Fujifilm X100VI blog | 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

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.

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.

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 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

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 16th week, so the 16th 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—as I’m nearing the 1/3 mark, I can see some subtle improvements already, which is a good sign that this working.

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

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.

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

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.

Find these 14 Film Simulation Recipes and many more in the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

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

52 Weeks of Photography: Week 10

Posted on March 5 by Ritchie Roesch

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

Week 9

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

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

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

Tuesday, February 25th, 2025

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

Wednesday, February 26th, 2025

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

Thursday, February 27th, 2025

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

Friday, February 28th, 2025

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

Saturday, March 1st, 2025

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

Sunday, March 2nd, 2025

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

Monday, March 3rd, 2025

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

Week 11

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

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

Texas Sun — Fujifilm X-Trans V Film Simulation Recipe

Posted on December 4, 2024 by Ritchie Roesch

*Manhattan Skyline from Central Park* – New York City, NY – Fujifilm X100VI – Texas Sun Recipe

This new Film Simulation Recipe—called Texas Sun—comes courtesy of Jay Ybarra (Instagram, X). I met Jay earlier this year in Denver, and also in Austin at Fujifilm’s Create With Us event. He’s a great guy, and it was an honor to team up with him this last summer. Both a talented photographer and videographer, there’s a pretty good chance you’ve seen some of his work before (even if you didn’t realize it), and I’m sure you will again.

Jay first shared this Recipe in a Reel that was published on Fujifilm’s Instagram page. We had previously discussed doing some sort of collaboration, so when I saw it I reached out to Jay and asked if I could publish his Recipe on Fuji X Weekly and in the App. He was kind to agree, and provided a little backstory not included in the Reel, plus a few pictures for the article. Thank you, Jay, for creating this Recipe and allowing me to share it!

*Metallic Dalmatian* – New York City, NY – Fujifilm X100VI – Texas Sun Recipe

For Texas Sun, Jay wanted something Portra-like, but with increased vibrancy. A warm and colorful aesthetic, with a Kodak color negative film vibe. He found that this Recipe does well in many situations, but especially in backlit sunlight. It also works well with a flash. It’s great for breathing life into boring midday light, and also for sunset and blue-hour situations.

There is one unique aspect of this Recipe: the 6500K White Balance is a starting point. Depending on the light, you might find it to be too warm, and you may need to adjust it down until you get the results you want. Perhaps you’ll use 6500K for one image, 6300K for another, and 6100K for another, if the higher Kelvin numbers are a tad too warm for the specific light situation you are photographing in. I’m more of a set-it-and-forget-it person, so I left it at 6500K for all of my pictures, and didn’t adjust it down.

*Distillery* – Nashville, TN – Fujifilm X100VI – Texas Sun Recipe – Photo by Jonathan Roesch

This Recipe is for fifth-generation Fujifilm X-Trans cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, and X-M5. You can also use it on some X-Trans IV models—Fujifilm X-T4, X-S10, X-E4, and X-T30 II—by setting Color Chrome FX Blue to Strong instead of Weak. You can use it on newer GFX models, too; however, it will likely render slightly differently (try it anyway).

Film Simulation: Classic Chrome
Dynamic Range: DR200
Grain Effect: Strong, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Weak
White Balance: 6500K, +2 Red & -6 Blue
Highlight: -2
Shadow: -0.5
Color:+4
Sharpness: -2
High ISO NR: -4
Clarity: 0
ISO: Auto, up to ISO 6400
Exposure Compensation: +2/3 to +1 (typically)

Example photographs, all camera-made JPEGs captured using this Texas Sun Film Simulation Recipe:

*Full Service* – Bisbee, AZ – Fujifilm X100VI

*Classic Steering Wheel* – Bisbee, AZ – Fujifilm X100VI

*West Chelsea* – New York City, NY – Fujifilm X100VI

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

*Urban Alley* – New York City, NY – Fujifilm X100VI

*You like Jazz?* – New York City, NY – Fujifilm X100VI

*Daniel Stewart* – New York City, NY – Fujifilm X100VI

*X100-Series Photographer 1* – New York City, NY – Fujifilm X100VI

*X100-Series Photographer 2* – New York City, NY – Fujifilm X100VI

*Pineapples* – Vail, AZ – Fujifilm X100VI

*Barry B. Benson* – New York City, NY – Fujifilm X100VI

*The Lake* – New York City, NY – Fujifilm X100VI

*Northern Lights Angel* – New York City, NY – Fujifilm X100VI

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

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

Evergreen + Fuji X Weekly Protective Case for Fujifilm X100-series cameras

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Traveling Light with the Fujifilm X100VI + WCL-X100 II & TCL-X100 II Conversion Lenses

Posted on October 30, 2024 by Ritchie Roesch

The Fujifilm X100VI—the most in-demand camera of 2024—has a fixed 23mm (35mm full-frame equivalent) f/2 lens. It’s not an interchangeable-lens camera, which limits its versatility; however, Fujifilm has provided a couple of options to increase its flexibility. First is the built-in Digital Teleconverter, which is a zoom-by-cropping. Second, Fujifilm offers two conversion lenses—a wide-angle and telephoto—that screw onto the end of the fixed-lens. We’ll talk a bit about both of these solutions in this article, but mostly we’ll focus on the two conversion lenses. Specifically, I will answer this question: is the Fujifilm X100VI combined with the WCL-X100 II and TCL-X100 II conversion lenses a practical small kit for travel photography?

