it. Stay tuned!

Fujifilm X-T50 Firmware “Bug” Affecting a Limited Number of Cameras

Posted on by Ritchie Roesch

***Update: Well, that was fast! Fujifilm has released firmware version 1.02 for the X-T50, which fixes the issue for those who couldn’t update to version 1.01. If you are on version 1.01, version 1.02 is identical for you, so no need to update (although there’s also no harm in doing so, either). If you are on version 1.00, updating to the latest firmware fixes some small and rare bugs that are unlikely to affect you, but possibly could.

Fujifilm just recently updated the firmware on the X-T50 to version 1.01, but there’s been a small and unusual “bug” identified, which only affects certain models. The 1.01 firmware fixes some minor and rare issues; however, the firmware update itself has one issue.

The problem is a weird one: on only certain X-T50 cameras, you cannot update the firmware. That’s the bug. On certain models, you’re “stuck” with version 1.00. That’s no big deal, because version 1.00 isn’t bad whatsoever; version 1.01 was basically only a minor-bug-fix type update. I think the issue must actually be with version 1.00 and not 1.01, but it will all get sorted out soon enough, I’m sure, so no worries.

Specifically, the cameras affected are the silver models (not the black or grey) that were sold with the new kit zoom lens (apparently not the ones sold with 15-45mm lens or body-only) that have these serial numbers: 4BA24662 to 4BA26561, 4BA30592 to 4BA30661, 4BA34838 to 4BA35137, 4BA35678 to 4BA35857, and 4BA37468 to 4BA37687. Fujifilm was quick to acknowledge and apologize for the issue, and they are working on a solution right now.

The Fujifilm X-T50 that’s sitting on my desk in front of me is black, so I’m not affected, personally. However, if I were affected, I wouldn’t worry much. Also, it’s always a good idea to wait at least a few days—if not a few weeks—to update the firmware, unless it is one that fixes a major bug. From my experience with apps, when you fix the coding for something, something else seemingly unrelated can be affected by it; that functionality (whatever it is) wasn’t thoroughly tested because there was no expectation that it would perform any differently than it had before. So waiting a few days or longer before updating is a good rule of thumb that can save you some heartache later.

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
Fujifilm X-T50 + Fujinon 23mm F/2 = Interchangeable-Lens Fujifilm X100VI??

Which of these cameras could Fujifilm release next??

Posted on by Ritchie Roesch

Fujirumors is reporting that Fujifilm is in the process of “reviving a camera line that most of us thought axed.” According to Fujirumors, the camera could be released anytime within the next six months. It’s always exciting when new gear is on the horizon, and it’s fun to speculate what it might or might not be. But, until it is actually released, it’s hard to know anything for certain, and so all speculation should be taken with a huge grain of salt.

The idea of a camera line revival made me consider which discontinued camera series could possibly be resurrected (apparently it isn’t the GFX50R). Over the years various series have become defunct, typically (but not always) due of disappointing sales figures. There are a number of options, so let’s briefly consider each.

My biggest hope is for an X70 successor, likely called X80. The X70 was Fujifilm’s closest competitor to the Ricoh GR series. It’s more-or-less a smaller and more wide-angle and less premium (a.k.a. more affordable) X100-series camera. Supposedly the X70 was discontinued (in 2016) because Sony suddenly stopped manufacturing the 16mp sensor found inside it, and the higher megapixel X-Trans sensors were too hot for such a small body, which prevented a successor from happening; perhaps they’ve finally figured out the heat issue (X-Trans IV sensor combined with X Processor 5?). I’ve been asking for an X70 successor for several years now, and with the popularity of Ricoh GR and other compact cameras, it seems like a no-brainer. I hope this is what’s coming, but it definitely might not be.

There are a few cameras that it could theoretically possibly be, but I’d be extremely shocked if it was. An X-S2, for example, which would be a DSLR-shaped fixed-lens super-zoom small-sensor Bayer+PASM followup to the X-S1, is not likely. I’m pretty certain that an S4 Pro is not coming, as the S3 Pro was built inside a Nikon DSLR. I don’t think an X-A30, a stripped down Bayer successor to the X-A20, is on the horizon, either.

