Fujifilm X-T50 | FUJI X WEEKLY

Has Fujifilm Regained its Soul?

*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.

Most ideal Film Dial ideas

Posted on October 20 by Ritchie Roesch

I just got back into town from an epic 10-day trip. I’ve been up since 1:30 AM, so I apologize for the typos that will inevitably be found in this article. This is a followup to my last post, which I wanted to write while traveling, but it just didn’t work out. The basic premise of this is simple: if I were to design the ultimate Film Dial for Fujifilm, what would that look like?

Fujifilm introduced the Film Dial on the X-T50 about a year-and-a-half ago. They included one on the X-M5. The upcoming X-T30 III will apparently have one, too. The Fujifilm X-E5 also has one, although implemented slightly differently. It’s safe to say that the Film Dial is sticking around for awhile, and for good reason: it places one of Fujifilm’s most important and beloved features in a highly visible and easily accessible position on the camera. The initial implementation of it is good, but certainly not perfect. There’s room for improvement, and I believe Fujifilm is working towards that. As they make it better, don’t be surprised to find it on more and more models in the future.

Going forward, I believe there will be two variations of the Film Dial: knob and wheel. The knob version is found on the X-T50, X-M5, and the upcoming X-T30 III; the wheel version is currently only on the X-E5, but it could be included on the eventual X-Pro3 successor, as well as the someday X100VII. They’re similar, but not identical—the knob version has eight Film Simulations (plus three custom slots, as well as “C” which is Off), while the wheel version has only six Film Sims. The wheel Film Dial has the ability to save Recipes into FS1/FS2/FS3, and hopefully that functionality comes to the knob version at some point.

*Fujifilm X-E5 & 23mm f/2.8 – Great Smoky Mountains NP, TN – Velvia Film (Film Dial Recipe)*

Whether we’re talking about the knob or wheel Film Dial, very simply it could be made much better. Perhaps this is something Fujifilm will consider for X-Trans VI, which will likely debut next year. The Film Dial should have the ability to save Film Simulation Recipes for each Film Simulation, and not just FS1/FS2/FS3. Undoubtedly, it can be done. It could even be done retroactively for the X-T50, X-M5, X-E5, and X-T30 III via a firmware update, probably somewhat easily.

For the most ideal setup, though, I would take it a step further. Each Film Simulation should have the ability to store up to three Recipes. You could program three different Velvia Recipes into the Velvia slot, for example. To select which one of the three you want would be via a switch, maybe around the knob (for the knob version) or on the back of the camera (for the wheel version). It would have Recipe 1, 2, 3, Off as the options. Recipe Off would simply mean that the Film Dial would function as it does now, where it changes the Film Simulation and nothing else. Whatever JPEG parameters are programmed into the IQ Menu set is what it would default to, aside from (of course) the Film Simulation. Recipe 1, 2, 3 would be which of the three Recipes you want to use. If a Recipe hasn’t been programmed into that slot, the camera would prompt you to add one. These Recipes should have the ability of a custom name, so you can remember which is which.

FS1/FS2/FS3 would no longer need to take up three positions on the Film Dial; instead, you’d have FS-C, and the Recipe 1, 2, 3 switch would determine which FS1/FS2/FS3 you have selected (Recipe Off with FS-C selected would default to whichever Film Simulation you have set it to be within the camera’s menu). Also, the C position would no longer be necessary, opening up three Film Dial positions for Film Simulations that were previously left out. For the knob version, that might be PRO Neg (selecting either Hi or Std from within the menu), Eterna Bleach Bypass, and Monochrome; for the wheel version, it would likely be PRO Neg (again, selecting either Hi or Std from within the menu), Classic Negative, and Nostalgic Neg..

*Fujifilm X-E5 & 23mm f/2.8 – Great Smoky Mountains NP, TN – Kodak Pro 400*

Since this setup would allow users to program up to 30 Recipes on the wheel Film Dial, and up to 36 Recipes on the knob Film Dial, Custom Settings presets (C1-C7 on most cameras, C1-C6 on some, and C1-C4 on others) would no longer be necessary for Recipes. In other words, Fujifilm should not include the IQ Menu options within Custom Settings presets. You’d still have C1-C7, for example, but it would be focus settings and sound settings and things like that, and not Recipe settings. This would solve an issue that a lot of people have vocalized about how Custom Presets currently work, while also greatly increasing the number of Recipes that can be programmed into the camera at any one time. It’s a big win-win.

There are a few other things that Fujifilm should do. First, when it comes to Acros and Monochrome, there needs to be a way to switch between the +Ye, +R, and +G filter options quickly and easily when using the Film Dial. Maybe a customizable Fn button? Second, the camera should come factory-default with Recipes programmed into the Recipe 1 position for all of the Film Simulations (except, perhaps, for FS1). It could be Recipes that Fujifilm themselves have created, or they could tap into the community for this (I’d be happy to help). Lastly, there should be a way to transfer Recipes directly from your phone to the camera (again, I’d be happy to help).

That’s how I believe the Film Dial should most ideally be implemented. It would greatly increase the number of potential Recipes available in-camera, and it would solve a menu problem that many have complained about. Not everyone will love it (particularly the anti-Film Sim, RAW-only, JPEG-never types), but I’m confident that most people will appreciate it, and it would certainly be a major selling point for whichever cameras have the Film Dial.

The Film Dial is Awesome

Posted on October 9 by Ritchie Roesch

Fujifilm’s Film Dial is probably the third most controversial design decision from the brand. First is the entirety of the X half camera, which has a vertically orientated sensor and frame advance lever. Second is the backwards-mounted rear LCD on the X-Pro3. Unlike the other controversies, the Film Dial is not just found on one model, but three (soon to be four) with certainly more to come in the future. With these contentious features, it’s understandable that people have mixed reactions.

Some people love the Film Dial. Some people could take-it-or-leave-it and its inclusion or exclusion is unimportant. Some people don’t mind it, but would prefer a different dial instead. And some people just loathe it.

Fujifilm had sent me an X-T50 to try out prior to its announcement. I didn’t know what the Film Dial was—it looked cool, but how do you use it? Initially, I didn’t really like it. I shoot with Film Simulation Recipes, and most Recipes work well with one specific Film Simulation and not nearly as well with others. Since the Film Dial (except on the X-E5… we’ll get to that later) only changes the Film Simulation and nothing else, it seemed like a useless feature to my photography. But then I had an epiphany: what if there was a “universal” Recipe or two, which was specifically designed for use with any and all Film Simulations? The Film Dial would become an important tool for maximizing in-camera picture aesthetics. So I went from disliking it to loving it rather quickly.

I think some of the criticisms are valid. Is a Film Dial more useful than a Drive Dial or ISO Dial? Fujifilm has never replaced an ISO Dial with a Film Dial, and I hope they never do. Complaining that a Film Dial was implemented instead of an ISO Dial is a little silly since the camera lines in question never had an ISO Dial in the first place. Still, of the two potential knobs, many people would prefer ISO over Film Simulation, and perhaps that is something Fujifilm should take into consideration. Fujifilm has replaced the Drive Dial with the Film Dial, and, for those who commonly use the Drive Dial, I can see how that might be annoying. Instead of a knob on top, Drive is now a button like on the X-E, X100, and X-Pro series. Most ideal might be to use a dual knob like the ISO/Drive dial on the X-T series (except Film Simulations instead of ISO), but Fujifilm hasn’t tried that yet—who knows, they might at some point. I don’t think this is a big deal for most people, but it is understandable. There was a similar sentiment when the four-way D-Pad was removed on most models, and it turned out that the majority acclimated without much heartache. My guess is that the lack of a Drive Knob on certain models will prove to be rather trivial in the long run.