MPB is the sponsor of this article. They loaned me a Fujinon WCL-X100 II Wide Conversion Lens and Fujinon TCL-X100 II Tele Conversion Lens to try out for a couple of weeks. For those who don’t know, MPB is an online platform where you can buy, sell, or trade used photo and video gear. “At MPB, there’s something for everyone who wants to try something new, hone their skills, or pursue their passion—and it won’t cost the earth.” If you’re in the market for used camera gear, be sure to check out their platform—you can learn more about MPB here. Thank you, MPB, for making this article possible!

One thing that I love about the Fujifilm X100VI is its compactness. The camera is small enough to fit into a large pocket, and its lightweight enough to carry around all day without being burdensome. The photographs that the X100VI produces straight-out-of-camera are incredible, and can be very film-like. I’ve said many times that this is my desert-island camera—if I could only ever have one for the rest of my life, it would be the X100VI. But, the fixed-focal-length lens is somewhat limiting, so I often suggest that it pairs well with an interchangeable-lens body. I will always bring the X100VI along with me when I travel, but I will almost always have another camera, too.

The Digital Teleconverter helps to make the X100VI more versatile. The 50mm (full-frame equivalent) Digital Teleconverter produces a very usable 20mp image, while the 70mm (full-frame equivalent) Digital Teleconverter produces a much less usable (but still usable for social media) 10mp image. I use the 50mm option somewhat regularly and don’t think twice about it, but I rarely use the 70mm Digital Teleconverter because it is more for emergency-use-only. This does add some versatility, but only a little.

By screwing one of the two conversion lenses—WCL-X100 II and TCL-X100 II—onto the end of the fixed-lens (where the filter adapter attaches), you essentially turn the X100VI (and the older X100 series models, too) into an interchangeable-lens camera. The WCL-X100 II has 0.8x magnification, turning the 23mm lens into 18mm (28mm full-frame equivalent). The TCL-X100 II has 1.4x magnification, turning the 23mm lens into 50mm (full-frame equivalent). Interestingly, there is actually a small focal-length difference between the TCL-X100 II and the Digital Teleconverter, despite that they are both supposedly 50mm equivalent—the TCL-X100 II is actually slightly more telephoto than using the 50mm Digital Teleconverter. I didn’t notice any reduction in image quality when using either conversion lens (amazing!); however, the distortion can do some weird things, which you are likely to only notice when photographing brick or tile walls.

Probably the largest drawback to the two conversion lenses is that they add noticeable size and weight to the camera. The WCL-X100 II is 1.5″ (long) x 2.2″ (diameter), and weighs 0.33 pounds, which isn’t terrible. The TCL-X100 II is a little larger and heavier: 1.8″ (long) x 2.8″ (diameter), and weighs 0.39 pounds. While the WCL-X100 II is a little less inconvenient to have attached, I personally liked the TCL-X100 II a little more. I feel like the conversion lenses contradict the camera’s philosophy (one-camera-one-lens; small/lightweight) to a degree, but at the same time, they do make for an extremely small and lightweight kit. I carried both conversion lenses and the X100VI in a Peak Design Sling, which was an amazingly compact kit for travel!

*Fujifilm X100VI + WCL-X100 II (28mm full-frame equivalent)*

*Fujifilm X100VI (35mm full-frame equivalent)*

*Fujifilm X100VI + WCL-X100 II + Digital Teleconverter (40mm full-frame equivalent)*

*Fujifilm X100VI + Digital Teleconverter (50mm full-frame equivalent)*

*Fujifilm X100VI + TCL-X100 II (50mm full-frame equivalent)*

*Fujifilm X100VI + TCL-X100 II + Digital Teleconverter (70mm full-frame equivalent)*

You can combine the Digital Teleconverter with the conversion lenses to increase the versatility even further, achieving 28mm, 35mm, 40mm, 50mm, and 70mm (full-frame equivalent) focal-lengths without resorting to the 10mp crop. I didn’t find the Digital Teleconverter combined with the WCL-X100 II lens particularly useful, personally; however, I did utilize the Digital Teleconverter a handful of times with the TCL-X100 II lens. I think it would be interesting if Fujifilm offered a 0.7x magnification (24mm full-frame equivalent) WCL option and a 2x magnification (70mm full-frame equivalent) TCL option in addition to the two they already have—I think this four lens (plus the 23mm fixed lens) kit would be extremely compelling for travel photography, if it were available.

