Photography blog

Future Fujifilm Lens Ideas

Posted on by Ritchie Roesch

Tom’s Famous X-Pro3 – Avondale, AZ – Fujifilm X-E5 – 1-Hour Photo Recipe

Fujifilm announced that they’re hosting a “Focus on Glass” online event on March 5th at 5 AM Pacific Time, 8 AM Eastern. They’re going to highlight and discuss various Fujinon lenses. I’m sure it will be interesting. Apparently, one aspect of this event will be engaging with the community. Fujifilm stated that they’re interested in receiving input from their users regarding future lenses, which I think is great. Not wanting to wait until March, I thought I’d share some ideas today. Maybe Fujifilm will take this into consideration.

I have a few ideas for both X and GFX, but I wanted to just discuss the X-series in this article. Since GFX is much newer and niche, it obviously has a lot more holes; however, it has a lot few customers—most X-series photographers don’t own a GFX camera. To keep this most relevant to the majority of you all, we’ll stick strictly to X-mount lenses today.

If you’re a regular reader, most of these suggestions will be familiar, because I’ve said them before. For one or two, this will be my first time mentioning it. My ideas might be much different than yours, so feel free to give your suggestions in the comments, should Fujifilm read this article and take the ideas into consideration. Also, let me know which of these you’d most want Fujifilm to make.

Fujinon 12mm f/2

Barn by the Tetons – Grand Teton NP, WY – Fujifilm X-E1 & Rokinon 12mm f/2

Fujifilm has a few options for ultra-wide-angle lenses. There’s the 8mm f/3.5, which has surprisingly little distortion for how wide it is; however, it’s definitely questionable for things like astrophotography. Then there’s the 14mm f/2.8, which is not going to be quite ultra-wide enough for some, and also not quite bright enough. There are two zooms: 8-16mm f/2.8 and the 10-24mm f/4. What’s missing is a faster prime in the 10mm-12mm range, such as a 12mm f/2. There are some good third-party options (like the Rokinon 12mm f/2), but a Fujinon lens would be nice to have available.

Fujinon 15mm f/3.5 Pancake

Golden Gate – San Francisco, CA – Fujifilm X-S20 & Fujinon 15–45mm @15mm – Kodak Farbwelt 200 Expired Recipe – Photo by Jon Roesch

One advantage of APS-C over full-frame is the compact size; however (and shockingly), there aren’t a lot of pancake lenses to pair with the small camera bodies. The Fujinon 27mm f/2.8, which is one of my favorites, has become legendary. The brand-new Fujinon 23mm f/2.8 is great, and a very welcomed addition. The Fujinon 18mm f/2 is one of the original X-series lenses, and is barely a pancake (more like a short stack or Japanese pancake). In my opinion, another pancake lens or two makes a whole lot of sense, and a 15mm f/3.5 would be an excellent option that I think many would appreciate.

Fujinon 18mm f/2 II

Welcome to the Labyrinth – Litchfield Park, AZ – Fujifilm X-E4 & Fujinon 18mm f/2 – Fujicolor Superia 800 Recipe

The Fujinon 18mm f/2 is one of the oldest lenses in the lineup, and it shows. It has good character, and there’s a reason people love it, but it’s in pretty desperate need of a refresh. I hope this is the next one to receive a Mark 2 version.

Fujinon 40mm f/3.5 Pancake

Agriculture Tanks – Arlington, AZ – Fujifilm X-T5 & Fujinon 18-55mm @40mm – Kodak Vericolor Warm Recipe

This is the other pancake lens that I’d love to see added to the lineup. Just a little telephoto, but not far from a “nifty-fifty” focal length. A maximum aperture of f/2.8 would be good if they can keep it no larger than the 18mm f/2, but otherwise I’d want a smaller lens with a smaller maximum aperture. I would buy this on day one if Fujifilm made it.