*Union Station* – Denver, CO – Fujifilm X-T50 – Classic Negative + Film Dial Recipe

The majority of complaints are from the loathers. They really hate the Film Dial and don’t even want to see it when they look at their camera. It bothers them deeply. Some even claim that they’ll leave the brand over its inclusion. It’s like kryptonite or something. I find this very, very strange. It’s weird. The main issue seems to be that the Film Dial is something they’d never, ever use. They dislike Film Simulations so much that they don’t want anyone to even think that they might (gasp!) use one. Of course the irony is that, outside of some drastic measures, they’re using one: Provia. That’s how their camera sees the world, and where their RAW edits begin. Yes, they can manipulate the files any which way and make any number of unique adjustments, but you have to admit that using Provia has at least a small influence over the final edited photo. Almost all of the Film Simulation haters are using a Film Simulation if they shoot a Fujifilm camera, but they’re either ignorant to that fact or they’re fully aware and are just being dishonest.

For (nearly) the last 15 years, many people have been buying and using Fujifilm cameras without digging into the menus, and as such never ventured beyond the Provia/STD Film Simulation. I’ve had a number of people tell me this. They’ve owned many Fujifilm cameras over the years, and never bothered to change the various IQ Menu items like Film Simulation, Dynamic Range, Color, etc., etc., until recently. When people say that they don’t use Film Simulations, what they often mean is that they’ve never tried anything other than Provia. They don’t know what they’re missing, and perhaps they don’t realize that it can be beneficial to their photography.

For example, a strictly RAW photographer might dismiss Film Simulations (and only use Provia), but not realize that a different Film Simulation might help them to better pre-visualize the shot. Perhaps a different Film Simulation is a closer aesthetic match to their style, and seeing the scene in those colors might help them, and maybe even improve their photography. I know of several photographers—some fairly well known—that use Recipes for this purpose. They’re not JPEG photographers—they RAW edit, and a couple even sell Lightroom presets—but the Recipes help them to visualize the finished photo while in the field, which helps them produce better pictures. Those who dismiss Film Simulations forfeit this great tool.

There’s no right or wrong way to do photography. There’s no right or wrong way to use Film Simulations or Recipes (I’m surprised sometimes how people use Recipes, occasionally in very unexpected ways). Do what works best for you, whatever that is. If you only ever want to use Provia and factory-default IQ settings, that’s cool. I just don’t understand the disdain that some have for the other Film Sims, and (more importantly) for those who appreciate them. There shouldn’t be such hate. There are some buttons that I never use on some of my cameras, and I don’t look at those buttons with disgust or think less than of people who do use them—it would be ridiculous of me to do so. How silly and strange would that be! Yet there are people who do just that when it comes to the Film Dial, and are very open about it, plastering it across the internet.

*Level Flight* – Los Angeles, CA – Fujifilm X-E5 – Classic Negative + Film Dial Recipe

A long-time Fujifilm photographer told me recently that he never bothered with the various Film Simulations because he shoots RAW and didn’t see the point in trying them. Then he purchased a Fujifilm X-T50. Seeing the Film Dial on the top of the camera made him curious, so he began to try the different Film Sims, and he realized that he likes some more than Provia, especially Classic Negative. Eventually this led him to find Film Simulation Recipes, and he begun shooting JPEGs for the first time. He told me that none of this would have happened if the camera had a Drive Dial instead of a Film Dial. That’s why Fujifilm is putting one of their greatest assets—their amazing in-camera profiles—right on top of their cameras for all to see, and super convenient to use. It was such a great move by the brand.

The Film Dial isn’t perfect, though. First, the X-T50 and X-M5 (along with the upcoming X-T30 III) should have the ability to save Recipes into FS1, FS2, and FS3, just like the Fujifilm X-E5. I really hope Fujifilm does that. Second, why can’t all of the Film Simulations on the Film Dial have the ability to save Recipes? I should be able to program a Provia Recipe, a Velvia Recipe, an Astia Recipe, a Classic Chrome Recipe, etc., etc., into the various slots on the dial. That would be strongly welcomed by a large portion of Fujifilm’s customers. Third, Classic Negative was inexplicably left off the X-E5 Film Dial; I know that not every Film Simulation can make the cut, but Classic Negative should have been included. There’s room for improvement, and I think Fujifilm is working towards making it better.

Personally, I like the Film Dial and appreciate seeing it on more and more cameras. It can be quite useful, especially when paired with a “universal” Recipe. And it will only improve with time. Those who complain about the Film Dial, there’s validity to some of the criticisms and Fujifilm should ponder those; however, some criticisms are just plain silly. Those who say that it’s dumb or garbage or makes them feel sick or want to change brands—I just don’t get it. Nobody said that you have to use the Film Dial (simply keep it set to C), or even that you have to buy a camera with a Film Dial. Nobody is forcing you to do it. And the world doesn’t revolve around you, anyway. People use cameras in all sorts of ways, and all of those ways are valid. Fujifilm has no obligation to make a camera for your preferences and your preferences alone. To think otherwise is strange and narcissistic. The Film Dial is not kryptonite, and you’re not Superman. It can be a useful tool if you take a moment to figure out how to best utilize it for your photographic circumstances—even if you’re a strictly RAW shooter who dislikes Film Simulations, it can be used to your advantage. For the JPEG photographer, it adds significant straight-out-of-camera aesthetic versatility. In other words, the Film Dial is awesome! I think it’s quite smart for Fujifilm to prominently place it on particular cameras, like the X-T50, X-M5, and X-E5.

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

Posted on February 21 by Ritchie Roesch

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

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

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

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

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

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

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

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

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

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

OM-3 Thoughts

Posted on February 6 by Ritchie Roesch

I’ve had a couple of people ask me this morning for my opinions regarding the brand new Olympus—sorry, I mean OM System as they are now called—OM-3 camera, which was announced today. I don’t have a lot of strong thoughts about it, and I’ve never handled the camera nor seen it in person, so these opinions should be taken with a large grain of salt.

Micro-Four-Thirds (M43) sales have been on the decline for years. It’s a shrinking market and has been for awhile, but it’s not dead (yet, anyway). Olympus—err, OM System—has surprisingly strong sales in Japan, but not worldwide, where it’s largely a minor (and almost forgotten) footnote in today’s digital camera market. The OM-3 will surely help to bring more international attention to the brand and the format.

I don’t have any major issues with the camera itself. I think M43 hit a ceiling several years back, and there’s not a lot of room for growth. You see that in this camera, as it’s not especially innovative compared to their releases going back to 2019. This is not a suggestion that the camera isn’t good, only that the system needs some major technological innovation in order to break the ceiling it is currently pinned against. Right now, they seem to be leaning into AI for that, but I’m not sure if that’s going to do it.