I was invited to be a part of Fujifilm’s Create With Us event in Austin, Texas, last month. It was such a great time, and it was wonderful to meet many of you in-person. The only camera that I brought along with me was my Fujifilm X100VI, plus I had the WCL-X100 II and TCL-X100 II conversion lenses. I left the interchangeable-lens models at home. It was so nice to have a compact three lens kit—which stretched into a faux four lens kit utilizing the Digital Teleconverter—that all fit into a small sling bag. When you travel, oftentimes less is more, as space is a premium.

*Fujifilm X100VI + PRO Negative 160C Recipe*

It was good to have three lens options available: the fixed lens (23mm), WCL-X100 II (18mm), and TCL-X100 II (32mm). There were definitely times when each came in handy. While the WCL-X100 II was a little less detrimental to the X100VI experience than the TCL-X100 II, I found myself using the TCL-X100 II more. I don’t know that either of the two are essential. For the most part, one can take a couple steps backwards instead of using WCL-X100 II, and one can take a few steps forward (or utilize the Digital Teleconverter) instead of using the TCL-X100 II. Obviously that’s not always practical (or the same result), so having the conversion lenses available was appreciated.

I think the conversion lenses are an interesting concept. Having used them on this one trip, I was left both impressed and confused simultaneously. I utilized them a lot more than I think I would have if I had not been testing them out for this article. If someday I did buy them, they’d likely only get occasional use; however, for those occasions when they do come in handy, it’s great to have them available, as they’re pretty darn good. More than anything, I think if you’re a bit nervous to pack light for fear that you’ll miss out due to not having the “right” lenses available, the two conversion lenses will give you a bit more confidence. Even if they’re largely left unused in your sling, it’s probably still better than lugging around a bigger and heavier bag with a larger body and a couple lenses to go with it. In that sense, the two conversion lenses are completely worthwhile accessories to go along with your X100VI camera.

*Fujifilm X100VI + *Kodak T-Max 100 Soft Tone* Recipe*

*Fujifilm X100VI + *Kodak T-Max 100 Hard Tone* Recipe*

*Fujifilm X100VI + TCL-X100 II + *Kodak T-Max 100 Hard Tone* Recipe*

*Fujifilm X100VI + TCL-X100 II + Velvia Film Recipe*

*Fujifilm X100VI + Fujicolor Blue Recipe*

*Fujifilm X100VI + TCL-X100 II + Kodak Portra 400 v2 Recipe*

*Fujifilm X100VI + WCL-X100 II + Fujicolor Blue Recipe*

*Fujifilm X100VI + TCL-X100 II + Digital Teleconverter + Fujicolor Blue Recipe*

*Fujifilm X100VI + TCL-X100 II + Fujicolor Blue Recipe*

*Fujifilm X100VI + WCL-X100 II + Kodak Portra 400 v2 Recipe*

*Fujifilm X100VI + WCL-X100 II + 1976 Kodak Recipe*

*Fujifilm X100VI + TCL-X100 II + Nostalgic Film Recipe*

*Fujifilm X100VI + WCL-X100 II + Eterna Summer Recipe*

*Fujifilm X100VI + Eterna Summer Recipe*

*Fujifilm X100VI + TCL-X100 II + Nostalgic Americana Recipe*

*Fujifilm X100VI + TCL-X100 II + Kodak Tri-X 400 Recipe*

*Fujifilm X100VI + TCL-X100 II + Digital Teleconverter + Kodak Tri-X 400 Recipe*

*Fujifilm X100VI + WCL-X100 II + PRO Negative 160C Recipe*

*Fujifilm X100VI + WCL-X100 II + Nostalgic Americana Recipe*

The above photographs are all camera-made JPEGs captured using my Fujifilm X100VI, utilizing a Fujinon WCL-X100 II Wide Conversion Lens and Fujinon TCL-X100 II Tele Conversion Lens for many, while traveling to Austin, TX, last month.

Previously in this series:
Fujifilm X-Pro2 — The camera that got away (again)
Fujifilm X-T50 + Fujinon 23mm F/2 = Interchangeable-Lens Fujifilm X100VI??
Leica Q2 from the perspective of a Fujifilm photographer
Fujifilm X30 — Fujifilm’s Forgotten Retro Compact Zoom
Close Up with the Fujinon XF 30mm F/2.8 R LM WR Macro

Evergreen + Fuji X Weekly Protective Case for Fujifilm X100VI / X100V / X100F — Update 1: I Need Your Help!

Posted on October 29, 2024 by Ritchie Roesch

When I introduced the Evergreen + Fuji X Weekly Protective Case for Fujifilm X100-series cameras four weeks ago, I mentioned that there isn’t enough free space for a neck strap to fit into it. Many wrist straps fit, but there’s not enough space inside the case for a neck strap. An alternative that I suggested was to use a quick-release strap (and store the strap elsewhere), which would certainly work, but it may or may not be a good solution for you. Well, I’m very happy to report that the Evergreen 28″ Short Strap will, in fact, fit inside the case!