Fujinon 60mm f/2.4 Macro II

From Dust To Dust – Great Sand Dunes NP, CO – Fujifilm X-Pro2 & Fujinon 60mm f/2.4 – Kodachrome II Recipe

The Fujinon 60mm f/2.4 Macro is often overlooked because it is older, not the best performer among the X-series lineup, and lacks weather-sealing. If Fujifilm modernized it, I think it would do quite well. It’s got a lot of versatility, and can serve as a walk-around lens for those who prefer telephoto focal lengths. This is my second pick for a lens refresh.

Fujinon 70mm f/1.4

Ramada 6 – Phoenix, AZ – Fujifilm X-T5 & Fujinon 70-300mm @70mm – BewareMyVelvia Recipe

In-between the Fujinon 56mm f/1.2 and Fujinon 90mm f/2, there’s not a fast portrait lens. Both the Fujinon 60mm f/2.4 and Fujinon 80mm f/2.8 can serve as portrait lenses, but that’s not their primary purpose. For those who find the 56mm too short and the 90mm too long, a 70mm f/1.4 would be the Goldilocks option.

Fujinon 135mm f/2.8

Ballyhoo – Childress, TX – Fujifilm X-E4 & Vivitar 135mm f/2.8 – Fujicolor Natura 1600 Recipe

There aren’t many long telephoto primes for the X-series. In my opinion, something in-between the Fujinon 90mm f/2 and the (very large and expensive) Fujinon 200mm f/2 is desperately missing. This lens should not be all that much larger or heavier than 90mm f/2, and the price needs to stay somewhat reasonable, preferably under $1,500. This would be another day-one buy for me.

1-Hour Photo — A Film Simulation Recipe for Fujifilm X-Trans V Cameras (FXW App Patron Early-Access Recipe)

Posted on by Ritchie Roesch

Jack’s Liquor – Phoenix, AZ – Fujifilm X-T5 – 1-Hour Photo Recipe

I have a box in my closet filled with old photos. Some are from my or my wife’s childhood in the ’80’s and ’90’s. Some are from early in our marriage. Some are of my oldest daughter when she was a baby. Many of these pictures are from point-and-shoot film cameras, like QuickSnap or Kodak FunSaver disposable cameras, which were developed at one-hour photo labs. These express photo labs used to be everywhere, but nowadays they’re pretty rare. I was looking through the photo box recently, reminiscing on old times, and I was captivated by the aesthetic of some of the pictures.

The images that caught my attention were in a few different envelopes, but the commonality is that they were captured with Fujicolor Superia 400 film on a QuickSnap camera, and printed on Fujicolor Chrystal Archive paper at Ritz photo in Tucson, Arizona. During that time, Ritz was the photo store that I most commonly visited, so it makes sense that I’d drop off film for one-hour development while I purchased some rolls for my Pentax K1000 (the “real” camera I had at that time). This Recipe, which I’ve called 1-Hour Photo, is modeled after the aesthetic of those prints—not so much the look from the lens, but the colors and tonality. I suppose a Dispo-lens (or something like that) would further the look. Also, I sometimes used flash on my X100VI.

Dramatic Desert Tree – Buckeye, AZ – Fujifilm X100VI – 1-Hour Photo Recipe

This is a Fuji X Weekly App Early-Access Recipe, which means that it is currently only available to App Patrons; however, in time it will be available to everyone. The Early-Access Recipes have been backlogged, remaining restricted much longer than I want them to be. For example, the Recipe that this one replaces has been on the App for two years now, available only to subscribers. Last year I started a series in hopes to rectify this problem, creating a new Early-Access Recipe with each Film Simulation. I got Provia and Velvia knocked out without too much trouble, then got stuck on Astia for awhile. I’m still working on the Classic Chrome Recipe, but completed Classic Negative first; instead of waiting to release this, I decided to skip Classic Chrome for the moment, and get this one out. If you are a Fuji X Weekly App Patron subscriber, it’s available to you right now.