The OM-3 is a bit large and expensive for what it is. This is a Fujifilm-centric blog, so I will make some quick apples-to-oranges comparisons to X-series models. It’s similarly sized to the Fujifilm X-T50, and just a smidge heavier—I think that’s the Fujifilm model the OM-3 is most similar to, although they are divergent enough not to directly compare. The OM-3 is better-looking, but (unfortunately, IMHO) with a dial format more similar to the X-S20, plus a swivel screen. The OM-3 is weather-sealed, and in that sense it could be compared to the X-T5. The stacked sensor will draw some comparisons to the X-H2s, while the price is the same as the X-H2. I think if OM System had been able to price it three or four hundred dollars less, it would be a bit more compelling. Perhaps the camera that the OM-3 will get compared to the most is not a Fujifilm model, but the Nikon Zf. It’s possible that Olympus views this more as a competitor to that camera, and less to any specific Fujifilm model.

For those with M43 cameras, the OM-3 must be a sight for sore eyes. Between both OM System and Panasonic, M43 has averaged only two camera releases per year for several years now, so new bodies are few-and-far between. The OM-3 is the best-looking M43 camera released in awhile. It’s basically a flagship model, so it has a lot of solid features. For those on the outside—who aren’t already in the M43 system—I’m not sure this camera is enough to draw you in, especially when there are options with larger sensors, more resolution, higher dynamic range, better high-ISO, smaller depth-of-field, etc., for the same or less money, and not much larger, if larger at all.

The advantages that M43 has over other sensor formats are size, weight, and price. The OM-3 doesn’t leverage any of those advantages, but if Olympus were to make a new PEN-F, that very well could be a big success because it would play to the advantages of the system. If I were them, I would do that before 2025 is over. I would also return to the Olympus brand name, as OM System just doesn’t have as good of a ring to it, nor does it hold any nostalgia (plus, I keep accidentally typing Olympus instead of OM System…), but I highly doubt that will happen.

Let me wrap this up. I wish OM System much success. I have nothing against them or the OM-3. I’m sure it is an excellent camera, and that those who buy it will be quite happy with their purchase. I don’t have any interest in the OM-3 personally because I love my Fujifilm cameras, and there’s nothing profound enough with this model to convince me to invest into a new system, especially one that is barely holding on. I think this camera will appeal the most to those who already own some M43 lenses.

Fujifilm X-T50 vs Fujifilm X-T30 — Dad vs Daughter — Or, the World’s Most Unfair Camera Comparison

Posted on November 12, 2024 by Ritchie Roesch

This article pits the Fujifilm X-T50 and Fujifilm X-T30 head-to-head on an autumn photowalk in Ann Arbor, Michigan. Just to warn you, this will likely be the most unfair camera comparison anywhere on the internet. Nonetheless, I hope that you find it worthwhile, or at least enjoyable.

Fujifilm introduced the X-T30 in February of 2019. It features a 26mp X-Trans IV sensor, and was Fujifilm’s mid-tier SLR-styled camera until it was replaced by the nearly identical X-T30 II in November of 2021. Fujifilm announced the X-T50 in May of this year. It features a 40mp X-Trans V sensor and IBIS, as well as the contentious Film Dial. While it is not the X-T30 II’s successor (I assume that means an X-T30 III is a possibility in the future), the two models are clearly in the same family. They are similar in size and design, but the X-T50 is slightly larger and heavier (to accommodate IBIS), with rounded corners and is more expensive. According to the spec sheets, the X-T50 is better in pretty much every aspect, but not necessarily by leaps and bounds. Overall, these two cameras are pretty similar for stills photography; however, for video, the X-T50 is the winner.

Above: Ann Arbor photowalk; photo by Dave Geffin using the Fujicolor PRO 160C Warm Recipe on a Fujifilm X-T50.

This last Saturday, Bryan Minear and I cohosted a photowalk in Ann Arbor in conjunction with PROCAM and Fujifilm. We had an excellent turnout: I counted 48 people, including myself and Bryan. The weather was nice—a nearly perfect crisp autumn morning—and the scenery beautiful. It was a massive success, and just a ton of fun. It was so great to meet those who came out!

One especially great aspect of this photowalk for me is that my seven-year-old daughter, Johanna, was able to join us. I gave her my Fujifilm X-T30 to photograph with, set with the Kodak Portra 400 v2 Film Simulation Recipe. I’ve let her use some of my old digicams before, but not a “nice” camera like the X-T30. I wasn’t sure how well she would do with it, but gave her a quick tutorial and let her have at it. Honestly, she stole the show.

Above left: Johanna with an X-T30, captured by me with an X-T50 using the Fujicolor PRO 160C Warm Recipe; Above right: me with an X-T50, captured by Bryan Minear with a GFX100S II.

I bet you can already see where this article is going. Yes, this totally unfair camera shootout is between myself with a Fujifilm X-T50 and Fujinon 27mm f/2.8 lens and my seven-year-old daughter with a Fujifilm X-T30 and TTArtisan 27mm f/2.8 lens. Even though I had the better gear, I had absolutely no chance of winning. Johanna—with an X-T30—won in a landslide. We’ll get to the pictures in just a moment.

The Fujifilm X-T30 has a few fewer film simulations and JPEG options than the X-T50, but it is still a very, very capable camera. Even in the hands of a child, it can capture excellent images. Between the two, I’ll grab the X-T50 every time; however, if I were trying to decide to buy an X-T50 or X-T30 II, that would be a much tougher decision—the X-T30 II is a better value, while the X-T50 is a little more capable. I don’t think you can go wrong either way. Between a used X-T30 and brand-new X-T30 II, I would lean towards the X-T30 II due to Classic Negative and other firmware upgrades.

Above, top-left: by Rickey White. Above, bottom-right: by Bryan Minear. Above, all others: by my wife, Amanda Roesch. Amanda used a Fujifilm X-T5 + Fujinon 56mm f/1.2 lens + Fujicolor Negative Recipe.

The reason why I declared Johanna the winner is because I’m her dad (she was always going to win… I never had a chance—all the dads out there understand), and also because young children are oftentimes good photographers. They are naturally curious and creative. They don’t think about all the “rules” and what they “shouldn’t” do; instead, they’re just having fun. Also, their perspective is so much different—quite literally, because they are smaller, but also figuratively—so it’s a completely different take from what most adults see—they notice things that others completely overlook. If you have a child, I definitely recommend allowing them to photograph with you sometimes. Don’t be afraid to let them borrow one of your cameras (I know, it’s a risk… my oldest son dropped and broke one of mine when he was little). Those experiences might be pivotal for them, and at the least it’s something you both will remember and cherish for many years.

Below are straight-out-of-camera JPEGs captured during the Ann Arbor photowalk by Johanna using a Fujifilm X-T30 and the Kodak Portra 400 v2 Recipe and by me using a Fujifilm X-T50 and the Film Dial Recipes.