I was a little worried that this neck strap would be a bit too short, but it wasn’t (at least not for me). It’s made from genuine leather, with a soft microfiber suede back for comfort. Evergreen calls the design minimalist vintage-modern; I’m not sure what that means, but it is stylish, and matches the X100VI aesthetic quite well. So if you are looking for a neck strap that will also fit into the Evergreen + Fuji X Weekly Protective Case, the Evergreen 28″ Short Strap is an excellent option—and it’s only $30. This is what I’m currently using on my Fujifilm X100VI (for about two weeks now), and I’m very happy with it.

If you own a Fujifilm X100-series camera—such as the X100VI, X100V, or X100F—and you want to protect it when you travel or are on some amazing adventure somewhere, this case will do it. The Evergreen + Fuji X Weekly Protective Case is waterproof, shock-resistant, and tough. You don’t have to worry about your camera getting damaged. And it’s only $50.

Also, I’m excited to announce that the Evergreen + Fuji X Weekly Protective Case for Fujifilm X100-series cameras is now available at B&H. Yeah, that camera store. This is a really big deal! So currently it’s available for purchase from Amazon, B&H, and directly from Evergreen Cases.

One more thing: I need your help! Evergreen and I would like to make another case, this time a larger one for an interchangeable-lens model. If you have a couple moments, please answer the two questions below. It will help me out immensely. Thank you so much!

Fujicolor Blue — Fujifilm X100VI (X-Trans V) FXW App Patron Early Access Film Simulation Recipe

Posted on October 24, 2024 by Ritchie Roesch

*Yellow Beanie* – New York City, NY – Fujifilm X100VI – Fujicolor Blue

This Fujicolor Blue Film Simulation Recipe was actually a failed attempt at recreating a certain look, but nonetheless I really liked the results, so I decided to make it an official Recipe in the Fuji X Weekly App. Whenever I attempt to replicate a certain look, it’s largely by trial-and-error, and there are a lot of failures along the way. Occasionally one of those failures is interesting on its own merit, such as this one.

What does Fujicolor Blue resemble? It definitely has a Tungsten-balanced film vibe, although I don’t think it matches any specific Tungsten emulsion. I think it also roughly resembles a daylight-balanced film used in conjunction with an 80A or other cooling filter. It definitely has a retro Fujicolor negative film look (perhaps along the lines of Fujicolor Super HR), but maybe also a bit of an Agfa aesthetic (such as Agfacolor 200). While it’s not exactly like any specific emulsion that I’m aware of, it has a strong analog feel, and you could probably convince someone that you shot film and not a modern digital camera.

*Flowers & Fruit* – Austin, TX – Fujifilm X100VI – Fujicolor Blue

This Fujicolor Blue Recipe is great for adding a cold feeling to a sunny daylight photograph, toning down an overly warm scene, pretty much any indoor situation, and nighttime artificial light scenarios. It’s highly versatile, but the pronounced cool cast in sunny daylight is not going to be for everyone. This Recipe is compatible with all fifth-generation X-Trans cameras, which (as of this writing) are the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, and X-M5. Those with certain X-Trans IV models and newer GFX can use it, too; however, it will render slightly different (but don’t be afraid to try it).

Fujicolor Blue is an App Patron Early Access Recipe. If you are a Fuji X Weekly App Patron, you have access to it right now. If not, no worries, as it will eventually be made available to everyone, once it is replaced by a new Early Access Recipe. This also means that an different Early Access Recipe is now available for everyone, so be on the lookout for it.

Example photographs, all camera-made JPEGs using this Fujicolor Blue Film Simulation Recipe on a Fujifilm X100VI:

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

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

*Construction Site* – New York City, NY – Fujifilm X100VI

*Yellow Guy* – New York City, NY – Fujifilm X100VI

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

*Hudson Yards* – New York City, NY – Fujifilm X100VI

*Urban Skyscape* – New York City, NY – Fujifilm X100VI

*Green for Siding* – Austin, TX – Fujifilm X100VI

*How You Doing?* – Austin, TX – Fujifilm X100VI

*Airborne Bike 1* – Austin, TX – Fujifilm X100VI

*Airborne Bike 2* – Austin, TX – Fujifilm X100VI

*Lake Dock* – Clinton, CT – Fujifilm X100VI

*Boatride* – Clinton, CT – Fujifilm X100VI

*Houseplant* – Clinton, CT- Fujifilm X100VI

*Fujifilm, Y’all* – Austin, TX – Fujifilm X100VI

*Don’t Slip* – New York City, NY – Fujifilm X100VI

*Chochin Lanterns* – Clinton, CT – Fujifilm X100VI

*Nashville Night* – Nashville, TN – Fujifilm X100VI – Photo by Jonathan Roesch

*Johnny’s BBQ* – Nashville, TN – Fujifilm X100VI – Photo by Jonathan Roesch

*Diamonds are For Baseball* – New York City, NY – Fujifilm X100VI

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

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

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

Posted on October 1, 2024 by Ritchie Roesch

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

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

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

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

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

Available now at:

Amazon
Evergreen Cases

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

Fujifilm X100VI Variant Ideas

Posted on September 27, 2024 by Ritchie Roesch

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

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

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

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

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

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

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

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

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

Is Fujifilm Purposefully Causing Shortages to Manipulate the Market?

