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 12th week, so the 12th 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.
Not Gursky – Goodyear, AZ – Fujifilm X100VI – Upcoming Recipe
The plan is to capture a year’s worth of notable images, either personally or artistically. Ansel Adams famously stated, “Twelve significant photographs in any one year is a good crop.” It’s important to keep expectations realistic, but I’m also trying to avoid thoughtless snapshots just to fulfill the day’s requirement. I want to push myself to be better, and hopefully that will happen. Not every photo will be great—in fact, most won’t—but I hope they are all at least decent enough to be shared without embarrassment. And maybe when the whole project is complete, there will be 12 significant pictures (out of the 365) that I’m particularly proud of.
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
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 is a one-year photo-a-day project called 52 Weeks of Photography. Even though it is a year-long undertaking, I’m taking it one week at a time, because it’s a little easier to manage many small blocks than one large chunk. This is the 10th week, so the 10th set of seven images. I can’t believe that I’m nearly 1/5th finished!
The reason why I’m doing this 365 Day project is because I noticed some gaps in-between my images last year. I didn’t pick up my cameras daily. On several occasions, four or five days passed by without a single picture created. Twice in 2024, I skipped a whole week. I want to rectify this, and get back into the habit of daily photography. I also want to elevate the quality of my craft in 2025, and am hoping that this will help.
Ford Falcon – Buckeye, AZ – Fujifilm X100VI – Upcoming Recipe
The plan is to capture a year’s worth of notable images, either personally or artistically. Ansel Adams famously stated, “Twelve significant photographs in any one year is a good crop.” It’s important to keep expectations realistic, but I’m also trying to avoid thoughtless snapshots just to fulfill the day’s requirement. I want to push myself to be better, and hopefully that will happen. Not every photo will be great—in fact, most won’t—but I hope they are all at least decent enough to be shared without embarrassment. And maybe when the whole project is complete, there will be 12 significant pictures (out of the 365) that I’m particularly proud of.
A lot of personal things came up this week. There were a couple of time that I thought I was going to fail. Somehow I managed to photograph each day, and I think it is because of the habits formed during the first nine weeks—if the same obstacles had presented themselves earlier in the project, I’m confident that I wouldn’t have completed it. Because those habits had cemented themselves already, it helped tremendously. Life happens, so I built into this project two days that can be missed. At some point I know that I’ll need to use those, but I’d rather save them for later if possible, and thankfully it was possible.
Below are the 10th set of seven pictures from this 52 Weeks of Photography project.
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 ninth week, so the ninth 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.
Mill – Queen Creek, AZ – Fujifilm X100VI – Upcoming Recipe
The plan is to capture a year’s worth of notable images, either personally or artistically. Ansel Adams famously stated, “Twelve significant photographs in any one year is a good crop.” It’s important to keep expectations realistic, but I’m also trying to avoid thoughtless snapshots just to fulfill the day’s requirement. I want to push myself to be better, and hopefully that will happen. Not every photo will be great—in fact, most won’t—but I hope they are all at least decent enough to be shared without embarrassment.
I have some big projects in the works, and made good progress on them during this week. I can’t wait to share them with you! In the meantime, there are a lot of “Upcoming Recipe” placeholders. I hope you don’t mind.
Below are the ninth set of seven pictures from this 52 Weeks of Photography project.
Tuesday, February 18th, 2025
Curved – Goodyear, AZ – Fujifilm X100VI – Upcoming Recipe
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 eighth week, so the eighth 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.
GFX100S II & 30mm – Buckeye, AZ – Fujifilm X-T4 & 90mm f/2 – Reggie’s Portra
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.
I wasn’t especially productive or unproductive this week. There are a handful of photographs that I really like, and a fair number of mediocre ones. I do feel that grabbing a camera and making pictures daily is becoming more natural—I believe the habit is setting in; however, I do need to press myself to be more creative on some days.