Johanna’s Photos:

*Fujifilm X-T30 + TTArtisan 27mm f/2.8 + Kodak Portra 400 v2*

Ritchie’s Photos:

*Fujifilm X-T50 + Fujinon 27mm f/2.8 + Classic Negative (Superia Negative Recipe)*

*Fujifilm X-T50 + Fujinon 27mm f/2.8 + Classic Chrome (Kodak Film Recipe)*

*Fujifilm X-T50 + Fujinon 27mm f/2.8 + Reala Ace (Fujicolor PRO 160C Warm Recipe)*

*Fujifilm X-T50 + Fujinon 27mm f/2.8 + Nostalgic Neg. (Nostalgic Film Recipe)*

*Fujifilm X-T50 + Fujinon 27mm f/2.8 + Astia (Astia Summer Recipe)*

*Fujifilm X-T50 + Fujinon 27mm f/2.8 + Velvia (Velvia Film Recipe)*

*Fujifilm X-T50 + Fujinon 27mm f/2.8 + Acros+R (Neopan Negative Recipe)*

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

Fujifilm X-T30 II in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-T30 II in silver:
Amazon, B&H, Moment, Wex, Nuzira
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
TTArtisan 27mm f/2.8:
Amazon, B&H, Wex
Fujinon 27mm f/2.8:
Amazon, B&H, Moment, Wex,

Find these Film Simulation Recipes and many more on the Fuji X Weekly App!

The Fujifilm X-T50 Film Dial is Spookily Fun

Posted on November 4, 2024 by Ritchie Roesch

*Fujifilm X-T50 + Fujinon 56mm f/1.2 + Classic Negative (Superia Negative)*

The Film Dial, which was introduced on the Fujifilm X-T50 and is now also found on the Fujifilm X-M5, is a lot of fun. Some people don’t like it, and that’s ok. Not every camera is for everyone, and not every feature is for everyone. It’s one of Fujifilm’s most contentious features. Personally, I like the Film Dial—it’s very useful when combined with my universal Film Dial Recipe, but, perhaps more important, it’s enjoyable.

A few days ago was Halloween. My four kids dressed up, and we went to a nearby family member’s house to pass out candy and trick-or-treat. My oldest daughter was Wednesday from The Addams Family. My oldest son was Waldo. My youngest son was a Fortnight character. And my youngest daughter was Cinderella. We passed out candy before walking around the neighborhood. It was a ton of fun!

Since it was going to be dark—starting right at sunset and continuing into the night—I wanted to use a fast lens, so I borrowed my wife’s Fujinon 56mm f/1.2 (the new version). That’s one of my favorite lenses—it has such fantastic image quality—but since it’s not mine, I don’t always get to use it. I debated between cameras, but went for the Fujifilm X-T50 because it is more lightweight and compact than the X-T5, and has IBIS, which the X-E4 does not. For this particular purpose, it seemed Goldilocks.

I only used the Film Dial Recipe that night, and turned the knob to different film simulations depending on the light, subject, and situations. The great thing is that you get a real-time preview of what the picture will look like, so you can quickly change the film sim to better match the scene, and see what each will produce. I used Classic Negative the most, but also Classic Chrome, Reala Ace, Eterna, Nostalgic Neg., and Acros+R. It worked out really well for documenting our spooky Halloween celebration.

*Fujifilm X-T50 + Fujinon 56mm f/1.2 + Classic Chrome (Kodak Film)*

*Fujifilm X-T50 + Fujinon 56mm f/1.2 + Nostalgic Neg. (Nostalgic Film)*

*Fujifilm X-T50 + Fujinon 56mm f/1.2 + Reala Ace (Fujicolor PRO 160C Warm)*

*Fujifilm X-T50 + Fujinon 56mm f/1.2 + Eterna (Cinematic Film)*

*Fujifilm X-T50 + Fujinon 56mm f/1.2 + Acros+R (Neopan Negative)*

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

Film Dial. Pal2Tech. Infrared. And More!

Posted on October 12, 2024 by Ritchie Roesch

A couple days ago pal2tech posted a YouTube video explaining the Film Dial on the Fujifilm X-T50 (which, apparently, will also be found on the upcoming X-M5). To my surprise, Chris gave a very kind shoutout to Fuji X Weekly, and he even included a link to one of my YouTube videos in the description of his video. I’m really honored to be mentioned by Chris; I’m a big fan of pal2tech—it’s one of my favorite YouTube channels, and one that every Fujifilm photographer should subscribe to, in my humble opinion. If you haven’t seen his video, go ahead and give it watch.

The Film Dial is one of the most controversial design decisions Fujifilm has implemented, right up there with the X-Pro3’s backwards LCD screen. I actually really like the dial, personally. It’s a lot of fun to use, and adds versatility for the SOOC photographer. But not every camera is for everyone, and not every camera feature is for everyone, so it is understandable when some don’t like it; however, I think a lot of the negativity surrounding the Film Dial is simply a misunderstanding of how useful it can be.

*NAB Photowalk Group 3* – New York City, NY – Fujifilm X100VI – Nostalgic Americana

I was just at the NAB Show in New York City, because Fujifilm brought me out to lead three photowalks around Manhattan. Fujifilm loaned cameras to those on the photowalks, and some folks were handed a Fujifilm X-T50. Before beginning, I took a few moments to help set up these loaner cameras, and for those with the X-T50, I programmed my universal Film Dial Recipe, and explained how to use it.

As the photowalks were wrapping up, I asked those with an X-T50 what they thought of the Film Dial. One person answered that it was a lot of fun. Another said that they really liked it. Another showed me some images they captured with Eterna, a film simulation they had never tried before but now love. Only one person gave negative feedback, and their complaint is completely understandable.

Could the Film Dial have been implemented better? Absolutely! An easy way for Fujifilm to improve it would be to allow each film simulation to be customized into a Recipe. In other words, make it possible to custom set Highlight, Shadow, Color, White Balance, etc., etc., with each slot on the Film Dial. When the Film Dial is set to C, that’s when the C1-C7 presets would work. This could be done with a Firmware update someday in the future. Even though it’s not perfect, that doesn’t mean the Film Dial isn’t a fun and useful feature, because in its present state it very much is.

I’m looking forward to the Film Dial being included on more models. I think putting a much-loved feature of the camera front-and-center on the top plate is a smart move by Fujifilm. I’m also looking forward to seeing how it might evolve in the future, and possibly become even better.

*NY Photographer in IR* – New York City, NY – Fujifilm X-T4 ES – Aerochrome v2

In other news, while at the NAB Show, I spoke with someone at B&H, and they told me that the Fujifilm X-T4 ES (“Extended Spectrum”) infrared camera is available from them right now. It’s not something that can be purchased online, so you either need to call them or drop by in-person to buy it. So if you want to try my Aerochrome v2 Recipe—which I love so much, personally—you may want to contact B&H and inquire about the Fujifilm X-T4 ES. For those who wanted to get one, it’s not too late.

There’s one last thing I want to mention. I was walking around Central Park recording some content to help promote the new Evergreen + Fuji X Weekly Protective Case for Fujifilm X100-series cameras. I had my case, and Alex from Evergreen also had one with him. While meandering, we ran across someone with a Fujifilm X100VI, so we said hi to him and had a short conversation. He told us that he had ordered the camera when it was first announced, but his copy had just arrived, and this was one of his first opportunities to use it. We were very happy to gift him one of the two cases to go along with his new camera. The protective case is a great way to keep your X100VI, X100V, X100F, etc., safe while traveling or out on an adventure.

*New Fujifilm X100VI & New Case* – New York City, NY – Fujifilm X100VI – PRO Negative 160C

I’m still traveling, but as soon as I’m back home I have a lot more to share with you, so stay tuned!

