Fujifilm X-T5 | FUJI X WEEKLY

Classic Amber – Fujifilm X-T5 (X-Trans V) Film Simulation Recipe

*Golden Appalachian Light* – Gatlinburg, TN – Fujifilm X-T5 – Classic Amber

I made this Classic Amber Film Simulation Recipe before leaving on my trip to Tennessee last month, with the intention of using it on that adventure. I had in mind a warm and contrasty negative film rendering that would pair well with autumn colors. It turned out that I was a little early for the peak fall display, and only found pops of color here-and-there; however, this Recipe ended up being absolutely perfect for the early morning forest, which was still shadowed despite being past sunrise. I also liked it in some other situations, such as sunrise, daytime, and even for concert photography. It works most ideally in low-contrast situations with cool light. This Recipe can easily be too warm and too contrasty, so it’s not for every subject or situation—you may have to use it cautiously. When it works, it really works; when it doesn’t, it really doesn’t.

I didn’t model this Recipe after any specific film. Interestingly enough, after I returned home I researched what it might be closest to, and I was surprised by what I found. This Classic Amber Recipe seems to be the most similar to Kodak Portra 400 that’s been push processed by one stop, and scanned with a Noritsu. I would add that maybe the use of a warming filter with the film, such as an 81B, might help solidify the similarities. If you Google search “Portra 400 push process” you’ll find a number of examples that are surprisingly similar to this Recipe (but, like with any film, you’ll also find many non-similar examples). If push-processed Kodak Portra 400 (perhaps with a warming filter) is the look you’re after, this Recipe (unintentionally) is a good facsimile of it. In the right situations, it’s easy to love the results.

*Corn Crib* – Great Smokey Mountain NP, TN – Fujifilm X-T5 – Classic Amber

The Classic Amber Film Simulation Recipe is compatible with all fifth-generation X-Trans cameras, which are the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III. It’s also compatible with the GFX100 II, GFX100S II, and GFX100RF. While you can technically use it on some fourth-generation X-Trans cameras (X-T4, X-S10, X-E4, and X-T30 II), it will render slightly different (try it anyway, though, and see if you like the results).

Film Simulation: Classic Negative
Dynamic Range: DR400
Grain Effect: Weak, Large
Color Chrome Effect: Strong
Color Chrome FX Blue: Strong
White Balance: Fluorescent 1, +1 Red & -6 Blue
Highlight: -1.5
Shadow: +2.5
Color: +4
Sharpness: -2
High ISO NR: -4
Clarity: -3
ISO: Auto, up to ISO 6400
Exposure Compensation: +2/3 to +1 (typically)

Example photographs, all camera-made JPEGs captured using this Classic Amber Film Simulation Recipe on my Fujifilm X-T5:

*Forest Road 1* – Great Smokey Mountain NP, TN – Fujifilm X-T5

*Forest Road 2* – Great Smokey Mountain NP, TN – Fujifilm X-T5

*Forest Road 3* – Great Smokey Mountain NP, TN – Fujifilm X-T5

*Autumn Flowers* – Great Smokey Mountain NP, TN – Fujifilm X-T5

*Autumn Blooms* – Great Smokey Mountain NP, TN – Fujifilm X-T5

*Bright Bougainvillea* – Buckeye, AZ – Fujifilm X-T5

*Suburban Vines* – Buckeye, AZ – Fujifilm X-T5

*Arizona Palm* – Buckeye, AZ – Fujifilm X-T5

*Ober (not Uber)* – Gatlinburg, TN – Fujifilm X-T5

*Smoky Hill* – Gatlinburg, TN – Fujifilm X-T5

*Pops of Red* – Gatlinburg, TN – Fujifilm X-T5

*Smoky Mountains* – Gatlinburg, TN – Fujifilm X-T5

*Morning Mountain* – Gatlinburg, TN – Fujifilm X-T5

*Morning Light* – Gatlinburg, TN – Fujifilm X-T5

*Leaves in the Water* – Great Smokey Mountain NP, TN – Fujifilm X-T5

*Leaves on River Rock* – Great Smokey Mountain NP, TN – Fujifilm X-T5

*Small Waterfall* – Great Smokey Mountain NP, TN – Fujifilm X-T5

*Creek & Waterfall* – Great Smokey Mountain NP, TN – Fujifilm X-T5

*Four Trees* – Gatlinburg, TN – Fujifilm X-T5

*Partially Eaten Leaf* – Great Smokey Mountain NP, TN – Fujifilm X-T5

*Cabin* – Great Smokey Mountain NP, TN – Fujifilm X-T5

*Skating Rink Joy* – Woodstock, GA – Fujifilm X-T5

*Rock ‘n’ Roll Guitar* – White House, TN – Fujifilm X-T5

*Phil Keaggy* – White House, TN – Fujifilm X-T5

*Space Guitar* – White House, TN – Fujifilm X-T5

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

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

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Has Fujifilm Regained its Soul?

Posted on October 30 by Ritchie Roesch

*Fujifilm Photowalk* – Ann Arbor, MI – Fujifilm X-T50 – Fujicolor PRO 160C Warm – by Dave Geffin

A little over three years ago, I published Is Fujifilm Losing Its Soul?, which was my personal criticism of the direction the brand seemed to be heading at that time. “Fujifilm has already lost its soul,” I wrote. “It’s done gone. Elvis left the building awhile ago.”

In that article, I argued, “Fujifilm’s philosophy for their X-series cameras was analog-inspired innovations with a focus on the photographer’s experience (both while using the camera for photography, and as customers of the brand). This was their soul. That philosophy, which seemed to be clearly understood, is what drove the camera department of the company. From the design decisions to the Kaizen firmware updates and everything in-between, this philosophy oozed out—it was both obvious and attractive, and is why Fujifilm was suddenly successful….”

*Photowalk in Infrared* – Ann Arbor, MI – Fujifilm X-T4 ES – Aerochrome v2

My two main arguments were that Fujifilm had abandoned Kaizen (which, for a time, they had… hello, X-T3, and even X100V and X-Pro3), and they were more focused on attracting new customers from Canikony brands than they were on making their long-time loyal customer base happy. There was a time when that seemed to be very true. But we’re more than three years since now, is it still true today? Or has Fujifilm regained its soul?

While I’d love to see even more Kaizen (such as giving the X-T50 and X-M5 the ability to save Recipes in FS1/FS2/FS3), Fujifilm did show some love when they gave the X-H2s, X-H2, X-T5, and X-S20 the Reala Ace Film Simulation. After a pause, Fujifilm did bring back Kaizen, but it’s time for a little more of it. I understand that the firmware department is probably swamped, and providing updates for older models probably isn’t as large of a priority as making firmware for upcoming cameras, but this should still be an important aspect of the brand, and not neglected. So I would say that progress has been made on this front, but there’s room for improvement.

*Camera Conversations* – Ann Arbor, MI – Fujifilm X-T50 – Superia Negative

As for the types of cameras that Fujifilm makes and what the intended customer base is for those models, I think Fujifilm has done a great job over the last couple of years with this. They listened to their customers, and took some risks. I think they have begun to realize what their actual advantage is over the other brands, and have done a much better job communicating why that might be preferable. Again, there’s definitely room for improvement, but they seem to have pivoted slightly, and they’re on a better course now, in my opinion.

Fujifilm’s largest asset is not a product—it’s the community that has sprung up around straight-out-of-camera photography from their cameras (think Film Simulations and/or Film Simulation Recipes). This community is passionate, helpful, and kind—generally, just good people. And this community, which has grown and grown and grown, has done far more to sell Fujifilm cameras than any marketing campaign could ever dare to achieve. Fujifilm could do more to support and facilitate the growth of this community, but 1) they recognized the existence and importance of this large group and 2) they’re doing a heck-of-a-lot more now than three years ago. Fujifilm has made large strides, and are even making products and design choices with these people in mind. This community is an important part of the brand, and Fujifilm finally figured that out. Much of the success that Fujifilm has experienced over the last few years has been because of these people.

*Photowalk Discussion* – Ann Arbor, MI – Fujifilm X-T5 – Fujicolor Negative – by Amanda Roesch

The question is: what should Fujifilm do moving forward? I already mentioned more Kaizen. An X-Pro3 successor is already in the works, so I’ll skip past that. I think a flagship model with retro styling and traditional tactile controls should be high on Fujifilm’s to-do list… that could be the upcoming X-Pro, an upgraded X-T6, or a brand-new line—the long-time loyal base shouldn’t have to settle for PASM (I know that some people prefer PASM) in order to have the best-of-the-best X-series camera. The GFX100RF shouldn’t be the only retro-styled GFX offering, either. Fujifilm should make programming Recipes into their cameras easier (I’m happy to help with that, btw, if Fujifilm is interested). There are probably a thousand ideas that I could propose, these are just scratching the surface—hopefully someday I’ll have the opportunity to share them with the company.

To answer the question asked in this article’s title, Fujifilm has taken many steps towards regaining its soul in the three years since I wrote that article. Elvis has returned for an encore, and what an encore it has been! But there’s certainly more that they could and should do. It’s not all rainbows and lollipops, but I’m quite happy with the path that Fujifilm currently seems to be heading down. In my opinion, I think they briefly lost their way, but they’re back on track, and have been for a couple of years now.

12 Recipes for Concert Photography (Part 1)

Posted on October 23 by Ritchie Roesch

*We Came From Space – Fujifilm X-T5 + Fujinon 90mm f/2 – Superia Negative Recipe*

I’m not a concert photographer. I attend maybe one or two each year, and generally don’t have good seats; besides, the events often have a “no camera” policy. But I get asked quite frequently which Film Simulation Recipes are best for concert photography. I never have a good answer (only guesses), so when the opportunity came to try out various Recipes at a rock concert, I jumped at the chance. All of these pictures were captured from my seat at the back-right corner of the venue—not the best spot, but not terrible, either.

This will be a series of articles, with this post serving as Part 1. I loaded eight Recipes into my Fujifilm X-T5 (plus 11 in my X-E5), and reshuffled a bit at intermission. This was actually a three-day concert, so I did this multiple times. Later, I reprocessed some of the RAW files in-camera to see how some additional Recipes would do. For Part 1, the twelve Recipes are Superia Negative, Fujicolor PRO 160C Warm, Velvia Film, Cinematic Film (those four are all Film Dial Recipes), Reala Ace, Pacific Blues, Superia Xtra 400, Nostalgic Americana, Nostalgia Negative, Kodak Negative, Kodak Portra 400 v2, and Kodak Ektachrome E100VS v1. The one requirement that I gave myself is that the Recipes needed to use DR400 to help keep the highlights in check.