Kodak (or, really, JK Imaging using the Kodak brand name) is selling cheap point-and-shoots like hotcakes right now; while a followup to the XF1 might seem strange, maybe it would actually be genius. If this is the upcoming camera, it would be a highly unexpected move, but one that might actually pay off and even possibly return this style to the mainstream. With the popularity of digicams right now, an XF2 isn’t completely out of the realm of possibilities; however, the odds seem pretty slim that this is it.

Perhaps an X40 is the upcoming camera: a pocket-sized retro-styled zoom with an EVF. There’s definitely an interest in an X30 successor—I’ve heard from at least a handful of people who would really like to see one—but I’m not sure if there is enough global demand for it to be worthwhile for Fujifilm; however, I would buy one if they made it. There is certainly a chance, albeit a small one, that an X40 is coming soon.

Kind of in-between an XF2 and X40 could be an XQ3, a followup to the XQ2. I’m very doubtful that Fujifilm will make any more small-sensor X-Trans cameras; however, if they produced an XQ3 (or X40) with a 20mp 1″ sensor, that would be intriguing (outside of the XF2, I don’t think Fujifilm should go any smaller than a 1″ sensor).

I’d actually be quite surprised if they released any new X series cameras with a sensor smaller than APS-C. In all probability, whatever camera Fujifilm is working on is an APS-C model, and not one with a tiny sensor. There are several options that I believe are much more likely than the XF2, X40 or XQ3.

The XF10 was the low-budget Bayer+PASM version of the X70, and it was a bit of a flop. However, with the popularity of Ricoh GR cameras right now, it wouldn’t be surprising if Fujifilm is working on a (hopefully significantly improved) successor, likely called the XF20. While I would much prefer an X80, I wouldn’t be against an XF20, if that’s what it ends up being.

That’s it for the fixed-lens options! Let’s take a look at some possible interchangeable-lens cameras that the upcoming model could possibly be. Fujifilm is supposedly working on a future X-E5 that is not this unknown camera, so I won’t discuss the X-E series in this article.

The X-A line used to be a top seller for Fujifilm, especially in Asian markets. These cameras were low-budget Bayer+PASM models that were not actually manufactured by Fujifilm, but contracted out to a 3rd party for assembly. The last one was the X-A7, which didn’t sell particularly well, and the line was discontinued. It’s possible that Fujifilm will revive this series with an X-A8, and maybe even manufacture it in-house.

Similarly, the X-T000 line was a low-budget Bayer+PASM series not manufactured by Fujifilm. It was basically an X-A camera but in an SLR shape (instead of rangefinder) and with an EVF. It’s unlikely that Fujifilm would revive both the X-A and X-T000 series, but they could bring back one of the two, and if it’s the X-T000 line, the camera would likely be called X-T300.

Last—but far from least—is the X-M2. I think the upcoming camera is more likely to be an X-M1 successor than an X-A8 or X-T300. The X-M1 was basically an X-A1 with an X-Trans sensor; the X-M2 would be a low-budget X-E like camera (but cheaper, with a PASM dial, and without an EVF), utilizing the 26mp X-Trans IV sensor. Fujifilm is desperately missing an affordable base-level camera that allows those on a tight budget to get into the system, and an X-M2 could serve that role. A brown faux-leather version would be quite nice.

If Fujifilm is indeed reviving a once-defunct camera series, it could be any of these (or maybe one that I overlooked—who knows?). There’s not a lot that can be gleaned from this exercise, other than it’s likely to be a more affordable camera, which is great—there aren’t currently a lot of options right now if you don’t have much to spend. My personal preference would be for an X80 (I’d be first in line to buy it!), but the XF20 would be ok if that’s what it ends up being. I think an X-A8, X-T300, or (especially) an X-M2 are also strong possibilities. Basically, we know very little, and it could be just about anything.

Which of these cameras would you be most interested in? Let me know in the comments!

Is Fujifilm Purposefully Causing Shortages to Manipulate the Market?

Posted on by Ritchie Roesch

The short answer is no. The longer answer is below.