Below are the eighth set of seven pictures from this 52 Weeks of Photography project.
Tuesday, February 11th, 2025
Cat Under Arch – Buckeye, AZ – Fujifilm X100VI – Upcoming Recipe
Wednesday, February 12th, 2025
Night Owl – Buckeye, AZ – Fujifilm GFX100S II & 30mm f/3.5 – Kodak Tri-X 400
Thursday, February 13th, 2025
Leaf on a Wet Windshield – Buckeye, AZ – Fujifilm X100VI – Upcoming Recipe
Friday, February 14th, 2025
Seat Stripes– Surprise, AZ – Fujifilm X100VI – Upcoming Recipe
Saturday, February 15th, 2025
Light on a Dark Wall – Buckeye, AZ – Fujifilm X-E4 & 27mm f/2.8 – RedScale
The Red Desert – Buckeye, AZ – Fujifilm X100VI – RedScale
Redscale is an analog film technique where you load a roll of color film into the camera backwards. The film is exposed from the wrong side—through the plastic backing—exposing the red layer first. The results are photographs with a predominately red color cast. Sometimes it’s yellow-ish, sometimes it’s orange-ish, sometimes it’s peach-ish, sometimes it’s purple-ish, but mainly it is red. Results can very from film-to-film, and also how the film is exposed and developed/scanned; however, a redscale photo is unmistakable—you know it when you see it.
You can buy film preloaded for redscale photography. Lomography has Redscale XR, which is an unknown Kodak emulsion loaded into the canister backwards (some have speculated it’s Ultramax 400). On Valentine’s Day, Harman released Red 125, which is backwards-loaded Phoenix 200. Harman Red 125 is what this RedScale Recipe was inspired by. Because the film is new, there aren’t a lot of examples yet. I’m not convinced that this Recipe is perfectly accurate, but it seems to be pretty close from the limited number of pictures I found online.
Light on a Dark Wall – Buckeye, AZ – Fujifilm X-E4 – RedScale
Redscale photography isn’t for everyone or every situation—it’s a niche lomo-esque aesthetic. But if you want to get that look straight-out-of-camera, this RedScale Film Simulation Recipe will do that very convincingly. This is compatible with Fujifilm X-Trans IV (excluding the X-T3 and X-T30; use this Redscale Recipe instead) and X-Trans V cameras. While Classic Negative renders blue more deeply on X-Trans V than on X-Trans IV, because the color blue doesn’t really come through with this Recipe, it looks the same on both sensor generations. You can also use it on most GFX cameras.
Film Simulation: Classic Negative Dynamic Range: DR200 Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome FX Blue: Off White Balance: 10000K, +9 Red & -9 Blue Highlight: 0 Shadow: +2 Color: +4 Sharpness: -2 High ISO NR: -4 Clarity: -3 ISO: Auto, up to ISO 6400 Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured using this RedScale Film Simulation Recipe on a Fujifilm X-E4, X100VI & GFX100S II:
Classic Circles – Buckeye, AZ – Fujifilm X-E4
The Very Best – Buckeye, AZ – Fujifilm X-E4
Disc – Buckeye, AZ – Fujifilm X-E4
Tall Chair – Litchfield Park, AZ – Fujifilm X-E4
Red Fan – Buckeye, AZ – Fujifilm X-E4
Hat Rack – Buckeye, AZ – Fujifilm X-E4
b – Buckeye, AZ – Fujifilm X-E4
Nature & Structure – Buckeye, AZ – Fujifilm X100VI
Chairs & Cart – Buckeye, AZ – Fujifilm X-E4
Promenade – Buckeye, AZ – Fujifilm X100V
CVS Sign – Buckeye, AZ – Fujifilm X-E4
YJack – Buckeye, AZ – Fujifilm X-E4
Two Bikes – Buckeye, AZ – Fujifilm X100VI
Suburban Bike – Buckeye, AZ – Fujifilm X-E4
Son, Shadow – Buckeye, AZ – Fujifilm X-E4
Reflected Structure – Tempe, AZ – Fujifilm X-E4
Red Hen – Buckeye, AZ – Fujifilm X-E4
Unlikely Friends – Buckeye, AZ – Fujifilm GFX100S II
Palm Canopy – Buckeye, AZ – Fujifilm X100VI
Suburban Tree – Buckeye, AZ – Fujifilm X-E4
Palm Abstract – Buckeye, AZ – Fujifilm X-E4
Closed for the Evening – Buckeye, AZ – Fujifilm X-E4
Fire Flowers – Buckeye, AZ – Fujifilm X-E4
K81 – Buckeye, AZ – Fujifilm X-E4
Red Hair – Buckeye, AZ – Fujifilm X-E4
Red Saguaro Fingers – Buckeye, AZ – Fujifilm X100VI
Find this RedScale Film Simulation Recipe and nearly 400 more in the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
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 seventh week, so the seventh 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.