*Cosmic Cathedral – Fujifilm X-T5 + Fujinon 90mm f/2 – Reala Ace Recipe*

All of these 12 Recipes seemed to do well. None were busts. My favorites were the Classic Negative-based Recipes: Superia Negative, Pacific Blues, Reala Ace, and Superia Xtra 400. I can definitely recommend those, especially Superia Negative and Reala Ace. I also liked the Nostalgic Neg.-based Recipes: Nostalgic Americana, Nostalgia Negative, and Kodak Negative. My least favorite were the Velvia-based Recipes: Velvia Film and Kodak Ektachrome E100VS v1. That’s not to say those Recipes were bad, only that I liked the others better. I think any of these 12 would work, but, in the future, I’d probably choose a few Classic Negative options, plus one or two Nostalgic Neg., and call it good.

The band in top photo is We Came From Space, which you’ll see a little more of in the upcoming parts (I’m not sure yet just how many posts there will be in this series, but likely three). They’re a classic rock/synth rock/blues rock/prog rock/pop fusion with out-of-this-world talent (sorry for the pun). All the remaining photos are of Cosmic Cathedral, a groove-oriented progressive rock super group featuring Phil Keaggy on guitars/vocals, Neal Morse on keyboards/guitar/vocals, Bryon House on bass, and Chester Thompson on drums (if you’ve ever seen Genesis or Phil Collins live, you’ve likely heard Chester keeping time). A number of additional musicians joined the band to complete the sound. This was their first concert as a band, and it was such a great show!

*Cosmic Cathedral – Fujifilm X-T5 + Fujinon 90mm f/2 – Fujicolor PRO 160C Warm Recipe*

*Cosmic Cathedral – Fujifilm X-T5 + Fujinon 90mm f/2 – Superia Negative Recipe*

*Cosmic Cathedral – Fujifilm X-T5 + Fujinon 90mm f/2 – Pacific Blues Recipe*

*Cosmic Cathedral – Fujifilm X-T5 + Fujinon 90mm f/2 – Velvia Film Recipe*

*Cosmic Cathedral – Fujifilm X-T5 + Fujinon 90mm f/2 – Nostalgic Americana Recipe*

*Cosmic Cathedral – Fujifilm X-T5 + Fujinon 90mm f/2 – Superia Xtra 400 Recipe*

*Cosmic Cathedral – Fujifilm X-T5 + Fujinon 90mm f/2 – Kodak Portra 400 v2 Recipe*

*Cosmic Cathedral – Fujifilm X-T5 + Fujinon 90mm f/2 – Kodak Ektachrome E100VS v1 Recipe*

*Cosmic Cathedral – Fujifilm X-T5 + Fujinon 90mm f/2 – Nostalgia Negative Recipe*

*Cosmic Cathedral – Fujifilm X-T5 + Fujinon 90mm f/2 – Kodak Negative Recipe*

*Cosmic Cathedral – Fujifilm X-T5 + Fujinon 90mm f/2 – Cinematic Film Recipe*

Part 2 coming soon!

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

Fujifilm X-T5 in black:
Amazon, B&H, Moment, Nuzira
Fujifilm X-T5 in silver:
Amazon, B&H, Moment, Nuzira
Fujinon 90mm f/2:
Amazon, B&H, Moment, Wex

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

Kodak Pro 400 — Fujifilm X-Trans V Film Simulation Recipe

Posted on September 6 by Ritchie Roesch

*Hillside* – Elk, CA – Fujifilm X-T5 – Kodak Pro 400

One film can produce many various looks depending on a whole host of factors. How was it shot: overexposed (and by how much), box speed, or underexposed (and by how much)? What gear was used, especially which lens? Were any filters used? What was the exact light situation? How was the film stored and handled? How was it developed, including how fresh were the chemicals, and what was the temperature and pH of the water? If it was printed, how was that handled and what paper was used? If it was scanned, which scanner was used, what were the settings, and what post-processing was done? How are you viewing the photo: print, light table, computer monitor, cellphone screen? There are a thousand factors that can affect the outcome—some a little, some a lot.

Sometimes I’ll get contradicting feedback on a certain Film Simulation Recipe. One person will say, I’ve shot with that film, and the Recipe matches almost exactly; another will say, I’ve shot with that film, and the Recipe is way off. That shouldn’t be surprising for the reasons pointed out in the last paragraph—both statements are probably quite true. There are other factors, of course, that are worth considering. One is called “memory color” (which is often mentioned by Fujifilm), in which we remember a film looking a certain way, but in reality our memory of it is a little off. I’ve experienced this personally, where I thought a certain group of settings looked exactly like some emulsion, but when I actually compared them side-by-side it was not such a close match after all. Which is preferable: memory color accuracy or technical accuracy? There’s no correct answer to that question, but you may prefer one over the other. Another significant factor is that, although Fujifilm does provide a fair amount of tools to customize aesthetics in-camera, there’s only so much that you can do with the options available to achieve a certain look. You can only get so close, and not a 100% match; however, it is surprising how close a Recipe will get sometimes. Also worth mentioning is that digital sensors and silver film behave quite divergently sometimes.

Fujifilm modeled the Classic Chrome Film Simulation after (non-specific) Kodak slide films from the 1980’s and ’90’s. Classic Chrome has some obvious similarities to both Kodachrome and Ektachrome; however, it’s not an exact facsimile of either (think of it more like a fictitious Kodak slide film). It does have a distinct Kodak-esque color palette, so it is a great Film Simulation to build Kodak Recipes on. The Nostalgic Neg. Film Simulation also has a Kodak-like palette, but it is intended to resemble prints from the 1970’s, and not projected slides or scanned film. Eterna and (to a lesser extent) PRO Neg. Std can be modified into Kodak aesthetics; however, they’re not modeled after any Kodak stocks. Circling back to Classic Chrome, I want to emphasize that it is primarily intended to replicate color reversal (slide) film, and not negative film.

*Garden Lake* – Avondale, AZ – Fujifilm X100VI – Kodak Pro 400

The newest Film Simulation, called Reala Ace, is modeled after color negative film, and most closely resembled Fujicolor PRO 160C. Despite its name, it’s quite obviously inspired by the ISO 160 Fujicolor PRO line of films; basically, it’s a new-and-improved PRO Neg. Film Simulation—a similar yet better iteration of PRO Neg. Std and PRO Neg. Hi (kind of like when Kodak replaced the NC and VC versions of Portra and introduced a new iteration of the films in 2011, except we still have the two PRO Neg. options…). Reala Ace doesn’t have a distinct Kodak palette, but, like PRO Neg. Std, it can be made into a Kodak-like look. The advantage of using Reala Ace instead of Classic Chrome is that it retains that “print film” quality of the Film Simulation.

This new Kodak Pro 400 Recipe came about after some feedback that Reala Ace might be a better foundation for a Kodak Portra 400 look than Classic Chrome. I had previously considered the possibility, but hadn’t put any effort into creating it. So I researched pictures and fiddled with the camera settings. I made a few different versions, which matched some certain examples but were notably off from others. I had to narrow it down to which specific Kodak Portra 400 look I wanted to replicate, and get as close to that as I could, with some compromises. It was definitely a process, and sometimes quite frustrating, but I settled on these settings. One disadvantage of using Reala Ace, obviously, is that, at its core, it’s a Fujicolor look, and sometimes that still comes through. You could think of it as printing Kodak film on Crystal Archive paper instead of Endura or Ektacolor. That’s not what this Recipe mimics, but it is a way to make peace with the issue. Most of these pictures were reprocessed in-camera using this Recipe, and not directly captured with it; however, I do have a bunch of other pictures (that are perhaps “less inspiring”) that were actually captured with the Recipe, but I only included a couple of them.

In the end, I feel that I got close-but-no-cigar. I think, in certain situations with certain subjects and lighting, this Recipe can be quite convincing at mimicking Kodak Portra 400 film. There are pictures in this article that you could put side-by-side with certain Kodak Portra 400 frames, and it would be difficult to distinguish which was the film and which was the Recipe. But there are other images that are so far off that I could not find a matching Portra 400 look (trust me, I tried). So I would say that this Recipe is hit-or-miss, and that’s why I didn’t name it Kodak Portra 400 v3 (although that’s what it’s named in my cameras right now). It’s definitely Portra 400 related. The full name of the film is Kodak Professional Portra 400, so I’m calling this Recipe Kodak Pro 400. There’s also Pro Image 100, another Kodak negative film, and this Recipe by chance isn’t terribly far off from that, either; however, it’s not intended to resemble that emulsion, and isn’t quite as good of a match. Either way, like the other Portra Recipes, how close it is or isn’t depends on which pictures you are looking at.

*Walking the Museum Grounds* – Savannah, GA – Fujifilm X100VI – Kodak Pro 400

I included a lot of sample pictures in this article, which will hopefully help to determine when this Recipe works well and when maybe it’s less than ideal. Like the film, it thrives in daylight, but this might be a better choice than some others in overcast situations. I also included a comparison of this Kodak Pro 400 Recipe with Reggie’s Portra, Kodak Portra 400, and Kodak Portra 400 v2 at the bottom of this article (for Reggie’s Portra and Kodak Portra 400, I set Color Chrome FX Blue to Off). I find it interesting that there are some common settings between this and the Kodak Portra 400 v2 Recipe, and also some opposite settings—that’s unintentional, just the way it worked out. Because this Recipe uses Reala Ace, it’s compatible with fifth-generation models, which (as of this writing) are the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, and X-E5. It’s also compatible with the latest GFX cameras: GFX100 II, GFX100S II, and GFX100RF. Those who have been dissatisfied with the Portra 400 Recipes may find that they like this one better; those who love the Portra 400 Recipes might not be convinced that this is an improvement. Personally, I really like it, and I might keep both this and Kodak Portra 400 v2 in my C1-C7, as there are times when one might be preferable over the other.

