Fujifilm

Creative Collective 019: Reflections

Posted on by Ritchie Roesch

Vespa Mirror Reflection – Salt Lake City, UT – Fujifilm X-H1 – “Kodak Gold 200“

Reflections are everywhere, and sometimes we try to photographically avoid them. In fact, you might even use a polarizer filter to reduce reflections. But you can incorporate reflections into your photography and use them creatively, making them an element of your pictures. Let’s take a look!

Note: this was a Creative Collective article, but now it’s available to everyone.

There are two ways to incorporate reflections into your pictures. Either way will require a shiny surface—such as glass or water—in order to reflect what is around. After a rainy day you’ll find puddles. In a city are glass on buildings. Look around and you’re sure to find shiny surfaces. The first method to incorporate reflections is subtly and the second is prominently. Sometimes the line between these two categories is grey, and you could argue that an image could be in either, but for the most part a picture will fall into one or the other, and will be either subtle or prominent—not both—although there are always exceptions.

Subtly

For this, the reflection isn’t the main subject, but an added element in the picture. It’s just something that is there, yet it adds interest to the picture, and maybe even transforms what would otherwise be a boring image into something extraordinary. Subtle reflections might not be the first thing that you notice when you see a picture, but are a great surprise once spotted. This can be tricky to effectively create, but can be highly rewarding if you can subtly incorporate reflections into your pictures.

Highrise, Reflection & Lamp – Salt Lake City, UT – Fujifilm X-H1 – “Kodak Gold 200”
Waiting for Hope? – Draper, UT – Fujifilm X100V – “Fujicolor Superia 800“
UP 4014 & UP 844 Racing West – Richardson Draw, WY – Fujifilm X-T20 – “Astia” (I think)
Reflection on a Dirt Road – Fujifilm X-T30 – “Dramatic Monochrome“
Crane Reflection – Farmington Bay, UT – Fujifilm X-T30 – “Dramatic Monochrome”

Prominently

When you make reflections a prominent part of a picture, it becomes the subject. The reflection is what the picture is about. It’s an obvious element that you notice right away (although you might not notice right away that it is a reflection you are viewing). This type of reflected picture is the easiest to capture (in my opinion), but can be difficult to make a strong image from. Basically, for prominent reflection pictures, you want to fill the frame with the reflection as much as practical. Instead of the reflection being just a small part, it is the largest part of the frame, or at least where your eyes gravitate towards first. The photograph at the top of this article, Vespa Mirror Reflection, is an example where the reflection doesn’t fill the frame but is a prominent element that immediately attracts your attention. More commonly, though, prominent reflections will cover at least half of a picture, if not all of it (such as Treeline Impressions below).

Hotel & Crane Reflected – Salt Lake City, UT – Fujifilm X-H1 – “Cross Process“
Cotton Eyed – Farmington, UT – Fujifilm X-E4 – “Ektachrome 320T“
Reflection in the Puddle – Antelope Island SP, UT – Fujifilm X100V – “Creamy Color“
Pear Blossom Reflection – Farmington, UT – Fujifilm X-T30 – “Kodak Gold 200”
Treeline Impressions – Eagle Island SP, ID – Fujifilm X-T30 – “Velvia“

When capturing photographs, look for opportunities to incorporate reflections into them. Is the reflection the main subject? Fill the frame with it, or use some other technique to immediately draw the viewer to it. Is the reflection not the main subject? Find ways to subtly place it so that the viewer is pleasantly surprised when the discover it.

Fujifilm X-Trans IV Film Simulation Recipe: Serr’s 500T

Posted on by Ritchie Roesch

11th Street – Astoria, OR – Fujifilm X100V – “Serr’s 500T”

Back in May of 2021, a really cool video by Serr (Instagram, YouTube) appeared on YouTube called Fujifilm Film Simulation Recipes That Will Make You Stop Shooting RAW. It features three Film Simulation Recipes: two by me—LomoChrome Metropolis and Xpro ’62—and the third was my Bright Summer recipe slightly modified. If you haven’t seen the video, be sure to watch it! Anyway, Serr contacted me recently to share a Film Simulation Recipe that he created, which was inspired by ISO 500 Tungsten motion picture film. I gave his recipe a try and really liked it! Serr gave me permission to publish his recipe on this website and the Fuji X Weekly App.

If you are searching for a good blue-hour and nighttime Film Simulation Recipe, this is one you should try! I used it recently in Jackson Hole, Wyoming, and Astoria, Oregon, and was impressed with the results. I invite you, if you will be photographing after dark anytime soon, to give this recipe a try—you’ll be glad that you did! I suspect that this will become a favorite recipe for some of you.

Night Statue – Jackson Hole, WY – Fujifilm X100V – “Serr’s 500T”

This recipe is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras. For those with an X-T3 or X-T30, you can use this recipe but you’ll have to ignore Grain size and Color Chrome FX Blue—the results will be slightly different, but pretty close. Those with X-Trans III cameras will additionally have to ignore Color Chrome Effect. Because Clarity is set to 0 in this recipe, I used a 5% CineBloom filter on my X100V for these pictures—alternatively, you could set Clarity to -2 and get similar results.

Classic Chrome
Dynamic Range: DR-Auto
Highlight: -2
Shadow: -1
Color: -1
Noise Reduction: -2
Sharpness: -1
Clarity: 0
Grain Effect: Strong, Large
Color Chrome Effect: Strong
Color Chrome Effect Blue: Strong
White Balance: 3200K, -1 Red & +4 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: -1/3 to +1/3 (typically)

Example photographs, all camera-made JPEGs using “Serr’s 500T” Film Simulation Recipe on my Fujifilm X100V:

Dairy Maid – Warrenton, OR – Fujifilm X100V
Cold Nights – Jackson Hole, WY – Fujifilm X100V
Magic Fork – Astoria, OR – Fujifilm X100V
Salmon – Astoria, OR – Fujifilm X100V
Walking Tadziu – Jackson Hole, WY – Fujifilm X100V
Street Reflection – Astoria, OR – Fujifilm X100V
Stop Do Not Enter – Astoria, OR – Fujifilm X100V
Night Shoes – Astoria, OR – Fujifilm X100V
Night Vacuums – Astoria, OR – Fujifilm X100V
CocoLove – Jackson Hole, WY – Fujifilm X100V

Find this film simulation recipes and over 200 more on the Fuji X Weekly — Film Recipes App!