Oak Creek – Sedona, AZ – Fujifilm GFX100S II & 80mm f/1.7 – Nostalgia Negative
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.
I had one especially productive day, and six that were much less so; however, overall I felt better about Week 7 than I did about Week 6. On the days with fewer photographs, I tried to push myself to be a bit more creative and intentional. Still, I know that I could have done better, so I need to keep at it, keep pressing forward.
Below are the seventh set of seven pictures from this 52 Weeks of Photography project.
Shutter speed simply controls the amount of time that light is exposed to the camera’s sensor. How motion is rendered—either frozen still or as a blur—will depend on the shutter speed. There are a few key things to know, but overall this is all fairly easy to understand.
Before we dive in, I want to quickly revisit aperture, because there’s something I forgot to mention in Part 1. How sunstars and lens flare will appear depends on a number of factors, including (among other things) the aperture you’ve selected. For more pronounced sunstars, use a small aperture, such as f/16. If you want to minimize sunstars and lens flare, use a large aperture, such as f/2. This is just one more factor to consider when choosing the most appropriate aperture for the scene in front of you.
Forest Sunstar – Sedona, AZ – Fujifilm X-T50 & Fujinon 23mm f/2 lens at f/14 – California Summer
Now, with that out of the way, let’s talk about shutter speeds. What is it? What does it do to your pictures? How do you control it to get the images that you want?
The quick and simple definition of shutter speed is that it is the amount of time the camera’s shutter curtain is open, allowing light to reach the sensor or film. A fast shutter speed allows very little light to expose the sensor, while a slow shutter speed allows a lot of light in. Shutter speed is one of three elements of the exposure triangle, along with aperture and ISO, and must be used in balance with the other two elements. On many Fujifilm cameras, the shutter speed is controlled by a knob on the top of the camera, marked with numbers like 125, 250, 500, etc., etc..
Some common shutter speeds are 1/15, 1/30, 1/60, 1/125, 1/250 and 1/500. There are, of course, many other shutter speeds, this is far from a comprehensive list. 1/15 is an example of a slow shutter speed, and 1/500 is an example of a quick shutter speed. You’ll note that these are fractions, as in fractions of a second. You’ll also note that they’re half or twice as long as the shutter speed on either side, which means that 1/60 lets in half as much light as 1/30, and 1/15 lets in twice as much light as as 1/30. Like aperture, there are intermediate stops in-between the full stops—most commonly one-third stops, but sometimes half-stops.
Shutter speed is about motion, either freezing or showing it. A slow shutter speed will show motion as a blur, while a fast shutter speed will freeze it. In the first picture below, which was captured with a 1/450 shutter speed, you’d never know that the car was zooming by, because the motion was frozen. The second picture below, which was captured with a 1/80 shutter speed, shows the motion through the car’s blur. The third picture below, which was captured with a 1/60 shutter speed, shows the motion through panning, where the car is sharp but the background blurred from the sweeping lens.