Film Simulation: Reala Ace
Dynamic Range: DR400
Grain Effect: Strong, Small
Color Chrome Effect: Off
Color Chrome FX Blue: Strong
White Balance: 5200K, +2 Red & -3 Blue
Highlight: -2
Shadow: 0
Color: +1
Sharpness: -2
High ISO NR: -4
Clarity: -2
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs captured using this Kodak Pro 400 Film Simulation Recipe on a Fujifilm X-T5 and X100VI:

*Birthday Boy* – Buckeye, AZ – Fujifilm X-T5

*(Not) Riding a Trolley* – Washington, D.C. – Fujifilm X100VI

*We’re on a Roll* – New York City, NY – Fujifilm X100VI

*AMC* – New York City, NY – Fujifilm X100VI

*Electric Sunset* – Elk, CA – Fujifilm X-T5

*California Sunset* – Elk, CA – Fujifilm X-T5

*Full Moonrise* – Elk, CA – Fujifilm X-T5

*Light, Reflected Light* – Elk, CA – Fujifilm X-T5

*Canon Camera* – Buckeye, AZ – Fujifilm X100VI

*Sunset in the Mirror* – Avondale, AZ – Fujifilm X100VI

*Terminally Waiting* – Phoenix, AZ – Fujifilm X100VI

*Underground Station* – New York City, NY – Fujifilm X100VI

*Roundhouse Locomotive* – Savannah, GA – Fujifilm X100VI

*Shop Interior* – Savannah, GA – Fujifilm X100VI

*The Tides* – Bodega Bay, CA – Fujifilm X-T5

*Bodega Bay* – Bodega Bay, CA – Fujifilm X-T5

*Greenwood Cove* – Elk, CA – Fujifilm X-T5

*Turquoise Pacific* – Elk, CA – Fujifilm X-T5

*Fog over Wild Brush* – Elk, CA – Fujifilm X-T5

*Fog Rolling In* – Elk, CA – Fujifilm X-T5

*Magnolia* – Savannah, GA – Fujifilm X100VI

*Wet Sidewalk* – Savannah, GA – Fujifilm X100VI

*Wet Alley* – Savannah, GA – Fujifilm X100VI

*Red Bull* – Savannah, GA – Fujifilm X100VI

*Squirrel Box* – Washington, D.C. – Fujifilm X100VI

*Turn Arrow* – Washington, D.C. – Fujifilm X100VI

*Corridor* – Arlington, VA – Fujifilm X100VI

*Gravestones* – Arlington, VA – Fujifilm X100VI

*Empty Trail* – Navarro, CA – Fujifilm X-T5

*Southwest Sky* – Arlington, VA – Fujifilm X100VI

*Pilot Paused* – New York City, NY – Fujifilm X100VI

*Bus Stop* – San Francisco, CA – Fujifilm X100VI

*Box Truck* – South San Francisco, CA – Fujifilm X100VI

*Jackpot* – New York City, NY – Fujifilm X100VI

*Bike, Parking* – New York City, NY – Fujifilm X100VI

*Blue Car* – San Francisco, CA – Fujifilm X100VI

99 – San Francisco, CA – Fujifilm X100VI

*No Parking, unless it’s an RV* – Fort Bragg, CA – Fujifilm X100VI

*Tall Saguaro* – Buckeye, AZ – Fujifilm X100VI

Comparison

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

Fujifilm X-T5 in black:
Amazon, B&H, Moment, Nuzira
Fujifilm X-T5 in silver:
Amazon, B&H, Moment, Nuzira
Fujifilm X100VI in black:
Amazon, B&H, Moment, Nuzira
Fujifilm X100VI in silver:
Amazon, B&H, Moment, Nuzira

Find this Film Simulation Recipe and over 400 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

52 Weeks of Photography: Week 17

Posted on April 29 by Ritchie Roesch

*Desert Bloom* – Buckeye, AZ – Fujifilm GFX100S II & 80mm f/1.7 – Fujicolor PRO 160C Warm

Week 16

I made a mistake in the Week 16 update. The photo listed as “Wednesday, April 9th, 2025” was actually captured on Thursday, April 10th. And the photo purportedly captured on April 10th was actually made on the 11th. And so on. Each photo is off by one day, except for the first, which really was photographed on Tuesday, April 8th. That’s the only one that is correct. I’m sorry for getting that wrong.

The photo that should have been listed as Wednesday, April 9th, is below. It’s the only picture that I made on that day, and I failed to upload it, which is why I overlooked it. I noticed the discrepancy yesterday when I was preparing this article. In order to get back on track, I’ve changed the formatting just a little—I hope you don’t mind.

Wednesday, April 9th, 2025

*Shadow Abstract* – Buckeye, AZ – Fujifilm X-T5 & 56mm f/1.2 – Kodak Tri-X 400

The reason why I’m doing this 365 Day project is because I noticed some gaps in-between my images last year. I didn’t pick up my cameras daily. On several occasions, four or five days passed by without a single picture created. Twice in 2024, I skipped a whole week. I want to rectify this, and get back into the habit of daily photography. Most days are easy, but some are not. I’ve managed at least a small handful of photographs on most days, but on a few occasions (like April 9th above), it’s been only one picture.

Without further ado, below are the 17th set of pictures from this 52 Weeks of Photography project.

Wednesday, April 16th, 2025

*Empty Stools* – Goodyear, AZ – Fujifilm X100VI – Vintage Vibes

Thursday, April 17th, 2025

*Fujifilm X100VI + Teleconverter* – Buckeye, AZ – Fujifilm X-T5 & 56mm f/1.2 – Reggie’s Portra

Friday, April 18th, 2025

*Sunlight Over the Desert* – Buckeye, AZ – Fujifilm GFX100S II & 80mm f/1.7 – Kodak Tri-X 400

Saturday, April 19th, 2025

*Harkins at Night* – Goodyear, AZ – Fujifilm X-E4 & 27mm f/2.8 – Kodak Portra do Sol

Sunday, April 20th, 2025

*Easter Swim* – Buckeye, AZ – Fujifilm X-E4 & 27mm f/2.8 – Kodak Portra do Sol

Monday, April 21st, 2025

*Saguaro Structure* – Buckeye, AZ – Fujifilm GFX100S II & 80mm f/1.7 – Fujicolor PRO 160C Warm

Week 18

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

Fujifilm GFX100S II:
Amazon, B&H, Wex
Fujinon GF 80mm f/1.7:
Amazon, B&H, Wex
Fujinon 27mm f/2.8:
Amazon, B&H, Moment, Wex
Fujifilm X-T5 in silver:
Amazon, B&H, Moment, Wex, Nuzira
Fujinon 56mm f/1.2 R WR:
Amazon, B&H, Wex, Nuzira
Fujifilm X100VI in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X100VI in silver:
Amazon, B&H, Moment, Wex, Nuzira

52 Weeks of Photography: Week 10

Posted on March 5 by Ritchie Roesch

*Cactus, Flowers* – Buckeye, AZ – Fujifilm X100VI – Upcoming Recipe

Week 9

This is a one-year photo-a-day project called 52 Weeks of Photography. Even though it is a year-long undertaking, I’m taking it one week at a time, because it’s a little easier to manage many small blocks than one large chunk. This is the 10th week, so the 10th set of seven images. I can’t believe that I’m nearly 1/5th finished!

The reason why I’m doing this 365 Day project is because I noticed some gaps in-between my images last year. I didn’t pick up my cameras daily. On several occasions, four or five days passed by without a single picture created. Twice in 2024, I skipped a whole week. I want to rectify this, and get back into the habit of daily photography. I also want to elevate the quality of my craft in 2025, and am hoping that this will help.

*Ford Falcon* – Buckeye, AZ – Fujifilm X100VI – Upcoming Recipe

The plan is to capture a year’s worth of notable images, either personally or artistically. Ansel Adams famously stated, “Twelve significant photographs in any one year is a good crop.” It’s important to keep expectations realistic, but I’m also trying to avoid thoughtless snapshots just to fulfill the day’s requirement. I want to push myself to be better, and hopefully that will happen. Not every photo will be great—in fact, most won’t—but I hope they are all at least decent enough to be shared without embarrassment. And maybe when the whole project is complete, there will be 12 significant pictures (out of the 365) that I’m particularly proud of.

A lot of personal things came up this week. There were a couple of time that I thought I was going to fail. Somehow I managed to photograph each day, and I think it is because of the habits formed during the first nine weeks—if the same obstacles had presented themselves earlier in the project, I’m confident that I wouldn’t have completed it. Because those habits had cemented themselves already, it helped tremendously. Life happens, so I built into this project two days that can be missed. At some point I know that I’ll need to use those, but I’d rather save them for later if possible, and thankfully it was possible.

Below are the 10th set of seven pictures from this 52 Weeks of Photography project.

Tuesday, February 25th, 2025

*Senergy* – Goodyear, AZ – Fujifilm GFX100S II & 80mm f/1.7 – Fujicolor PRO 160C Warm

Wednesday, February 26th, 2025

*Sunset Bougainvillea* – Buckeye, AZ – Fujifilm X100VI – Upcoming Recipe

Thursday, February 27th, 2025

*Pinhole Contact Prints* – Buckeye, AZ – Fujifilm X-T5 & 56mm f/1.2 – Kodak Tri-X 400 – Thanks, Dan Allen, for the prints!

Friday, February 28th, 2025

*Torani* – Buckeye, AZ – Fujifilm X100VI – Upcoming Recipe

Saturday, March 1st, 2025

*Renegade* – Buckeye, AZ – Fujifilm X100VI – Upcoming Recipe

Sunday, March 2nd, 2025

*Lighted Sky* – Buckeye, AZ – Fujifilm X100VI – Upcoming Recipe

Monday, March 3rd, 2025

*Pool Duck* – Buckeye, AZ – Fujifilm X-T4 & 90mm f/2 – Pacific Blues

Week 11

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

Fujifilm GFX100S II:
Amazon, B&H, Wex
Fujinon GF 80mm f/1.7:
Amazon, B&H, Wex
Fujifilm X-T5 in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-T5 in silver:
Amazon, B&H, Moment, Wex, Nuzira
Fujinon 56mm f/1.2 R WR:
Amazon, B&H, Wex, Nuzira
Fujinon 90mm f/2:
Amazon, B&H, Moment, Wex
Fujifilm X100VI in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X100VI in silver:
Amazon, B&H, Moment, Wex, Nuzira

Exposure Triangle, Part 2: Understanding Shutter Speed

Posted on February 9 by Ritchie Roesch

*Fujifilm X100VI – f/11, ISO 500, 1/15 shutter – Kodak Gold 200*

Part 1: Aperture, Part 3: ISO

Shutter speed simply controls the amount of time that light is exposed to the camera’s sensor. How motion is rendered—either frozen still or as a blur—will depend on the shutter speed. There are a few key things to know, but overall this is all fairly easy to understand.

Before we dive in, I want to quickly revisit aperture, because there’s something I forgot to mention in Part 1. How sunstars and lens flare will appear depends on a number of factors, including (among other things) the aperture you’ve selected. For more pronounced sunstars, use a small aperture, such as f/16. If you want to minimize sunstars and lens flare, use a large aperture, such as f/2. This is just one more factor to consider when choosing the most appropriate aperture for the scene in front of you.

*Forest Sunstar* – Sedona, AZ – Fujifilm X-T50 & Fujinon 23mm f/2 lens at f/14 – California Summer

Now, with that out of the way, let’s talk about shutter speeds. What is it? What does it do to your pictures? How do you control it to get the images that you want?

The quick and simple definition of shutter speed is that it is the amount of time the camera’s shutter curtain is open, allowing light to reach the sensor or film. A fast shutter speed allows very little light to expose the sensor, while a slow shutter speed allows a lot of light in. Shutter speed is one of three elements of the exposure triangle, along with aperture and ISO, and must be used in balance with the other two elements. On many Fujifilm cameras, the shutter speed is controlled by a knob on the top of the camera, marked with numbers like 125, 250, 500, etc., etc..