This 1-Hour Photo Recipe is compatible with all fifth-generation models, which (as of this writing) are the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III models. You can use it on fourth-generation cameras, too; however, it will render slightly different. It’s also compatible with newer GFX models like the GFX100 II, GFX100S II, and GFX100RF.

Example photographs, all camera-made JPEGs using this 1-Hour Photo Film Simulation Recipe on my Fujifilm X100VI, X-E5, and X-T5:

Alleyway at Night – Phoenix, AZ – Fujifilm X-T5
Hotel San Carlos – Phoenix, AZ – Fujifilm X-T5
Tom At Night – Phoenix, AZ – Fujifilm X-T5
3rd St & Van Buren – Phoenix, AZ – Fujifilm X-T5
Diner Lamp – Buckeye, AZ – Fujifilm X100VI
Young Guitarist – Buckeye, AZ – Fujifilm X100VI (Flash On)
Barbie Skates – Buckeye, AZ – Fujifilm X100VI (Flash On)
Done Dining – Avondale, AZ – Fujifilm X-E5
Tom’s Famous X-Pro3 – Avondale, AZ – Fujifilm X-E5
Waffle House Kitchen – Avondale, AZ – Fujifilm X-E5
Lunch is Over – Avondale, AZ – Fujifilm X-E5
Waffle House – Avondale, AZ – Fujifilm X-E5
Federal Express – Buckeye, AZ – Fujifilm X100VI
Backseat Dog – Phoenix, AZ – Fujifilm X-T5
Volkswagen – Phoenix, AZ – Fujifilm X-T5
Bicycle Rider – Buckeye, AZ – Fujifilm X100VI
Mando Skater – Buckeye, AZ – Fujifilm X100VI
Faux Bamboo – Buckeye, AZ – Fujifilm X100VI
Raindrops & Sun – Buckeye, AZ – Fujifilm X100VI
Roadrunner – Buckeye, AZ – Fujifilm X100VI
Dilapidated Roof – Sedona, AZ – Fujifilm X-E5
Pool Reflection – Sedona, AZ – Fujifilm X-E5
Yellow Tree Beneath Rock – Sedona, AZ – Fujifilm X-E5
Row of Yellow Leaves – Sedona, AZ – Fujifilm X-E5
Logs Across Oak Creek – Sedona, AZ – Fujifilm X-E5
Mini Subway – Sedona, AZ – Fujifilm X-E5
Flowing Creek – Sedona, AZ – Fujifilm X-E5

Find this Film Simulation Recipe and over 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.

Fujicolor C200 v2 — Fujifilm X100V (X-Trans IV) Film Simulation Recipe

Posted on by Ritchie Roesch

Cold Morning at the South Rim – Grand Canyon NP, AZ – Fujifilm X100V – Fujicolor C200 v2

The original Fujicolor C200 Film Simulation Recipe is great! This isn’t intended to replace that Recipe—there’s no need to replace it, since it’s excellent—but instead provide an alternative option for those looking for something slightly different. One film can produce many different looks, depending on a host of factors, including how it was shot, developed, and printed or scanned. In this case, a Fuji X Weekly reader wanted a Recipe that more closely matched his particular Fujicolor C200 scans. Oh, and it needed to be compatible with the Fujifilm X100V and X-Pro3, which the original version is not.

Fujifilm introduced Fujicolor C200 in 1990 as a low-budget, consumer-grade color negative film. I’ve shot a few rolls of it over the years, although it was never my go-to option. Fujifilm gave it a small refresh in 2017. Sadly, in late 2021, Fujifilm began selling rebranded Kodak Gold 200 as Fujicolor C200. Even though C200 is a cheap color film, it has a cult-like following, and many people enjoy its aesthetic and choose it over more expensive emulsions.

