Fujifilm X100VI | FUJI X WEEKLY

Review: Viltrox Conversion Lenses for Fujifilm X100VI

Viltrox just released two conversion lenses for Fujifilm X100-series cameras: WCL-X100VI and TCL-X100VI. These lenses are very similar to Fujifilm’s own conversion lenses for the X100-series, the WCL-X100 II and TCL-X100 II, and if you don’t look closely, you might not notice the differences, as they seem nearly identical. How does the Viltrox version stack up? Should you even consider these for your Fujifilm X100VI? If so, which should you get, Viltrox or Fujinon?

I need to tell you upfront that Viltrox sent me the two lenses to try out. They didn’t give any expectations other than, “We look forward to your impression of the lenses.” This review serves as that. It’s my honest feedback to Viltrox, while also hopefully being helpful to those considering these lenses for their X100VI or other X100-series camera.

There are two conversion lenses—Viltrox WCL-X100VI and TCL-X100VI—and I want to talk about them individually, but also as a set. We’ll begin with the wide-converter, then the teleconverter, and finish up by discussing the two together. Let’s dive right in!

Viltrox WCL-X100VI

The Viltrox WCL-X100VI is a wide conversion lens that’s nearly identical to the Fujinon WCL-X100 II. It has an 0.8x magnification, which, when screwed onto the end of the X100VI’s lens, changes the focal-length from 35mm to 28mm (full-frame equivalents; 23mm to 19mm in APS-C terms). It makes the camera a little more wide-angle, which can be useful when the native focal-length is just a little too tight for the circumstance.

On X100-series cameras, there is a hidden thread for a filter/hood adapter, which reveals itself when a ring on the end of the lens is unscrewed. Both of the conversion lenses attach to this thread, simply by screwing onto it. The WCL-X100VI is threaded to accept 49mm filters. Oh, and the camera automatically recognizes that you attached the lens, just like the Fujinon WCL-X100 II.

*Sun Peek, Bougainvillea Peak* – Buckeye, AZ – Fujifilm X100VI + Viltrox WCL – Pacific Blues

From my measurements, the Viltrox version is just a hair smaller than the Fujinon, and weighs just slightly less (very minimally on both accounts). Using the TCL adds some size and weight to the camera, but, for the WCL-X100VI, this isn’t a major deal, because the lens is pretty small. The added bulk and heft is a small price for the extra versatility.

As for both the build and image quality, the lens seems to be on par with the Fujinon option. There’s a little difference in how the lens flares, but otherwise it seems to render images pretty much identically. A lot of times when you buy a third-party version of a lens, it’s less expensive, but it’s pretty obvious why, as it feels cheaper and/or has image quality flaws. With the Viltrox conversion lenses, there does not seem to be any reduction in quality. You’re not giving up anything to save a little money. In the case of the WCL-X100VI, it’s not a little money, but a significant chunk of change! The Viltrox WCL-X100VI has an MSRP of $159; the Fujinon WCL-X100 II is a lot more expensive at $399. For a lot less than half the cost, you basically get the same exact thing.

Viltox TCL-X100VI

The Viltrox TCL-X100VI is a tele conversion lens that’s nearly identical to the Fujinon TCL-X100 II. It has a 1.4x magnification, which, when screwed onto the end of the X100VI’s lens, changes the focal-length from 35mm to 50mm (full-frame equivalents; 23mm to 33mm in APS-C terms). It makes the camera a “standard” focal-length, which can be useful when the native focal-length is just a little too wide for the circumstance.

Like the WCL, the TCL-X100VI attaches to the camera by screwing onto the hidden filter/hood adapter thread. It accepts 67mm filters. Also like the WCL, the camera recognizes when you attach the lens, just like it does for the Fujinon TCL-X100 II.

*Sun-Kissed Bougainvillea* – Buckeye, AZ – Fujifilm X100VI + Viltrox TCL – Pacific Blues

From my measurements, the Viltrox version is just barely a hair smaller than the Fujinon; however, the weight difference is notable, with the Viltrox coming in at about 25% heavier, or 0.1 pounds more, than the Fujinon. For both brands, the TCL is larger and heavier than the WCL, which makes it a little less practical for carrying around. Even so, I really like 50mm (full-frame equivalent), so I tend to use the TCL more than the WCL, personally.

Just like the WCL-X100VI, for both the build and image quality, the TCL-X100VI seems to be right on par with the Fujinon option. There’s a little difference in how the lens flares, but otherwise it seems to render images pretty much identically. You’re not giving up anything to save a little money. The Viltrox TCL-X100VI has an MSRP of $189; the Fujinon TCL-X100 II is a lot more expensive at $399. For less than half the cost, you basically get the same exact thing.

Both Lenses

Last year, I travelled to Austin, Texas, and the only camera I took was a Fujifilm X100VI with the Fujinon WCL-X100 II and TCL-X100 II conversion lenses. It allowed me to travel light but still have some focal-length versatility. An X100-series camera with the two conversion lenses is a compact and powerful three-lens kit. But, for the Fujinon, those two additional lenses will run you $798, which is a lot of money; however, with Viltrox, you can do it for only $348, which is a bargain. If you own an X100-series camera, you should buy these two lenses. Despite having “X100VI” in the name, the conversion lenses will work on any X100-series model, not just the latest iteration.

When you combine the conversion lenses with the built-in digital teleconverter, you get even more focal-length versatility: 28mm, 35mm, 50mm, 70mm, and 100mm (full-frame equivalents). On the X100VI, to get 70mm requires both the TCL and the digital teleconverter, and you go from 40mp to 20mp (which is still plenty of resolution); to get to 100mm, you’ll get a 10mp file, which is fine for social media use, but it’s not ideal for photos you intend to print much larger than 8″x12″. You can also skip the digital teleconverter and simply crop after-the-fact and accomplish the same thing.

*Fujifilm X100VI + Viltrox WCL-X100VI – 28mm*

*Fujifilm X100VI + Viltrox TCL-X100VI – 50mm*

*Fujifilm X100VI + Viltrox TCL-X100VI + Digital Teleconverter (1.4x) – 70mm*

*Fujifilm X100VI + Viltrox TCL-X100VI + Digital Teleconverter (2x) – 100mm*

A three lens kit for your X100VI, which requires only two additional lenses, is nice to have, but it does kind of defeat the purpose of the camera, which is a compact one-camera-one-lens philosophy. I wish that Fujifilm made a wide-angle and nifty-fifty alternative versions of the X100VI (like Sigma did with the DP camera series), so that you could choose the focal length that fits you best. Since they don’t, if you want to adjust the focal length yourself, it does require adding some extra bulk.

What works for me is to keep the conversion lenses in my pockets, and simply screw one onto the camera whenever I need it. With two front pockets in my jeans or shorts, I can have the WCL in one pocket and the TCL in the other. Viltrox includes a little bag in the box that helps to protect the lens when doing this. I’m able to use the X100VI as a fixed-lens 35mm (full-frame equivalent) camera most of the time, but go wider or more telephoto whenever I need to. When you want to travel light, this is quite ideal.

*Fountain at Dusk* – Buckeye, AZ – Fujifilm X100VI + Viltrox TCL-X100VI – Summer of ’59

To save a little weight, choose the Fujinon TCL over the Viltrox TCL. The Fujinon TCL-X100 II is large and already heavy enough; the Viltrox TCL-X100VI adds a noticeable amount of additional weight. Unfortunately, a second-hand Fujinon TCL-X100 II costs more than the Viltrox version brand-new. If you don’t mind spending an extra $50 or so and getting a used model, the most ideal scenario is to purchase the Viltrox WCL-X100VI and the Fujinon TCL-X100 II. Or, just save a few bucks and don’t worry about 0.1 pounds, and get both Viltrox options.

Both lenses come in silver and black. If you have a silver X100-series camera, you’ll probably want the silver lenses; if you have a black X100-series camera, you’ll probably want the black lenses. I definitely do recommend the Viltrox conversion lenses. I was quite surprised at both the build and image quality, especially considering the price. You won’t break the bank, so get one. Or get both.

Above, clockwise from top-left: Fujifilm X100VI + Viltrox WCL-X100VI + Kodachrome 64; Fujifilm X100VI + Viltrox TCL-X100VI + Classic Amber; Fujifilm X100VI + Viltrox TCL-X100VI + Summer of ’59; Fujifilm X100VI + Viltrox WCL-X100VI + FRGMT B&W; Fujifilm X100VI + Viltrox WCL-X100VI + FRGMT B&W; Fujifilm X100VI + Viltrox WCL-X100VI + Superia Negative; Fujifilm X100VI + Viltrox TCL-X100VI + Summer of ’59; Fujifilm X100VI + Viltrox TCL-X100VI + Summer of ’59; Fujifilm X100VI + Viltrox TCL-X100VI + Superia Negative.