*Fujifilm X-T30 & Rokinon 12mm f/2 + tripod – 0.4 second exposure – Kodak Gold 200*

Some common shutter speeds are 1/15, 1/30, 1/60, 1/125, 1/250 and 1/500. There are, of course, many other shutter speeds, this is far from a comprehensive list. 1/15 is an example of a slow shutter speed, and 1/500 is an example of a quick shutter speed. You’ll note that these are fractions, as in fractions of a second. You’ll also note that they’re half or twice as long as the shutter speed on either side, which means that 1/60 lets in half as much light as 1/30, and 1/15 lets in twice as much light as as 1/30. Like aperture, there are intermediate stops in-between the full stops—most commonly one-third stops, but sometimes half-stops.

Shutter speed is about motion, either freezing or showing it. A slow shutter speed will show motion as a blur, while a fast shutter speed will freeze it. In the first picture below, which was captured with a 1/450 shutter speed, you’d never know that the car was zooming by, because the motion was frozen. The second picture below, which was captured with a 1/80 shutter speed, shows the motion through the car’s blur. The third picture below, which was captured with a 1/60 shutter speed, shows the motion through panning, where the car is sharp but the background blurred from the sweeping lens.

*Fujifilm X-M1 & Fujinon 90mm – 1/450 shutter speed*

*Fujifilm X-M1 & Fujinon 90mm – 1/80 shutter speed*

*Fujifilm X-M1 & Fujinon 90mm – 1/60 shutter speed*

In order to freeze motion, there are a few considerations: the focal length of the lens, the distance of the moving object, and it’s speed. The longer the focal length of the lens, the faster the minimum shutter speed needs to be; the shorter the focal length, the slower the minimum shutter speed needs to be. The closer and faster the moving object is, the faster the shutter speed needs to be; the further and slower the moving object is, the slower the shutter needs to be in order to freeze it.

If nothing is moving in the frame, the only motion is the photographer. A tripod will eliminate camera shake; if you don’t have a tripod, in-body-image-stabilization (IBIS) or optical-image-stabilization (OIS) can help to a degree. If your gear doesn’t have stabilization, you’ll want to use this rule of thumb: whatever the focal length of the lens is (or in the case of Fujifilm cameras, the full-frame-equivalent focal length), the minimum shutter speed should be a similar number. For example, if the lens is 18mm, which has a full-frame-equivalent focal length of 27mm, the slowest hand-held shutter speed is around 1/30. If the lens is 90mm, which has a full-frame-equivalent focal length of 135mm, the slowest hand-held shutter speed is around 1/125. With good techniques, you can often get a sharp picture with even slower shutter speeds, but that takes practice.

*Fujifilm GFX100S II & Fujinon 80mm f/1.7 – f/9, ISO 320, 1/680 shutter – 1970’s Summer*

In order to freeze motion, for portraits, events, kids, and pets, I recommend a minimum shutter speed of 1/125, but faster is better, such as 1/250. For sports and moving wildlife, the minimum shutter speed should be 1/250, but faster is better, such as 1/500. If the motion is blurry, increase the shutter speed. In order to show motion as a blur, the maximum shutter speed will likely need to be under 1/125, and probably under 1/30, just depending on the situation. If the blur is insufficient, decrease the shutter speed.

Another shutter speed consideration is in regards to flash photography. Some cameras, such as the X100-series, have a leaf shutter, which allows for high-speed flash sync; however, most cameras don’t have a leaf shutter, and have a maximum shutter speed for flash. On Fujifilm models, this is marked by an “X” next to the shutter speed—for example, on the X-T5, the maximum shutter speed for flash photography is 1/250, which is marked as 250X on the shutter knob. The fastest shutter speed you should use with flash photography is the one with the X next to it.

*Fujifilm X-T5 & Fujinon 56mm f/1.2 + flash – f/4, ISO 500, 1/250 shutter – Nostalgic Americana*

The two main things to remember about shutter speed are 1) that it is used to show motion, either frozen still or as a blur, and 2) it is one aspect of the exposure triangle, and must be balanced with both aperture and ISO. Increasing the shutter speed reduces the light, so you may need to use a larger aperture and/or a higher ISO to compensate; reducing the shutter speed increases the light, so you may need to use a smaller aperture and/or lower ISO. It’s a balancing act. Used thoughtfully, shutter speed can express movement in creative ways, so take a moment to consider how to best use it for the scene in front of you.

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

Exposure Triangle, Part 1: Understanding Aperture

Posted on February 3 by Ritchie Roesch

*Fujifilm X-T5 + Fujinon 56mm f/1.4 lens at f/4 + Nostalgic Americana*

Aperture is a fundamental aspect of photography. The exposure (brightness) of an image is determined by the aperture, shutter speed, and ISO (referred to collectively as the “exposure triangle”). Yet many photographers don’t fully understand aperture, and when to choose which f-stop. It’s more than just a setting—it’s a creative tool that can dramatically impact the look and feel of your images. Understanding how aperture affects depth-of-field, exposure, and sharpness will help you take control of your photography and achieve your artistic vision.

With Fujifilm cameras, you’ll typically control the aperture via a ring on the lens, which are marked in f-stops. A large aperture has a low f-stop number, such as f/2, while a small aperture has a high f-stop number, like f/16. There are full-stops (e.g. f/1.4, f/2, f/2.8, f/4, f/5.6, f/8, f/11, f/16, f/22); in-between the full stops are intermediate stops, which are most commonly third-stops (e.g. (f/1.8, f/2.2, f/2.5, f/3.2, f/3.5, f/4.5, f/5, etc., etc.) and less commonly half-stops (e.g. f/1.7, f/2.4, f/3.3, f/4.8, etc.). A large aperture (low f-stop number, such as f/1.4 or f/2.8) allows more light into the camera and also creates a shallow depth-of-field (only a narrow slice in focus), making the subject stand out against a blurred background and/or foreground—common for portraits, where you want to separate the subject from distractions. A small aperture (high f-stop number, such as f/11 or f/16) allows less light into the camera and also creates a large depth-of-field (lots in focus), which is common for landscapes where you have several compositional elements at various distances from the camera.

*Fujifilm GFX100S II + Fujinon 80mm f/1.7 lens at f/1.7 + Reggie’s Portra*

The closer the subject is to the end of the lens, the more shallow the depth-of-field will be, and the further the subject is, the larger the depth-of-field will be, regardless of the aperture. In other words, the focus distance and aperture work together to create the depth-of-field, whether narrow or expansive. To achieve a narrow slice that is in focus (a small depth-of-field), one should position the subject close to the camera and use a large aperture (for example, f/2); to achieve a broad slice that is in focus (a large depth-of-field), one should position the subject further from the camera and use a small aperture (for example, f/11).

The aperture you choose determines how much light enters the camera (shutter speed determines for how long the sensor will be exposed to that light). A large aperture (such as f/1.7 or f/2) allows more light to enter, which is useful in low-light conditions, such as indoors or at night. A small aperture (such as f/13 or f/16) reduces the amount of light, which is useful in bright daylight situations. Even though you might wish for a shallow or large depth-of-field, the conditions might prevent you from using the most ideal aperture for what you want to achieve.

*Fujifilm GFX100S II + Fujinon 80mm f/1.7 lens at f/20 + Fujicolor PRO 160C Warm*

Adjusting the aperture affects other exposure settings. If you open up the aperture for more light, you may need a faster shutter speed and/or a lower ISO to compensate. Conversely, if you stop down the aperture, which allows less light, you might need to increase the ISO or use a slower shutter speed. This is a balancing act that should be thoughtfully considered—compromises are often necessary.

Aperture also influences sharpness. While stopping down (using a smaller aperture) generally increases the area of sharpness (depth-of-field), it might actually decrease sharpness. Every lens has a “sweet spot”—an aperture range where it delivers the best overall sharpness. For many lenses, this is between f/4 and f/8 (this is generally speaking, and varies from lens-to-lens, and even sensor-to-sensor). At large apertures (such as f/1.4), lenses can exhibit softness around the edges due to optical imperfections, and also decreased overall sharpness. At small apertures (such as f/16), diffraction can reduce overall image sharpness. Selecting the optimal aperture range for your lens will ensure the sharpest photographs.

*Fujifilm GFX100S II + Fujinon 80mm f/1.7 lens at f/1.7 + Fujicolor PRO 160C Warm*

F-stop is more than just a technical setting, it’s an artistic choice. Large apertures can create dreamy backgrounds and subject isolation, small apertures ensure everything is in focus, while the middle apertures produce sharply detailed pictures. Whether you’re shooting portraits, landscapes, street photography, still-life, macro, or any other genre, the aperture choice will significantly effect the outcome, giving you creative control over your photography. Experimenting with different apertures will deepen your understanding of how they impact your pictures—the more you practice, the more intuitive it will become. The next time that you’re out with your camera, take a moment to consider the f-stop, because it’s one of the most powerful tools at your disposal.

Part 2: Shutter Speed, Part 3: ISO

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

52 Weeks of Photography: Week 2

Posted on January 8 by Ritchie Roesch

*Water in the Desert* – Buckeye, AZ – Fujifilm X-T4 ES + 35mm f/2 – Upcoming IR Recipe

Introduction & Week 1

I started a new 365 Day photo project, which I’m calling 52 Weeks of Photography, back on Christmas Eve. Even though it is a year-long undertaking, I’m doing it one week at a time. This is the second week—the second set of seven images. I’m pretty excited to do this, and hope you appreciate following along on this journey.

The reason why I’m doing this photo-a-day project is because I noticed some gaps in-between my images over the last year. I haven’t been picking up my cameras daily. On several occasions, four or five days passed by without a single picture created. Twice in 2024, I skipped a whole week. I want to rectify this, and get back into the habit of daily photography. I also want to elevate the quality of my craft in 2025, and am hoping this will help with that.

Below are the second set of seven pictures from this 52 Weeks of Photography project.