Bougainvillea Peeking over Wall – Buckeye, AZ – Fujifilm X100V – Fujicolor C200 v2

This Fujicolor C200 v2 Film Simulation Recipe was an App Patron Early-Access Recipe, but it is now available to everyone. With the exception of the X-T3 and X-T30, it is fully compatible with fourth-generation cameras: X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II. You can use it with the GFX100S, too. For fifth-generation models (plus the GFX100 II, GFX100S II, and GFX100RF), simply set Color Chrome FX Blue to Weak instead of Strong.

Film Simulation: Classic Negative
Dynamic Range: DR100
Grain Effect: Weak, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Strong
White Balance: Shade, -2 Red & +1 Blue
Highlight: -2
Shadow: -2
Color: +4
Sharpness: -1
High ISO NR: -4
Clarity: -2
ISO: Auto, up to ISO 6400
Exposure Compensation: 0 to +2/3 (typically)

Example photographs, all camera-made JPEGs using this Fujicolor C200 v2 Film Simulation Recipe on my Fujifilm X100V and Fujifilm X-E4:

Main Street – Buckeye, AZ – Fujifilm X-E4
Dim Light & Neon Reflections – Tempe, AZ – Fujifilm X100V
Coffee Shop Christmas Tree – Phoenix, AZ – Fujifilm X100V
Backlit Potted Palm – Buckeye, AZ – Fujifilm X100V
Afternoon Jo – Buckeye, AZ – Fujifilm X100V
Sitting on a Backyard Bench – Buckeye, AZ – Fujifilm X100V
Swinging Seat – Litchfield Park, AZ – Fujifilm X100V
Potted Blossoms – Litchfield Park, AZ – Fujifilm X100V
Artificial Flowers – Litchfield Park, AZ – Fujifilm X100V
AC – Litchfield Park, AZ – Fujifilm X100V
The Grinch that Stole a Golf Cart – Buckeye, AZ – Fujifilm X100V
Autumn Path – Buckeye, AZ – Fujifilm X100V
Autumn Canopy – Buckeye, AZ – Fujifilm X100V
Bird on a Cross – Litchfield Park, AZ – Fujifilm X100V
Icy Morning at the Rim – Grand Canyon NP, AZ – Fujifilm X100V
Canyon Between the Pines – Grand Canyon NP, AZ – Fujifilm X100V
Morning Shadows – Grand Canyon NP, AZ – Fujifilm X100V

Comparison:

Original Fujicolor C200 Film Simulation Recipe (Fujifilm X-E4)
This new Fujicolor C200 v2 Film Simulation Recipe (Fujifilm X-E4)

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

The Story of Two Zoom Lenses

Posted on by Ritchie Roesch

Hound – Phoenix, AZ – Fujifilm X-T5 & 70-300mm – BewareMyVelvia – Triple Exposure

I’ve never clicked with zoom lenses. For the last—oh, geez, it’s approaching 30 years now, going back to the film days—I have been using prime lenses almost exclusively. I’ve dabbled with zooms here and there, but invariably they end up collecting dust, and oftentimes eventually sold. I love my primes.

The reasons why I prefer primes over zooms are 1) they’re almost always sharper, 2) they typically have more good character and less bad characteristics, 3) they usually have larger maximum apertures, 4) they’re often smaller, and 5) they force you to remain within the constraints of that focal length. Composer Igor Stravinsky famously stated, “The more constraints one imposes, the more one frees oneself of the chains that shackle the spirit.” Pablo Picasso said, “If you have five elements available, use only four; if you have four elements, use three.” For me, prime lenses help with that; however, it doesn’t mean I’m anti-zoom, only that most of the time I prefer primes. Ideally, I’d purchase two or three primes instead of a single zoom that covers those focal lengths.