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

Fujifilm X100VI in black:
Amazon, B&H, Moment, Nuzira
Fujifilm X100VI in silver:
Amazon, B&H, Moment, Nuzira
Viltrox WCL-X100VI in black:
Amazon, B&H
Viltrox WCL-X100VI in silver:
Amazon, B&H
Viltrox TCL-X100VI in black:
Amazon, B&H
Viltrox TCL-X100VI in silver:
Amazon, B&H

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

Posted on September 6 by Ritchie Roesch

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

*Canon Camera* – Buckeye, AZ – Fujifilm X100VI

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

*Terminally Waiting* – Phoenix, AZ – Fujifilm X100VI

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

*Roundhouse Locomotive* – Savannah, GA – Fujifilm X100VI

*Shop Interior* – Savannah, GA – Fujifilm X100VI

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

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

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

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

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

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

*Magnolia* – Savannah, GA – Fujifilm X100VI

*Wet Sidewalk* – Savannah, GA – Fujifilm X100VI

*Wet Alley* – Savannah, GA – Fujifilm X100VI

*Red Bull* – Savannah, GA – Fujifilm X100VI

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

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

*Corridor* – Arlington, VA – Fujifilm X100VI

*Gravestones* – Arlington, VA – Fujifilm X100VI

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

*Southwest Sky* – Arlington, VA – Fujifilm X100VI

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

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

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

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

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

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

99 – San Francisco, CA – Fujifilm X100VI

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

*Tall Saguaro* – Buckeye, AZ – Fujifilm X100VI

Comparison

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

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

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

Classic B&W Film Simulation Recipe

Posted on August 3 by Ritchie Roesch

*Old Church* – Tucson, AZ – Fujifilm X-E5 – Classic B&W

I love black-and-white photography. Kodak Tri-X 400 is my favorite monochromatic option, and (unsurprisingly) it’s by far the most popular B&W Recipe. For whatever reason, color Film Simulation Recipes tend to be a lot more popular than monochrome, so there are quite a few more of them; however, I really enjoy publishing a good B&W Recipe, and I’m quite excited about this one in particular. It’s really good, in my humble opinion.

The story behind this Classic B&W Recipe is unusual. While leading a photowalk in Manitou Springs, Colorado, with Mike’s Camera, someone asked me to explain the process of creating a Recipe. So I walked him through the process right there in Manitou Springs on a Fujifilm X-E5, and created this JPEG settings combo while doing so. I remember thinking that it looked nice, but pretty much forgot about it until after I returned home and reviewed the photos. After using it a little more, it quickly became one of my favorite B&W Recipes. Kodak Tri-X 400 still ranks a little higher in my book, but this one is easily a Top 5 for me.

*Coffee* – Tucson, AZ – Fujifilm X-E5 – Classic B&W

While I only used this Classic B&W Recipe on a Fujifilm X-E5 and X100VI, it is fully compatible with X-Trans IV (except the X-T3 and X-T30) and X-Trans V cameras. For those keeping score, that’s (as of this writing) the X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, and X-E5. You can also use this on the latest GFX cameras, including the GFX100S, GFX100 II, GFX100S II, and GFX100RF. For the Fujifilm X-T3, X-T30, and X-Trans III models, consider trying the Analog Monochrome Recipe, which isn’t too dissimilar.

Film Simulation: Acros+G
Monochromatic Color (Toning): WC 0 & MG 0 (Off)
Dynamic Range: DR200
Grain Effect: Strong, Large
Color Chrome Effect: Off
Color Chrome FX Blue: Off
White Balance: Incandescent, -9 Red & +9 Blue
Highlight: +3
Shadow: +4
Sharpness: +1
High ISO NR: -4
Clarity: +3
ISO: Auto, up to ISO 12800
Exposure Compensation: 0 to +2/3 (typically)

Example photographs, all camera-made JPEGs captured using this Classic B&W Film Simulation Recipe on a Fujifilm X-E5 and X100VI:

*Monochrome Umbrella* – Buckeye, AZ – Fujifilm X100VI

*Empty Chair in a Dark Room* – Litchfield Park, AZ – Fujifilm X100VI

*Lonely Chair* – Buckeye, AZ – Fujifilm X-E5

*Hanging Shadows* – Buckeye, AZ – Fujifilm X-E5

*Grey Odadiuc* – Buckeye, AZ – Fujifilm X-E5

*Shadow Abstract* – Litchfield Park, AZ – Fujifilm X100VI

*Suburban Palm Shadow* – Buckeye, AZ – Fujifilm X100VI

*Coffee Cups* – Tucson, AZ – Fujifilm X-E5

*In the Raw* – Tucson, AZ – Fujifilm X-E5

*Facing North* – Tucson, AZ – Fujifilm X-E5

*Horse on a Ledge* – Buckeye, AZ – Fujifilm X-E5

*Baldwin 2* – Manitou Springs, CO – Fujifilm X-E5

*Mission Church* – Tucson, AZ – Fujifilm X-E5

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

Retro Color — FXW App Patron Early-Access Recipe for Fujifilm X-Trans V

Posted on July 22 by Ritchie Roesch

*Savannah Central 7069* – Savannah, GA – Fujifilm X100VI – Retro Color

When Fujifilm released the X half last month, it included some brand-new filters, including Light Leak, Expired Film, Halation, and many more. One of my personal favorites is called Retro. Fujifilm doesn’t say exactly what the Retro Filter is supposed to resemble, but it’s an obvious vintage aesthetic. It reminds me a bit of Ormond Gigli’s color work of the late 1960’s and early 1970’s, although I’m sure the similarities are coincidental. I do think the filter was inspired by 1960’s era Ektachrome, especially when push-processed, something Kodak began offering in 1968.

The one and only X-series camera that has the Retro Filter is the X half. You won’t find it on the X100VI or X-E5 or any other model; however, it is on Instax Evo cameras. This filter, plus a number of others on the X half, were inherited from the Instax department. In my opinion, Fujifilm should add the Retro and Expired Film Filters to the Advanced Filters section of X-series cameras. Light Leak and Halation should be added as JPEG options that can be applied to Film Simulation Recipes. I hope they do.

Above: Retro Filter on the Fujifilm X half

While the Retro Filter on the X half was the initial inspiration for this new Recipe, I leaned more heavily into a different (yet similar) picture aesthetic that I really like: the Retro Style Smart Filter on my Samsung ST76 digicam. This little pocket point-and-shoot is from 2012, and it’s not particularly great, but I really like the Retro Style Smart Filter on it, which is pretty much the only reason why I use that old digicam. The filter is intended to produce a vintage ’60’s and ’70’s look, although (again) the specifics aren’t identified. While it has some similarities to the Retro Filter on the X half, it is notably divergent—a bit softer, less bold, and more subtle (yet still pronounced). To me, it looks more like prints from that era, more so than push-processed slides.

I did consider both of these picture aesthetics when created this Retro Color Film Simulation Recipe, but I spent more time comparing my X100VI and X-E5 photos to the Samsung ST76 than the X half. That was the vibe that I wanted to emulate, more so than the X half images. I think this Recipe nails the look in certain situations, and is pretty close (but not perfectly matched) in others. I’m pretty satisfied with the end result.

Above: Retro Style Smart Filter on a Samsung ST76

You might ask why I replicated the Retro look from a cheap digicam over the Retro look from the X half. Initially, I was attempting to replicate the X half aesthetic, but I encountered some difficulties early in that process. If I kept at it, perhaps those things could have been overcome. My hope is that Fujifilm brings the Retro Filter to X-series cameras, which might make the Recipe obsolete if I made it. Aside from that, while the Retro aesthetic from the Samsung ST76 and Fujifilm X half both have their positive and unique characteristics, overall I prefer Samsung’s version, as Fujifilm’s can be a little too strong sometimes for my tastes. I like both, and they’re both somewhat similar, but the one that I like best is what I ended up mimicking.

This Recipe produces an aesthetic reminiscent of some photo prints from the 1960’s and ’70’s, maybe captured using Ektachrome X or Ektachrome 200. I did find a few examples of Ektachrome prints from the 1970’s (for example, this one), which aren’t terribly dissimilar, and maybe sit halfway in-between the Retro Color Film Simulation Recipe and the X half‘s Retro Filter. As with anything in film photography, there are a lot of variables that can significantly affect the outcome. I would say that it is the “general aesthetic” that the Recipe recreates more so than a specific film or process.

*Triton* – Tonopah, AZ – Fujifilm X100VI – Retro Color

This Retro Color Recipe looks great on sunny days, and can be especially nice during golden hour. Try both a slight underexposure and overexposure—the results are notably different, and you might prefer one over the other. It produces a certain look with overcast sky, which you could either love or hate (most people probably won’t like it). I would avoid this for nighttime situations, but early blue hour is fine. This Recipe wouldn’t be my first choice for portrait photography, although situationally specific, it might be ok for that. If you appreciate a warm, vintage aesthetic, give the Retro Color Recipe a try, as you might really like it.