Fujifilm X100V vs iPhone, Part 1: Grand Tetons

Posted on by Ritchie Roesch

Sun Behind The Tetons – Grand Teton NP, WY – Fujifilm X100V – “Elite Chrome 200“
Sun Behind Tetons & River – Grand Teton NP, WY – iPhone 11 – RitchieCam – “Color Negative Low”

I recently visited the Grand Teton National Park in Wyoming. This iconic mountain range sits just north of the tourist town of Jackson Hole. If you’ve never been, this is a “bucket list” kind of place that you should absolutely try to see in person if you can. My visit was a quick weekend getaway, and not surprisingly the weather didn’t really cooperate. Still, I wanted to get in some photography, and so I did.

Reviewing the pictures, I noticed that I captured some similar images with my Fujifilm X100V using various Film Simulation Recipes and my iPhone 11 with the RitchieCam app using various filters. For those who don’t know, I created an iPhone camera app called RitchieCam, which you can learn more about by clicking here. I thought comparing the X100V and iPhone pictures would make an interesting article.

What I don’t want to do is view massive crops side-by-side. The Fujifilm X100V and the iPhone are much different tools, so this will be a very general overview without pixel-peeping.

Technically speaking, the X100V is far superior, and it isn’t even close. For technical image quality, the X100V is the camera to grab, but the iPhone, with its tiny little sensor, is surprisingly good, all things considered. The advantage of the iPhone is that you have it with you all of the time, and you can quickly and easily share the pictures captured with it across the world (especially if you used the RitchieCam app). Convenience and speed are the reasons to choose the iPhone over the X100V, but the X100V is pretty compact and quick, too. For printing or viewing large, the X100V is the right tool. For quick sharing, the iPhone is the right tool. Here’s the great news: you don’t have to choose—use both, or use the one that you happen to have with you.

This is the first in a series of articles where I’ll compare photographs captured with the Fujifilm X100V using Film Simulation Recipes and the iPhone using the RitchieCam app. Below are photographs captured with these cameras at the Grand Tetons in Wyoming. Let me know in the comments which pictures you like best!

Fujifilm X100V

Snake River Overlook Morning – Grand Teton NP, WY – Fujifilm X100V – “The Rockwell“
OneSkee – Grand Teton NP, WY – Fujifilm X100V – “Retro Gold Low Contrast“
Mountains & Frozen Land – Grand Teton NP, WY – Fujifilm X100V – “Elite Chrome 200”
Pinky Rose – Jackson Hole, WY – Fujifilm X100V – “Kodachrome 64“
Cold Nights – Jackson Hole, WY – Fujifilm X100V – Upcoming Recipe
Night Statue – Jackson Hole, WY – Fujifilm X100V – Upcoming Recipe
Tetons in March – Grand Teton NP, WY – Fujifilm X100V – Upcoming Recipe
Snake River Overlook Monochrome – Grand Teton NP, WY – Fujifilm X100V – “Kodak Tri-X 400“

iPhone + RitchieCam

Morning at Snake River Overlook – Grand Teton NP, WY – iPhone 11 – RitchieCam – “Analog Gold”
OneSkee Snow – Grand Teton NP, WY – iPhone 11 – RitchieCam – “Instant Color 1”
Sunset Behind the Tetons – Grand Teton NP, WY – iPhone 11 – RitchieCam – “Color Negative Low”
Railroad – Jackson Hole, WY – iPhone 11 – RitchieCam – “Analog Gold”
CocoLove – Jackson Hole, WY – iPhone 11 – RitchieCam – “Night Negative”
Cowboy Bar – Jackson Hole, WY – iPhone 11 – RitchieCam – “Night Negative”
Tetons in Winter – Grand Teton NP, WY – iPhone 11 – RitchieCam – “Color Negative”
Snake River & Tetons – Grand Tetons NP, WY – iPhone 11 – RitchieCam – “Dramatic B&W”

Part 2: Multnomah Falls

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Review: Fujifilm X-Pro3 in 2022?

Posted on by Ritchie Roesch

Fujifilm sent me an X-Pro3 to try for a few weeks. I put it through its paces as best as I could in that short time, and wanted to publish a review; however, what fresh insight can I give that hasn’t already been said over and over? Instead of rehashing all the technical data you probably already have known for awhile, I thought I’d simply answer this question: Is the Fujifilm X-Pro3 still a camera worth buying in 2022? And, is this a camera that you should consider?

The X-Pro3 was originally released in November of 2019, which was more than two years ago. In the digital era, a lot of people “upgrade” their gear every two-ish years, so does that mean the X-Pro3 is beginning to feel dated? Will it seem old even though you bought it brand-new? Will the X-Pro4 be announced the day after your X-Pro3 arrives in the mail?

Fujifilm sent me a well-used X-Pro3, but it was still in great shape. The majority of the reviews you find on the internet were probably from this exact same body. I won’t say that I got it last, but more-or-less that’s true.

It’s still a very similar size, weight, shape, and design as the original X-Pro1—Fujifilm didn’t change much externally over the last decade, but what they did change has certainly caused a lot of controversy. The headline change, of course, is the backwards-mounted rear screen, which forces you to use the hybrid-viewfinder for most of your photography, and only use the rear LCD when you absolutely have to. While I thought I’d love this, I think the execution was lacking, and I found it frustrating at times. Instead of folding down, I think flipping out to the side, and then twisting up or down, would have made a lot more sense. I think removing the D-Pad was a bit of a mistake, too.

Image quality on the X-Pro3 is fantastic—exactly the same as the X100V, X-T4, and the other X-Trans IV cameras. Unfortunately, and despite this being a “premium” model, Fujifilm hasn’t given this camera the Kaizen love that it deserves, and you won’t find Eterna Bleach Bypass, half-step Highlight and Shadow adjustments, or the two new Auto White Balance options. This is a real shame, because otherwise it would feel just as up-to-date as the latest models, but instead it has a sense of being slightly dated. The X-E4, the current entry-level model, has more JPEG options than the X-Pro3, and that just doesn’t seem right to me.

Enough of the negativity, though, because the X-Pro3 is an awesome camera! I thoroughly enjoyed using it. It is such a beautiful model, and is just as beautiful on the inside as it is on the outside. I can’t imagine anyone hating it. Yeah, it has a couple disappointing design choices, but if you are aware of those things going into the purchase, you won’t be disappointed. Best-looking body combined with Fujifilm’s fantastic film simulations is a winner in my books!

February Reaching – Farmington, UT – Fujifilm X-Pro3 – “Vintage Color v2”

Here’s something that maybe hasn’t been talked about much: the ability to save TIFFs. Most Fujifilm models can either do RAW or JPEG (or RAW+JPEG), but you have an additional option of TIFF on the X-Pro3. I didn’t notice any image quality difference between TIFF and JPEG, but the TIFF should allow you more room for editing before the files start to degrade. There’s also the potential that the TIFFs, having more bits, do actually deliver an improved image quality, but if so it is really subtle and I couldn’t tell.