There’s a controversy that’s been brewing for awhile, but has really gained steam over the last couple of weeks, that suggests Fujifilm is purposefully crafting market shortages of products so as to create hype (or, really, FOMO), in an attempt to ensure that their products are constantly in high demand. The roots of this controversy are in the constant shortages of Fujifilm’s products. At one time, you could walk into most camera stores on any given day and buy the camera or lens that you wanted; however, over the last few years, that hasn’t always been the case. Then, just recently, Fujifilm seemed to confirm it.

Manhattan from Pulaski Bridge – New York City, NY – Fujifilm X-T50 – PRO Negative 160C

“The most important point is how much brand strength to create and how to maintain it,” said Teiichi Goto, Fujifilm President and CEO, in response to a question about their inventory situation and plan. “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 responded to this with something to the effect of: “This proves it! Fujifilm is purposefully creating camera shortages to manipulate the market.” But I think they misunderstand it. I wasn’t planning to write this article, but, since I’ve had several people ask me to comment on the controversy, I thought I’d type out my opinion.

I’m completely convinced that if Fujifilm could produce the precise number of gear (cameras, lenses, etc.) for the current demand, so that everyone who wanted to purchase something could do so without waiting, they would. But that’s nearly impossible to correctly estimate. When PetaPixel asked for clarification if they consider insufficient supply to be part of a marketing strategy, Fujifilm responded, “No. Our marketing strategy is to showcase the innovation behind our lineup of digital cameras and lenses to provide creators with a variety of options so they can choose the right tools for their craft.”

Sign on the Roof – Gila Bend, AZ – Fujifilm X100VI – Classic Color

It takes many months for a camera to be manufactured and end up at a camera store. Fujifilm has to secure the parts, get them assembled, and shipped across the world. They are guessing in December what the demand might be in July. And there are limited resources for manufacturing. How many parts can a supplier produce at any given time? How many cameras can an assembly line put together each day? The whole process is much more complex than I think many people assume. Fujifilm not only has to anticipate future demand, but they have to figure out how to meet that within the constrains of many and various limitations.

Demand isn’t steady, but constantly fluctuating. It can spike unexpectedly, and fall off a cliff unexpectedly. If the demand for a certain camera suddenly ceases, Fujifilm needs to anticipate that months and months in advance, or they’ll continue to manufacture tens of thousands of copies of a product that few are buying.

Let’s look at the Fujifilm X100V. It was released in early 2020, and, for about two-and-a-half years, Fujifilm was more-or-less manufacturing the number of copies it needed in order to meet the demand for that camera. Then, suddenly, demand spiked, due to several viral TikTok videos. Fujifilm did not ramp up production (or, if they did, it wasn’t nearly enough) of the X100V, likely because they assumed the hype would quickly dissipate, especially since the camera was approaching three-years-old at the time; however, they guessed wrong.

Sentinel & Merced – Yosemite NP, CA – Fujifilm X100V – Vintage Color

For the X100VI, Fujifilm assumed that doubling the production of the X100V would be enough to meet the anticipated demand for it. Fortunately or unfortunately, depending on your perspective, the demand for the X100VI was historic and unprecedented. There were more preorders for the X100VI in China alone than there were X100V’s manufactured in total. Fujifilm has said that they will be increasing production of the X100VI, but I’m not certain to what extent exactly (I’ve heard that it could be 30,000 units per month by sometime in the summer, but I have no idea what the precise numbers are right now).

This is uncharted territory for not just Fujifilm, but for any camera maker. Fujifilm has to try to meet steep current demand while being hyper alert for any changes in future demand. If, for example, they are actually making 30K cameras per month, and suddenly the floor drops and nobody wants one, and they’ve already set in motion the manufacturing of 150K cameras, that could be enough to bankrupt the company (at least the camera division).