How Photographers are Using Recipes (it might surprise you)

Posted on September 15, 2024 by Ritchie Roesch

The new Film Dial on the Fujifilm X-T50 has become one of the most controversial features ever included on a Fujifilm camera. There’s been a lot of hate for it expressed on the internet. There seems to be two camps who dislike it: those who shoot RAW, and those who use Film Simulation Recipes. I believe that the Film Dial has been largely misunderstood, and that it will become more appreciated over time.

The RAW-only group dislikes the Film Dial because they don’t care much for in-camera film simulations. Some will say that they don’t use film simulations at all (of course, they say this while using Provia… film simulations cannot be disabled, so they’re always using one…), and some will say that they apply the film simulations in-post using Lightroom or Capture One, and not in-camera. For this group, the Film Dial is a complete waste of space, they say.

The Film Simulation Recipe group dislikes the Film Dial because you cannot program it with Recipes; it only changes the film simulation and nothing else. They would prefer that each “film” on the Dial could be custom set as a Recipe. That would be really cool, actually, and think that’s a great idea—maybe Fujifilm could do it in the future. Also, a C1-C7 Dial (or increase it to 10 or 12 or more) would have been most ideal. Still, the Film Dial can be useful for this group by utilizing a “universal Recipe” technique, which I used extensively in August traveling across the country. So I think there are two parts to this: 1) a frustration that it could have been implemented better, and 2) not fully realizing the potential that it does have in its current iteration. Nothing can be done about the first point (aside from Fujifilm changing it either with a firmware update, or how it is implemented on future models), but for the second point its a matter of getting the word out—once people try my solution (or something similar… Reggie’s Portra works pretty well for this, too), I think it will be much more liked.

*Fujifilm X-T50 + Fujinon 27mm f/2.8 + 1976 Kodak Recipe*

This year I’ve traveled quite a bit, and met hundreds of fellow Fujifilm photographers across the country, and even some from other countries. In doing so, I’ve learned that there are a variety of ways that people are using film simulations and Recipes. Some of these things I would have never even thought of. It’s truly amazing! I want to briefly share them with you.

The number one way that Film Simulation Recipes are being utilized is for straight-out-of-camera photography. This is how I use Recipes, personally, for my own pictures. Basically, the JPEG produced by the camera is the finished photo, aside from sometimes cropping/straightening and maybe some small/minor adjustments occasionally. This saves so much time, and can make the processes more enjoyable—I could list a whole bunch of benefits, but that’s not the point of this article. Straight-out-of-camera photography was once highly shunned by the photographic community at large, but now it is much more acceptable and common, and I believe that—as a pendulum swing response to years of over-editing and now AI—photography as a whole is moving in this direction; authenticity is a big buzzword right now. Another approach is to shoot RAW+JPEG and utilize X RAW Studio or the in-camera RAW reprocessing to change the Recipe after-the-fact.

Another way that people use Recipes is similar to above, just in-conjunction with more robust editing. The SOOC JPEG isn’t the end, it’s the starting point. Camera-made JPEGs have a lot more tolerance for manipulation than they used to, and a light-to-moderate amount of editing is perfectly ok. So the camera gets you a significant distance to the finished picture, and a little editing finishes the job. Sometimes this group will shoot RAW+JPEG and edit the RAW instead of the JPEG when faced with a challenging light situation.

*Fujifilm X-T50 + Fujinon 56mm f/1.2 + Kodak Tri-X 400*

Some people use Recipes, but they shoot RAW+JPEG and don’t usually utilize the camera-made JPEG. If a picture needs to be shared quickly, the JPEG is there, but otherwise the RAW is used. Since software can/will apply its version of its interpretation of some (but not all) of the JPEG data to the RAW file, the Recipe provides a shortcut to a finished RAW-edited picture. It shaves off a little time at the computer, while also producing a ready-to-share JPEG whenever that is needed.

A much less common use—which I was actually quite surprised by but it makes a lot of sense—is Recipes for pre-visualization. JPEGs are rarely or never used; instead, the Recipe allows the RAW photographer to get a better idea of what the finished picture will look like while in-the-field. Utilizing a Recipe that is similar to the photographer’s aesthetic, they can basically see the end result even before opening the shutter. It’s such a great tool for the RAW photographer, but it seems to be highly underutilized, likely because it just never occurred to most to try it.

One last method, which might surprise a lot of you, is the combination of RAW and JPEG photography. There’s an extraordinarily talented photographer (there’s a good chance you’ve seen his pictures) who told me that one of his techniques is to shoot RAW+JPEG with Recipes, edit the RAW file, then blend the SOOC JPEG overtop of the edited RAW. He told me that he does this because the camera-made JPEG has a certain quality or soul that can’t be replicated with RAW-editing and he doesn’t want to lose that, but he needs a certain level of control for his style of photography, and by combining the two, he has the best of both worlds. Amazing!

*Fujifilm X-T50 + Fujinon 27mm + Nostalgic Americana*

There’s no right or wrong way to use film simulations and Recipes, there’s only what works for you and your photography. It’s your art, so do it however you want to. My point, though, is that the Film Dial, which I suspect will make its way onto more Fujifilm cameras in the future, can actually be quite useful to both groups who have decried it. I think the potential has yet to be fully explored or understood.

I bring all of this up because Fujirumors posted an article entitled Reframing the Debate: Fujifilm Film Simulations as a RAW Photographer’s Ally and with the subtitle Stop Hating Film Simulations. This is my two cents. There was such a big (and generally unfair) stigma towards JPEGs for such a long time; since film simulations have been heavily associated with SOOC photography, some people look down on them and their use. They see it as being beneath them or for amateurs-only. In doing so, they might be overlooking something that could actually be much appreciated. So I think it’s important to bring awareness to how film simulations and Recipes are being used—perhaps they can be helpful to your photography, but maybe you’ve never tried or have never considered how they might be. My hope is that this article will be enlightening to some of you, and that someone reading this will give Film Simulations Recipes a try for the first time.

I have published over 350 Film Simulation Recipes here on the Fuji X Weekly website, which are also available in the Fuji X Weekly App, available for both Apple and Android. Consider becoming a Patron subscriber to unlock the best App experience and to support what I do.

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

Putting the Film Dial to Practice — Four Cities with the Fujifilm X-T50

Posted on September 9, 2024 by Ritchie Roesch

The Fujifilm X-T50 has a Film Dial, a new feature that likely will begin to appear on other Fujifilm models in time. It’s possible that it might eventually find its way onto most bodies (or some alternate iteration of the concept). While the Film Dial has been controversial, I think it has been largely misunderstood, and I don’t believe a lot of people realize the great potential of it. Back in May, I created a strategy—a universal Recipe—for getting the most out of the Film Dial, which really makes it a useful feature. I thought it would be worthwhile to show what that looks like in real-life practice.

In August I had the wonderful opportunity to travel from coast-to-coast, leading photowalks in San Diego, Denver, Nashville and Philadelphia. It was so great to meet you all! Throughout the tour I had a Fujifilm X-T50, and utilized the Film Dial several times. Interestingly, even if you don’t own an X-T50, you can still use this strategy by programing a Fn button to open the Film Simulation menu—the Film Dial Recipe doesn’t actually require the Film Dial to use. In this case, though, I used the X-T50 and the Film Dial, and I want to share with you four times where I put it into practice. I think seeing the results from actual use will help to demonstrate just how nice the Film Dial is.