In order to freeze motion, there are a few considerations: the focal length of the lens, the distance of the moving object, and it’s speed. The longer the focal length of the lens, the faster the minimum shutter speed needs to be; the shorter the focal length, the slower the minimum shutter speed needs to be. The closer and faster the moving object is, the faster the shutter speed needs to be; the further and slower the moving object is, the slower the shutter needs to be in order to freeze it.
If nothing is moving in the frame, the only motion is the photographer. A tripod will eliminate camera shake; if you don’t have a tripod, in-body-image-stabilization (IBIS) or optical-image-stabilization (OIS) can help to a degree. If your gear doesn’t have stabilization, you’ll want to use this rule of thumb: whatever the focal length of the lens is (or in the case of Fujifilm cameras, the full-frame-equivalent focal length), the minimum shutter speed should be a similar number. For example, if the lens is 18mm, which has a full-frame-equivalent focal length of 27mm, the slowest hand-held shutter speed is around 1/30. If the lens is 90mm, which has a full-frame-equivalent focal length of 135mm, the slowest hand-held shutter speed is around 1/125. With good techniques, you can often get a sharp picture with even slower shutter speeds, but that takes practice.
Fujifilm GFX100S II & Fujinon 80mm f/1.7 – f/9, ISO 320, 1/680 shutter – 1970’s Summer
In order to freeze motion, for portraits, events, kids, and pets, I recommend a minimum shutter speed of 1/125, but faster is better, such as 1/250. For sports and moving wildlife, the minimum shutter speed should be 1/250, but faster is better, such as 1/500. If the motion is blurry, increase the shutter speed. In order to show motion as a blur, the maximum shutter speed will likely need to be under 1/125, and probably under 1/30, just depending on the situation. If the blur is insufficient, decrease the shutter speed.
Another shutter speed consideration is in regards to flash photography. Some cameras, such as the X100-series, have a leaf shutter, which allows for high-speed flash sync; however, most cameras don’t have a leaf shutter, and have a maximum shutter speed for flash. On Fujifilm models, this is marked by an “X” next to the shutter speed—for example, on the X-T5, the maximum shutter speed for flash photography is 1/250, which is marked as 250X on the shutter knob. The fastest shutter speed you should use with flash photography is the one with the X next to it.
The two main things to remember about shutter speed are 1) that it is used to show motion, either frozen still or as a blur, and 2) it is one aspect of the exposure triangle, and must be balanced with both aperture and ISO. Increasing the shutter speed reduces the light, so you may need to use a larger aperture and/or a higher ISO to compensate; reducing the shutter speed increases the light, so you may need to use a smaller aperture and/or lower ISO. It’s a balancing act. Used thoughtfully, shutter speed can express movement in creative ways, so take a moment to consider how to best use it for the scene in front of you.
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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 sixth week, so the sixth 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 this will help with that.
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.
Looking back on this week’s photographs, I was surprised that the vast majority were fairly pedestrian. I thought I had had a productive week—in fact, I did have a productive week; however, just not artistically. If I’m going to accomplish my goal of improving my craft in 2025, quantity isn’t going to be sufficient. I need to think more about quality whenever I have a camera in my hands.
Below are the sixth set of seven pictures from this 52 Weeks of Photography project.
Tuesday, January 28th, 2025
Fork in the Trunk – Buckeye, AZ – Fujifilm GFX100S II & 80mm f/1.7 – Nostalgic Film
Wednesday, January 29th, 2025
Bunches of Blossoms – Buckeye, AZ – Fujifilm GFX100S II & 80mm f/1.7 – Fujicolor PRO 160C Warm
Thursday, January 30th, 2025
Green Snakes– Litchfield Park, AZ – Fujifilm X100VI – Upcoming Recipe
Friday, January 31st, 2025
Fish Fan– Buckeye, AZ – Fujifilm X100VI – Upcoming Recipe
I started a new 365 Day photo project, which I’m calling 52 Weeks of Photography, back on Christmas Eve. Even though it is a year-long undertaking, I’m doing it one week at a time. This is the second week—the second set of seven images. I’m pretty excited to do this, and hope you appreciate following along on this journey.