Posted on July 8, 2024 by Ritchie Roesch

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

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

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

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

A lot of people responded to this with something to the effect of: “This proves it! Fujifilm is purposefully creating camera shortages to manipulate the market.” But I think they misunderstand it. I wasn’t planning to write this article, but, since I’ve had several people ask me to comment on the controversy, I thought I’d type out my opinion.

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

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

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

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

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

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

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

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

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

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

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

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

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

Easy Reala Ace — Fujifilm X100VI (X-Trans V) Film Simulation Recipe

Posted on June 20, 2024 by Ritchie Roesch

*Vintage Shell* – Bisbee, AZ – Fujifilm X100VI – Easy Reala Ace Recipe

This Easy Reala Ace Film Simulation Recipe comes from Nathalie Boucry, who shared it on her blog (click here — look at the very bottom, sample pictures within the article). Nathalie and I cohost a YouTube program called SOOC Live, which you should definitely check out if you haven’t yet. When Nathalie received her Fujifilm X100VI, there were not any Reala Ace Recipes for it yet. Now there are a few—PRO Negative 160C, Fujicolor 100 Industrial, Fujicolor PRO 160C Warm, and Kodak Gold 200 v3—but back then there weren’t any, so she made her own.

“I’m liking the new film simulation a lot,” Nathalie said. “I had to think out of the box when I first got the camera and was out in the bright South Africa sun. I enjoy the gentle, true color reproduction and the tonal contrast to make my images come alive.” I think that’s an excellent description of the Recipe: gentle yet true-to-life that makes images come alive. It’s also highly versatile, and can work well for many subjects, in many different conditions, and in a variety of light situations. It’s not a huge adjustment from factory-default Reala Ace, but it definitely does improve on it.

*Waterfall over Tunnel* – Anaheim, CA – Fujifilm X100VI – Easy Reala Ace

The Easy Reala Ace Film Simulation Recipe is currently only compatible with the Fujifilm X100VI and X-T50; however, once Fujifilm gives Reala Ace to the other fifth-generation X-Trans cameras—the X-H2s, X-H2, X-T5, and X-S20—later this year, it will be compatible with those models, too. I’m sure it can be used on the latest GFX cameras, but it will likely render slightly differently (try it anyway, though). Thank you, Nathalie, for creating and sharing this Recipe, and allowing me to publish it on Fuji X Weekly!

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

Example photographs, all camera-made JPEGs captured using this Easy Reala Ace Film Simulation Recipe on my Fujifilm X100VI:

*The Power of Tree Leaves* – Buckeye, AZ – Fujifilm X100VI

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

*Bisbee Breakfast* – Bisbee, AZ – Fujifilm X100VI

*Steering Wheel & Bullet Holes* – Bisbee, AZ – Fujifilm X100VI

*Old Ford Box Truck* – Bisbee, AZ – Fujifilm X100VI

*White Stripes* – Los Angeles, CA – Fujifilm X100VI

*Building Blue* – Los Angeles, CA – Fujifilm X100VI

*Singapore in LA* – Los Angeles, CA – Fujifilm X100VI

*Scooters & Step* – Los Angeles, CA – Fujifilm X100VI

*Escalator Down* – Los Angeles, CA – Fujifilm X100VI

*Guts* – Los Angeles, CA – Fujifilm X100VI

*Metroscape* – Los Angeles, CA – Fujifilm X100VI

*Stars & Stripes & Customer Entrance* – Anaheim, CA – Fujifilm X100vI

*Stars & Stripes & Smile* – Anaheim, CA – Fujifilm X100VI

*Breakfast Beignets* – Anaheim, CA – Fujifilm X100VI

*Luxo Lamp* – Anaheim, CA – Fujifilm X100VI

*Sith Sabor* – Anaheim, CA – Fujifilm X100VI

*Night Water Fountain* – Anaheim, CA – Fujifilm X100VI

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

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

Appalachian Negative — Fujifilm X100VI (X-Trans V) Film Simulation Recipe

Posted on June 18, 2024 by Ritchie Roesch

*Pershing Square* – Los Angeles, CA – Fujifilm X100VI – Appalachian Negative Recipe

This Appalachian Negative Film Simulation Recipe was sent to me by Logan Ballew. Like a lot of Fujifilm photographers, he really likes Classic Chrome Recipes, but one day he thought he’d like to try the Nostalgic Neg. film simulation. Instead of loading one of my Nostalgic Neg. Recipes into his camera, he simply used Nostalgic Neg. instead of Classic Chrome with my Kodak Portra 400 v2 Recipe; however, the results weren’t quite right, so he made a number of tweaks and adjustments until he got the look that he wanted. While this Recipe initially began as Kodak Portra 400 v2 but with Nostalgic Neg., it doesn’t much resemble that now, and produces a significantly divergent look.