The universal Film Dial Recipe (click here) works well with every film simulation. Some are better than others, but all of them are decent enough (even Sepia). Since the Film Dial only changes the film simulation and nothing else, the universal Recipe parameters—other than the film sim—remain exactly the same when you turn the Film Dial. Each time you turn the Film Dial and select a different film simulation, it is like having a different Recipe (even though the Recipe parameters didn’t budge), because each film simulation is so unique. Essentially, the Film Dial gives you up to 12 bonus Recipes right at your fingertips!

Denver Nighttime Street Photography

*Nostalgic Neg. a.k.a. “Nostalgic Film”*

*Classic Negative a.k.a. “Superia Negative”*

*Reala Ace a.k.a. “Fujicolor PRO 160C Warm”*

Exploring Nashville

New York & New Jersey

Massachusetts

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

Find these Film Simulation Recipes 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.

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

Posted on September 5, 2024 by Ritchie Roesch

*Oysters & Seafood* – Denver, CO – Fujifilm X-T50 – Cinematic Film Recipe

This isn’t a new Film Simulation Recipe, but one of the 14 Fujifilm X-T50 Film Dial Recipes that I published in May when the Fujifilm X-T50 was announced. I stated in that article, “It would be absurd to include all 14 versions of this Recipe in the Fuji X Weekly App; even adding eight to the App is too much, but (with hesitation) that’s what I’ve done.” Those eight Recipes—Standard Film, Velvia Film, Astia Summer, Kodak Film, Fujicolor PRO 160C Warm, Superia Negative, Nostalgic Film, and Neopan Negative—are all identical other than the film simulation, and are found in the App.

I left six of the 14 Recipes—Fujicolor PRO Film, Fujicolor PRO 160S, Cinematic Film (which is this Recipe), Reduced Bleach, Monochrome Film, and Sepia Print—out of the App. In the months since, I have had a number of requests to include the Cinematic Film Recipe in the Fuji X Weekly App, so—by popular demand—Cinematic Film is now available on your phone!

*Hotel Chelsea* – New York City, NY – Fujifilm X-T50 – Cinematic Film Recipe

This 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. For the X-T4, X-S10, X-E4, and X-T30 II cameras, I recommend setting Color Chrome FX Blue to Strong (instead of Weak). For the latest GFX models, I recommend setting Shadow to -0.5 (instead of -1). For more information on how I setup and use the X-T50 Film Dial Recipes, watch this video (click here). If you don’t have an X-T50 and still want to use the Film Dial strategy, simply add the Recipe to one of your C1-C7 slots, and program a Fn button to activate the film simulation menu. The Cinematic Film Recipe is especially great for taming high-contrast light, for a soft aesthetic, and for after-dark photography.

Film Simulation: Eterna
Dynamic Range: DR400
Grain Effect: Weak, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Weak
White Balance: Auto White Priority, +2 Red & -4 Blue
Highlight: -1.5
Shadow: -1
Color: +3
Sharpness: -1
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 “Cinematic Film” Film Simulation Recipe on a Fujifilm X-T50:

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

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.

Join me at the NAB Show in New York City!!

Posted on September 3, 2024 by Ritchie Roesch

*Fujifilm X-T50 + Fujinon 27mm f/2.8 + Pushed Analog Recipe*

Hey, everyone! I will be at the NAB Show in New York City on October 9th and 10th, leading three photowalks. These photowalks will be small groups, meaning that there will be tons of opportunity for one-on-one conversations. This is a teaching photowalk—I’m there to help you—so bring whatever questions you might have, and I’ll make it as informative and educational as I can. The photowalks will take place in the vicinity of the Jacob Javits Convention Center in Midtown West Manhattan.

Fujifilm will be offering “an immersive journey into the world of photography and videography.” As a part of this, there will be 24 photowalks hosted by a variety of extraordinarily talented creators. Seriously, I would love to attend all of these photowalks myself—this is a don’t-miss opportunity!

*Fujifilm X-T50 + Fujinon 56mm f/1.2 + Cinematic Film Recipe*

I will be leading three photowalks: October 9th at 10:30 AM, October 9th at 2:00 PM, and October 10th at 11:00 AM. The theme of my photowalks are Straight Out of Camera Photography—we’re going to “put the legendary Fujifilm colors to the test and learn to craft polished images in-camera to streamline your process.” Basically, we’re going to use various Film Simulation Recipes to photograph New York City. Bring your favorite Fujifilm camera; also, this will be an opportunity to get hands-on with some of the latest X-series gear, so bring a spare SD card.

The themes of the other photowalks are Video Visuals, Camera-to-Cloud, Film Simulations, Couples Portraiture, Street Photography, and Social Reels. These photowalks are free; however, you must preregister for the photowalk that you want to attend, and also be registered for NAB. While NAB is not free, if you follow this link (click here), you can get free registration! Those of you who live in the NYC area will want to come for certain. Spaces are very limited, so don’t procrastinate—sign up today!

I hope to see you in New York City in October!

Impressions of the new Fujinon 16-50mm F/2.8-4.8 R LM WR Lens

Posted on August 31, 2024 by Ritchie Roesch

Just to be clear right up front: this is not a review of the new Fujinon 16-50mm f/2.8-4.8 R LM WR kit lens. Someone let me use their copy for half a day while I was in Denver to lead a photowalk (thanks, Matt!), so this is just a quick impression after a handful of hours of use. Everything that I say about it should be taken with a grain of salt, since I don’t own the lens and only used it briefly. My goal is simply to help bring some clarity to those who might be considering it—I’m not certain if I’ll be able to accomplish that, but I hope so.

The Fujinon 16-50mm f/2.8-4.8 is Fujifilm’s successor to the much-beloved 18-55mm f/2.8-4 kit lens, which has been discontinued. I’m not a zoom-lens guy—I prefer prime lenses—but I do own the 18-55mm f/2.8-4, and it’s the only zoom lens that I use even close to somewhat regularly. I don’t use it all the time, but definitely more than any other zoom that I own. It’s an excellent kit lens, perhaps even the best kit lens offered by any brand. I was actually a little sad when Fujifilm announced that they were replacing it. I think the primary reason for its discontinuation is that it cannot fully resolve the 40mp X-Trans V sensor.

There’s actually quite a lot different between the 16-50mm f/2.8-4.8 and the 18-55mm f/2.8-4. Some advantages of the 16-50mm are: optically superior, internal zoom, lighter, smaller (the lenses are the same size, but the 18-55mm extends when you zoom while the 16-50mm doesn’t), weather-sealed, wider focal length, and better minimum focus distance. Some advantages of the 18-55mm are: optical image stabilization, larger maximum aperture at the telephoto end, longer telephoto reach, and can be found cheaper used than the 16-50mm new. Each has advantages and disadvantages, so it’s difficult to say that one is “better” than the other; however, if I had to pick one as better, it would be the new 16-50mm.

I was actually pretty impressed with the sharpness of the 16-50mm f/2.8-4.8 lens. It’s tack sharp, with the crispness that one would expect from a prime lens. I didn’t notice any vignetting, either. The new lens is optically the winner; the old lens isn’t a slouch, but the 16-50mm is quite obviously the better of the two. Having the 16-50mm is like owning a whole bunch of prime lenses, albeit ones without impressive maximum apertures.