This is a 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, X-T50, X-M5, and X-E5. It can also be used on the latest GFX models, including the GFX100 II, GFX100S II and GFX100RF.

Example photographs, all camera-made JPEGs using this Retro Color Film Simulation Recipe on a Fujifilm X100VI and X-E5:

*7 Eleven* – Phoenix, AZ – Fujifilm X100VI

*Dusty Steering Wheel* – Buckeye, AZ – Fujifilm X-E5

*Sparkless Plug* – Buckeye, AZ – Fujifilm X-E5

*Eye Closed* – Buckeye, AZ – Fujifilm X-E5

*Inspection* – Arlington National Cemetery, VA – Fujifilm X100VI

*The Porter Machine* – Savannah, GA – Fujifilm X100VI

*Mission Arch* – Tucson, AZ – Fujifilm X-E5

*Storm over Mission San Xavier* – Tucson, AZ – Fujifilm X-E5

*Treasury Department* – Washington, DC – Fujifilm X100VI

*Big Flag* – Phoenix, AZ – Fujifilm X100VI

*Bashas on Main Street* – Buckeye, AZ – Fujifilm X-E5

*Vacancy at the Motor Hotel* – Buckeye, AZ – Fujifilm X-E5

*Afternoon Palm* – Buckeye, AZ – Fujifilm X-E5

*Craftsman* – Buckeye, AZ – Fujifilm X-E5

*Bougainvillea Sunset* – Buckeye, AZ – Fujifilm X-E5

*Tire Pile* – Waddell, AZ – Fujifilm X-E5

*Fireplace* – Scottsdale, AZ – Fujifilm X100VI

*Fading Sunset* – Somewhere over Arizona (I think) – Fujifilm X100VI

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

Fujifilm should begin to make fewer X100VI cameras

Posted on July 12 by Ritchie Roesch

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

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

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

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

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

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

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

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

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

Summer Sun — Fujifilm X-E5 (X-Trans V) Film Simulation Recipe

Posted on June 27 by Ritchie Roesch

*Buckeye Motor Hotel* – Buckeye, AZ – Fujifilm X-E5 – Summer Sun Recipe

Back when I was creating the Provia Summer Film Simulation Recipe, which was back in January, I was also working on another summer-like Recipe using the Reala Ace Recipe. Like that Recipe, this one is in the same vein as Bright Summer, Bright Kodak, Eterna Summer, Summer of ’59, 1970’s Summer, California Summer, Texas Sun, Kodak Portra 800 v3, and others. It wasn’t the right time of year, so I set it aside and (quite literally) forgot about it for awhile; however, I recently rediscovered it, and it just so happens to be the perfect season for it.

This new Recipe, which I’m calling Summer Sun, is bright and warm. If a hot summer day was a picture aesthetic, it’s this. It has a vintage film-like charm, maybe along the lines of Kodak Ultra Color 100UC used with a warming filter (maybe 81C). It’s not specifically modeled after that, but has some similarities nonetheless.

*Death of a Chevy* – Buckeye, AZ – Fujifilm X-E5 – Summer Sun Recipe

This Summer Sun Recipe is very warm, so it’s definitely not for every subject or light situation. It’s best on a bright sunny day, but can still be okay in partly-sunny situations. It’s compatible with all fifth-generation X-Trans cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, and X-E5. It’s also compatible with the latest GFX models, specifically the GFX100 II, GFX100S II, and GFX100RF.

Film Simulation: Reala Ace
Dynamic Range: DR200
Grain Effect: Strong, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Weak
White Balance: 7200K, -2 Red & +2 Blue
Highlight: -1
Shadow: -2
Color: +4
Sharpness: -1
High ISO NR: -4
Clarity: -3
ISO: Auto, up to ISO 6400
Exposure Compensation: 0 to +2/3 (typically)

Example photographs, all camera-made JPEGs captured using this Summer Sun Film Simulation Recipe on a Fujifilm X-E5, X100VI & X-S20:

*Manhattan from Hotel Window* – NYC, NY – Fujifilm X100VI

*Fruits & Vegetables* – NYC, NY – Fujifilm X100VI

*Building Backsides* – Buckeye, AZ – Fujifilm X-E5

*Spirits of the Past* – Buckeye, AZ – Fujifilm X-E5

*Green Mack* – Buckeye, AZ – Fujifilm X-E5

*It’s Corn* – Buckeye, AZ – Fujifilm X-E5

*Newly Planted Palms* – Buckeye, AZ – Fujifilm X-E5

*Evening Palm Tree* – Buckeye, AZ – Fujifilm X-E5

*Suburban Palm* – Buckeye, AZ – Fujifilm X-E5

*Flowering Tree* – Buckeye, AZ – Fujifilm X-S20 – Photo by Jonathan Roesch

*Brooklyn Bridge between Trees* – NYC, NY – Fujifilm X100VI

*Bridge, Runner* – NYC, NY – Fujifilm X100VI

*It’s All Greek to Me* – Washington, D.C. – Fujifilm X100VI

*Red Dumpster* – Washington, D.C. – Fujifilm X100VI

*Summer Joy* – Buckeye, AZ – Fujifilm X-E5

*Hidden Tower* – Buckeye, AZ – Fujifilm X-S20 – Photo by Jonathan Roesch

*Fireworks Stop* – Buckeye, AZ – Fujifilm X-E5

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

B&H BILD Expo Recap

Posted on June 21 by Ritchie Roesch

*B&H Store* – NYC, NY – Fujifilm X100VI – Kodak Portra 400 v2

I just got back from the B&H BILD Expo in New York City late last night. I’ve been traveling almost the entire month of June. Today is only the third day so far that I’m actually home. There’s a lot that I need to get caught up on, and I apologize for being slow to respond. If you’ve sent me an email and I haven’t yet answered back, I’ll try to do so before the end of next week.

This was my first BILD Expo. Last year I led some photowalks at the NAB Show in New York, which was held in the same building (Javits Center). While both events were large, BILD was bigger and had a larger attendance in my estimation. I don’t know how many came out, but I heard it was over 10,000! It seemed like a huge success.

Fujifilm brought me out to help with their Fujifilm X-E5 touch-and-try station; specifically, I was in charge of the Recipe podium. My purpose was to talk about Film Simulation Recipes, and how those can be used with the X-E5. It was an honor to have my photo (created with the Classic Color Recipe) printed on the top of the Classic Chrome podium. There were five podiums—each with an X-E5 on top—and a Lego display in the middle. The Legos were just as big of an attraction as the new camera, so kudos to whoever had the idea to do that.

It was so great to meet lots of you in person. I have no idea how many stopped by to say hello, but it was a large number. I shook a lot of hands. I wish I could have talked longer with each of you, but it wasn’t an ideal situation for that, unfortunately. I spoke with Omar Gonzalez, Jason Vong and Vivienne (she showed me an incredible picture that she captured of the cherry blossoms in Japan using a Fujifilm X100VI and Recipe), Cam Mackey, Jared Polin (Fro Knows), and more. I have a lot of stories that I could tell, but my favorite is stumbling across someone from Ohio who was on my photowalk in Scottsdale last year at a chicken restaurant in Manhattan.

Because I was tethered to the Recipe podium, I didn’t get a chance to see very much of the BILD Expo. Even though I was there from before the doors opened until after the doors closed, I only experienced a tiny bit of it, so I cannot say much. Omar Gonzalez and Cam Mackey both have good recaps (I’m in Cam’s video, actually). Unfortunately, I didn’t take very many photos of the event because I was so busy. Now that I’m back home, I wish that I had made a bigger effort to use my camera more.

What I can say is that the Fujifilm X-E5 got a lot of attention—there was constantly a crowd. Thousands of people gave it a try, and the feedback was mostly positive. For every “it’s too expensive” there were ten “it’s priced right” or “that’s a bargain,” which I think is because of the build quality. There’s a notable difference in how the X-E5 looks and feels compared to the X-E4. Holding the X-E5 is more like holding the X100VI. There’s no denying that the X-E5 isn’t cheap, though. Because my podium was right next to the X half station, I got a close look at the interest in that camera, which was massive. I had nearly as many questions about the X half as I did the X-E5, and at least a handful of people told me that it’s the only Fujifilm camera they have an interest in. There were a few lulls in X half crowds on Day 2, while the X-E5 station remained consistently busy on both days. I also got to see the new GFX Eterna camera in person, which was cool. I think it will be a pretty unique cinematic tool.

That’s it for BILD. My wife and I walked around New York City a few times (the photos above were captured on my Fujifilm X100VI using the Kodak Tri-X 400 Recipe). Photographically, it’s probably the best city in America, just because there are picture opportunities literally everywhere. You can’t help but be a great photographer. Just walk around with your camera and you’ll find something incredible. I would have loved to have stayed longer, but I’m also so glad to be home—it was amazing to sleep in my own bed for a change.