Logan’s goal was an aesthetic reminiscent of home: the Appalachians near Asheville, North Carolina. “I spent most of my time as a kid hiking around the Blue Ridge Mountains or with my grandfather,” he told me. While his grandfather, Lanny Phillips, was an avid photographer (among other arts, including woodworking), it wasn’t until after college that he picked up a camera and began his own photographic journey; he’s been a hobbyist photographer for about five years now. This Recipe reminds him of his childhood memories in the Appalachians.

*Breakfast Home* – Anaheim, CA – Fujifilm X100VI – Appalachian Negative Recipe

“The foliage back home is super dense, and trying to capture that without blowing out the greens and messing up the saturation is somewhat of a task,” Logan said. “What’s nice about Nostalgic Negative is that it gives this amber color to your images.” While this Recipe is specifically intended for photography in the Appalachians, he found that it works well in many other environments, too. After using it in Los Angeles, California, I can attest that this one works quite well for urban scenes. I especially like the feelings of nostalgia that this Recipe infuses into the photographs.

Logan is enlisted in the U.S. Navy, and is currently stationed in Norfolk, Virginia. Joining the Navy allowed him to travel quite extensively—not just across the country, but internationally. However, he initially found Virginia to be photographically underwhelming; however, Logan says that Jason Hunter and other local photographers have been a huge help and inspiration, and now he spends a lot of time walking the boardwalks and driving around town capturing things that he would have overlooked before.

*Beware my Fuji X-Pro3* – Los Angeles, CA – Fujifilm X100VI – Appalachian Negative Recipe

Thank you, Logan Ballew, for sharing this Recipe with me, and allowing me to share it with the community! This Appalachian Negative Film Simulation Recipe is compatible with all fifth-generation X-Trans cameras, which (as of this writing) are the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50. I’m sure it can be used on newer GFX models, too, but will likely render slightly different (try it anyway, though). Logan encourages the use of a diffusion filter, such as a 5% or 10% CineBloom, with this Recipe. I used a 5% CineBloom for all of the photographs captured in Los Angeles.

Film Simulation: Nostalgic Neg.
Dynamic Range: DR400
Grain Effect: Weak, Large
Color Chrome Effect: Strong
Color Chrome FX Blue: Weak
White Balance: 5200K, +2 Red & -2 Blue
Highlight: -1.5
Shadow: 0
Color: +4
Sharpness: +2
High ISO NR: -4
Clarity: 0
ISO: Auto, up to ISO 6400
Exposure Compensation: +2/3 to +1 1/3 (typically)

Example photographs, all camera-made JPEGs captured using this Appalachian Negative Film Simulation Recipe on my Fujifilm X100VI:

*Yellow Pants, Blue Cart* – Los Angeles, CA – Fujifilm X100VI

*Urban Photographer* – Los Angeles, CA – Fujifilm X100VI

*Urban Flowerbed* – Los Angeles, CA – Fujifilm X100VI

*City Tree* – Los Angeles, CA – Fujifilm X100VI

*Urban Bougainvillea* – Los Angeles, CA – Fujifilm X100VI

*The Skateboarding Photographer* – Los Angeles, CA – Fujifilm X100VI

*Midair* – Los Angeles, CA – Fujifilm X100VI

*Push Cart* – Los Angeles, CA – Fujifilm X100VI

*Left Circles* – Los Angeles, CA – Fujifilm X100VI

*Local Metro* – Los Angeles, CA – Fujifilm X100VI

*Crossing* – Los Angeles, CA – Fujifilm X100VI

*Parking* – Los Angeles, CA – Fujifilm X100VI

*No Stopping Any Time* – Los Angeles, CA – Fujifilm X100VI

*Palms & Blue* – Anaheim, CA – Fujifilm X100VI

*Quintessential California* – Los Angeles, CA – Fujifilm X100VI

*Joe’s* – Los Angeles, CA – Fujifilm X100VI

*City Smoke* – Los Angeles, CA – Fujifilm X100VI

*Street Level View* – Los Angeles, CA – Fujifilm X100VI

*Hope the Light Changes* – Los Angeles, CA – Fujifilm X100VI

*Yellow Car* – Los Angeles, CA – Fujifilm X100VI

*Red Car* – Los Angeles, CA – Fujifilm X100VI

*Classic Chrysler* – Los Angeles, CA – Fujifilm X100VI

*Vehicle Exit* – Los Angeles, CA – Fujifilm X100VI

*Red Box* – Anaheim, CA – Fujifilm X100VI

*Careful Which Way You Go* – Los Angeles, CA – Fujifilm X100VI

*Bokeh Tree Lights* – Anaheim, CA – Fujifilm X100VI

*Fire Fountain* – Anaheim, CA – Fujifilm X100VI

*Jon in Golden Light* – Anaheim, CA – Fujifilm X100VI

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

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

Kodak Gold 200 v3 — Fujifilm X100VI (X-Trans V) FXW App Patron Early-Access Recipe