The X-Pro3, though, isn’t a practical purchase—it’s emotional. The rational side of your brain will tell you that the X-T4 is slightly better and slightly cheaper. The rational side of your brain will tell you that the X-E4 is much cheaper, smaller, and lighter, yet basically the same thing, and since you rarely shoot in the rain you don’t really need weather-sealing anyway. But the emotional side tells you that those cameras aren’t as timeless as the X-Pro line. The X-Pro3 is a beast that you’ll keep and use and love for ages. It’s your Leica, except that it’s Fujifilm.

Mutual Conversation – Salt Lake City, UT – Fujifilm X-Pro3 – “Agfa Ultra 100”

On a more serious note, though, the X-Pro3 is a solid body that balances well with larger lenses. Sometimes, on my smaller cameras, my bigger and heavier lenses are a bit awkward to use, but not on the X-Pro3. If you often use these larger and heavier lenses, you might appreciate the larger, sturdier body of the X-Pro3.

While X-Trans V is just around the corner, I don’t believe that the X-Pro4 is going to be announced anytime soon—I think maybe in 2023, but I’d be pretty shocked if Fujifilm replaced the X-Pro3 anytime this year. I’ve certainly been wrong before, but I haven’t heard anything about an upcoming X-Pro4 on the horizon.

Abandoned Ice Chest – Farmington, UT – Fujifilm X-Pro3 – “Standard Provia“

I think by-and-large those who would love the X-Pro3 know who they are already. If you are uncertain, that’s a pretty good indication that this camera isn’t for you. That’s not to say you’d dislike it, but you should strongly consider a different model instead. For those who are pretty confident that the X-Pro3 is the camera for them, you can know that you are probably right, and you’re going to love it. So, my conclusion is that the X-Pro3 isn’t perfect and it isn’t for everyone, but for some it will be a much appreciated, much loved, and much used camera for years to come.

I was sad to send Fujifilm their X-Pro3 back, and I’ll certainly miss it.

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

Fujifilm X-Pro3 Amazon B&H

Example photographs, captured with a Fujifilm X-Pro3:

Approaching Mesa Arch – Canyonlands NP, UT – Fujifilm X-Pro3 – “Old Ektachrome”
Clearing Clouds Over Winter Ridge – Farmington, UT – Fujifilm X-Pro3 – “Standard Provia”
Desert Snow – Canyonlands NP, UT – Fujifilm X-Pro3 – “Old Ektachrome”
Red – Salt Lake City, UT – Fujifilm X-Pro3 – “Agfa Ultra 100”
Blu – Salt Lake City, UT – Fujifilm X-Pro3 – “Agfa Ultra 100”

Rescheduled: SOOC Season 2 Episode 1 now March 24

Posted on by Ritchie Roesch

I’m really sorry, but today’s SOOC broadcast has been postponed to March 24, due to an unexpected and lengthy power outage in South Africa. Keep Nathalie, her great team, and all those without power, in your thoughts and prayers, as it’s a disruptive situation they’re enduring, and the impact extends well beyond this show.

Trust me, I’m just as bummed about this as you are, because Season 2 Episode 1 is going to be a great broadcast, but I hope that you’ll join us in two weeks, as we kick off the new season. I apologize for any inconvenience this might have caused, and I look forward to seeing you March 24!

Below is the new scheduled YouTube broadcast:

SOOC Season 2 Kicks Off This Thursday!

Posted on by Ritchie Roesch

Season 2 of SOOC kicks off this Thursday, March 10th, at 9 AM Pacific Time, 12 PM Eastern.

SOOC is a monthly live video series, with each episode focused on a different film simulation recipe. It is a collaboration between Tame Your Fujifilm (Fujifilm X-Photographer Nathalie Boucry) and Fuji X Weekly (Ritchie Roesch). SOOC is a fun and educational experience where we not only talk about Fujifilm camera settings, but also answer your questions and give tips and tricks. Basically, we’re trying to help you master your Fujifilm camera, with a focus on simplifying your photographic workflow. It’s an interactive show, and your participation is essential, so I really hope to see you there!

Fujifilm X-Pro3 (X-Trans IV) Film Simulation Recipe: Old Ektachrome

Posted on by Ritchie Roesch

Approaching Mesa Arch – Canyonlands NP, UT – Fujifilm X-Pro3 – “Old Ektachrome”

I was asked to recreate the aesthetic from a frame of a classic movie. I don’t know which movie, but only that it was shot on “Eastmancolor” film, which is a brandname for many different motion picture films and processes going back to the 1950’s. In fact, Eastmancolor Negative, better known as ECN, is still the development process used for today’s motion picture film. It’s unknown which film was used for the frame I was shown, but I did my best to recreate it on a Fujifilm X-Pro3.

After using these settings for several days, I decided that it really reminds me of old Ektachrome color reversal film, perhaps from the 1970’s. Ektachrome was known for fading rather quickly, with some color shifts if not stored well. Aside from some faded slides from my grandparents, most of the Ektachrome I’ve seen from this era have been in classic photography magazines. I don’t know how faithfully this recipe mimics old Ektachrome film, but it definitely has the right “memory color” for me. I hope that you like it, too.

Abandoned Ferris Wheel – Salt Lake City, UT – Fujifilm X-Pro3 – “Old Ektachrome”

This “Old Ektachrome” film simulation recipe is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras. This recipe isn’t compatible with the X-T3 or X-T30, but if you disregard Color Chrome FX Blue, disregard Grain size, and use a diffusion filter in lieu of Clarity, you’ll get similar results.

Classic Chrome
Dynamic Range: DR400
Highlight: +2
Shadow: +1
Color: +3
Noise Reduction: -4
Sharpness: 0
Clarity: -4
Grain Effect: Strong, Large
Color Chrome Effect: Strong
Color Chrome Effect Blue: Weak
White Balance: Daylight, +3 Red & +2 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: 0 to +2/3 (typically)

Example photographs, all camera-made JPEGs using this “Old Ektachrome” film simulation recipe on a Fujifilm X-Pro3:

Blue Roof – Salt Lake City, UT – Fujifilm X-Pro3
Old Carnaval Ride – Salt Lake City, UT – Fujifilm X-Pro3
Too Late To Ride – Salt Lake City, UT – Fujifilm X-Pro3
Early Blossoms – Salt Lake City, UT – Fujifilm X-Pro3
Potted Plant – Salt Lake City, UT – Fujifilm X-Pro3
Desert Snow – Canyonlands NP, UT – Fujifilm X-Pro3
Rock & Half Arch – Arches NP, UT – Fujifilm X-Pro3
Cave & Juniper – Arches NP, UT – Fujifilm X-Pro3
Snow in the Desert – Arches NP, UT – Fujifilm X-Pro3
Sign Stickers – Canyonlands NP, UT – Fujifilm X-Pro3
Red Rock Tree – Canyonlands NP, UT – Fujifilm X-Pro3
View Through Mesa Arch – Canyonlands NP, UT – Fujifilm X-Pro3

Find this film simulation recipes and over 200 more on the Fuji X Weekly — Film Recipes App!