The reason why I’m doing this photo-a-day project is because I noticed some gaps in-between my images over the last year. I haven’t been picking up my cameras daily. On several occasions, four or five days passed by without a single picture created. Twice in 2024, I skipped a whole week. I want to rectify this, and get back into the habit of daily photography. I also want to elevate the quality of my craft in 2025, and am hoping this will help with that.
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.
Below are the second set of seven pictures from this 52 Weeks of Photography project.
Young Yucca – White Sands NP, NM – Fujifilm GFX100S II + 80mm f/1.7 – Fujicolor PRO 160C Warm
It’s officially 2025! Happy New Year’s Day, everyone!
I started a new 365 Day photo project, which I’m calling 52 Weeks of Photography, back on Christmas Eve. This article is simply the introduction of the project, and the first set of seven images. I’m pretty excited to do this, and hope you appreciate following along on this journey.
This isn’t the first time that I’ve done a 365 Day photo project—I did one from August 2018 through August 2019. I developed the habit of picking up a camera daily, and my photography improved from start to finish. Also, I captured some photographs that I wouldn’t have otherwise, a few of which I was quite happy with. There is definitely a benefit to doing this type of thing. Professional athletes and musicians practice daily, so why shouldn’t photographers?
The reason why I’m doing this now is because I noticed gaps in-between my images. I haven’t been picking up my cameras daily. On several occasions, four or five days have gone by without a single picture created. Twice in 2024, a whole week passed. I want to rectify this, and get back into the habit of daily photography. I also want to elevate the quality of my craft in 2025, and am hoping this will help with that.
Full Service – Idalou, TX – Fujifilm X-T5 + 56mm f/1.2 – Superia Negative
I’ve set some ground rules for myself. I’m taking things one week at a time. That’s a little easier mentally than looking at it as one whole year chunk. If I mess up on a week, I’ll simply extend the project by a week; however, I’m also giving myself two grace days. I’d actually like to finish this on Christmas Day, which is 367 days from the start. If I miss two days, that’s perfectly ok. If I miss three to seven days, this project will be extended by one week. I think it’s good to build-in some breathing room, because life happens.
My hope is to capture a year’s worth of notable images, either personally or artistically. Ansel Adams famously stated, “Twelve significant photographs in any one year is a good crop.” It’s important to keep expectations realistic, but I’m also trying to avoid thoughtless snapshots just to fulfill the day’s requirement. I want to push myself to be better, and hopefully that will happen. Not every photo will be great—in fact, most won’t—but I hope they are all at least decent enough to be shared without embarrassment.
Below are the first set of seven pictures from this 52 Weeks of Photography project.
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:
Beware – Bisbee, AZ – Fujifilm X100VI
Full Service – Bisbee, AZ – Fujifilm X100VI
Classic Steering Wheel – Bisbee, AZ – Fujifilm X100VI
Fujifilm X-H2s – Photo by Jay Ybarra
Fujifilm X-H2s – Photo by Jay Ybarra
Fujifilm X-H2s – Photo by Jay Ybarra
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
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.
Today, Evergreen Cases is having a Black Friday sale, and everything site-wide is 20% off, including the Evergreen + Fuji X Weekly Protective Case for Fujifilm X100-series cameras. This discount won’t last long, so if you’ve been considering getting this case (or anything else that Evergreen caries, such as the 28″ Short Strap), this is a good opportunity. You must order directly through their website—and not Amazon or anyplace else that carries their products—in order to get 20% off.