I’m hoping to finish my review of the Fujifilm X half in the next few days, and right after that I’ll have a writeup on the Fujifilm X-E5. I actually have an X-E5 right in front of me, but I only get to use it for a few days (I better hurry this up!). Then, next week, on Saturday, June 28th, I’ll be in Colorado Springs for a photowalk (click here to register). I hope to see you there!

New: Fuji X Weekly + Evergreen Camera Straps

Posted on June 15 by Ritchie Roesch

I’m very excited to introduce the Fuji X Weekly + Evergreen collaborative Heritage Leather camera strap collection. This has been in the works for literally years. It took several iterations, with many adjustments and refinements, to get to this final product. I think you’re really going to like it!

In the Heritage Leather collection are six options: three colors and two sizes. The three colors are black, tan, and—my personal favorite—green. I picked the green color personally, and we called it “Fuji X Weekly Green” for obvious reasons—it even includes the Fuji X Weekly “X” logo stamped into the leather (the black and tan options do not). I’m using the Fuji X Weekly Green Heritage Straps personally on several of my Fujifilm cameras. The two sizes are 28″ and 38″, providing both a short and long option.

A refined evolution of Evergreen’s original minimalist strap (which I also use and like), the Heritage Leather strap is crafted from premium full-grain leather, oil-dyed and wax-finished for a natural look that develops a deep patina over time. The traditional split ring setup is compatible with most cameras, both vintage and new. Designed to echo the timeless look of classic rangefinder straps while adding a soft microfiber suede backing for comfort during long shoots. Lightweight and unobtrusive, this strap stays out of your way but holds up to serious use. Works with Fujifilm, Leica, Nikon, Canon, Sony, and vintage 35mm cameras—basically any camera that uses split ring connectors.

Head over to Evergreen’s website and check out the Heritage Leather camera strap collection today! The price is $45 per strap (no matter the color or size), and Evergreen is currently offering free shipping. Also, the black version of the Fuji X Weekly + Evergreen Protective Case for Fujifilm X100-Series Cameras is back in stock at Amazon. Both the black and clear cases are still in stock at B&H. It should also be available soon on the Evergreen Cases website, so keep an eye out for that.

Everyone Uses Film Simulations

Posted on May 30 by Ritchie Roesch

Anyone who has ever used a Fujifilm X or GFX camera has used Film Simulations. No mater if you are a JPEG photographer or a strict RAW shooter, you use at least one Film Simulations. There’s no getting around it.

Those who claim “I don’t use Film Simulations” on their Fujifilm cameras are not being honest because it’s nearly impossible to disable them (we’ll get into that in a moment). What they are really stating is, “Film Simulations are for those JPEG people; I shoot RAW, so they don’t apply to me.” But, silly goose: they apply to the RAW photographer just as much as to those who shoot straight-out-of-camera. In some cases this may simply be ignorance, not realizing that Provia—the “standard” option—is one of the 20 Film Sims; however, I believe it can also be explained by arrogance: “Film Simulations are for JPEGs, and Real Photographers™ don’t shoot JPEGs.”

*Boulder Theater* – Boulder, CO – Fujifilm X100VI – Reala Ace – Fujicolor PRO 160C Warm

Interestingly enough, the most popular Film Simulation by far among strict RAW photographers is Provia, while the most popular Film Simulation by far among those who use Film Simulation Recipes is Classic Chrome. The Provia Film Simulation is intended to be broadly appealing, especially to those without a background in film photography. Classic Chrome is intended to appeal to those who want a film look. For those who use Recipes, Provia isn’t even one of the Top 5 most popular.

There are only two ways to disable the Film Simulations. The easiest and most obvious is to use the Advanced Filters, which, when activated, are in lieu of Film Simulations (although some of those are based on Provia); however, I don’t think the people who loathe Film Sims are using the Advanced Filter options. The second requires a camera with an OVF. Disable the EVF and turn off image playback. Only use the OVF. Then, in Lightroom, change the base color profile to your own or Lightroom’s neutral base. In that way, you never have to look at a Film Simulation.

*Fire, Truck* – Lordburg, NM – Fujifilm GFX100S II – Nostalgic Neg. – 1970’s Summer

The problem with saying “I don’t use Film Simulations” is that each time you look at the EVF or review on the LCD the photo you just captured, you are seeing it with a Film Simulation applied, most likely Provia. You are seeing the world through the lens of that Film Sim each time you use your camera. You may or may not use Lightroom’s or Capture One’s version of a particular Film Simulation when you edit your RAW photos (most probably do), but at the time of capture, you are absolutely using a Film Simulation.

Film Simulations are half the fun of Fujifilm cameras. Those who use Recipes already know this. My suspicion is that those who only ever use Provia haven’t tried the other options, or maybe only briefly did when their camera was brand-new before quickly dismissing them. In other words, they may not know what they’re missing. It’s quite possible that they’d like their cameras even more if they explored this feature.

*Worn Out* – Buckeye, AZ – Fujifilm X100VI – Classic Chrome – Kodak Portra 400 v2

My suggestion, if you are a strict RAW photographer who would never be caught dead shooting JPEGs, is to try the other Film Simulations. You might find one that better matches your vision more than Provia, which might help you to better visualize the final result at the time of capture. It can be a useful tool; you might find it to be less of a gimmick than you thought it was. Then, hopefully, we can move beyond the “I don’t use Film Simulations” nonsense, which is untrue. If you use a Fujifilm camera, you use Film Simulations. Period. Maybe you only use one, but you still use them.

As for the rest of us who find Film Simulations to be one of the defining features of our cameras, it’s ok to celebrate that. There’s no need to feel “less than” because some jerk talks down to you. If that person found what works best for him or her, that’s wonderful; if you found what works best for you, that’s equally as wonderful. There’s no right or wrong way to do photography, or one way that is superior. What I can say after meeting hundreds of you: these people might be common on the internet, but they are rare in real life. Most people are kind, friendly, and accepting. And, as it turns out, we have more in common than we thought, including that we all use Film Simulations.

52 Weeks of Photography: Week 20

Posted on May 20 by Ritchie Roesch

*Boulder Theater* – Boulder, CO – Fujifilm X100VI & TCL – Fujicolor PRO 160C Warm

Week 19

This is a one-year photo-a-day project called 52 Weeks of Photography. Even though it is a year-long undertaking, I’m taking it one week at a time, because it’s a little easier to manage many small blocks than one large chunk. This is the 20th week, so the 20th set of seven images.

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

*Mountain Grass & Flowers* – Boulder, CO – Fujifilm GFX100S II & 80mm f/1.7 – Velvia Slide

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

This was an exceptionally busy week, but I managed to pick up a camera each day, at least for a few pictures. A couple of days produced a number of good photos, and a couple of days not so much. I flew out to Denver to lead a photowalk in Boulder with Mike’s Camera. That was a lot of fun, and also by far my most photographically productive day of this week.

*Flatiron from Behind* – Boulder, CO – Fujifilm X100VI & TCL – The Rockwell

Interestingly, I was just reviewing my pictures created over the last few years for an upcoming project, and almost all of my favorite photos—at least 80%—were made while traveling. My guess is that 80%+ of my total photos were captured local near my home, but that accounted for at most 20% of my favorites, while less than 20% were made while on a trip somewhere, yet that accounted for the majority of my favorites.

What I takeaway from this is that I need to be more creative at home. I need to view my local area more as a first-time tourist and less as a resident who has seen the sites a hundred times. I also need to make a better effort to get to the local places that are photographically interesting. I need my local photography hit-rate to be closer to my travel photography hit-rate. With all of that said, when you visit amazing places, it’s a lot easier to create amazing pictures, so maybe that accounts for a good deal of it, too.

Without further ado, below are the 20th set of seven pictures from this 52 Weeks of Photography project.