*Fujifilm X-T50 + Fujinon 16-50mm f/2.8-4.8 + Ektachrome E100 Recipe*

The difference between 16mm and 18mm is larger than the difference between 50mm and 55mm; however, my personal preferences is to have more telephoto reach. For me, I want 55mm f/4 more than I want 16mm. I almost never used 16mm during the short time with the lens, but you might use 16mm often and 50mm rarely. Toping out at f/4.8 at 50mm is odd, since it is a half-stop intermediate aperture. Half-stops were once common a long time ago, but they’re pretty rare nowadays. There’s not a significant benefit in depth-of-field, compression and bokeh (using that term incorrectly) from 55mm f/4 compared to 50mm f/4.8, but there is a difference nonetheless. For me, though, the biggest problem with f/4.8 is dust. You see, living in Arizona, I constantly battle a dirty sensor, and dust on the sensor won’t show at f/4 but it will begin to show at f/4.8.

The Fujinon 16-50mm f/2.8-4 R LM WR makes the most sense when paired with the cameras that have the 40mp X-Trans V sensor and IBIS, which (as of this writing) are the X-H2, X-T5, and X-T50. My guess is that the majority of those who own the X-H2 and X-T5 are not using kit zooms (although I’m sure some are… I use the 18-55mm on my X-T5 sometimes), so that means the Fujifilm X-T50 is the camera that this lens makes the most sense for, in my opinion (I’m sure Fujifilm will release more models in the future that this lens pairs especially well with). For the models without the 40mp sensor but with IBIS—the X-H2s, X-S20, X-S10, and X-H1—you could go either way. Pairing this lens to a weather-sealed body is quite logical, so maybe that could be a deciding factor. For cameras without IBIS, I would recommend the 18-55mm f/2.8-4 lens, since it has OIS.

I have no intentions of purchasing the Fujinon 16-50mm f/2.8-4.8. Don’t get me wrong: I would be happy owning it, but I’m also happy owning the Fujinon 18-55mm f/2.8-4, and I just don’t have a need for two kit zooms right now. But, if you’re trying to decide, I think the Fujifilm X-T50 and Fujinon 16-50mm f/2.8-4.8 combo could be an especially excellent lightweight travel kit. Also, the internal zoom of the 16-50mm is a major plus for those who will be using it with a gimbal, since you won’t have to rebalance whenever you adjust the focal length. The $699 MSRP is a bit steep (it’s the same price that the 18-55mm was), but if you buy it bundled with a camera body, it’s basically $300 cheaper, and for that price I think it could be worthwhile.

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

Fujinon 16-50mm f/2.8-4.8 R LM WR:
Amazon, B&H, Moment, Wex, Nuzira

Photographs captured using the Fujifilm X-T50 and Fujinon 16-50mm f/2.8-4.8 R LM WR:

*Fujifilm X-T50 + Fujinon 16-50mm f/2.8-4.8 + Velvia Film Recipe*

*Fujifilm X-T50 + Fujinon 16-50mm f/2.8-4.8 + 1976 Kodak Recipe*

*Fujifilm X-T50 + Fujinon 16-50mm f/2.8-4.8 + Kodak Portra 400 v2 Recipe*

*Fujifilm X-T50 + Fujinon 16-50mm f/2.8-4.8 + Kodak Tri-X 400 Recipe*

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

Posted on August 29, 2024 by Ritchie Roesch

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

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

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

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

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

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

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

*Upper Manhatten* – Hoboken, NJ – Fujifilm X-T50

*Richie’s Lemon Ice* – Boston, MA – Fujifilm X-T50

*Yellow Umbrellas* – Hoboken, NJ – Fujifilm X-T50

*P is for Parking* – Hoboken, NJ – Fujifilm X-T50

*Chimney between the Trees* – Salem, MA – Fujifilm X-T50

*Vines on the Building* – Salem, MA – Fujifilm X-T50

*Maria Pepe* – Hoboken, NJ – Fujifilm X-T50

*Two Motorcycles* – Boston, MA – Fujifilm X-T50

*Lost Shoes* – Salem, MA – Fujifilm X-T50

*Apartment Reflections* – Hoboken, NJ – Fujifilm X-T50

*Lego Brick*s – Boston, MA – Fujifilm X-T50

*Troupe* – Braintree, MA – Fujifilm X-T50

*Back Door* – Braintree, MA – Fujifilm X-T50

*Green Cans* – Nashville, TN – Fujifilm X-T50

*Church Parking* – Salem, MA – Fujifilm X-T50

*St Stephen’s* – Boston, MA – Fujifilm X-T50

*W.B. Mason* – New York City, NY – Fujifilm X-T50

*Bova’s Bakery* – Boston, MA – Fujifilm X-T50

*Paul Revere’s House* – Boston, MA – Fujifilm X-T50

*John P. Felt House* – Salem, MA – Fujifilm X-T50

*St. Anthony’s Feast Parade* – Boston, MA – Fujifilm X-T50

*New York from New Jersey* – Hoboken, NJ – Fujifilm X-T50

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

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.

It’s Been Awhile… Still on the Road — It’s going great!

Posted on August 23, 2024 by Ritchie Roesch

*Frank* – Hoboken, NJ – Fujifilm X-T50 & Fujinon 27mm – Kodak Tri-X 400 Recipe

I’ve been on the road almost all of August. I’ve traveled from the west coast to the east coast, and stopped at a few places in-between. It’s been an epic three weeks of travel, and I’m not home yet.

Because I’ve been so busy, I haven’t been able to publish anything on Fuji X Weekly (until today …briefly, anyway), answer your comments, or respond to your emails. I will get to them as soon as I have the opportunity—I apologize for the delay, and appreciate your patience.

I have so much content to share! I have many various articles and photographs to post, and I hate that I can’t just type it all out right now. Once I’m back home, I will busily get it all ready for publication. Expect most of it to be published throughout September.

Today, while I have a quick opportunity, I wanted to briefly shoutout both the Nashville and Philadelphia photowalks. These were the last two on the tour. It was so great to meet you all in your hometowns, and it was an honor to photograph with you. Those two photowalks, which were just two days apart, were such a great way to conclude the series.

41 people showed up for the Nashville photowalk. It was in the middle of the week, which I think made it a little more difficult for people attend. I’m so thankful to everyone who did make it out. There was a bit of a mixup in the meetup location, which delayed the start. Once we began… Broadway is such a busy road! I had never been to Nashville, and I had no clue that the there would be gobs and gobs of people on the sidewalks. Because of this, there were a ton of photo opportunities everywhere (literally every spot you looked), but also it was impossible to stay together as a group, and difficult to have conversations. Still, it seemed like everyone had a great time. A special thanks to Gabe Wasylko for co-leading the photowalk, to Fujifilm for all the behind-the-scenes work to make it happen, and The Pixel Connection for all your help and support!