Photographing with Fujifilm – New York City, NY – Fujifilm X-T4 ES – Aerochrome v2
A little over two years ago Fujifilm stated that they’re working on “wow” products, so I gave my Top 10 suggestions for that in an article entitled 10 “WOW” Products Fujifilm Should Be Making Right Now. I thought it would be fun to revisit the article. Did Fujifilm make any of those suggestions? What “wow” products have they released that didn’t make my list? Which ones should they still pursue?
To recap, my 10 ideas were:
10. Minimalist Model — no rear LCD or video mode 9. 135mm lens — really, any focal length prime in-between 90mm and 200mm 8. A new pancake lens — I suggested 15mm, 23mm, and 40mm as potential options 7. GFX 100R — 100mp successor to the GFX 50R 6. ISOCELL — bring the Fujifilm/Samsung joint technology to the X-series 5. Infrared — I suggested the X-T30 II as the model of choice 4. Digital XPan — a dedicated 65:24 aspect ratio camera 3. X200 — full-frame X100-like camera 2. X80 — successor to the X70 1. Acros-Edition — monochrome-only X100 or X-Pro camera
Fujifilm Photowalk – Ann Arbor, MI – Fujifilm X-T4 ES – Aerochrome v2
How does it look 27 months later? With nearly zero promotion, Fujifilm released the X-T4 ES (“Extended Spectrum”) infrared camera over the summer. It flew completely under the radar! While few own it, whenever I show my X-T4 ES to people, it always gets a strong “wow” reaction. As far as I’m aware, B&H is the only camera store currently selling it, and you have to order either in-person or over the phone—it’s not available online right now. So far, I’ve published two Recipes for the Fujifilm X-T4 ES: Aerochrome v1 and Aerochrome v2. If Fujifilm were to do even a little promotion for this camera and made it easier to buy, it would sell decently well, I’m certain of it. Of my 10 ideas, this is the only one so far that has come to pass.
There are “rumors” circling about potential upcoming gear. I’m not sure what may or may not come, but a few of the items (or similar) in my list have been floated on websites like Fujirumors. Even though only one has become reality, it’s possible that in a year or two more can be checked off (I’m sure that some probably won’t ever happen). My top choices would be a new pancake lens, digital XPan, X200 (perhaps GFX instead of full-frame), X80, and a monochrome-only X100 or X-Pro. It’s hard to know what the future holds, but I do believe several “wow” products are in the works right now (including the GFX Eterna cinema camera that Fujifilm recently teased).
NY Photographer in IR – New York City, NY – Fujifilm X-T4 ES – Aerochrome v2
Of course, the most obvious “wow” product released by Fujifilm is the X100VI, the most in-demand camera by any brand ever. Fujifilm is getting closer to fulfilling all of the preorders and backorders… word on the street is that if you don’t mind the black version, you might be able to get it real soon without much of a wait. Since demand is higher for the silver model, that one will likely require more patience. This camera has the potential to become the most-sold model ever. It will be interesting to see if demand remains high over the next few years—I think it certainly could.
Now it’s your turn. Let me know in the comments which wow product you’d like to see Fujifilm make next! I’m pretty excited for what’s coming down the pike, whatever it might be. I think there will be plenty of upcoming announcements over the next couple of years to get especially excited for.
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.
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.
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!
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
Here – 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.
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.
A couple days ago pal2tech posted a YouTube video explaining the Film Dial on the Fujifilm X-T50 (which, apparently, will also be found on the upcoming X-M5). To my surprise, Chris gave a very kind shoutout to Fuji X Weekly, and he even included a link to one of my YouTube videos in the description of his video. I’m really honored to be mentioned by Chris; I’m a big fan of pal2tech—it’s one of my favorite YouTube channels, and one that every Fujifilm photographer should subscribe to, in my humble opinion. If you haven’t seen his video, go ahead and give it watch.
The Film Dial is one of the most controversial design decisions Fujifilm has implemented, right up there with the X-Pro3’s backwards LCD screen. I actually really like the dial, personally. It’s a lot of fun to use, and adds versatility for the SOOC photographer. But not every camera is for everyone, and not every camera feature is for everyone, so it is understandable when some don’t like it; however, I think a lot of the negativity surrounding the Film Dial is simply a misunderstanding of how useful it can be.