Another example is the Fujifilm X-E3 and X-E4 cameras. Fujifilm anticipated that demand for the X-E3 would be greater than it actually was, and made too many copies. Fujifilm had to discount the X-E3, and sometimes significantly, to clear the warehouse. You could still find brand-new (and discounted) X-E3 bodies 18 months after it had been officially discontinued. Fujifilm used the sales figures of the X-E3 to estimate the demand for the X-E4; however, the X-E4 was much more in-demand than the X-E3 was (largely because it was viewed as a top alternative to the impossible-to-find X100V in the aftermath of the viral videos). Fujifilm did not secure enough parts to manufacture nearly enough copies to meet the demand of the X-E4, and likely assumed (incorrectly) that the spike in demand would be short-lived. If you look at eBay, X-E4’s are listed for double the price of X-E3’s, and much higher than the MSRP when they were brand-new.

Low Sun over Tetons – Grand Teton NP, WY – Fujifilm X-E4 – Ferrania Solaris FG 400

I bring that up for a specific reason. While consumers prefer over-manufacturing (especially since it usually means one can find bargains, and you can readily buy what you want), producers prefer under-manufacturing. Most ideal is precise-manufacturing, but that is really difficult to achieve; between over and under, every company—including Fujifilm—would much prefer to err on the side of making too few of something than too much. And, if you want the gear that you spent a lot of money on to retain its value, you, too, will prefer them to err on the side of caution.

Toyota created the Toyota Production System in the aftermath of WWII. This system invented what is now referred to as Lean Manufacturing (or Lean Business Philosophy or Lean Strategy Process). Many books have been written on this topic—I have a few on my library shelf, although I’ve only actually read one. To understand Fujifilm’s approach to manufacturing and inventory means understanding the Lean approach, which is used worldwide, especially in Japan. This Harvard Business Review article gives a very brief synopsis of what the Lean strategy is, just to give you an idea; even better, I’m sure your local bookstore has a few books on this topic.

The conclusion is that Fujifilm (along with all manufacturers) is in the tough position of trying to accurately gauge demand for each product they offer, and attempt to produce just the right amount; if they are going to err on one side or the other, they much prefer to err by producing too few copies than too many. Making too many of something reduces its value, while making just the right amount or too few does not. They have to guess what the demand will be many months from now, not just what the current demand is. The current demand might be an indication of future demand, but it also might not. Fujifilm would love to make and sell 50,000 copies of something, but just because they make 50,000 copies of something doesn’t mean that they will actually sell them all. A much better position for Fujifilm is to make 30,00 copies of something, and sell them all. That’s not manipulating the market, but simply good business strategy that provides some stability in a turbulent market.

My Fujifilm X-E5 Wish List

Posted on by Ritchie Roesch

The Fujifilm X-E4 is one of my absolute favorite Fujifilm cameras. There was a lot of demand for it, then, inexplicably, Fujifilm discontinued the X-E4 while there was still a fairly lengthy backorder list. According to Fujirumors, Fujifilm is working on the X-E5 right now, possibly to be released sometime in 2025. There’s a reasonable chance that Fujifilm will read this, so I thought I’d take the opportunity to express my wish-list for the camera.

The Fujifilm X-E1 was my gateway into the Fujifilm system. The camera, which was released in 2012 and was Fujifilm’s second interchangeable-lens X-series camera (only preceded by the X-Pro1), was praised for its beautiful retro rangefinder design (nicknamed “Sexy One”), but also criticized for its sluggish performance (some of which was rectified in firmware updates). The X-E1 was fairly quickly replaced by the X-E2, and a minor updated version called the X-E2s was released at the end of the X-Trans II lifecycle (beginning the pattern of X-E cameras released near the end of a sensor generation). While the X-E series has a history of somewhat slow sales, the cameras tend to be much beloved by those who own them. The X-E4 did not experience sluggish sales (in fact, Fujifilm was unable to meet the strong demand); however, it was discontinued anyway, presumably because Fujifilm did not secure enough parts to produce more.

I love the Fujifilm X-E4 because it is small and lightweight, which makes it more pleasant to carry around as an everyday camera. When traveling, there’s limited space for gear in the bag, and tough choices must be made; the X-E4 takes up less room than other bodies, so it’s more likely to be chosen over larger and heavier cameras. In fact, the X-E4 and X100V (and now X100VI) have been my go-to travel cameras since 2021. I also appreciate its clean minimalistic design of the camera.