Posted on June 7, 2024 by Ritchie Roesch

*Flowers & Field* – Buckeye, AZ – Fujifilm X100VI – Kodak Gold 200 v3

I ran across an image in a (pretty interesting) PetaPixel article, and was inspired to create a Film Simulation Recipe. The picture itself sent me down a long rabbit hole; while the photograph in the article served as one of the reference photos, it was far from the only. Actually, I couldn’t closely match that particle picture, but it served as inspiration nonetheless. After sleuthing, I discovered that the image was captured on Kodak Gold 200. But why was it so green? That question is what opened up the rabbit hole.

Kodak Gold 200 is particularly prone to a green cast, and there are a whole bunch of things that can cause it. Underexposure. Heat (such as left in a hot car). Expired. Waiting too long to develop after exposure. Fluorescent lights. Airport scanners. Improper development. Improper storage of negatives prior to scanning. Poor color correction of the scan. Those are the main reasons. That lead me to a trove of Kodak Gold 200 examples that had various levels of green casts.

*Clearance Parking* – Los Angeles, CA – Fujifilm X100VI – Kodak Gold 200 v3

This Kodak Gold 200 v3 Film Simulation Recipe is modeled after some of those Kodak Gold 200 photographs that have a green cast. Quite obviously I couldn’t match all of them, because there was so much variance. For most of the references pictures I’m not sure what exactly caused the cast. This definitely isn’t a “normal” Kodak Gold 200 Recipe; for that, I recommend this, this, or this. But, if you’d like an alternative aesthetic that is perhaps a bit more lomo, this is a fun Recipe to try.

Kodak Gold 200 v3 is an App Patron Early-Access Recipe. If you are a Fuji X Weekly App Patron, you have access to it right now. If not, no worries, as it will eventually be made available to everyone, once it is replaced by a new Early-Access Recipe. As of this writing, it is only compatible with the Fujifilm X100VI and X-T50; however, once Fujifilm brings Reala Ace to the other fifth generation cameras (supposedly this summer), it will be compatible with the X-H2s, X-H2, X-T5, and X-S20, too.

Example photographs, all camera-made JPEGs using this Kodak Gold 200 v3 Film Simulation Recipe on my Fujifilm X100VI:

*Green Girl* – Buckeye, AZ – Fujifilm X100VI

*Yellow-Orange Flowers on a Green Bush* – Buckeye, AZ – Fujifilm X100VI

*Spring Trumpets* – Buckeye, AZ – Fujifilm X100VI

*Village Green Fountain* – Buckeye, AZ – Fujifilm X100VI

*Spitting Lion* – Buckeye, AZ – Fujifilm X100VI

*Lion Spewing Water* – Buckeye, AZ – Fujifilm X100VI

*Lion Fountain* – Buckeye, AZ – Fujifilm X100VI

*No, No* – Scottsdale, AZ – Fujifilm X100VI

*Oleander Parking* – Buckeye, AZ – Fujifilm X100VI

*Small Palm Frond* – Buckeye, AZ – Fujifilm X100VI

*Red Mustang* – Buckeye, AZ – Fujifilm X100VI

*Bumper Stickers* – Surprise, AZ – Fujifilm X100VI

*Red Chair with Flowers* – El Segundo, CA – Fujifilm X100VI

*Yellow Flower & Tree Trunk* – Buckeye, AZ – Fujifilm X100VI

*Tree Trunk at a Park* – Buckeye, AZ – Fujifilm X100VI

*Neighborhood Trees & Partly Cloudy Sky* – Buckeye, AZ – Fujifilm X100VI

*Parking Garage Reflected* – Los Angeles, CA – Fujifilm X100VI

*Photo Potential* – Los Angeles, CA – Fujifilm X100VI

*Paleta Cart* – Los Angeles, CA – Fujifilm X100VI

*Toyota* – Los Angeles, CA – Fujifilm X100VI

*First Order TIE Echelon* – Anaheim, CA – Fujifilm X100VI

*Millenium Falcon* – Anaheim, CA – Fujifilm X100VI

*Pier View* – Manhattan Beach, CA – Fujifilm X100VI

*Wave* – Manhattan Beach, CA – Fujifilm X100VI

Comparison:

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California Summer — Fujifilm X100VI (X-Trans V) Film Simulation Recipe

Posted on June 4, 2024 by Ritchie Roesch

*Orange Twist* – Buena Park, CA – Fujifilm X100VI – California Summer

This California Summer Film Simulation Recipe was so much fun to create! I’m a big fan of Preet (Instagram), a photographer from Dubai. I really like his photographic style and picture aesthetics. If you’ve never seen his images, definitely check out his work—you’re in for a treat! This Recipe was modeled after some of his recent photographs.