Tuesday, May 6th, 2025

*Half Moon Between Branches* – Buckeye, AZ – Fujifilm GFX100S II & 80mm f/1.7 – Superia Negative

Wednesday, May 7th, 2025

*Growing, Building* – Litchfield Park, AZ – Fujifilm X-E4 & 27mm f/2.8 – Superia Negative

Thursday, May 8th, 2025

*Hanging Flower Pot* – Buckeye, AZ – Fujifilm GFX100S II & 80mm f/1.7 – Superia Negative

Friday, May 9th, 2025

*Ricoh Camera, Phoenix Film* – Buckeye, AZ – Fujifilm GFX100S II & 80mm f/1.7 – Nostalgic Film

Saturday, May 10th, 2025

*Terminally Waiting* – Phoenix, AZ – Fujifilm X100VI & TCL – Indoor Astia

Sunday, May 11th, 2025

*Flowers & Flatirons* – Boulder, CO – Fujifilm X100VI & TCL – Kodak Tri-X 400

Monday, May 12th, 2025

*Leaving Colorado* – Divide, CO – Fujifilm X100VI & TCL – Kodak Portra 400 v2

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

Fujifilm GFX100S II:
Amazon, B&H,
Fujinon GF 80mm f/1.7:
Amazon, B&H,
Fujinon 27mm f/2.8:
Amazon, B&H, Moment,
Fujifilm X100VI in black:
Amazon, B&H, Moment, Nuzira
Fujifilm X100VI in silver:
Amazon, B&H, Moment, Nuzira

Peak to Peek — Mountains & Manhattan — Looking Back & Forward

Posted on May 13 by Ritchie Roesch

*Flowers & Flatirons* – Boulder, CO – Fujifilm X100VI – Kodak Tri-X 400

Mike’s Camera held a three-day photo and video expo at their Boulder location this last weekend. They invited me out to teach a class and lead a photowalk on Sunday. It was a quick trip (I got back home yesterday), but I had a wonderful time, and it was so great to meet some of you in-person.

According to a few store employees, the first two days of the annual expo were very, very busy. The final day was on Mother’s Day, and apparently it was much slower. Only six people came out for the class and photowalk on Pearl Street, which allowed for lots of one-on-one opportunities. Last year when I co-lead a photowalk with Mike’s Camera, the turnout was large (more than 60!), which was great, but it didn’t allow for longer conversations—some people wanted to ask questions or get help or advice, and they just couldn’t, which was unfortunate. While large group numbers are more impressive, I personally prefer smaller groups—I believe they’re more helpful and enjoyable.

Last year Fujifilm invited me to lead a series of photowalks at the NAB Show in New York City. It was an incredible opportunity, and really thrilling. Fujifilm capped the groups at five people per walk (although there were more than five on all three of my walks). It’s much more casual, and really about connections, conversations, and counsel (I was looking for a synonym for help that started with a “c”…), which are a bit difficult with larger crowds. It’s my favorite photowalk that I’ve been a part of. The Boulder photowalk reminded me of that, and is also one of my top favorites. I think everyone had a great time, and I’m really honored to have been a part of it. I want to give a special thank you to those who took time on Mother’s Day to come out, and express my appreciation to Mike’s Camera and Fujifilm for facilitating it.

Above: Photos from the photowalk – Fujifilm X100VI – Fujicolor PRO 160C Warm, Superia Negative, Kodak Portra 400 v2, Universal Provia, Retro Negative & Fujicolor Superia 200 Recipes

Something that I’m really excited to announce is that I’ll be in New York City next month. Fujifilm has invited me to the B&H Bild Expo, which will be at the Javits Center in Manhattan (the same location as the NAB Show) on June 17th and 18th. This is a big event that you won’t want to miss. Peter McKinnon is one of the headline speakers, but there are many others, too. David Geffin, Kyler Steele, and Jasmine Quiñones are three that I personally recommend.

I met David at a Fujifilm X-T50 launch event last summer. He’s a super talented photographer and cinematographer. You’ve likely seen his work before, even if you don’t realize it. I’m not sure when he will be speaking, but it will be well worth your time to attend. Just before the X-T50 launch, Fujifilm held a creator’s retreat in the Catskills, and that’s where I met Kyler. I got to spend a few days hanging out with him and others. He’s quite skilled, and you will not want to miss his presentation, which I’m certain will be great. I met Jasmine at Fujifilm’s Create With Us event last year in Austin. We didn’t get to talk very much, unfortunately, because we were both quite busy. Her videos are topnotch. There’s a good chance you’ve seen her work before, especially if you follow Fujifilm’s social media accounts. Definitely make sure you catch one of their talks, if not all three.

*Fujifilm Booth at NAB Show* – New York City, NY – Fujifilm X100VI – Kodak Tri-X 400

If you live in New York City or the surrounding areas, or if you happen to be visiting Manhattan in the third week of June, be sure to stop by the B&H Bild Expo. I’d love to meet you. It’s going to be epic, and I can’t wait! Stay tuned for more details.

There’s a lot of really awesome things in the works, which I’ll share with you as soon as I can. If you don’t already, be sure to follow this website (“Follow via email” at the bottom of this page) and/or my social media accounts (Instagram, Facebook, TikTok, YouTube) so that you don’t miss out. It was great meeting some of you in Boulder, and I look forward to meeting more of you in Manhattan!

52 Weeks of Photography: Week 17

Posted on April 29 by Ritchie Roesch

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

Week 16

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

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

Wednesday, April 9th, 2025

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

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

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

Wednesday, April 16th, 2025

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

Thursday, April 17th, 2025

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

Friday, April 18th, 2025

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

Saturday, April 19th, 2025

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

Sunday, April 20th, 2025

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

Monday, April 21st, 2025

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

Week 18

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

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

52 Weeks of Photography: Week 16

Posted on April 21 by Ritchie Roesch

*Tools of the Trade* – Buckeye, AZ – Fujifilm GFX100S II & 80mm f/1.7 – Fujicolor PRO 160C Warm

Week 15

*Horse Rider* – Litchfield Park, AZ – Fujifilm X100VI – Kodak Portra 400 v2

I’m a little late getting this article out, and it’s because I’ve been very busy. The Ricoh Recipes App update took a lot of my time, but I also have a number of other projects in the works, too, which I cannot wait to share with you. There are definitely some exciting things happening!

Without further ado, below are the 16th set of seven pictures from this 52 Weeks of Photography project.

Tuesday, April 8th, 2025

*Jack* – Avondale, AZ – Fujifilm X-E4 & 27mm f/2.8 – Pacific Blues

Wednesday, April 9th, 2025

*Toyota Fork Lift* – Buckeye, AZ – Fujifilm GFX100S II & 80mm f/1.7 – Fujicolor PRO 160C Warm

Thursday, April 10th, 2025

*Leaning Against a Wall* – Buckeye, AZ – Fujifilm GFX100S II & 80mm f/1.7 – Fujicolor PRO 160C Warm

Friday, April 11th, 2025

*Suburban Palm* – Buckeye, AZ – Fujifilm GFX100S II & 80mm f/1.7 – Nostalgic Film

Saturday, April 12th, 2025

*Spring Swim* – Buckeye, AZ – Fujifilm X-T4 & 90mm f/2 – Reggie’s Portra

Sunday, April 13th, 2025

*Neon* – Buckeye, AZ – Fujifilm GFX100S II & 80mm f/1.7 – Nostalgic Film

Monday, April 14th, 2025

*Sky, Light* – Litchfield Park, AZ – Fujifilm X100VI – Kodak Tri-X 400

Week 17

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

Fujifilm GFX100S II:
Amazon, B&H, Wex
Fujinon GF 80mm f/1.7:
Amazon, B&H, Wex
Fujinon 27mm f/2.8:
Amazon, B&H, Moment, Wex
Fujinon 90mm f/2:
Amazon, B&H, Moment, Wex
Fujifilm X100VI in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X100VI in silver:
Amazon, B&H, Moment, Wex, Nuzira

Kodacolor VR 200 — Fujifilm X-Trans V Film Simulation Recipe

Posted on April 16 by Ritchie Roesch

*Coastal Arches* – Charleston, SC – Fujifilm X-S20 – Kodacolor VR 200 – Photo by Jonathan Roesch

Kodak used the Kodacolor brand name for various emulsions going back to the 1940’s and continuing through the 1980’s. This new Film Simulation Recipe mimics a version called Kodacolor VR 200 (not to be confused with Kodacolor VR Plus 200, the predecessor to ColorPlus 200) that was introduced in 1982 and discontinued in 1986. It has a bit of a faded color aesthetic, like old prints from 40 years ago not quite stored correctly in a photo album. It’s not a Recipe for everyday use, but it’s great for specific situations where you want strong contrast, low saturation, and a retro look. In the right settings, this Recipe produces striking results with a distinct analog feel.

The Kodacolor VR 200 Recipe was emailed to me by Thomas Schwab, who has created or co-created a number of Film Simulation Recipes on this website. My Kodacolor 200 Recipe for X-Trans II cameras was his starting point; however, he modified it quite extensively using the newer options to get these results. I want to give a special thank you to Thomas for creating the Kodacolor VR 200 Recipe, and allowing me to share it will you all. Both myself and my son, Jonathan, had a lot of fun using Recipe on our Fujifilm cameras. Thank you, Thomas!

*Toyota* – Buckeye, AZ – Fujifilm GFX100S II – Kodacolor VR 200

The Kodacolor VR 200 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, X-T50, and X-M5. It’s also compatible with the latest GFX models, which (as of this writing) are the Fujifilm GFX100 II, GFX100S II, and GFX100RF. You can use this on some fourth-generation X-Trans cameras, namely the X-T4, X-S10, X-E4, and X-T30 II (not the X-T3, X-T30, X-Pro3 and X100V, unfortunately), as well as the GFX100S, by setting Color Chrome FX Blue to Strong.