Tuesday, December 31th, 2024

*Raspberry Tree* – Buckeye, AZ – Fujifilm X-T4 ES & 35mm f/2 – Aerochrome v2

Wednesday, January 1st, 2025

*Window Ladder* – Buckeye, AZ – Fujifilm X-T4 + Pentax-110 50mm f/2.8 – Pacific Blues

Thursday, January 2nd, 2025

*Backyard Boy* – Buckeye, AZ – Fujifilm X100VI + Flash – Nostalgic Americana

Friday, January 3rd, 2025

*Unfair Comparisons* – Buckeye, AZ – Fujifilm GFX100S II + 80mm f/1.7 – Astia Summer

Saturday, January 4th, 2025

*Office Space* – Buckeye, AZ – Fujifilm X-T5 + 56mm f/1.2 + Flash – Pacific Blues

Sunday, January 5th, 2025

*Sunglasses* – Surprise, AZ – Fujifilm X-T4 ES + 35mm f/2 – Upcoming IR Recipe

Monday, January 6th, 2025

*Tis but a Scratch*– Buckeye, AZ – Fujifilm X-T4 ES + 35mm f/2 – Upcoming IR Recipe

Week 3

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

Fujifilm X-T5 in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-T5 in silver:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X100VI in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X100VI in silver:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm GFX100S II:
Amazon, B&H, Wex
Fujinon GF 80mm f/1.7:
Amazon, B&H, Wex
Fujinon 56mm f/1.2 R WR:
Amazon, B&H, Wex, Nuzira
Fujinon 35mm f/2 in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujinon 35mm f/2 in silver:
Amazon, B&H, Moment, Wex, Nuzira

Fujifilm Grain Comparison: GFX100S II vs. X-T5

Posted on January 3 by Ritchie Roesch

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

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

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

*Fujifilm X-T5 – Astia Summer – Grain Weak/Small*

*Fujifilm GFX100S II – Astia Summer – Grain Weak/Small*

*Fujifilm X-T5 – Kodak Gold Max 400 Expired – Grain Strong/Large*

*Fujifilm GFX100S II – Kodak Gold Max 400 Expired – Grain Strong/Large*

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

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

*Crop – Fujifilm X-T5 – Astia Summer – Grain Weak/Small*

*Crop – Fujifilm GFX100S II – Astia Summer – Grain Weak/Small*

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

*Bigger Crop – Fujifilm GFX100S II – Astia Summer – Grain Weak/Small*

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

*Crop – Fujifilm X-T5 – Kodak Gold Max 400 Expired – Grain Strong/Large*

*Crop – Fujifilm GFX100S II – Kodak Gold Max 400 Expired – Grain Strong/Large*

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

Bigger Crop – *Fujifilm GFX100S II – Kodak Gold Max 400 Expired – Grain Strong/Large*

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

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

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

New Year, New Project: 52 Weeks of Photography — Part 1, Introduction & 1st Week

Posted on January 1 by Ritchie Roesch

*Young Yucca* – White Sands NP, NM – Fujifilm GFX100S II + 80mm f/1.7 – Fujicolor PRO 160C Warm

It’s officially 2025! Happy New Year’s Day, everyone!

I started a new 365 Day photo project, which I’m calling 52 Weeks of Photography, back on Christmas Eve. This article is simply the introduction of the project, and the first set of seven images. I’m pretty excited to do this, and hope you appreciate following along on this journey.

This isn’t the first time that I’ve done a 365 Day photo project—I did one from August 2018 through August 2019. I developed the habit of picking up a camera daily, and my photography improved from start to finish. Also, I captured some photographs that I wouldn’t have otherwise, a few of which I was quite happy with. There is definitely a benefit to doing this type of thing. Professional athletes and musicians practice daily, so why shouldn’t photographers?

The reason why I’m doing this now is because I noticed gaps in-between my images. I haven’t been picking up my cameras daily. On several occasions, four or five days have gone by without a single picture created. Twice in 2024, a whole week passed. I want to rectify this, and get back into the habit of daily photography. I also want to elevate the quality of my craft in 2025, and am hoping this will help with that.

*Full Service* – Idalou, TX – Fujifilm X-T5 + 56mm f/1.2 – Superia Negative

I’ve set some ground rules for myself. I’m taking things one week at a time. That’s a little easier mentally than looking at it as one whole year chunk. If I mess up on a week, I’ll simply extend the project by a week; however, I’m also giving myself two grace days. I’d actually like to finish this on Christmas Day, which is 367 days from the start. If I miss two days, that’s perfectly ok. If I miss three to seven days, this project will be extended by one week. I think it’s good to build-in some breathing room, because life happens.

My hope is to capture a year’s worth of notable images, either personally or artistically. Ansel Adams famously stated, “Twelve significant photographs in any one year is a good crop.” It’s important to keep expectations realistic, but I’m also trying to avoid thoughtless snapshots just to fulfill the day’s requirement. I want to push myself to be better, and hopefully that will happen. Not every photo will be great—in fact, most won’t—but I hope they are all at least decent enough to be shared without embarrassment.

Below are the first set of seven pictures from this 52 Weeks of Photography project.

Tuesday, December 24th, 2024

*Christmas Candle* – Haslet, TX – Fujifilm X100VI – Superia Negative

Wednesday, December 25th, 2024

*Fox & Jo* – Flower Mound, TX – Fujifilm X-T5 + 56mm f/1.2 – Reggie’s Portra

Thursday, December 26th, 2024

*Santa Display* – Princeton, TX – Fujifilm X-T5 + 56mm f/1.2 – Kodak Portra 400 v2

Friday, December 27th, 2024

*West Texas Sunset* – Idalou, TX – Fujifilm X-T5 + 56mm f/1.2 – Superia Negative

Saturday, December 28th, 2024

*Red Yucca in the White Sand* – White Sands NP, NM – Fujifilm X-T4 ES + 35mm f/2 – Aerochrome v2

Sunday, December 29th, 2024

*Fire, Truck* – Lordburg, NM – Fujifilm GFX100S II + 80mm f/1.7 – 1970’s Summer

Monday, December 30th, 2024

*Cactus Pads* – Buckeye, AZ – Fujifilm GFX100S II + 80mm f/1.7 – Superia Negative

Week 2

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

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

Posted on October 31, 2024 by Ritchie Roesch

*Small Yellow Boat* – Clinton, CT – Fujifilm X-T5 – Fujifilm Negative Recipe

Over the last several months, my wife, Amanda, and I have been sharing our Fujifilm X-T5, which I purchased in November 2022 when it first came out. Her camera is an X-T4 that she’s used for years, but lately has been drawn more to the newer model. Amanda does portrait, event and theater photography, but she really loves videography. By far, the Film Simulation Recipe that she uses the most for still photography is Reggie’s Portra; Reala Ace and Pacific Blues are a distant second and third. We used this new Fujifilm Negative Recipe for some of our photos captured on the X-T5 as we traveled across the country over the last few months.

My inspiration for this Recipe was Fujicolor PRO 160NS color negative film, although it wasn’t necessarily closely modeled after it—I just looked at a number of frames captured with that emulsion when I was creating this, so there is a noticeable similarity. Fujicolor PRO 160NS was produced by Fujifilm between 2010 and 2021; however, before that it was named PRO 160S, and before that—in the 1990’s—it was called NPS 160, with small changes and improvements over the years. While this doesn’t exactly match those emulsions, it certainly has a Fujifilm color negative film vibe, and just feels analog-like.

*Camera Conversation* – Philadelphia, PA – Fujifilm X-T5 – Fujifilm Negative – by Amanda Roesch

This Fujifilm Negative Film Simulation Recipe is intended for sunny daylight photography. It works well in overcast conditions, too, and indoor natural light. It might not be the best choice for artificial light situations (can be a bit too yellow), and can be a bit too cool in the shade. This Recipe is compatible with all fifth generation X-Trans models, which (as of this writing) are the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, and X-M5 cameras. It can be used on the latest GFX models, too, but will likely render slightly different (try it anyway).

Film Simulation: Reala Ace
Dynamic Range: DR400
Grain Effect: Weak, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Off
White Balance: 5000K, 0 Red & -2 Blue
Highlight: -1
Shadow: -0.5
Color:+2
Sharpness: -1
High ISO NR: -4
Clarity: -2
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs captured using this Fujifilm Negative Film Simulation Recipe on a Fujifilm X-T5:

*Indoor Grass* – Nashville, TN – Fujifilm X-T5

*Modeling* – Philadelphia, PA – Fujifilm X-T5 – by Amanda Roesch

*Friendly Conversation* – Philadelphia, PA – Fujifilm X-T5 – by Amanda Roesch

*Hot Dog Stand* – New York City, NY – Fujifilm X-T5 – by Amanda Roesch

*Photowalk* – Philadelphia, PA – Fujifilm X-T5 – by Amanda Roesch

*Stories* – Philadelphia, PA – Fujifilm X-T5 – by Amanda Roesch

*Talking About Cameras* – Philadelphia, PA – Fujifilm X-T5 – by Amanda Roesch

*Reviewing Pictures* – Philadelphia, PA – Fujifilm X-T5 – by Amanda Roesch

*Setting a Recipe* – New York City, NY – Fujifilm X-T5 – by Amanda Roesch

*Crosses on Steeples* – Denver, CO – Fujifilm X-T5

*Oak Leaf* – Clinton, CT – Fujifilm X-T5

*Lake Morning* – Clinton, CT – Fujifilm X-T5

*First Catch* – Clinton, CT – Fujifilm X-T5

*Third Catch* – Clinton, CT – Fujifilm X-T5

*Fourth Catch* – Clinton, CT – Fujifilm X-T5

*Shore Fishing* – Clinton, CT – Fujifilm X-T5

*Dock Fishing* – Clinton, CT – Fujifilm X-T5

*Breakfast* – Clinton, CT – Fujifilm X-T5

*Camera on a Bookshelf* – Buckeye, AZ – Fujifilm X-T5

*Sunset over the Eucalyptus* – Buckeye, AZ – Fujifilm X-T5

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

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

Find this Film Simulation Recipe and over 350 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Kodak T-Max 100 Hard Tone — A Film Simulation Recipe for Fujifilm X-Trans IV & X-Trans V Cameras (Part 1)

Posted on October 4, 2024 by Ritchie Roesch

*Fujifilm X100VI – Kodak T-Max 100 Hard Tone – Photo by Joy Roesch*

Kodak introduced T-Max 100 and T-Max 400 in 1986, and T-Max P3200 two years later. It was touted as a fine-grained, sharp and detail-rich black-and-white negative film. Interestingly, ever since T-Max was released, there has been a divide in the photographic community around this emulsion: people either loved it or hated it. Those who loved it tended to not like Tri-X, and those who hated it tended to love Tri-X; you were likely in one camp or the other. Tri-X was more gritty, dramatic and versatile, while T-Max was softer, cleaner, and more finicky. All-in-all, you are not likely to spot huge differences between the two as a casual observer, but those who regularly shot with these films could easily distinguish the nuances.

This particular Film Simulation Recipe, called Kodak T-Max 100 Hard Tone, was created by Dan Allen after shooting some rolls of Kodak T-Max 100 film side-by-side with his Fujifilm X-T5. He did his best to match the X-T5 photos to the T-Max frames. This was not an easy task, and took a lot of adjustments and refinements. Dan spent a lot of time and effort on this. He discovered that it would take a handful of versions of the Recipe to replicate all of the variances that can be found even within the same roll, and ultimately determined that one Recipe cannot mimic them all. His solution was to create two versions—one with a higher contrast and one with a lower contrast—that are “close enough” to be acceptable facsimiles for most of the variabilities.

Above photos by Dan Allen. Left: Kodak T-Max 100 Film / Right: Fujifilm X-T5 & Kodak T-Max 100 Hard Tone Recipe

Even though this Recipe does a pretty darn good job of replicating Kodak T-Max 100, it is always ok to “season to taste” the settings. Don’t be afraid to increase or decrease Highlight and Shadow, for example. There are a lot of factors that can determine the exact aesthetic of the film, so some small tweaks might be necessary to get it precisely as you want it. Or, just leave them as Dan created, and enjoy the lovely results.