Creative Collective 018: FXW Zine — Issue 04 — March 2022

Posted on by Ritchie Roesch

The fourth issue of FXW Zine is out now, and if you are a Fuji X Weekly Creative Collective subscriber, you can download it now!

What’s in the March issue? The cover story is Serendipity In Photography, which demonstrates what happens when you take advantage of unexpected photographic opportunities. There are a total of 22 photographs this month, including the cover image (above). I hope that you find it enlightening, entertaining, and inspiring!

Note: this was a Creative Collective article, but now it’s available to everyone.

View and download Issue 04 of FXW Zine here:

FXW Zine March 2022Download

FXW Updates

Posted on by Ritchie Roesch

Wow! I cannot believe that it’s the last day of February already. I’ve been completely swamped this month—really, this whole year so far—and I don’t think I’ve ever been so overwhelmed in my life. It’s all good, though, but I feel like I haven’t been able to give this website the attention that I usually do. Things are always dynamic, and hopefully everything is evolving for the better in time.

On Thursday, March 10, at 9 AM Pacific Time (noon Eastern Time), SOOC Season 2 kicks off! Please join Nathalie Boucry and I as we discuss the Kodak Gold 200 film simulation recipe and introduce the next recipe-of-the-month. It’ll be a great time, but we definitely need you to tune-in and join-in, as it’s an interactive program, and your participation makes it better. Can’t wait to see you then!

Sometime between now and then (fingers crossed), I have a pretty significant announcement to make. I’ve been working on something, and it’ll be ready soon. I can’t let the cat out of the bag just yet, but know that something will be announced very soon. I hope you’ll be as excited for it as I am.

Fujifilm X-H1 (X-Trans III + X-T3 & X-30) Film Simulation Recipe: Improved Velvia

Posted on by Ritchie Roesch

Fading Light On Wasatch – Farmington, UT – Fujifilm X-H1 – “Improved Velvia”

This Film Simulation Recipe is the second in a series, in which I attempt to customize each film simulation to optimize the aesthetic that Fujifilm intended. In other words, make a nice-looking recipe that is similar to yet better than the stock look of a film simulation. The first recipe in this series was Standard Provia, and this new one is called Improved Velvia.

I used to be frustrated by the Velvia film simulation because it’s not like Velvia 50. When people talk about Velvia film, that’s the emulsion that they most commonly mean, with it’s exaggerated super-vivid colors, but Velvia 50 is not the only Velvia film. You see, Velvia 50 was a “mistake” emulsion that landscape photographers fell in love with. I shot plenty of Velvia 50 back in the day, and it was one of my absolute favorite films. But Fujifilm was frustrated by it because it wasn’t what they wanted it to be. In 2003 Fujifilm “improved” Velvia and finally “fixed” their mistake—they made Velvia look like how they thought it should have from the beginning. This emulsion was called Velvia 100F and was duller than Velvia 50 (or Velvia 100, which came out in 2005)—it lacked the classic Velvia pop, but was better for pictures of people. One of the guys who worked on Velvia 100F also worked on the Velvia film simulation. It’s no surprise, then, that the Velvia film simulation is closer to Velvia 100F film than Velvia 50. Understanding this made me better realize the intention of—and better appreciate—the film simulation. I no longer find Velvia to be frustrating, and I think even default Velvia looks pretty good.

Misty Mountain – Sandy, UT – Fujifilm X-H1 – “Improved Velvia”

For this recipe, I didn’t want mimic Velvia 50, so I didn’t want to mess with the settings very much. I have other Velvia recipes that I quite like (here, here, & here), and those could very easily “stand-in” for this. I felt like a subtly-different option is what was needed. This recipe is compatible with X-Trans III models, plus the X-T3 and X-T30. For newer X-Trans IV, consider setting Color Chrome Effect and Color Chrome FX Blue to Off, Grain to Weak Small, and Clarity to 0.

Velvia
Dynamic Range: DR200
Highlight: -1
Shadow: 0
Color: +1
Sharpness: 0
Noise Reduction: -4
Grain: Weak
White Balance: Auto, -1 Red & -2 Blue
ISO: Auto up to ISO 6400
Exposure Compensation: +1/3 to +2/3 (typically)

Example photographs, all camera-made JPEGs captured using this “Improved Velvia” film simulation recipe on my Fujifilm X-H1:

Reflection in Lake – Farmington, UT – Fujifilm X-H1
Wall & Reeds – Farmington, UT – Fujifilm X-H1
Net Fish – Farmington, UT – Fujifilm X-H1
Not Wanting A Picture – Farmington, UT – Fujifilm X-H1
Pelican – Farmington, UT – Fujifilm X-H1
Yellow Sky Sunset – Farmington, UT – Fujifilm X-H1
Soft Sunset Light on Francis Peak – Farmington, UT – Fujifilm X-H1
Sunset Sky & Water – Farmington, UT – Fujifilm X-H1
Reed Sunset – Farmington, UT – Fujifilm X-H1
Marsh Sunset – Farmington, UT – Fujifilm X-H1

Comparison:

“Improved Velvia”
“Default Velvia”

The top image (above) is this recipe, while the bottom image (above) is Velvia with everything set to 0 or Off, except for Dynamic Range, which was DR200, and Noise Reduction, which was -4. The White Balance was Auto 0R & 0B. You can see that both images are quite similar. My recipe is slightly more vibrant, has a little more yellow and slightly less red, and protects highlights a tad more. I also added a little Grain to my recipe to give it a more film-like appearance. Overall, though, the differences are fairly subtle.

Find this film simulation recipe and over 200 more on the Fuji X Weekly — Film Recipes App!

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The X-Mount Lenses That Sigma Should Have Made (Or Should Make Next)

Posted on by Ritchie Roesch

Yesterday I published an article about the three Fujifilm X-Mount lenses that Sigma announced. These were already existing lenses within Sigma’s lineup, and they simply converted them for use on Fujifilm cameras. I stated that Sigma should have modified the lenses by adding aperture rings, because that is an important part of the Fujifilm experience. I also hinted (without downright stating) that Sigma should have filled holes in the Fujinon lineup, instead of going head-to-head with already existing lenses (hoping the cheaper price point is enough to entice potential customers). Yes, selling discount knockoffs (I don’t mean that to sound so harsh, because Sigma makes quality products) is one strategy, but I think offering something unique would be better.