Here are a few photos that I captured on the Nashville photowalk:

*Fujifilm X-T50 + Fujinon 27mm +* *Velvia Film Recipe*

*Fujifilm X-T50 + Fujinon 27mm + Fujicolor PRO 160C Warm Recipe*

*Fujifilm X-T4 ES + Fujinon 35mm f/2 + upcoming IR Recipe*

The Philadelphia photowalk was great… but we also got soaked. I counted 49 people, who came out despite the forecasted rain (apparently it’s not always sunny in Philadelphia…). I gave a short presentation on film simulations and Film Simulation Recipes, then we headed out with our cameras to tour the historic Old City district. As we were making our way back the sky broke open and it just poured. It didn’t last long, but those without weather-sealed gear (myself included) got to test out if the rain would really ruin our cameras. The X-T50 I had made it through unscathed. Anyway, thank you to all those who braved the weather to come along—it was so great to meet you! Also, a special thanks to Allan Ali for co-leading the photwalk, to Fujifilm for all the behind-the-scenes work, and Unique Photo for hosting!

Here are a few photos that I captured at the Philadelphia photowalk:

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

*Fujifilm X-T50 + Fujinon 27mm + Nostalgic Americana Recipe*

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*

Ektachrome E100 — Fujifilm X-T50 (X-Trans V) FXW App Patron Early-Access Recipe

Posted on August 7, 2024 by Ritchie Roesch

*Garden Flower* – Denver, CO – Fujifilm X-T50 – Ektachrome E100

Several weeks back I stumbled on a review of Kodak Ektachrome E100 color reversal film (the current version), and I thought: That looks a lot like the Reala Ace film simulation. I took a guess at some settings, but didn’t put much effort into testing or refining them. I got busy with some other things (such as planning and preparing for a four-city photowalk tour), and neglected to do anything more. More recently, Fuji X Weekly reader Dan Allen messaged me with the same exact observation about Ektachrome E100 and Reala Ace, which made me revisit the project.

Dan actually captured some side-by-side photos with Ektachrome E100 and a Fujifilm camera using the Reala Ace film simulation; however, he couldn’t quite get it to match. Interestingly, the settings that he had come up with as the closest facsimile were quite similar to mine. It was thought that the particular scanner used likely played a role in the exact aesthetic of the Ektachrome images—one film can produce a variety of looks depending on how it was shot, developed, and printed, projected, or scanned, among other things. Being a slide film, E100 is inherently designed to be projected. While this Recipe isn’t an exact match to Dan’s Ektachrome slides (although it’s not terribly far off, either), it does share a lot of resemblance with some Ektachrome E100 images that can be found online.

Kodak introduced Ektachrome in 1946. I counted once, and there are over 40 different emulsions that have been called Ektachrome over the years, not including slight revisions or improvements to the same film. The “E” development process was invented for Ektachrome film… it began with E1; the E6 process that’s used today was introduced in 1977. Each different Ektachrome and development process produced a divergent look. Kodak discontinued Ektachrome in 2012, but in 2018 they brought back Ektachrome E100. Some have suggested that this new version is simply a revision of Ektachrome E100G, but I don’t believe that’s been verified—it may or may not be.

*Caution Light* – Buckeye, AZ – Fujifilm X-T50 – Ektachrome E100

While Reala Ace can be made into a pretty close match to Kodak Ektachrome E100, there are some issues that prevent it from being even more accurate—I would love a +5 Color option, for instance. Skin tones aren’t perfect, either—it’s possible to improve that, but at the expense of other attributes. I also think DR-Auto would be a good option, but the camera doesn’t jump to DR200 quickly enough, in my opinion. This Recipe is not perfect, but after a lot of tries over the years, this is the most satisfied I’ve been with any of my attempts, and I think it’s convincing enough to be given the Ektachrome E100 name.

This is an App Patron Early-Access Recipe. If you are a Fuji X Weekly App Patron, you have access to it right now. If not, no worries, as it will eventually be made available to everyone, once it is replaced by a new Early-Access Recipe. It 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. I’m sure it can also be used on the latest GFX models; however, it will likely render slightly different (try it anyway).

Example photographs, all camera-made JPEGs using this Ektachrome E100 Film Simulation Recipe on a Fujifilm X-T50:

*Corn Dog* – Denver, CO – Fujifilm X-T50

*Window Succulent* – Buckeye, AZ – Fujifilm X-T50

*Airline Club* – Phoenix, AZ – Fujifilm X-T50

*Terminal Passenger* – Phoenix, AZ – Fujifilm X-T50

*Green Plant on a Red Desk* – Buckeye, AZ – Fujifilm X-T50

*Concrete Wall & Shrubs* – Buckeye, AZ – Fujifilm X-T50

*Empty Table* – Buckeye, AZ – Fujifilm X-T50

*Tommy Christie* – Denver, CO – Fujifilm X-T50

*Sunlit Vine* – Buckeye, AZ – Fujifilm X-T50

*Backlit Bougainvillea Blossoms* – Buckeye, AZ – Fujifilm X-T50

*Bougainvillea Afternoon* – Buckeye, AZ – Fujifilm X-T50

*Water Feature* – Buckeye, AZ – Fujifilm X-T50

*Folding Chair & Empty Pot* – Buckeye, AZ – Fujifilm X-T50

*Flag Flanked by Palms* – Buckeye, AZ – Fujifilm X-T50

*Palm Trees & Blue Sky* – Buckeye, AZ – Fujifilm X-T50

*Summer in Arizona* – Buckeye, AZ – Fujifilm X-T50

*Beach Ball* – Buckeye, AZ – Fujifilm X-T50

*Poolside Table & Chair* – Buckeye, AZ – Fujifilm X-T50

*Josh after a Swim* – Buckeye, AZ – Fujifilm X-T50

*Sunset over the Desert Hills* – Buckeye, AZ – Fujifilm X-T50

*Sunset above the Treetops* – Buckeye, AZ – Fujifilm X-T50

*Fares, Flexibility & Feet* – Buckeye, AZ – Fujifilm X-T50

*Union Station* – Denver, CO – Fujifilm X-T50

*Sunlight through an Urban Tree* – Denver, CO – Fujifilm X-T50

*Leaning Mailbox* – Denver, CO – Fujifilm X-T50

*Parking Garage* – Denver, CO – Fujifilm X-T50

*Circle K* – Denver, CO – Fujifilm X-T50

*Printing* – Denver, CO – Fujifilm X-T50

*Sleep in Arkansas* – Denver, CO – Fujifilm X-T50

*No Parking Any Time* – Denver, CO – Fujifilm X-T50

*Red Spines* – Denver, CO – Fujifilm X-T50

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

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.

Denver was Amazing – San Diego is Next!!

Posted on August 6, 2024 by Ritchie Roesch

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

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

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

Speaking of the next three photowalks:

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

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

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

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

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

*Fujifilm X-T50 + Fujinon 16-50mm lens + upcoming Recipe*

*Fujifilm X-T50 + Fujinon 16-50mm lens + Superia Negative Recipe*

*Fujifilm X-T50 + Fujinon 16-50mm lens + Nostalgic Americana Recipe*

*Fujifilm X-T50 + Fujinon 16-50mm lens + Kodak Portra 400 v2 Recipe*

*Fujifilm X-T50 + Fujinon 16-50mm lens + Kodak Tri-X 400 Recipe*

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

Posted on July 31, 2024 by Ritchie Roesch

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

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

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

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

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

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

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

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

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

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

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

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

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

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