Film Simulation: Classic Chrome
Dynamic Range: DR200
Grain Effect: Weak, Large
Color Chrome Effect: Strong
Color Chrome FX Blue: Weak
White Balance: 3000K, +8 Red & -8 Blue
Highlight: +1.5
Shadow: +2.5
Color: -4
Sharpness: +1
High ISO NR: -4
Clarity: -2
ISO: Auto, up to ISO 6400
Exposure Compensation: 0 to +2/3 (typically)

Example photographs, all camera-made JPEGs captured using this Kodacolor VR 200 Film Simulation Recipe on a Fujifilm X100VI, X-S20, and GFX100S II:

*Shell Gas Station* – Bisbee, AZ – Fujifilm X100VI

*Old Yellow Car* – Bisbee, AZ – Fujifilm X100VI

*Blue & Rust Chevy* – Bisbee, AZ – Fujifilm X100VI

*Old Lady Truck* – Bisbee, AZ – Fujifilm X100VI

*Old Truck, Old Town* – Bisbee, AZ – Fujifilm X100VI

*Arizona Thunder* – Bisbee, AZ – Fujifilm X100VI

*Parked on Erie St* – Bisbee, AZ – Fujifilm X100VI

*Water* – Buckeye, AZ – Fujifilm GFX100S II

*Old Television* – Bisbee, AZ – Fujifilm X100VI

*Mannequin* – Bisbee, AZ – Fujifilm X100VI

*Evergreen Under Bridge* – Charleston, SC – Fujifilm X-S20 – Photo by Jonathan Roesch

*Construction Corner* – Goodyear, AZ – Fujifilm X100VI

*Cardinal* – Buckeye, AZ – Fujifilm X-S20 – Photo by Jonathan Roesch

*Concrete Pipes* – Buckeye, AZ – Fujifilm X-S20 – Photo by Jonathan Roesch

*Cross Here* – Goodyear, AZ – Fujifilm X100VI

*Air/Water* – Goodyear, AZ – Fujifilm X100VI

*Hot Air Balloon at Night* – Goodyear, AZ – Fujifilm X-S20 – Photo by Jonathan Roesch

*Harkins* – Goodyear, AZ – Fujifilm GFX100S II

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

52 Weeks of Photography: Week 15

Posted on April 9 by Ritchie Roesch

*Rainbow Over Trees* – Surprise, AZ – Fujifilm X-E4 & 27mm f/2.8 – Pacific Blues

Week 14

*Yellow Rose* – Litchfield Park, AZ – Fujifilm X-E4 & 27mm f/2.8 – Pacific Blues

Had a great week. Co-lead a photowalk on the 4th, and attended a portrait lighting class on the 5th. Was fairly productive on several other days, too. There are probably a dozen pictures that might have made the cut to be shared in the weekly article if they had occurred in a different week (mostly captured over a four day stretch). Hopefully I can keep this up as the temperatures get hot here in Arizona.

Without further ado, below are the 15th set of seven pictures from this 52 Weeks of Photography project.

Tuesday, April 1st, 2025

*Kup Here* – Buckeye, AZ – Fujifilm X-E4 & 27mm f/2.8 – Fujicolor 100 Gold

Wednesday, April 2nd, 2025

*Window Light* – Buckeye, AZ – Fujifilm X-E4 & 27mm f/2.8 – Pacific Blues

Thursday, April 3rd, 2025

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

Friday, April 4th, 2025

*Golden Hour Photographer* – Phoenix, AZ – Fujifilm X100VI & TCL-X100 – Kodak Portra 400 v2

Saturday, April 5th, 2025

*Outdoor Fashion* – Scottsdale, AZ – Fujifilm GFX100S II & 80mm f/1.7 – Fujicolor PRO 160C Warm

Sunday, April 6th, 2025

*Church* – Litchfield Park, AZ – Fujifilm X-E4 & 27mm f/2.8 – Pacific Blues

Monday, April 7th, 2025

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

Week 16

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

Fujifilm GFX100S II:
Amazon, B&H, Wex
Fujinon GF 80mm f/1.7:
Amazon, B&H, Wex
Fujinon 27mm f/2.8:
Amazon, B&H, Moment, Wex
Fujinon 35mm f/2 in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujinon 35mm f/2 in silver:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X100VI in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X100VI in silver:
Amazon, B&H, Moment, Wex, Nuzira

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

Posted on April 7 by Ritchie Roesch

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

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

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

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

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

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

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

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

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

What I did last Weekend — Photowalk & Portrait Lighting Class

Posted on April 7 by Ritchie Roesch

*Photographing Phoenix* – Phoenix, AZ – Fujifilm X100VI – Nostalgic Film

This last weekend, Nuzira, an up-and-coming camera store in Scottsdale, Arizona, that’s Fujifilm-centric, hosted two awesome events. First, on Friday, I co-lead a photowalk in downtown Arizona with Christopher Berry, Ryan Faer, Darin Watkins, and Lucas White (of Nuzira). Then, on Saturday, Christopher held a portrait lighting class at the camera store. Both were so great! Thank you, Nuzira, for making these happen, and I’m honored to have been a part of it.

The photowalk was awesome! I didn’t count, but my estimated guess is that about 35 people came out, give or take a few. It was a great group, with a lot of interesting conversations. Because of the First Friday Art Walk, it was very busy downtown, and unfortunately—due to the crowds—the group got separated at times; however, I think everyone had a good time, and I’d certainly call it a success. These type of community building events are so important, where face-to-face conversations can be had and friendships can be formed, so I hope to see more of these in the future.

My 11-year-old son, Joshua, came along. This was his first photowalk, and he seemed to enjoy the experience. I let him use my Fujifilm X70. I brought a Fujifilm X100VI, and used a TCL-X100 teleconverter lens for most of the pictures. While I like the 23mm (35mm-equivalent) focal length, I prefer the 50mm-equivalent focal-length just a little more. I want to give a special thanks to everyone who came out—it’s because of you that these events happen.

Above: Fujifilm X100VI – Kodak Portra 400 v2, Kodak Tri-X 400, and Film Dial Recipes

*Christopher Berry Teaching* – Scottsdale, AZ – Fujifilm GFX100S II – Fujicolor PRO 160C Warm

On Saturday morning, Christopher Berry taught a portrait lighting class at the Nuzira store. He’s a talented photographer from Tucson who is insanely skilled at studio lighting. More than 25 years ago I learned studio lighting in college, but that was ages ago, and I don’t remember much—needless to say, I was very rusty. This refresher was long overdue for me, and I’m so glad that Nuzira brought Chris up to teach it. This is something that I’d pay money for, but it was completely free!

The class was great because everyone got some one-on-one hands-on opportunities. It wasn’t just teaching theories, but putting it to practice. While I don’t have much of an interest in portrait photography personally, I was able to gain a deeper understanding of lighting, which is kind of a critical aspect of photography. Thanks, Chris, for all the great information and advice! I learned a lot.

Besides that, I got to see the new Fujifilm GFX100RF and Instax Wide Evo in-person. And there were donuts, too. It was well worth the drive across town. If Nuzira does something like this again, I certainly hope that I can make it, or be a part of it in some way.

Above: Fujifilm GFX100S II & Fujinon 80mm f/1.7 – Film Dial Recipes (the portraits were with the Reala Ace film simulation)

I’d really like to see more photography events happen—not just in Phoenix, but across the country. We can all learn from each other, and in-person connections are, unfortunately, lacking in our modern society. Camera stores, clubs, and manufacturers can help to facilitate events. This shouldn’t be a one-time thing—it would be great to see more photowalks and classes pop up all over the place. I hope they do. And if there is one in your area, definitely make an effort to attend.

Universal Negative — 14 Fujifilm X100VI (X-Trans V) Film Simulation Recipes (Yes, 14!!)

Posted on March 28 by Ritchie Roesch

When Fujifilm released the X-T50 last year, it had a new feature: a Film Dial. In my pursuit of figuring out how to use it effectively, I created the Film Dial Recipe set, a group of 14 Recipes that are really just one “Universal Recipe” (set of settings) that work well with any of the 20 film simulations (I grouped all four Acros options together, as well as all four Monochrome; hence 14 Recipes and not 20). This technique makes the X-T50—and now the X-M5, which also has the Film Dial—more versatile than the other X-series cameras for the straight-out-of-camera photographer. At least so I thought.