With that in mind, I thought it would be a fun exercise to explore which Sigma lenses (that already exist) would fill holes in the Fujinon lineup. These are the lenses that Sigma should have released for Fujifilm X-mount, or maybe the lenses they should release next.

Sigma 24-70mm f/2.8 Art

A high-quality mid-range zoom covering some very useful focal-lengths? A lens that is great for street, portrait, and travel? Heck, yeah! While Fujifilm offers a number of zooms covering all sorts of focal-lengths, they don’t have one quite like this.

Sigma 85mm f/1.4 Art

Fujifilm has a 90mm f/2, and an 80mm f/2.8, but they don’t have an 85mm lens or a telephoto lens longer than 56mm that has a maximum aperture larger than f/2. Seems like a winner to me.

Sigma 105mm f/2.8 Art

Fujifilm jumps from 90mm all the way to 200mm, and skips everything in-between. This would fill that gaping hole quite nicely.

Sigma 105mm f/1.4 Art

Or go crazy with the “bokeh master.” This is a full-frame lens, but it might pair well with the upcoming X-H2….

Sigma 45mm f/2.8 Contemporary

Fujifilm doesn’t offer a 45mm lens. 35mm? Yes. 50mm? Yes. But nothing in-between. Could be a nice “compromise” if you want both a 35mm and 50mm but can’t afford both.

Sigma 65mm f/2.8 Contemporary

Fujifilm has a 60mm lens, but if you want something just a bit longer, you have to jump to 80mm, which might be too long. Both the 60mm and 80mm lenses are macro, which can be nice, but they also have their challenges (lots of focus to scroll through), so a non-macro lens might be a good option.

Sigma 70mm f/2.8 Macro Art

This might be a good in-between lens if you can’t decide on the 60mm and 80mm macros.

In my opinion, this list is what Sigma should have used when deciding on which lenses to bring to Fujifilm. These make a lot more sense to me. What do you think? Do you prefer the three lenses Sigma announced, or would you prefer some of these instead? Which lenses should Sigma release on Fujifilm next?

Whatever Sigma does, I hope that they don’t just change the mount, but modify the lenses to fit the full Fujifilm experience. As it stands now, I have zero interest in any of these lenses, mainly because of the lack of aperture rings. What do you think? Should Sigma include an aperture ring, even if they have to raise the price a little to do so?

Sigma Announces Three X-Mount Lenses

Posted on by Ritchie Roesch

Sigma just announced three autofocus lenses for Fujifilm X-mount: 16mm f/1.4, 30mm f/1.4, and 56mm f/1.4. This is a big deal because 1) Sigma lenses are pretty darn good yet typically “affordable” and 2) it’s good to have options, which has been a little missing for Fujifilm photographers. These lenses can be pre-ordered and will ship in April.

I’m sitting here sipping my first cup of coffee, and already there has been plenty of press and early reviews published on these three lenses. What can I add that hasn’t already been said?

I’m glad that Sigma announced these lenses. I think it’s good. But I’m going to give you three quick reasons why you should not buy them. I’ll briefly explain why the similar Fujinon offerings are superior, and you should go with those instead.

First, there are no aperture rings on these Sigma lenses. Sigma literally took three already existing lenses for other mounts and made them compatible with X-mount. These lenses aren’t designed for the Fujifilm experience—they’re designed for Sony, in which you use a command wheel to adjust the aperture (yuck!). It is true that some Fujinon lenses work this same way, but most don’t. Most have an aperture ring, and that’s an important aspect of shooting Fujifilm. Sigma should have redesigned their lenses to include an aperture ring, but they didn’t, and I predict their X-mount lenses won’t sell as well because of this.

Second, behind the scenes, your Fujifilm camera is secretly fixing little flaws in the Fujinon glass. Fujifilm programmed their cameras to do this automatically, so you don’t know that there’s actually a little vignetting or chromatic aberrations or whatever else that doesn’t show in the pictures but is actually there if the camera wasn’t making this adjustment. Your camera won’t do this for third-party lenses. For the greatest optimization, stick with native glass.

Third, these three Sigma lenses are rather plain-looking. They don’t really match the retro-vibes of most Fujifilm X cameras because they look like modern lenses. Not all Fujinon lenses were modeled after vintage designs, but many of them were, and they match the stylings of the body much better than these Sigma offerings.

With all that said, there’s definitely a market for third-party autofocus lenses; however, they must offer something that Fujifilm doesn’t. It could be a focal-length and/or aperture. It could be quality. It could be speed. It could be size and/or weight. It could be price. What do these Sigma lenses offer that Fujifilm doesn’t? Let’s take a look.

Fujifilm offers a 16mm f/1.4 lens already—a high-quality, quick lens that’s smaller than the Sigma offering. The Sigma is less than half the price.

Fujifilm offers a 33mm f/1.4—a high-quality, quick lens that’s a similar size (and focal-length) to the Sigma offering. The Sigma is less than half the price.

Fujifilm offers a 56mm f/1.2—a high-quality, quick lens that’s a similar size to the Sigma offering (but larger maximum aperture). The Sigma is less than half the price.

Now you see why one would choose a Sigma lens over the Fujinon: to save some cash. They’re priced significantly cheaper while offering something similar. If you can afford it, the Fujinon lenses are better, but if not, this is a solid alternative that’s friendlier on the wallet. There are also lesser-expensive Fujinon options worth considering, which maybe don’t have the tech-sheet wow factor, but are otherwise fantastic lenses that you’re sure to be happy with.

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

Sigma 16mm f/1.4 $449 — B&H
Fujinon 16mm f/1.4 $999 — Amazon B&H
Fujifilm 16mm f/2.8 $399 — Amazon B&H

Sigma 30mm f/1.4 $339 — B&H
Fujinon 33mm f/1.4 $799 — Amazon B&H
Fujinon 27mm f/2.8 $399 — Amazon B&H

Sigma 56mm f/1.4 $479 — B&H
Fujinon 56mm f/1.2 $999 — Amazon B&H
Fujinon 50mm f/2 $449 — Amazon B&H

Standard Provia vs Provia/Standard

Posted on by Ritchie Roesch

Clearing Clouds Over Winter Ridge – Farmington, UT – Fujifilm X-Pro3 – “Standard Provia”

A couple days ago I published a new Film Simulation Recipe: Standard Provia. This recipe is the first in a new series, in which I attempt to customize each film simulation to optimize the aesthetic that Fujifilm intended—in other words, make a nice-looking recipe that is similar to yet better than the stock look of a film simulation. Provia is Fujifilm’s standard film simulation (that’s why they call it “Provia/Standard” and even abbreviate it “STD”), but it’s one of my least favorite. Sometimes, because I don’t get excited over it, I force myself to use Provia, hoping that it will improve my feelings about it.