This Film Simulation Recipe is fully compatible (as of this writing) with the Fujifilm X-T4, X-S10, X-E4, X-T30 II, X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50 cameras. Presumably it will also be compatible with the camera that Fujifilm is about to announce (rumored to be the X-M5). You can also use this Recipe on the latest GFX models, although it will likely render slightly differently (try it anyway).

*Fujifilm X-T5 – Kodak T-Max 100 Hard Tone – Photo by Dan Allen*

Dan Allen is no stranger to Fuji X Weekly. You might recall that he invented the Kentmere Pan 400 Film Simulation Recipe, and had a helping hand in the Vintage Bronze, Ilford FP4 Plus 125, and Ektachrome E100 Recipes. He also wrote the fascinating article Shooting Fujifilm Instax with a 108-year-old Kodak camera. Part two of this Recipe series will be coming soon, so be on the lookout for that.

Film Simulation: Monochrome+G
Monochromatic Color (Toning): WC 0 & MG 0 (Off)
Grain Effect: Weak, Large
Color Chrome Effect: Off
Color Chrome FX Blue: Off
White Balance: Daylight, -6 Red & -3 Blue
Dynamic Range: DR200
Highlight: +0.5
Shadow: +2.5
Sharpness: -1
High ISO NR: -4
Clarity: -1
ISO: up to ISO 6400
Exposure Compensation: -2/3 to +2/3 (typically)

Example photographs, all camera-made JPEGs using this Kodak T-Max 100 Hard Tone Film Simulation Recipe using a Fujifilm X-T5 and X100VI:

*Fujifilm X100VI – Kodak T-Max 100 Hard Tone – Photo by Jonathan Roesch*

*Fujifilm X100VI – Kodak T-Max 100 Hard Tone – Photo by Ritchie Roesch*

Find this Film Simulation Recipe and over 350 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Part 2 — Kodak T-Max 100 Soft Tone

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

Fujifilm’s 7 Best Cameras

Posted on September 12, 2024 by Ritchie Roesch

I get asked occasionally which Fujifilm cameras are the very best. Sometimes people want to jump into the Fujifilm system, but are unaware of which camera to buy; however, they know that they want the “best” model, whichever one that is. Of course, best is highly subjective—what is “best” for one person may not be for another. My list might look a lot different from another’s. This is simply my opinion as a long-time experienced Fujifilm photographer, so take it for what it’s worth, which might only be two pennies.

My list of Fujifilm’s seven best cameras is limited to X-series models. I’m not including GFX, Instax, Fujica, or anything else. I’m only discussing the APS-C line that Fujifilm introduced with the fixed-lens X100 in 2011, and the interchangeable-lens X-Pro1 in 2012. Those cameras and the ones introduced afterwards are the models being considered for this list.

Without any further delay, let’s get started!

#7: Fujifilm X70

The Fujifilm X70 is a fixed-lens X-Trans II camera that was released in 2016. It had a short sales-life because Sony suddenly discontinued production of the 16mp APS-C sensor that the camera used, and by the end of that year the X70 was discontinued, and out-of-stock shortly thereafter. As a compact camera with an 18.5mm (28mm full-frame-equivalent) lens, it competed directly with the Ricoh GR II. I like the X70 better than the GR II because it has the traditional tactile controls that Fujifilm is known for, while the GR cameras utilize PASM.

Today, at eight-years-old, the camera often sells for more than when it was brand-new. It’s much beloved by many who own one. Some proclaim it to be their favorite Fujifilm camera of all time. Compared to the latest models, the X70 is less advanced and with fewer options, but it does what few Fujifilm cameras can: fit into your pocket. In my opinion, it’s the best carry-everywhere camera ever made by Fujifilm. A successor—an X80—should be a high priority for Fuji.

#6: Fujifilm X-Pro2

While all three of the X-Pro cameras are great, there’s something especially special about the Fujifilm X-Pro2. It’s the seemingly perfect balance of form and function. It’s one of those cameras that will be desired and used for many years to come. While other digital cameras of its era will be long forgotten, I’m convinced that the X-Pro2 will still be sought out even when it’s 20 years old or older.

Introduced at the same time as the X70, the Fujifilm X-Pro2 is an X-Trans III model, and as such it doesn’t seem quite as dated as the X70. It still holds up fairly well in ability and features compared to the latest models. I would be perfectly happy if it were my only camera; unfortunately, I let it get away from me twice.

#5: Fujifilm X-E4

The X-E4 is the smallest and most minimalistic of Fujifilm’s modern offerings. While it is not perfect (no camera is), it does offer a slightly unique experience for Fujifilm that some like and some don’t. Personally, I appreciate the camera—it is one of my favorite Fujifilm models—and I find it especially great for travel or just everyday walk-around photography, thanks to its compactness. I have more expensive cameras, but often choose the X-E4 instead.

While the Fujifilm X-E4 doesn’t have IBIS or 40mp or the newest couple of film simulations, it is one of the last X-Trans IV models, and as such is quite advanced and capable. Unfortunately, Fujifilm greatly underestimated the demand for the X-E4, and failed to secure enough parts to manufacture as many copies as they should have, inexplicably discontinuing it when there were lengthy backorder lists. Because of that, right now the X-E4 sells for several hundred dollars more used than when it was brand-new.

#4: Fujifilm X100V

The X100 is where the X-series began; the X100V is the model that unexpectedly wen’t viral when it was over two years old. This list could be filled with X100 cameras—in fact, I debated if the X100F should have been placed in the #6 or #7 positions (it was a tough cut). The X100V is the fifth iteration—the X-Trans IV version—and served as my “desert island” camera until the introduction of the X100VI earlier this year.

I love the X100V because it is small and lightweight, and has great features like a built-in ND filter and leaf shutter plus a fill-flash that just seems to work perfect. For a fixed-lens camera, it is surprisingly versatile. I don’t travel without an X100 model. It’s no wonder why the X100V was the camera to have in 2023 (although few could get it); in 2024, it’s still an excellent choice. And it might be easier to find than an X100VI.

#3: Fujifilm X-T5

The X-T5 is Fujifilm’s flagship SLR-styled traditional tactile control model. If you want the best, look no further—it’s the cream of the crop: IBIS, 40mp, weather-sealing, dual SD-card slots, etc., etc.. The X-T5 is notably smaller and lighter than the X-T4. It’s such a great camera, there’s not much negative that can be said about it. This camera could very easily be #1 on this list, and on paper it should be.

While the Fujifilm X-T5 is technically a great camera, and it did slim down compared to its predecessor, it’s more camera than I need much of the time. Because of this, I will often choose a different model, including technically inferior options like the X-E4. Sometimes data sheets and spec charts don’t tell the full story. You don’t always need a fully loaded Land Cruiser, sometimes a Camry will get you there more efficiently; still, sometimes you need the Land Cruiser.

#2: Fujifilm X-T50

The X-T50 is an X-T5, but without weather-sealing, with only one SD-card slot, with a Film Dial instead of an ISO Dial, a lower resolution-EVF, the old battery, in a smaller and lighter body, and a little cheaper. Technically speaking, the X-T5 is superior, but, over the summer, I used an X-T50 far more than an X-T5. Between the two, most of the time I chose the X-T50.

The X-T30 II is in the same series as the X-T50; however, Fujifilm says that the X-T50 is not the X-T30 II’s successor. The X-T50 is closely related and similar, but is not the X-T30 II’s replacement, as they are currently manufacturing both models. The X-T30 II is a better value (and I almost placed it at #7); overall, the X-T50 is the better camera of the two. For those wanting to get into the Fujifilm system, the X-T50 is my top recommendation, but the X-T30 II isn’t far behind.

#1: Fujifilm X100VI

I love the Fujifilm X100V, and the X100VI is even better! It is my “desert island” camera, which is to say that if I could choose only one model to use for the rest of my life, it would be this one. It is my absolute favorite photography tool, and it gets a lot of use. In my opinion, this is Fujifilm’s best camera.

The Fujifilm X100VI is by far the most preordered camera by any brand in history. We’re over six months since it was announced, and some people who preordered on Day 1 are still waiting for their camera to arrive, and some have been told that it might be closer to Christmas. There were more preorders for the X100VI than there were X100V’s manufactured over its four-year production life. Fujifilm is assembling far more X100VI’s each month than they did the X100V, yet they still can’t even make enough to fulfill the orders that were placed back in February. This is the most viral camera ever, and if the hype continues (and it might), the X100VI could potentially end up as the most-sold model of all time by any brand. If you didn’t order one right away when it was announced, you may have to wait a long time to get one.

Some of you may have noticed that both the X-H2 and X-H2s, which are Fujifilm’s top-tier flagship models, did not make this list. Nor did the very capable X-S20. The reason is very simple: those are PASM models, and I don’t care much for PASM, personally. Those cameras are intended to give the most Canikony-like experience of any Fujifilm models; if you are coming from a Canikony brand, those models are going to feel more familiar to you. I never appreciated the (modern) Canikony approach, so I’m very much drawn to the traditional tactile controls that Fujifilm is known for. Fujifilm offers a unique experience in the camera world, which is one of the big reasons why I love Fujifilm, and that unique experience is found on each of the seven models in my list. While some might see it as merely “retro” (which it is), to me its preferable. It’s better—much better, in fact. You may or may not agree with that, and that’s fine—different strokes for different folks—I’m just explaining why those particular models didn’t crack my list.

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

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 X-T5 in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-T5 in silver:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X100VI in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X100VI in silver:
Amazon, B&H, Moment, Wex, Nuzira

San Diego was Epic — Nashville & Philadelphia are next!!

Posted on August 12, 2024 by Ritchie Roesch

*Architecture Archway* – San Diego, CA – Fujifilm X-T50 – Pacific Blues Recipe

The Film Simulation Summer Photowalk in San Diego was epic… even if it got off to a rocky start. You see, the photowalk was at Balboa Park, which is typically a popular place, and parking can normally be somewhat challenging; however, the San Diego Zoo, which is also in Balboa Park, just so happened to get some Giant Pandas from China the day before, creating a panda-monium. Needless to say, parking was a nightmare!

Even so, somewhere around 60 photographers came out to the event, which is a very large group. A number of people showed up late (due to the parking situation), so it was impossible to get an accurate head count. I bet more would have been there had the parking situation been better, so I apologize to everyone who tried to come but just couldn’t find parking. Once we got going, it was a lot of fun, and I think everyone had a good time. It was great to meet everyone and talk cameras and photograph with you all. Thanks so much to everyone who braved the parking situation and came out for the photowalk—you made it epic!