NAB Photowalk Group 3 – New York City, NY – Fujifilm X100VI – Nostalgic Americana
I was just at the NAB Show in New York City, because Fujifilm brought me out to lead three photowalks around Manhattan. Fujifilm loaned cameras to those on the photowalks, and some folks were handed a Fujifilm X-T50. Before beginning, I took a few moments to help set up these loaner cameras, and for those with the X-T50, I programmed my universal Film Dial Recipe, and explained how to use it.
As the photowalks were wrapping up, I asked those with an X-T50 what they thought of the Film Dial. One person answered that it was a lot of fun. Another said that they really liked it. Another showed me some images they captured with Eterna, a film simulation they had never tried before but now love. Only one person gave negative feedback, and their complaint is completely understandable.
Could the Film Dial have been implemented better? Absolutely! An easy way for Fujifilm to improve it would be to allow each film simulation to be customized into a Recipe. In other words, make it possible to custom set Highlight, Shadow, Color, White Balance, etc., etc., with each slot on the Film Dial. When the Film Dial is set to C, that’s when the C1-C7 presets would work. This could be done with a Firmware update someday in the future. Even though it’s not perfect, that doesn’t mean the Film Dial isn’t a fun and useful feature, because in its present state it very much is.
I’m looking forward to the Film Dial being included on more models. I think putting a much-loved feature of the camera front-and-center on the top plate is a smart move by Fujifilm. I’m also looking forward to seeing how it might evolve in the future, and possibly become even better.
NY Photographer in IR – New York City, NY – Fujifilm X-T4 ES – Aerochrome v2
In other news, while at the NAB Show, I spoke with someone at B&H, and they told me that the Fujifilm X-T4 ES (“Extended Spectrum”) infrared camera is available from them right now. It’s not something that can be purchased online, so you either need to call them or drop by in-person to buy it. So if you want to try my Aerochrome v2 Recipe—which I love so much, personally—you may want to contact B&H and inquire about the Fujifilm X-T4 ES. For those who wanted to get one, it’s not too late.
There’s one last thing I want to mention. I was walking around Central Park recording some content to help promote the new Evergreen + Fuji X Weekly Protective Case for Fujifilm X100-series cameras. I had my case, and Alex from Evergreen also had one with him. While meandering, we ran across someone with a Fujifilm X100VI, so we said hi to him and had a short conversation. He told us that he had ordered the camera when it was first announced, but his copy had just arrived, and this was one of his first opportunities to use it. We were very happy to gift him one of the two cases to go along with his new camera. The protective case is a great way to keep your X100VI, X100V, X100F, etc., safe while traveling or out on an adventure.
New Fujifilm X100VI & New Case – New York City, NY – Fujifilm X100VI – PRO Negative 160C
I’m still traveling, but as soon as I’m back home I have a lot more to share with you, so stay tuned!
Fujifilm X100VI – Kodak T-Max 100 Hard Tone – Photo by Joy Roesch
Kodak introduced T-Max 100 and T-Max 400 in 1986, and T-Max P3200 two years later. It was touted as a fine-grained, sharp and detail-rich black-and-white negative film. Interestingly, ever since T-Max was released, there has been a divide in the photographic community around this emulsion: people either loved it or hated it. Those who loved it tended to not like Tri-X, and those who hated it tended to love Tri-X; you were likely in one camp or the other. Tri-X was more gritty, dramatic and versatile, while T-Max was softer, cleaner, and more finicky. All-in-all, you are not likely to spot huge differences between the two as a casual observer, but those who regularly shot with these films could easily distinguish the nuances.