The Provia film simulation doesn’t look like Provia film. In fact, it’s probably closer to Astia film, although it’s definitely not an exact match for that, either. There’s something that is “not right” about it to me, but I think it’s just my personal tastes. There are a lot of people who love the Provia film simulation and use it all of the time.

After I published my Standard Provia Film Simulation Recipe, I received feedback from several of you that I should have included a comparison with default Provia/Standard. So here it is! The Provia/Standard images have all of the parameters set to 0 or Off except for Noise Reduction, which is -4. Dynamic Range is DR200 and White Balance is Auto 0R & 0B. It’s basically factory Provia. These were all captured on a Fujifilm X-Pro3. Let’s take a look:

Move the bar left to reveal the default Provia/Standard image, and move it right to reveal the “Standard Provia” recipe image.
Move the bar left to reveal the default Provia/Standard image, and move it right to reveal the “Standard Provia” recipe image.
Move the bar left to reveal the default Provia/Standard image, and move it right to reveal the “Standard Provia” recipe image.

The most notable difference you might notice is that my recipe has less red, with a cooler/greener color cast that is more like typical of Fujicolor film. My recipe also has more contrast and saturation, and, in my opinion, looks better, as I find the default settings to be too flat. If you are looking for a “standard” recipe that utilizes Provia, I believe that my Standard Provia recipe is a good option.

What do you think? Do you like the default Provia/Standard settings better, or do you prefer my “Standard Provia” recipe? Let me know in the comments!

SOOC Episode 06 Viewers’ Images

Posted on by Ritchie Roesch

I want to give a big “Thank You” to everyone who tuned into Episode 06 of SOOC, a collaboration between myself and Fuji X-Photographer Nathalie Boucry. This video series is live and interactive, so I’m especially grateful to all who participated! You are the ones who make these episodes great! Sorry that it took so long to get this video published, and I appreciate your patience.

In the video above are the viewers’ photographs, captured using the Cross Process film simulation recipe, that were shown during the show. It’s a short clip, so be sure to watch! I love seeing your pictures, and I’m honored that you submitted them for us to view.

The SOOC “recipe of the month” is Kodak Gold 200. Shoot with that recipe, and upload your pictures here to be featured in the next video! Season 02 Episode 01 will be on March 10 at 9 AM Pacific, 12 PM Eastern, so mark your calendars, and I look forward to seeing you then!

If you missed Episode 06, you can find it below.

Fujifilm X-Pro3 (X-Trans IV) Film Simulation Recipe: Standard Provia

Posted on by Ritchie Roesch

Clearing Clouds Over Winter Ridge – Farmington, UT – Fujifilm X-Pro3 – “Standard Provia”

This Film Simulation Recipe is the first in what will be a series, which will encompass several Fujifilm generations (not just X-Trans IV). I’m not exactly sure how many recipes will be in this series, but the intention is at least one for each film simulation offered by Fujifilm. This first recipe is compatible with X-Trans IV because Fujifilm sent me an X-Pro3 to try, and I have to return it soon, so I’m using it as much as practical so that I can write a review. The intention of this series is to customize each film simulation to optimization the aesthetic that Fujifilm intended. In other words, make a nice-looking recipe that is similar to yet better than the stock look of a film simulation. This first recipe, which I’ve titled simply Standard Provia, is my optimization of the Provia film simulation.

The Provia film simulation is not a facsimile of Provia slide film. I think Fujifilm just wanted to use the brandname for their “standard” colors, but there’s quite a divergence between the film simulation and the film. This recipe isn’t intended to mimic the film, but simply produce good results with the Provia film simulation (without modifying the overall aesthetic too much). The Provia film simulation is one of my least utilized, but I do believe this recipe makes good use of it.

Backlit Ivy – Farmington, UT – Fujifilm X-Pro3 “Standard Provia”

Because this recipe uses Clarity and Color Chrome FX Blue, it is only compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras. If you have an X-T3 or X-T30, you could replace Clarity with a diffusion filter and ignore Color Chrome FX Blue and Grain size, and get similar results that will be just a little different.

Provia
Dynamic Range: DR400
Highlight: +2
Shadow: +1
Color: +2
Noise Reduction: -4
Sharpening: 0
Clarity: -3
Grain Effect: Weak, Small
Color Chrome Effect: Strong
Color Chrome Effect Blue: Weak
White Balance: Daylight, -3 Red & 0 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +2/3 (typically)

Example photographs, all camera-made JPEGs using this “Standard Provia” film simulation recipe on a Fujifilm X-Pro3:

Orange Traffic Barrier – Salt Lake City, UT – Fujifilm X-Pro3
Vape On Main – Salt Lake City, UT – Fujifilm X-Pro3
Small Table Decor – Farmington, UT – Fujifilm X-Pro3
Abandoned Ice Chest – Farmington, UT – Fujifilm X-Pro3
End Post – Farmington, UT – Fujifilm X-Pro3
Hanging Around – Farmington, UT – Fujifilm X-Pro3
Blackberry Leaf in February – Farmington, UT – Fujifilm X-Pro3
Crossing With Falling Snow – Farmington, UT – Fujifilm X-Pro3
Cautious Dirt – Farmington, UT – Fujifilm X-Pro3
Winter Storm over Wasatch – Farmington, UT – Fujifilm X-Pro3

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

Fujifilm X-Pro3 Amazon B&H
Fujifilm X100V Amazon B&H
Fujifilm X-T4 Amazon B&H
Fujifilm X-S10 Amazon B&H
Fujifilm X-E4 Amazon B&H
Fujifilm X-T30 II Amazon B&H

Find this film simulation recipe and over 200 more on the Fuji X Weekly — Film Recipes App!