Fujifilm has an obvious hole in the prime-lens lineup: long telephoto. There’s the wonderful Fujinon 90mm f/2, which is one of my favorite lenses. The 135mm full-frame equivalent focal-length used to be quite common, but it’s not nearly as popular nowadays. After that there’s the 200mm f/2 and the new 500mm f/5.6, both of which are bulky and expensive (although I’m sure they’re quite excellent). What’s missing are a couple of smaller, more affordable options. Something like a 135mm f/2.8 (or f/3.5) that’s not more than 20% larger and heavier than the 90mm f/2, and not more than $1,500—the smaller, lighter, and less expensive the better. I’d also like to see something around a 330mm (500mm full-frame equivalent) f/4 (or f/4.5) that’s maybe roughly around the same size of the 70-300mm zoom, and under $2,000. But those two lenses don’t exist.

I’m strongly considering purchasing something more telephoto than the 90mm f/2, and the 200mm f/2 and 500mm f/5.6 are not an option. So that leaves me with zooms. I used to own the 100-400mm f/4.5-5.6, and as much as I tried to like it because I spent a lot of money on it, I just couldn’t. It was a disappointment, so I sold it. Last weekend, at a local Fujifilm event, I was able to try out two zooms: Fujinon 70-300mm f/4-5.6 and Fujinon 150-600mm f/5.6-8. I want to briefly talk about those two, and at the end I’ll tell you what I decided.

The first lens that I tried was the 70-300mm f/4-5.6. It’s very lightweight for what it is. I was quite impressed with the image quality and overall performance. At the long end, there’s some obvious vignetting when wide open that seems to improve but not completely disappear as you stop down. I noticed some minor chromatic aberrations in a couple instances. It does seem slightly softer at 300mm than 200mm, but I didn’t use it enough to feel confident in that judgement, and it was still more than sufficiently sharp at 300mm. I feel like this lens isn’t perfect, but it significantly outpaced my expectations for a $950 zoom.

Above: Fujifilm X-T5 & Fujinon 70-300mm lens — BewareMyVelvia Recipe

The second lens that I tried was the 150-600mm f/5.6-8. This lens is much larger, heavier, and more expensive than the 70-300mm. I was impressed by the reach. I was able to photograph mountains that were far away. I wasn’t close to downtown, but I was able to photograph it nonetheless. It was definitely more difficult to use than the 70-300mm because oftentimes one doesn’t need 150mm, let alone 600mm. Still, the pictures are beautiful, and the overall sharpness and IQ seems to be just a little better than 70-300mm; however, at the longer end, say beyond 400mm and getting increasingly worse as you reach 600mm, the pictures become softer. Some reasons for this might be 1) atmospheric haze and heatwaves, 2) higher ISOs to compensate for the smaller maximum aperture and faster shutter speeds necessary, and 3) diffraction from the smaller apertures. I liked the image quality from the 70-300mm more at 300mm than the 150-600mm at 600mm; however, the 150-600mm seems to have slightly better IQ at 300mm than the 70-300mm has at 300mm. I also noticed some vignetting at 600mm.

Above: Fujifilm X-T5 & Fujinon 150-600mm lens — BewareMyVelvia Recipe

The lens that I decided on is the Fujinon 70-300mm. I’m also planning to purchase the 1.4x TC to occasionally give it just a little more reach when needed. I’ve heard good things about that combination. It seems like it will be more than good enough for what I need it for. If Fujifilm ever made that 135mm f/2.8 and 330mm f/4, I’d prefer that over the zoom. With the options available, the 70-300mm appears to be the best choice for me. It’s surprisingly good, and a bonus is that it’s reasonably affordable.

Ricoh just Announced a GR IV Monochrome, Fujifilm Should Release a B&W Camera, Too

Posted on by Ritchie Roesch

Ricoh just announced the GR IV Monochrome, a black-and-white-only version of their recent GR IV release. It seems like a really cool camera, except for the price. Because the menu must be customized and the market for it is extremely niche, a premium is expected. The Ricoh GR IV is already a bit overpriced at $1,500 (seems more like a $1,200-$1,300 camera, even when considering inflation and tariffs), so I was pretty shocked to see the $2,200 MSRP for the Monochrome version. Monochrome-only cameras are pretty rare—Leica is the most renown manufacturer of them—so it’s good to see another option, even with the steep cost.