As it turns out, this technique can be used on any Fujifilm camera, simply by assigning one of the customizable knobs, wheels, rings, or buttons to activate the film simulation menu. The X-S10 and X-S20 have an unmarked knob on top that are factory-default set for this purpose. On other cameras, the rear command dial (R-Dial in the Fn settings menu) can be set to activate the film simulation menu. On my Fujifilm X100VI, I programmed the Control Ring to adjust the film simulation. On one hand the Film Dial is preferable: you can see what the film simulation is set to just by looking at the camera, it can be adjusted with the camera powered off, and it won’t reset when the camera is powered on. On the other hand, the non-Film Dial cameras are preferable: you have quick access to all 20 film simulations, and not limited by the 12 slots found on the Film Dial. There are advantages and disadvantages to both, and I prefer the Film Dial personally. But the light bulb moment for me was realizing that the Film Dial Recipe can be used on many cameras, and not just those with the Film Dial—I use it regularly on several different models, including my X100VI, X-T5, and GFX100S II.

Fujifilm’s film simulations are good straight-out-of-the-box, but with some parameter adjustments, they can become great. To get the most out of the various film simulations, you need to make changes to the factory-default settings (a.k.a. use Film Simulation Recipes). However, the Film Dial becomes problematic when you do this because rarely do multiple film simulations look good with the same Recipe settings. Sometimes they do, such as with Kodak Portra 400 v2, Vintage Vibes, and Ferrania Solaris FG 400, which require the same exact settings (note: set Color Chrome FX Blue to Off on X-Trans V), but use three different film simulations: Classic Chrome, Classic Negative, and Eterna Bleach Bypass. Most of the time, however, whenever you use a different film sim than what the Recipe calls for, the results are less than spectacular, such as when Omar Gonzalez accidentally used Classic Chrome instead of Classic Negative with the Agfa Vista 100 Recipe. Creating a “Universal Recipe” like the Film Dial Recipe is not an easy task.

Not content with having just one “Universal Recipe”, I set out to create another. I’ve been working on this one for more than three months now, and I’m excited to share it with you. It can be used in conjunction with the Film Dial on the X-T50 and X-M5; however, it can also be used on any fifth-generation X-Trans camera or even the latest GFX models. I created this Recipe on my Fujifilm X100VI, and all of the photos below were made using that camera. Also, if you don’t want to use it as a “Universal Recipe” but you like the results of just one of them—such as Classic Negative (a.k.a. “Fujicolor Superia 200”) below—simply use that one standalone. Or pick your favorite three and use it in conjunction with the Film Simulation Bracket feature.

I wanted this new universal option, which I’m calling Universal Negative, to be different than the Film Dial Recipe set. I didn’t want to merely repackage a small adjustment to it; I wanted something significantly divergent, and maybe a tad more film-like. Hopefully that’s what I accomplished here. My plan is to have both this Universal Negative Recipe set and the Film Dial Recipe set programmed into at least one of my cameras (right now it’s my X100VI), which really just opens up the opportunity to achieve various looks in-camera. It’s kind of like having C1-C35, instead of just C1-C7. While this is intended for fifth-generation models (currently: X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, and X-M5), it can also be used on X-Trans IV (except the X-T3 and X-T30); however, blue will render slightly less deeply on Classic Chrome, Classic Negative, Eterna, and Eterna Bleach Bypass, and some film sims won’t be available.

Film Simulation: Any (See Below)
Dynamic Range: DR400
Grain Effect: Strong, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Strong
White Balance: 4000K, 0 Red & -5 Blue
Highlight: 0
Shadow: -2
Color: -2
Sharpness: -2
High ISO NR: -4
Clarity: 0
ISO: Auto, up to ISO 6400
Exposure Compensation: -1/3 to +2/3 (typically)

Additionally, for Acros and Monochrome, set Monochromatic Color to WC 0 & MG 0 (a.k.a. Off). Also, Color will be disabled for Acros, Monochrome, and Sepia. For Eterna and Acros, ISO can be up to ISO 12800.

Provia/STD — “Universal Provia”

This “Universal Provia” Recipe doesn’t much resemble real Provia film, but that doesn’t mean it doesn’t produce an appealing aesthetic. It is true-to-life with a slight analog vibe, perhaps reminiscent of a Fujicolor Crystal Archive print. It’s kind of a Goldilocks Recipe—not too vibrant or muted, not too contrasty or flat, not too warm or cool. For best results, use in sunny daylight; however, it can do well in shade, indoor natural light, and even blue-hour with artificial light.

Velvia/Vivid — “Velvia 100F”

Velvia was the go-to film for vibrant landscape photography. If you wanted the colors to pop, Velvia 50 slide film is what you’d want to use. There were multiple versions of Velvia, and Velvia 100F (not to be confused with Velvia 100) was the least saturated of them all. This “Velvia 100F” Recipe isn’t strictly modeled after the emulsion, but it is in the ballpark, and close enough to name this after the film. This is an excellent option for colorful pictures that are not over-the-top vibrant. Great for sunny daylight landscapes, golden hour, sunrise/sunset, and even some nighttime situations.

Astia/Soft — “Indoor Astia”

This “Indoor Astia” Recipe is my favorite of all these for indoor natural light photography. It’s also good for sunny daylight, dreary overcast, and nighttime pictures. While this Recipe is more similar to actual Astia 100F film than the film simulation is when set to the factory default settings, it’s not necessarily a good match for the emulsion.

Classic Chrome — “Elite Chrome”

Elite Chrome was Kodak’s consumer-grade version of Ektachrome color slide film, produced in the late-1990’s and early-2000’s. While this “Elite Chrome” Recipe wasn’t modeled after the emulsion, surprisingly it does resemble Elite Chrome 100 film to a degree. For best results, use in sunny daylight; however, it does do well in overcast and blue hour light.

Reala Ace — “Retro Negative”

Reala Ace is Fujifilm’s newest film simulation. It’s purportedly based on Reala film, but it’s not a very close replication of that emulsion, which is in the Superia line, and more similar to Classic Negative. Instead, Reala Ace is nearer to the Fujicolor PRO 160 line, and shares similarities with PRO Neg. Std and PRO Neg. Hi. Reala Ace probably should have been named PRO Neg. C, since it is most similar to Fujicolor PRO 160C film. Of the three “PRO Neg.” film sims, Reala Ace is my personal favorite. This “Retro Negative” Recipe is reminiscent of color negative film from the 1980’s and ’90’s, and might even remind you of some photos printed in magazines from that time frame. I found it is quite excellent for golden hour and blue hour photography; however, it’s good for a lot of different subjects and situations, including rainy days, natural light indoors, and portrait photography.

PRO Neg. Hi — “Fuji Negative”

This “Fuji Negative” Recipe is generally similar to various Fujicolor negative films, without mimicking any one specifically. This is probably my favorite of this group for overcast light, but it also does well in sunny daylight and blue hour.

PRO Neg. Std — “Pulled Negative”

Pulling film means to overexpose a little, then reduce the development time to compensate. The results are lower contrast photos with less pop. You could consider this “Pulled Negative” Recipe a one-stop pulled version of the “Fuji Negative” Recipe above. This Recipe is one of the best of this group for artificial light situations, such as nighttime and indoors.

Classic Negative — “Fujicolor Superia 200”

This “Fujicolor Superia 200” Recipe is probably my favorite of this group. Inadvertently, it’s reminiscent of Fujicolor Superia 200 color negative film, which was introduced in 1998 and discontinued in 2017. I especially like this Recipe for indoor natural and artificial light situations; however, it’s good for many subjects and light scenarios.

Nostalgic Neg. – “Americana Film”

Nostalgic Neg. is the second most recent addition to the film simulation lineup, and is modeled after American New Color images from the 1970’s. The Nostalgic Neg. film simulation has a strong Kodak aesthetic, particularly photographic prints from five decades ago. This is the warmest film sim, which means that this “Americana Film” Recipe is the warmest of this group. It’s great for portraits or any situation where you want a retro rendering.

Eterna/Cinema — “Eterna Film”

This “Eterna Film” Recipe is the second lowest saturated and least contrasty of all the color options in this series. It has a lovely soft cinematic quality that is especially great for taming high-contrast scenes; however, it has a limited use-case where it does well. I had trouble finding scenarios where it was the most appropriate option for the situation, but occasionally I did.

Eterna Bleach Bypass — “Chrome City”

Eterna Bleach Bypass has the lowest saturation and highest contrast of all of the film simulations. Bleach bypass is a development technique where the bleach step is reduced or eliminated, resulting in a high-contrast, low-saturation image that almost appears like a B&W picture over a color picture. It can be used in still photography, but is more commonly found in motion pictures (think Saving Private Ryan). This “Chrome City” Recipe is reminiscent of LomoChrome Metropolis film, which is an emulsion by Lomography that mimics the aesthetic of the bleach bypass technique. The results from this Recipe can be spectacular, and it’s one of my favorites from this group; however, it’s definitely not for every subject or situation.