Nearly four years ago I created a Recipe called Bright Summer that was inspired by Preet. That Recipe was the sixth most used last month (May 2024), so it’s quite popular. Funny enough, Preet himself called it Preetra 400, and I see that nickname used from time-to-time on social media. Preet doesn’t utilize camera-made JPEGs (as far as I’m aware, anyway), but prefers to edit RAW files; he even offers Lightroom Presets, should you wish to RAW-edit your pictures similarly to his (or just to support him as an artist).

*Original Chop Shop* – Scottsdale, AZ – Fujifilm X100VI – California Summer

The specific photographs that inspired this California Summer Recipe were from Preet’s recent trip to America—specifically, Texas. You can find these pictures on his Instagram. Obviously this Recipe doesn’t resemble all of his pictures, just certain ones; however, I think you can spot those pretty easily, because this Recipe is a pretty good match. Not 100%, but definitely very close. It would be a great honor if he ever tried this one someday.

I wasn’t sure what to name this Recipe. I called it “Preet Texas” in my camera, and initially “Texas Summer” for the article title. After carefully reviewing the pictures that I captured with this Recipe, I really felt that it produces a quintessential California summertime vibe. So at the last moment I renamed it to California Summer. I think that name matches the picture aesthetic well.

*Colorful Shell* – Anaheim, CA – Fujifilm X100VI – California Summer

For best results, use this Recipe in sunny daylight situations. It does well in harsh midday light and especially golden hour. It can be alright in shade. I would avoid it for indoor artificial light and nighttime photography, although under the right conditions I’m sure it can be ok for that, too. This California Summer Recipe is compatible with fifth-generation X-series cameras, which (as of this writing) are the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50 cameras. You can probably use this with newer GFX models, but I’ve not tested it for that, and it will likely render slightly different (don’t be afraid to try, though).

Film Simulation: Nostalgic Neg.
Dynamic Range: DR400
Grain Effect: Weak, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Weak
White Balance: 6700K, -1 Red & -6 Blue
Highlight: -2
Shadow: -1
Color: +4
Sharpness: -2
High ISO NR: -4
Clarity: -4
ISO: Auto, up to ISO 6400
Exposure Compensation: +2/3 to +1 1/3 (typically)

Example photographs, all camera-made JPEGs captured using this California Summer Film Simulation Recipe on a Fujifilm X100VI & X-T50:

*Palm Tops* – Scottsdale, AZ – Fujifilm X100VI

*Information* – Buena Park, CA – Fujifilm X100VI

*A Sign to Drink Coffee* – Buena Park, CA – Fujifilm X100VI

*Four Carts* – Buena Park, CA – Fujifilm X100VI

*Squares & Fronds* – Anaheim, CA – Fujifilm X100VI

*Food Mart* – Anaheim, CA – Fujifilm X100VI

*Yellow Apartments* – Scottsdale, AZ – Fujifilm X100VI

*STK* – Scottsdale, AZ – Fujifilm X100VI

*Yellow Wall* – Anaheim, CA – Fujifilm X100VI

*Rooftop* – Anaheim, CA – Fujifilm X100VI

*Pacific Coast* – Buena Park, CA – Fujifilm X100VI

*Fiesta Flags* – Buena Park, CA – Fujifilm X100VI

*Flying Ace* – Buena Park, CA – Fujifilm X100VI

*Loop* – Buena Park, CA – Fujifilm X100VI

*Xcelerator* – Buena Park, CA – Fujifilm X100VI

*Pines* – Buena Park, CA – Fujifilm X100VI

*Wood* – Buena Park, CA – Fujifilm X100VI

*Coaster Tracks* – Buena Park, CA – Fujifilm X100VI

*Spinning Dog* – Buena Park, CA – Fujifilm X100VI

*Wheel Through Glass* – Buena Park, CA – Fujifilm X100VI

*Rock Wall* – Sedona, AZ – Fujifilm X-T50

*Tree in a Meadow* – Sedona, AZ – Fujifilm X-T50

*Forest Sunstar* – Sedona, AZ – Fujifilm X-T50

*Colorful Rock* – Sedona, AZ – Fujifilm X-T50

*Last Light on Tall Rocks* – Sedona, AZ – Fujifilm X-T50

*Fast Car* – Scottsdale, AZ – Fujifilm X100VI

*Horse Fountain* – Scottsdale, AZ – Fujifilm X100VI

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

Fujifilm X100VI in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X100VI in silver:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-T50 in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-T50 in silver:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-T50 in charcoal:
Amazon, B&H, Moment, Wex

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