*Tom* – San Diego, CA – Fujifilm X-T50 – Pacific Blues Recipe

This was a collaborative effort. It took a lot of people to pull it off. I want to shout-out Tom Baumgaertel (bewaremyfuji) who co-lead the photowalk. Tom is amazing! It was great to hang with him for the day. Thanks to Fujifilm for all the behind-the-scenes work, and also helping out during the walk. Thank you to Nelson’s Photo & Video for being a big part of it. I don’t know how many individuals it took to make this photowalk happen, but it was a lot!

Next up is Nashville on August 15th, which is this coming Thursday. There are only a few slots left, so be sure to register (click here) if you haven’t done so yet. Philadelphia is two days later on August 17th, and it is completely booked. If you are attending one of those photowalks, I will see you very soon!

Below are some photos from the San Diego photowalk that I captured on a Fujifilm X-T50:

*Fujifilm X-T50 + Fujinon 27mm f/2.8 + Pacific Blues Recipe*

Below are some photos from the San Diego photowalk that Amanda captured on a Fujifilm X-T5:

*Fujifilm X-T5 + Fujinon 56mm f/1.2 + Pacific Blues Recipe – by Amanda Roesch*

1960 Chrome — Fujifilm X-T5 (X-Trans V) & X-E4 (X-Trans IV) Film Simulation Recipe

Posted on July 15, 2024 by Ritchie Roesch

*Bell Tower* – Tumacacori, AZ – Fujifilm X-T5 – 1960 Chrome

This Film Simulation Recipe was created at the same time as Classic Color, Nostalgic Americana, Eterna Summer, and Astia Azure. These five Recipes were intended to work well together—could all be used in a single series or project—however, 1960 Chrome is the largest outlier of the group. It uses the Eterna Bleach Bypass film simulation, which has high contrast and low saturation, with a slight reddish tint.

The inspiration for 1960 Chrome came from several photographs in various vintage issues of Arizona Highways magazine from the 1960’s. While sometimes the publication provided detailed information on the photographs, sometimes they did not; from the instances where information was provided, the film used appears to be Ektachrome, perhaps from the 1950’s—likely E2 or E3 process. I’m sure the printing process and the age of the magazine play a significant role in the aesthetic as it appears today. In any event, this Recipe has a strong vintage color film aesthetic.

*Lake Bridges* – Tempe, AZ – Fujifilm X-E4 – 1960 Chrome

This 1960 Chrome Film Simulation Recipe is compatible with all fifth-generation X-Trans cameras, which (as of this writing) are the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50, as well as “newer” X-Trans IV models—specifically, the X-T4, X-S10, X-E4, and X-T30 II. I’m sure it can be used on several GFX cameras, but will likely render slightly different (try it anyway). For X-Trans V, set Color Chrome FX Blue to Off, and for X-Trans IV set Color Chrome FX Blue to Weak.

Film Simulation: Eterna Bleach Bypass
Dynamic Range: DR400
Grain Effect: Strong, Large
Color Chrome Effect: Strong
Color Chrome FX Blue: Off (X-Trans V); Weak (X-Trans IV)
White Balance: Fluorescent 1, -2 Red & -4 Blue
Highlight: -2
Shadow: -1
Color: +2
Sharpness: -1
High ISO NR: -4
Clarity: -2
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs captured by my son, Jonathan, using this 1960 Chrome Film Simulation Recipe on a Fujifilm X-E4:

*The Canal* – Scottsdale, AZ – Fujifilm X-E4

*Pipe Bridge* – Scottsdale, AZ – Fujifilm X-E4

*Hot Wheels* – Scottsdale, AZ – Fujifilm X-E4

*Yellow Porsche* – Scottsdale, AZ – Fujifilm X-E4

*The Cross(walk) Roads* – Scottsdale, AZ – Fujifilm X-E4

*The Lamp in the Tree* – Scottsdale, AZ – Fujifilm X-E4

*Gunslingin’ Martian* – Scottsdale, AZ – Fujifilm X-E4

*Strip Mall* – Scottsdale, AZ – Fujifilm X-E4

*The Back Rooms* – Scottsdale, AZ – Fujifilm X-E4

*Los Musicos* – Scottsdale, AZ – Fujifilm X-E4

*Tiled Ball* – Scottsdale, AZ – Fujifilm X-E4

*Phantom of Scottsdale* – Scottsdale, AZ – Fujifilm X-E4

Example photographs, all camera-made JPEGs captured using this 1960 Chrome Film Simulation Recipe on my Fujifilm X-T5:

*Yellow House, White Window* – Bisbee, AZ – Fujifilm X-T5

*Abandoned House & Palm Tree* – Arlington, AZ – Fujifilm X-T5

*Abandoned Mall Sign* – Casa Grande, AZ – Fujifilm X-T5

*Gas & Grocery* – Casa Grande, AZ – Fujifilm X-T5

*Old Hoop* – Arlington, AZ – Fujifilm X-T5

*Mission Gate* – Tumacacori, AZ – Fujifilm X-T5

*Bell & Cross* – Tumacacori, AZ – Fujifilm X-T5

*Shack on the Hill* – Tucson, AZ – Fujifilm X-T5

*Deer on the Rocks* – Saguaro NP, AZ – Fujifilm X-T5

*Palo Verde in the Rocks* – Saguaro NP, AZ – Fujifilm X-T5

*Tilted Saguaro* – Tucson, AZ – Fujifilm X-T5

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

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

Find this Film Simulation Recipe and over 350 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Flashing Cactus — Using a Godox Lux Master in the Desert

Posted on June 11, 2024 by Ritchie Roesch

I really like Godox flashes. They’re good quality, easy to use, oftentimes retro styled, reasonably priced, and fun to use. The Godox Lux Junior is my personal favorite mainly because it is compact and lightweight. I also like the Godox Lux Cadet; it’s also fairly small and light. Either one of those are fun to use, but I’m not really a flash-photography guy, so I only occasionally utilize them.

I paid for my Lux Junior out of my own pocket, and wrote briefly about that flash in Getting that ’90’s Film Look with Fujifilm Cameras. Perhaps because of that, Godox sent me a Lux Cadet, which I discussed at length in Using a Godox Lux Cadet for a ’90’s Film Look. More recently, Godox asked if I’d be interested in trying the Lux Master. I said sure; however, I probably should have researched a little before agreeing. Anyway, the flash arrived, and I was a little surprised by the size of the box. The Lux Master is neither compact nor lightweight!

Of course, that doesn’t mean it’s not good, because the Lux Master is definitely a pro-level flash (and only $250, which seems like a bargain for what it is). If you are an event, wedding, or portrait photographer and do flash photography, the Lux Master is one to strongly consider. Or, put on a fedora hat with a paper containing the word PRESS on it, and you could be an old-fashioned photo journalist. I don’t have anything negative to say about the Lux Master, other than it’s a little too much for my photography. I’d use a Lux Junior or Lux Cadet over the Lux Master any day of the week, personally, just because those suit me better (mainly, the size and weight). But, there are some people who need a bit more, and that’s where the bigger flash comes into play. If you need a pro-level flash that is retro cool and affordable, the Lux Master should be high on your list.

There are two main ways that I use an external flash with my photography. With the X100-series I sometimes use the built-in flash for daylight fill, but for the Godox flashes I use them either to get a retro ’90’s look (for lack of a better description… essentially, Film Simulation Recipes combined with flash) and/or creatively use shutter drag (slow shutter speed with intentional movement combined with flash). That’s how I typically use the Lux Junior and Lux Cadet, and how I initially was using the Lux Master.

*Fujifilm X-T5 + Fujinon 56mm f/1.2 + Godox Lux Master flash*

But then I decided I’ve probably covered that topic enough, and maybe you’d like to see something else. So I waited until sunset, grabbed my Fujifilm X-T5 with the Godox Lux Master attached, and headed out into the desert. How about some cacti photographi? (BTW, that spelling error was intentional). I live in the desert and photograph cactus regularly, but not often when combined with a flash. I did this after-sunset desert trek a few different times, and came away with a few good pictures.

Obviously there’s a pretty significant difference between after-sunset photography with and without a flash. How bright the flash is set, how close the subject is to the camera, and the exact light situation will all affect the outcome. I don’t know if I came away with any good tips to pass along, other than try and try again. For a lot of images, finding the right flash and camera settings often took three or four or five tries, sometimes more. It was a fun little project to do, and I think the experimental nature of it (for me, anyway, since it’s not something that I normally do) was somehow both therapeutic and thrilling. Even if you don’t do much flash photography, something like the Lux Master could be a good training tool to help improve your photography. Or it could be just for fun.

The photographs below are all camera-made JPEGs captured with a Fujifilm X-T5 + Fujinon 56mm f/1.2 lens + Nostalgic Americana Film Simulation Recipe + Godox Lux Master flash:

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

Fujifilm X-T5 in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-T5 in silver:
Amazon, B&H, Moment, Wex, Nuzira
Fujinon 56mm f/1.2 R WR:
Amazon, B&H, Wex, Nuzira
Godox Lux Cadet:
Amazon, B&H
Godox Lux Junior:
Amazon, B&H, Wex
Godox Lux Master:
Amazon, B&H

Vintage Cinema — Fujifilm X-T5 (X-Trans V) Film Simulation Recipe

Posted on June 7, 2024 by Ritchie Roesch

*Glimpse of a Fleeting Memory* – Gilbert, AZ – Fujifilm X-T5 – “Vintage Cinema”

Awhile back I binge-watched a number of classic movies from the 1950’s, and I was really inspired by their picture aesthetics. After some research, I discovered that Kodak ECN 5248 25T motion picture film was used in several of these flicks. The problem, of course, with trying to replicate the look of a motion picture film stock is that not only is the aesthetic dependent on the usual factors of how shot and developed, but also on the lighting and filters used, which can be different movie-to-movie and even scene-to-scene. Instead of attempting to mimic the look of any particular movie or cinema film stock, I wanted to create a certain feel or mood—a “memory color” reminiscent of color movies from the 1950’s.

This Vintage Cinema Film Simulation Recipe was a Fuji X Weekly App Patron Early-Access Recipe, but now it’s been replaced by a different Early-Access Recipe, making this one available to everyone. Those who are App Patrons have had access to it for some time now.

*Ball on a Wall* – Buckeye, AZ – Fujifilm X-T5 – “Vintage Cinema”

The Vintage Cinema Film Simulation Recipe is compatible with the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50. I assume that those with the latest GFX cameras can also use this Recipe, but that it will render slightly different—I have not tested it to know for certain. This Recipe is best for sunny daylight conditions, and seems especially well-suited for golden hour photography, but can sometimes produce interesting results in cloudy, shade, and indoor situations, too. I believe this Recipe would pair especially well with vintage lenses and probably diffusion filters, but for these pictures I used Fujinon lenses, including the 27mm f/2.8, 35mm f/2, 90mm f/2, and 100-400mm, without any filters.