Pacific Poppies – Montaña de Oro SP, CA – Fujifilm X-E4 – Pacific Blues Recipe

Fujifilm could simply engrave “X-E5” on the new camera and include the X-Processor 5, but keep everything else completely identical to the X-E4, and it would sell. If it ain’t broke, don’t fix it. People wanted the X-E4 but simply couldn’t get it. An X-E5 that is just an X-E4 with the new processor and the new film simulations would do quite well, I’m certain of it. The less Fujifilm changes, the better.

With that said, there are some things that would make the X-E5 even better than the X-E4. I do feel the minimalistic approach was perhaps a bit too minimalistic. The five key changes that I would make if I were one of the designers are: 1) bring back the M/C/S switch, 2) add an ISO Ring around the Shutter Knob like the X100 and X-Pro series have, 3) add back the rear command dial, 4) improve the EVF resolution, and 5) add a small grip to the front like the X-E3 has.

These might be unpopular opinions, but I would use the “old” 26mp X-Trans IV sensor in combination with the X-Trans V processor (like the X-S20); IBIS is unnecessary, and should be avoided for weight and cost reasons; the camera doesn’t need to be weather-sealed. Keep the X-E5 as similar to the X-E4 as possible, just refine it a little with a handful of small improvements.

Fujifilm X-E4 + Fujinon 27mm f/2.8 + Kodak Vision3 250D Recipe

There’s a massive opportunity that I believe Fujifilm has largely ignored. One of the biggest advantages of APS-C over full-frame is size/weight. There are tradeoffs with anything, and APS-C seems to strike a near perfect balance of size/weight, performance, image quality, and value. While full-frame cameras have been shrinking lately, APS-C has not; instead, the APS-C advantage has been shrinking. This is easily rectified, though, and the X-E5 is one step towards that, but it needs to be kept small, light, and affordable. The other key piece that’s missing are pancake lenses.

Yes, there’s the exceptional Fujinon XF 27mm f/2.8 R WR; however, it’s not often readily available for purchase. Likely, you have to add yourself to a backorder list and wait awhile. There’s also the sort-of pancake (Japanese pancake?) Fujinon XF 18mm f/2 R, but it is old, overpriced, and in desperate need of an update. Otherwise, there aren’t many options—at least not natively; however, there are some 3rd-party pancake lenses that have recently appeared, which is good. Fujifilm needs to add a few more pancakes to the Fujinon lineup, and not be satisfied with just two.

I think a total of five pancake lenses would do the trick. The 27mm f/2.8 already exists, but simply needs to be made available. The 18mm f/2 also already exists, although I would strongly encourage Fujifilm to update it. The three lenses that, in my opinion, Fujifilm should add to the pancake lens lineup are 15mm f/3.5, 23mm f/2.8, and 40mm f/2.8. That gives a good variety, and all five would together make for a fantastic kit.

Fujifilm X-E4 + Fujinon 18mm f/2 + Fujicolor Superia 800 Recipe

Since Fujifilm already has two 23mm lenses—the 23mm f/2 and 23mm f/1.4—they might consider something else that they don’t have, perhaps 20mm or 25mm, but definitely something in-between 18mm and 27mm. Instead of 40mm, a longer focal-length could alternatively be chosen, such as 45mm f/3.5 or 55mm f/4. The point is to have something wider than 18mm, something more telephoto than 27mm, and an option in-between the 18mm and 27mm.

A small and lightweight camera—such as the X-E5—combined with a handful of small lenses would make an ideal kit for travel and walk-around photography. It would clearly illustrate a significant advantage of APS-C over full-frame—imagine a camera and five-lens kit that could all fit into a small camera bag! I have no doubt that it would be successful, but it would require that Fujifilm clearly articulate why a small camera with small lenses should be desirable.

I don’t know if the “right” people at Fujifilm will read this, or, if they do, if they’ll listen. But, just in case, I wanted to make sure to get my opinions out there. Now it’s your turn! What would you like to see in a Fujifilm X-E5? What pancake lenses do you think that Fujifilm should make? Let me know in the comments!