Acros, Acros+Y, Acros+R, Acros+G — “Acros Negative”

Fujifilm introduced Neopan Acros black-and-white negative film back in 1952. Neopan Acros came in four versions: ISO 100, ISO 400, ISO 1600, plus an ISO 400 version for C41 development that was actually repackaged Ilford XP2 Super 400. Neopan Acros was briefly discontinued in 2018, and reintroduced in 2019 as Neopan Acros 100 II. Curiously, the new version is actually manufactured by Harman (the parent company of Ilford), although it behaves quite similarly to the original.

Typically, I prefer contrasty black-and-white pictures; however, this “Acros Negative” Recipe is fairly low-contrast. It has to be used thoughtfully, or else the pictures will look slightly muddy. The Acros filter options (+Y, +R, +G) are your friend, and this Recipe thrives on high-contrast scenes. In the right situations, the results can be wonderful. For grainer pictures, use higher ISOs, as the Acros film sim has built-in Grain that increases with the ISO. If I could only pick one Acros option for the “Acros Negative” Recipe, I’d go with Acros+R.

Monochrome, Monochrome+Y, Monochrome+R, Monochrome+G — “B&W Negative”

The Monochrome film simulation is simply Provia with the color turned off. It was the standard B&W film sim until the introduction of Acros on X-Trans III. Generally speaking, I like Acros much more than Monochrome, as Acros has more of an analog feel to it; however, Monochrome does have a slightly harsher tonality, so there are times that the Monochrome film simulation could be preferable, and you might choose this “B&W Negative” Recipe. Similar to the “Acros Negative” Recipe above, this one thrives in high contrast light, and the filter options (+Y, +R, +G) are your friends.

Sepia — “B&W Sepia”

Last and least is Sepia. This film simulation has been around for a long time, but very few use it. If Fujifilm discontinued it, most probably wouldn’t even notice. Sepia is a darkroom technique where you bathe B&W prints in a chemical for archival and artistic purposes. Most commonly, Sepia baths are quick, and the toning subtle; however, the prints can be left in longer, resulting in a pronounced reddish/brown tone (this film simulation replicates that), which was popular a hundred or more years ago. For a more subtle effect, simply use either “Acros Negative” or “Monochrome Negative” with Monochromatic Color set to WC +2 MG -2. Most likely you’ll skip this one, but if you’re looking for something different, maybe give it a try.

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

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

52 Weeks of Photography: Week 12

Posted on March 18 by Ritchie Roesch

*Library at Last Light* – Goodyear, AZ – Fujifilm X100VI – Upcoming Recipe

Week 11

*Not Gursky* – Goodyear, AZ – Fujifilm X100VI – Upcoming Recipe

I did not finish the big Film Simulation Recipe project that last week I told you I was hoping to finish and share. I’m really close, so hopefully soon. I’m pretty sure I have all of the pictures that I need for it, I just have to finish writing it up and putting it together. We’re only a couple days away from the X Summit, and it probably won’t get published before then.

Without further ado, below are the 12th set of seven pictures from this 52 Weeks of Photography project.

Tuesday, March 11th, 2025

*Parking Lot Sunset* – Goodyear, AZ – Fujifilm X100VI – Upcoming Recipe

Wednesday, March 12th, 2025

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

Thursday, March 13th, 2025

*Walk This Way* – Goodyear, AZ – Fujifilm X100VI – Upcoming Recipe

Friday, March 14th, 2025

*Blood Moon* – Buckeye, AZ – Fujifilm GFX100S II & 80mm f/1.7 – The Rockwell

Saturday, March 15th, 2025

*Pavilion Abstract* – Goodyear, AZ – Fujifilm GFX100S II & 80mm f/1.7 – Triple Exposure – Reggie’s Portra except with Reala Ace, and with a WB Shift adjustments between exposures

Sunday, March 16th, 2025

*Girl on the Stairs* – Buckeye, AZ – Fujifilm X100VI – Upcoming Recipe

Monday, March 17th, 2025

*Be(e)st Friends* – Buckeye, AZ – Fujifilm X-T4 & 90mm f/2 – Kodak Gold 200

Week 13

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

Fujifilm GFX100S II:
Amazon, B&H, Wex
Fujinon GF 80mm f/1.7:
Amazon, B&H, Wex
Fujinon 90mm f/2:
Amazon, B&H, Moment, Wex
Fujifilm X100VI in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X100VI in silver:
Amazon, B&H, Moment, Wex, Nuzira

Fujifilm X100VI Already Surpassing the Lifetime Production of the X100V

Posted on March 13 by Ritchie Roesch

While at the CP+ Show in Japan, PetaPixel interviewed Yuji Igarashi, who is the General Manager of the Professional Imaging Group, Imaging Solutions Division, of the Fujifilm Corporation. He said some interesting things regarding the Fujifilm X100VI production situation. Now, it’s important to take it with a grain of salt. Sometimes people will harshly judge an interpretation of what someone said in a different language, lacking grace for interpretation errors and dialect and cultural differences. Keeping that in mind, let’s get into it.

“We’ve more than doubled our production compared to the previous model,” Yuji Igarashi stated. “But on top of that, we are also still increasing production. Now we can produce higher than [15,000 units per month] and we have been, but it’s not like we can produce double that [amount again].”

Not much new there. Fujifilm told us from the outset that they had doubled production from the previous model, from 7,500 units per month to 15,000. We also already knew that for a year now they have been trying to increase production further. Fujifilm told PetaPixel that they have been unable to accomplish 30,000 units per month, but they are definitely beyond 15,000.

“We’ve been doing what we can to increase our production for the X100VI,” Yuji explained, “but the processes are quite complicated—especially for pieces like the top plate. To make these sharp edges, it goes through many processes. So, this type of camera is not so suited for ramping up production.” In other words, they’re doing all that they can, but there are significant challenges that prevent them from churning out even more cameras.

“In one year since we launched this product,” Yuji continued, “compared to the previous models which took us to sell three or four years, we’ve already shipped an equivalent amount.” This was shocking to me. Fujifilm is stating that—even with the manufacturing limitations—they have already built and delivered as many X100VI’s, which was released just one year ago, as the previous iteration over nearly a four year period. Just as many people have an X100VI in their hands as have an X100V, yet it only took Fujifilm one year to do that for the new camera vs four years for the X100V. And it’s a similar situation for the X100F and the previous versions.

This completely shreds the (quite stupid) theory that Fujifilm is purposefully creating shortages in order to manipulate the market. The unprecedented demand of the X100VI was and is real. No camera has been as in-demand as the X100VI ever. In all of history, no model from any brand received more preorders than the X100VI, it’s not even close. Despite building a ton of copies, Fujifilm has not yet met the initial demand, but they’re getting close. “So I know people are quite frustrated when they say it’s still not available,” Yuji said. “I think one issue is that the first-day orders were so big when it was announced, that’s why people say they’ve been waiting for eight, or 10 months, which we totally understand is so frustrating. So until we clear that, some people will still continue to say, ‘We’ve been waiting for 10 months.'”

Now you might say that the math isn’t mathing. If Fujifilm hasn’t been able to quadruple production, how could they possibly build as many units in one year as they did over nearly four? First, Fujifilm produced a bunch of copies in the months prior to the camera’s announcement, in anticipation of strong initial demand. Also, the X100V was effected by the pandemic parts shortage, which for a time limited the number of copies they could manufacture. If Fujifilm managed to make (say) 300,000 units, that would likely be close to the total number of X100V’s manufactured in total. And that 300K guesstimate might be in the ballpark. We know that 180,000 were manufactured at a minimum post launch, and 60,000 might have been manufactured prior to launch. If Fujifilm has been able to increase production by 6,000 units on average over the last 10 months, then you’d have 300K. While that’s a lot of cameras, apparently there were around 500,000 day-one preorders in China alone, so the initial demand has still not been met a whole year later.

Thankfully, slowly but surely Fujifilm is catching up. Here and there the X100VI has been seen in-stock at camera stores, particularly the black version. If you want to buy one, the wait isn’t nearly as long now. You might still have to be patient for a month or maybe a few, but the 10-month-long waits are in the past. It’s a good time to get your order in if you’ve been waiting. Or, if you’ve been hoping to find it at a local camera store, they might just have one right now—maybe.

The challenge for Fujifilm is to tread carefully on production numbers. If they suddenly find that the demand has been met, and they’re building over 20,000 units per month, they could end up overproducing a lot of copies. Since it takes months from the time parts are ordered until finished cameras are delivered, if the market suddenly shifts, it’s possible that Fujifilm could manufacture a hundred thousand copies more than are needed and can be sold. That amount of overproduction would be a tough blow to the bottom line, and possible could cripple the camera division. As wait times dwindle, Fujifilm should strongly considered reducing the number of units that they manufacture monthly. At some point, 15,000 copies each month will be much too much. Hopefully that is a long ways off, but it will arrive eventually, and it will need to be handled quite carefully when it approaches.

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

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