This particular Film Simulation Recipe, called Kodak T-Max 100 Hard Tone, was created by Dan Allen after shooting some rolls of Kodak T-Max 100 film side-by-side with his Fujifilm X-T5. He did his best to match the X-T5 photos to the T-Max frames. This was not an easy task, and took a lot of adjustments and refinements. Dan spent a lot of time and effort on this. He discovered that it would take a handful of versions of the Recipe to replicate all of the variances that can be found even within the same roll, and ultimately determined that one Recipe cannot mimic them all. His solution was to create two versions—one with a higher contrast and one with a lower contrast—that are “close enough” to be acceptable facsimiles for most of the variabilities.
Above photos by Dan Allen. Left: Kodak T-Max 100 Film / Right: Fujifilm X-T5 & Kodak T-Max 100 Hard Tone Recipe
Even though this Recipe does a pretty darn good job of replicating Kodak T-Max 100, it is always ok to “season to taste” the settings. Don’t be afraid to increase or decrease Highlight and Shadow, for example. There are a lot of factors that can determine the exact aesthetic of the film, so some small tweaks might be necessary to get it precisely as you want it. Or, just leave them as Dan created, and enjoy the lovely results.
This Film Simulation Recipe is fully compatible (as of this writing) with the Fujifilm X-T4, X-S10, X-E4, X-T30 II, X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50 cameras. Presumably it will also be compatible with the camera that Fujifilm is about to announce (rumored to be the X-M5). You can also use this Recipe on the latest GFX models, although it will likely render slightly differently (try it anyway).
Fujifilm X-T5 – Kodak T-Max 100 Hard Tone – Photo by Dan Allen
Film Simulation: Monochrome+G Monochromatic Color (Toning): WC 0 & MG 0 (Off) Grain Effect: Weak, Large Color Chrome Effect: Off Color Chrome FX Blue: Off White Balance: Daylight, -6 Red & -3 Blue Dynamic Range: DR200 Highlight: +0.5 Shadow: +2.5 Sharpness: -1 High ISO NR: -4 Clarity: -1 ISO: up to ISO 6400 Exposure Compensation: -2/3 to +2/3 (typically)
Example photographs, all camera-made JPEGs using this Kodak T-Max 100 Hard Tone Film Simulation Recipe using a Fujifilm X-T5 and X100VI:
Fujifilm X-T5 – Kodak T-Max 100 Hard Tone – Photo by Dan Allen
Fujifilm X-T5 – Kodak T-Max 100 Hard Tone – Photo by Dan Allen
Fujifilm X100VI – Kodak T-Max 100 Hard Tone – Photo by Jonathan Roesch
Fujifilm X100VI – Kodak T-Max 100 Hard Tone – Photo by Jonathan Roesch
Fujifilm X100VI – Kodak T-Max 100 Hard Tone – Photo by Ritchie Roesch
Fujifilm X100VI – Kodak T-Max 100 Hard Tone – Photo by Ritchie Roesch
Fujifilm X100VI – Kodak T-Max 100 Hard Tone – Photo by Joy Roesch
Fujifilm X-T5 – Kodak T-Max 100 Hard Tone – Photo by Dan Allen
Fujifilm X-T5 – Kodak T-Max 100 Hard Tone – Photo by Dan Allen
Fujifilm X-T5 – Kodak T-Max 100 Hard Tone – Photo by Dan Allen
Fujifilm X-T5 – Kodak T-Max 100 Hard Tone – Photo by Dan Allen
Fujifilm X-T5 – Kodak T-Max 100 Hard Tone – Photo by Dan Allen
Fujifilm X-T5 – Kodak T-Max 100 Hard Tone – Photo by Dan Allen
Fujifilm X100VI – Kodak T-Max 100 Hard Tone – Photo by Jonathan Roesch
Fujifilm X100VI – Kodak T-Max 100 Hard Tone – Photo by Joy Roesch
Fujifilm X100VI – Kodak T-Max 100 Hard Tone – Photo by Ritchie Roesch
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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.