Film Simulation: Nostalgic Neg.
Dynamic Range: DR400
Grain Effect: Strong, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Off
White Balance: 4900K, +3 Red & +3 Blue
Highlight: +3
Shadow: -2
Color: -1
Sharpness: -2
High ISO NR: -4
Clarity: -4
ISO: Auto, up to ISO 6400
Exposure Compensation: -1/3 to -2 (typically)

Example photographs, all camera-made JPEGs using this Vintage Cinema Film Simulation Recipe on my Fujifilm X-T5 and X100VI:

*Birds of a Feather* – Gilbert, AZ – Fujifilm X-T5

*Flipped Reflection* – Gilbert, AZ – Fujifilm X-T5

*Three Ducks in a Lake* – Gilbert, AZ – Fujifilm X-T5

*We All Live There* – Anaheim, CA – Fujifilm X100VI

*It’s Corn* – Anaheim, CA – Fujifilm X100VI

*Bougainvillea Blooms & Blue* – Buckeye, AZ – Fujifilm X-T5

*Bougainvillea Beams* – Buckeye, AZ – Fujifilm X-T5 – Photo by Jonathan Roesch

*Side Gate Cracked Open* – Buckeye, AZ – Fujifilm X-T5

*Bougainvillea Bush in Bloom* – Buckeye, AZ – Fujifilm X-T5

*Hanging Bougainvillea Blossom* – Buckeye, AZ – Fujifilm X-T5

*Desert Bunny* – Gilbert, AZ – Fujifilm X-T5

*Jo on a Dirt Path* – Gilbert, AZ – Fujifilm X-T5

*Jo on the Patio* – Buckeye, AZ – Fujifilm X-T5

*Late Autumn Yellow* – Buckeye, AZ – Fujifilm X-T5

*Leafless Tree* – Buckeye, AZ – Fujifilm X-T5 – Photo by Jonathan Roesch

*Do Not Enter When Flooded* – Buckeye, AZ – Fujifilm X-T5 – Photo by Jonathan Roesch

*Dry Leaves on a Patio Chair* – Buckeye, AZ – Fujifilm X-T5

*Pruner & Gloves* – Buckeye, AZ – Fujifilm X-T5

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

Fujifilm X100VI in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X100VI in silver:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-T5 in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-T5 in silver:
Amazon, B&H, Moment, Wex, Nuzira

Find this Film Simulation Recipe and over 350 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Nostalgic Americana — Fujifilm X-T5 (X-Trans V) Film Simulation Recipe

Posted on April 29, 2024 by Ritchie Roesch

*On Top of a Desert Hill* – Tucson, AZ – Fujifilm X-T5 – Nostalgic Americana

If you are a Fuji X Weekly regular, you probably know that I like to read vintage issues of Arizona Highways. For those unfamiliar, Arizona Highways is a photo-centric magazine that has been around for a hundred years. Many decades ago, Ansel Adams was a regular contributor, as were Barry Goldwater, Ray Manley, Chuck Abbott, Ester Henderson, David and Josef Muench, and Ed Ellinger, among many others. It’s a great resource for photographic inspiration!

I have a stack of these magazines in my office that I like to browse from time-to-time. This particular Film Simulation Recipe was influenced by many different pictures found in the pages of Arizona Highways issues from the 1960’s and ’70’s. This was during the American New Color movement. Sometimes extensive details were given about the photographs in the magazine, and sometimes not much at all; the pictures that inspired this Recipe were likely captured on first and second era Kodachrome, as well as E3 and E4 Ektachrome. I believe the printing process, as well as the aging of the magazines, play a roll in the aesthetic. This Nostalgic Americana Film Simulation Recipe replicates the look of those pictures, and produces an obvious retro rendering.

*Old Yellow Truck* – Bisbee, AZ – Fujifilm X-T5 – Nostalgic Americana

Because this Nostalgic Americana Recipe uses the Nostalgic Neg. film simulation, it is only compatible with fifth-generation X-Trans models, which (as of this writing) are the Fujifilm X-H2s, X-H2, X-T5, X-S20, and X100VI. I’m sure it can also be used with newer GFX models, but I’ve not tested it, and it will likely render very slightly differently (try it anyway, though). Nostalgic Americana works best in sunny daylight situations.

Film Simulation: Nostalgic Neg.
Dynamic Range: DR200
Grain Effect: Strong, Large
Color Chrome Effect: Strong
Color Chrome FX Blue: Off
White Balance: 5800K, -2 Red & -4 Blue
Highlight: -1
Shadow: -1.5
Color: -2
Sharpness: -2
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 Nostalgic Americana Film Simulation Recipe on my Fujifilm X-T5:

*White Brick* – Bisbee, AZ – Fujifilm X-T5

*White Dome* – Tumacacori, AZ – Fujifilm X-T5

*Old Spanish Mission* – Tumacacori, AZ – Fujifilm X-T5

*Horses on Allen Street* – Tombstone, AZ – Fujifilm X-T5

*Studebaker Bells* – Bisbee, AZ – Fujifilm X-T5

*No Parking Vines* – Bisbee, AZ – Fujifilm X-T5

*The Road is Closed* – Bisbee, AZ – Fujifilm X-T5

*No Parking Garage* – Bisbee, AZ – Fujifilm X-T5

*Various Textures* – Bisbee, AZ – Fujifilm X-T5

*Reaching Down* – Bisbee, AZ – Fujifilm X-T5

*Fake Flowers in a Window Box* – Bisbee, AZ – Fujifilm X-T5

*Star Spangled Dress* – Buckeye, AZ – Fujifilm X-T5

*Final Sale* – Buckeye, AZ – Fujifilm X-T5

*Mustang* – Tombstone, AZ – Fujifilm X-T5

*Se Renta Especio* – Buckeye, AZ – Fujifilm X-T5

*Space for Rent* – Buckeye, AZ – Fujifilm X-T5

*Restrooms* – Casa Grande, AZ – Fujifilm X-T5

*Mule Pass Tunnel* – Bisbee, AZ – Fujifilm X-T5

*Hall’s Trailer* – Arlington, AZ – Fujifilm X-T5

*Sign for Abandoned Mall* – Casa Grande, AZ – Fujifilm X-T5

*Caution: Desert Ahead* – Litchfield Park, AZ – Fujifilm X-T5

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

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

Find this Film Simulation Recipe and nearly 350 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Classic Color — Fujifilm X-T5 (X-Trans V) and X-E4 (X-Trans IV) Film Simulation Recipe

Posted on April 22, 2024 by Ritchie Roesch

*Bell Tower* – Tumacacori, AZ – Fujifilm X-T5 – Classic Color

This Film Simulation Recipe has a fascinating story behind it… but I can’t get into all of the details of it yet. When the time is right, I will explaining everything to you. What I can say in the meantime is that I was hired to capture some photos, and to use a Film Simulation Recipe for those images, but the Recipe name shouldn’t include a brand name. Ideally for this project, because of the subject matter and light, I would have chosen my Kodak Portra 400 v2 Film Simulation Recipe, but I couldn’t because of the name of the Recipe. Instead, I created a very similar look, with an attempt to fine-tune it slightly for this specific project.

The aesthetic of this Classic Color Film Simulation Recipe is bright and warm, with a Kodak-like color negative film rendering. It could be thought of as Kodak Portra 400 v3, as it has a strong Portra 400 resemblance, perhaps more similar to the old Portra 400 VC that was discontinued in 2010. This Recipe is best for sunny daylight situations, but it can sometimes produce good results in other light scenarios, too.

*Birds on the Lake* – Tempe, AZ – Fujifilm X-E4 – Classic Color

This Classic Color Film Simulation Recipe is compatible with all fifth-generation X-Trans cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, and X100VI, as well as “newer” fourth-generation X-Trans models: X-T4, X-S10, X-E4, and X-T30 II. Just make sure that you are using the correct Color Chrome FX Blue setting for your camera. I’m sure it can also be used on newer GFX cameras, too, but I have not personally tried, and I’m certain that it will render slightly different (but try it anyway).

Film Simulation: Classic Chrome
Dynamic Range: DR400
Grain Effect: Strong, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Strong (X-Trans IV), Weak (X-Trans V)
White Balance: 5300K, 0 Red & -6 Blue
Highlight: -0.5
Shadow: -2
Color: +3
Sharpness: -2
High ISO NR: -4
Clarity: -2
ISO: Auto, up to ISO 6400
Exposure Compensation: 0 to +1 (typically)

Example photographs, all camera-made JPEGs captured using this Classic Color Film Simulation Recipe on my Fujifilm X-E4:

*Gen Reflection* – Tempe, AZ – Fujifilm X-E4

*Water Under the Bridges* – Tempe, AZ – Fujifilm X-E4

*Tempe Lake* – Tempe, AZ – Fujifilm X-E4

*Reflected Sunset* – Tempe, AZ – Fujifilm X-E4

*Dam Sunset* – Tempe, AZ – Fujifilm X-E4

*Pedestrian Bridge* – Tempe, AZ – Fujifilm X-E4

*Spirited Away* – Tempe, AZ – Fujifilm X-E4

*Mirrored Night* – Tempe, AZ – Fujifilm X-E4

*Juggling Fire* – Tempe, AZ – Fujifilm X-E4

Example photographs, all camera-made JPEGs captured using this Classic Color Film Simulation Recipe on my Fujifilm X-T5 & X100VI:

*Sign on the Roof* – Gila Bend, AZ – Fujifilm X100VI

*Abandoned Filling Station* – Gila Bend, AZ – Fujifilm X-T5

*Unleaded Cash* – Gila Bend, AZ – Fujifilm X-T5

*Half Moon* – Tumacacori, AZ – Fujifilm X-T5

*Cross on a Dome* Tumacacori, AZ – Fujifilm X-T5

*Cross & Bell* Tumacacori, AZ – Fujifilm X-T5

*Church Steeple* – Bisbee, AZ – Fujifilm X-T5

*Old Industrial Lamp* – Palo Verde, AZ – Fujifilm X-T5

*Abandoned Window* – Arlington, AZ – Fujifilm X-T5

*Dilapidated Agricultural Structure* – Palo Verde, AZ – Fujifilm X-T5

*Cow & Reflection* – Mesa, AZ – Fujifilm X-T5

*Rock Reflected in the River* – Mesa, AZ – Fujifilm X-T5

*Stones in the Water* – Mesa, AZ – Fujifilm X-T5

*Yellow Flowers on the Rocks* – Saguaro National Park, AZ – Fujifilm X-T5

*Leaning Saguaro in the Desert* – Tucson, AZ – Fujifilm X-T5

*Yellow Flowers, White Fence* – Tumacacori, AZ – Fujifilm X-T5

*Hall’s* – Arlington, AZ – Fujifilm X-T5

*End of the Road?* – Litchfield Park, AZ – Fujifilm X-T5

*Music Box* – Bisbee, AZ – Fujifilm X-T5

*Lightning Strike* – Goodyear, AZ – Fujifilm X-T5

Comparison:

*Kodak Portra 400 v2 Film Simulation Recipe*

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

Find this Film Simulation Recipe and nearly 350 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.