Help Fuji X Weekly

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Creative Collective 017: Slow Blur for Creative Effect

Posted on by Ritchie Roesch

Nature in Motion – Farmington, UT – Fujifilm X100V

The rule-of-thumb that I was taught in photography school is that the minimum shutter speed should be the closest number to the focal-length of lens for sharp handheld photographs. This, of course, is assuming good techniques (such as how you stand, how you hold the camera, and how you breathe while capturing a picture). Fujifilm X cameras are crop sensor, so we have to take that into account. For example, the 23mm lens on my Fujifilm X100V is 34.5mm full-frame equivalent, so the minimum shutter speed for hand-held (not on tripod) pictures should be 1/40, perhaps 1/30 if you’re good. If you go less than that you are in real danger of “camera-shake” blur—fuzzy pictures from your movement. Even above that, if you aren’t careful, you could get it, so I personally try not to go slower than 1/60 handheld on my X100V if I can help it. If you aren’t using good techniques at all, you might even have to use 1/125 or faster to ensure sharp pictures.

But what happens when you purposefully go slower? What happens when you deliberately shake your camera during exposure for creative effect? Let’s find out!

Note: this was a Creative Collective article, but now it’s available to everyone.

Path Insecure – Farmington, UT – Fujifilm X100V

So why did I do this? For fun. To spark creativity. Because I like doing unconventional things just to see what happens. Maybe this will help spark some creativity in you, too.

I set the shutter speed on my X100V to 1/8, which is much too slow for handheld photography. Typically, the camera would be on a tripod with such a slow shutter speed. The exact shutter speed you will need depends on the focal-length of the lens. I feel that 1/8 worked well for this camera, but if you were using a more wide-angle lens you might need to go even slower, and if you are using a more telephoto lens you might need to be a little faster.

I utilized the camera’s built-in Neutral Density filter because the shutter was going to let in a lot of light. If your camera doesn’t have a built-in ND filter, you could screw an ND filter onto the end of the lens. If that isn’t an option, simply try this technique indoors, or just before the sun rises or right after it sets, or on darker days.

I set the Flash to On. Why? My theory was that the flash would make whatever it bounced off of “sharp” for a moment, so that there would be a little sharpness in the otherwise blurry picture. I think if you are close enough to the subject this does work, and can create a ghostly effect, but was unnecessary for most of my images.

The other settings? Both Aperture and ISO were in Auto (basically, I was operating in Shutter Priority). I used the Negative Print film simulation recipe.

When I opened the shutter, I moved the camera around. Sometimes just a little. Sometimes a lot. I moved it up or down or left or right. I even tried a swirly motion a couple of times. I also tried pushing the camera forward and pulling it back. Whichever direction you move the camera and how much you move the camera during the 1/8 exposure will greatly affect the outcome, so try different ideas.

When you do this, there are a few various looks that you get. One is an abstract impressionist image, such as in Nature in Motion at the top and Three Trees at the bottom. Another is a ghostly almost-double-exposure-like picture, such as in Ghostly Chair below. A third is simply a soft dream-like fuzziness, like in Hidden Trash below. Path Insecure (above) and Fading Memories (below) are a little bit of impressionism and dream-like fuzziness mixed together.

Ghostly Chair – Farmington, UT – Fujifilm X100V
Hidden Trash – Farmington, UT – Fujifilm X100V
Fading Memories – Farmington, UT – Fujifilm X100V
Three Trees – Farmington, UT – Fujifilm X100V

This isn’t a technique for everyone, and certainly not for every photo. I could see it being a project. Maybe use this technique for a specific topic. Perhaps you’ll find that you like it more than you thought you would. If you are looking for something different to try, this might be just what you need.

Fujifilm X-Pro3 (X-Trans IV) Film Simulation Recipe: Agfa Ultra 100

Posted on by Ritchie Roesch

Mutual Conversation – Salt Lake City, UT – Fujifilm X-Pro3 – “Agfa Ultra 100”

Agfa Ultra 100 was a short lived film—introduced in 2003 and discontinued in 2005, although it was still available for a few years after—and was Agfa’s most vibrant color negative film. I’ve been attempting to mimic this film for a little while now (ever since I published the AgfaChrome RS 100 recipe last summer), but I couldn’t get it right. This Agfa Ultra 100 recipe actually has some similarities to the AgfaChrome RS 100 recipe, and (for this particular attempt) I used that recipe as the starting point. I never used this film, so I relied on online references and a couple pictures I found in an old magazine article as samples.

I’m actually not fully satisfied with this recipe. I think sometimes it’s pretty spot-on, and I think other times it is significantly off. Of course, one film can have several different aesthetics depending on how it was shot, developed, scanned and/or printed, and viewed, so perhaps that accounts for some of it. I think an argument can be made that Color should be +3 or even +4, but I also feel that sometimes that’s too much and +2 is just right. I think green is the least correct color, and if you do have a lot of green in the shot, you might consider increasing Color to +3 or +4 for a more accurate facsimile, although you might find reds and blues are rendered too strong if you do that.

Urban Sunstar – Salt Lake City, UT – Fujifilm X-Pro3 – “Agfa Ultra 100”

Because this recipe uses Classic Negative, Clarity, and Color Chrome FX Blue, this Agfa Ultra 100 film simulation recipe is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras.

Classic Negative
Dynamic Range: DR400
Highlight: +2
Shadow: -2
Color: +2
Noise Reduction: -4
Sharpness: -1
Clarity: -3
Grain Effect: Weak, Large
Color Chrome Effect: Strong
Color Chrome Effect Blue: Strong
White Balance: Daylight, -2 Red & +3 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: 0 to +1 (typically)

Example photographs captured using this “Agfa Ultra 100” film simulation recipe on a Fujifilm X-Pro3:

Red – Salt Lake City, UT – Fujifilm X-Pro3
Blu – Salt Lake City, UT – Fujifilm X-Pro3
Orange – Salt Lake City, UT – Fujifilm X-Pro3
Walker Reflected – Salt Lake City, UT – Fujifilm X-Pro3
Common Signs – Salt Lake City, UT – Fujifilm X-Pro3
Pitched In Street Sign – Salt Lake City, UT – Fujifilm X-Pro3
Elevator – Salt Lake City, UT – Fujifilm X-Pro3
Street Crossing – Salt Lake City, UT – Fujifilm X-Pro3
Sidewalk Seat Shadow – Salt Lake City, UT – Fujifilm X-Pro3
Blue Boxes – Salt Lake City, UT – Fujifilm X-Pro3
Urban Congo – Salt Lake City, UT – Fujifilm X-Pro3
Sidewalk Closed In 150 Feet or Less – Salt Lake City, UT – Fujifilm X-Pro3

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

Fujifilm X-Pro3 Amazon B&H
Fujifilm X100V Amazon B&H
Fujifilm X-T4 Amazon B&H
Fujifilm X-S10 Amazon B&H
Fujifilm X-E4 Amazon B&H
Fujifilm X-T30 II Amazon B&H

Find this Film Simulation Recipe and over 200 more on the Fuji X Weekly — Film Recipes App!

Help Fuji X Weekly

Nobody pays me to write the content found on fujixweekly.com. There’s a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!

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10 Most Important Fujifilm X-Trans Cameras

Posted on by Ritchie Roesch

Fujifilm X-Trans is 10-years-old, and I thought it would be fun to list the 10 most important X-Trans models of all-time. The first X-series camera was the X100, but it had an EXR sensor, and not X-Trans. The first with the X-Trans sensor was the X-Pro1, which came out in 2012. I already wrote an article explaining the history of that camera, which you can read here. For this post, I’ll simply give my opinion on which X-Trans models were the most important.

Here we go!

10. Fujifilm X-E1

The Sexy One—I mean, X-E1—was the second X-Trans camera introduced by Fujifilm, and offered retro rangefinder styling in an affordable package. It had its problems (many that were fixed or improved by firmware updates), which hindered its commercial success, yet it is still a beloved camera 10 years later. Without the X-E1, there would be no X-E2, X-E2s, X-E3, or X-E4. While the X-E lineup isn’t usually a top-seller for Fujifilm, it is much loved by those who do own them. The Fujifilm X-E1 was my introduction into the X-series, so without it there would be no Fuji X Weekly.

9. Fujifilm X-Pro2

The X-Pro2 was not only the first X-Trans III camera, it was the first with a dual memory-card slot. For some, this was the first X-Trans camera that could be taken seriously—clearly aimed at professional photographers. It not only looked good, but had the specs and features to convince serious photographers to take a close look, and maybe even sell their full-frame gear in favor of Fujifilm.

8. Fujifilm X-T4

The X-T4 is the full-frame killer. Maybe that’s an exaggeration, but the it is an amazing tool for both professional photographers and videographers. To date, the X-T4 is the most “premium” X-series model made by Fujifilm, and is the camera that’s convinced countless people to choose Fujifilm over other brands.

7. Fujifilm X100V

The X100V is a solid update to the X100F, and is my “desert island” camera—if I could only have one, it would be this. For a lot of people who are unsure if they want to jump into the deep end of the Fujifilm pool, the X100-series allows them to get their feet wet without having to invest in the whole system. Once people do dip their toes, they discover that the water is fine. Although all of the five X100-series cameras are great, including the original X100, the X100V is definitely the best.

6. Fujifilm X-Pro3

The X-Pro3 is a controversial camera due to its unusual backwards-mounted rear screen. People seem to love or hate it. While it might be Fujifilm’s most polarizing camera, it has been a solid success, and a sought-after body since its introduction. Also, this was the first camera with Classic Negative, Clarity, and Color Chrome FX Blue, among other things.

5. Fujifilm X-H1

While it was initially considered a flop, the X-H1 now has a cult-like following. The X-H1 was even more top-of-the-line than the X-T2. It was the first X-Trans camera with the Eterna film simulation and IBIS, and had the best video specs when it was released. In a lot of ways, it was the X-T4 of the X-Trans III generation models (although in a body more reminiscent of the GFX50S), and was supposed to convince full-frame shooters to consider Fujifilm instead. Due to its high MSRP, sales were super sluggish, and Fujifilm had to steeply slash the price tag to get people to buy it. Those who did buy it were rewarded with an amazing camera! It’s a workhorse for many professional photographers, even if they own newer models, they often choose the X-H1 to do the heavy lifting.

4. Fujifilm X100F

The Fujifilm X100F is the camera that I first started making Film Simulation Recipes with. Fuji X Weekly was originally a long-term review (or journal, really) of this camera. The impact the X100F has had on the Fujifilm community and even the photography continuum cannot be quantified, but know that’s it’s massive. For me, the X100F changed my life, and that’s not hyperbole—it took a lot of self-control to not put it at the number one spot on this list.

3. Fujifilm X-T3

Have you ever wondered why Fujifilm hasn’t discontinued the X-T3 even though the X-T4 has been out for almost two years? It’s because the X-T3 is the top-selling X-series camera of all time, and continues to sell really well even today. Yes, it’s about three-and-a-half years old, but as long as people continue to buy it in droves, it will continue to be manufactured by Fujifilm. I wouldn’t be surprised if the X-T4 is discontinued before the X-T3. This is the only camera on this list that I haven’t personally used, but I know for certain that it’s a great model.

2. Fujifilm X-T1

A lot of people might be surprised that the X-T1 made it so high on this list, not because the camera isn’t great (because it is great), but because the reason might not seem obvious. What was so special about this model to make it all the way to number two? The X-T1 was Fujifilm’s first real commercially successful camera. Yes, the X-Trans models that came before this—X-Pro1, X-E1, X-E2, X-M1, X20, XQ1, and X100S—did well enough (more or less, depending on the camera), but the X-T1 sold significantly better than them all. It really brought Fujifilm into the forefront, and made a lot of people take notice. For a large number of photographers, the X-T1 was the first model that made them seriously consider buying X-Trans.

1. Fujifilm X-Pro1

The Fujifilm X-Pro1 was where X-Trans began. All of the current Fujifilm cameras are here today because the X-Pro1 made a big splash with its retro rangefinder design and hybrid viewfinder 10 years ago. If it had not sold well, the X-series might have ended there, or not long after. But it did sell well, and is even in-demand to this day. That’s why the X-Pro1 is the number one most important Fujifilm X-Trans camera of all time.

Conclusion

What about the other cameras that deserve to be on this list? The original X100 is not here because it is not X-Trans (a requirement for this list), but I could have included the X100S, which the first X100-series model with an X-Trans sensor. The X100T was the first camera with Classic Chrome—except that a lot of people forget that one month earlier the X30 was released with Classic Chrome, and the X100T was actually a close second. The X-T10 was Fujifilm’s first real successful mid-range model—the X-T20 and X-T30 were pretty darn successful, too, and the X-T30 II is off to a solid start. The X-S10 has also done well, and is the cheapest model with IBIS. I think there are a number of cameras that could have made this list. What do you think? Do you agree with my Top 10? Would you replace any? I’d love to hear your thoughts on this!

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

Fujifilm X-T4 Amazon B&H
Fujifilm X100V Amazon B&H
Fujifilm X-Pro3 Amazon B&H
Fujifilm X-T3 Amazon B&H

Postponed: SOOC Season 02 Episode 01

Posted on by Ritchie Roesch

I’m sorry to report that SOOC Season 02 Episode 01 has been delayed. Due to scheduling conflicts, there will be no SOOC broadcasts in February, and the new season will kick off now on March 10th. I apologize for any inchonvieneces that this might cause.

If you missed the last episode, I’ve included it at the top of this post. It was a fun broadcast, so I hope that you enjoy it.

See you next month!