The benefits of a monochrome-only sensor are more detailed-rich images, higher dynamic range, and better high-ISO performance. Because only half of the “pixels” in a Bayer camera are recording luminosity information (the other half are recording color; for Fujifilm X-Trans, it’s 55% luminosity and 45% color information), the true resolution of the sensor is not achieved. Pictures from black-and-white-only cameras seem sharper, as if they were captured with a higher-resolution camera. Because there is less noise, the cameras are capable of more dynamic range in the shadows, and are notably better at high ISOs. If you are not doing color photography, there is a significant benefit to a monochrome-only camera. You can use traditional color filters for B&W film with these cameras, and really get a film-like experience.

I’ve been advocating for a monochrome-only Fujifilm camera for years now. Most likely it would be an X100-series model, but I would love for it to be an interchangeable-lens camera, like maybe the next X-Pro. There would need to be some modifications to the menu. First, Acros is the only Film Simulation needed. I would like to see the Tone Curve get some new options, like -3 to +6 Highlights and Shadows. Because of the extra dynamic range, DR800 should be added. I think a Push-Process feature would be cool, where contrast and grain are increased (Off, Push 1, Push 2—should be easily accessible via a button or switch). Vignetting might be nice (Off, Weak, Strong). Split toning for Monochromatic Color would be nice, too (basically, choose a color for Highlight and a different color for Shadow). I think a Faded Blacks option would be interesting (Off, Weak, Strong). Increase the top ISO to 25600, and make ISO 51200 and 102400 the extended ISO options. Remove Advanced Filters, White Balance, Color, and Color Chrome Effects. Maybe add light leaks and/or some fun film-strip boarders. Boom, you’re done.

If Fujifilm made such a camera, they would quickly sell every single one. My hope would be that they could do this and keep the premium to no more than $500 more than the regularly version. For example, if Fujifilm made a monochrome-only X100VI, which has an MSRP of $1,800 for the normal version, I would hope that the black-and-white version would be no more than $2,300. People would absolutely pay that price for it—heck, they would probably pay $2,500 or more. Such a camera would certainly be niche, but if Fujifilm made one, it would be awesome, and would make people say wow!

How to Make Amazing Multiple-Exposure Pictures (BewareMyVelvia Recipe Pt. 2)

Posted on by Ritchie Roesch

Photographing in Phoenix – Phoenix, AZ – Fujifilm X-T5 – BewareMyVelvia Recipe – Triple Exposure

Part 1 — BewareMyVelvia Film Simulation Recipe

Now that you have the BewareMyVelvia Recipe programmed into your Fujifilm camera, it’s time to make some multiple-exposure photographs using that Recipe. The process I’m discussing here comes from Tom Baumgaertel, a.k.a. bewaremyfuji. This is fairly easy to do, but also quite tricky. You can expect to make a lot of mistakes and have plenty of failures, but, as you get more and more experience, it will begin to make sense, and you’ll get better with it. Pretty soon you’ll begin to achieve striking results. This won’t come naturally to most people, but it’s something that anyone can learn. Just be patient, and don’t give up.

For this technique, you do need a fourth or fifth generation X-series camera, which (as of this writing) are the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III. You can also do this with a GFX100, GFX100S, GFX 50S II, GFX100 II, GFX100S II, and GFX100RF. On most Fujifilm cameras you can do multiple-exposure photography, but only the “newer” cameras (X-Trans IV and V) are capable of this particular technique. I recommend Large image size, and either JPEG or RAW+JPEG (I select L 3:2 Fine+RAW, personally).

Neon Dog – Phoenix, AZ – Fujifilm X-T5 – BewareMyVelvia Recipe – Triple Exposure

Step one is to set up Multi Exposure in the camera. There is some variance in how this is done depending on the model. Many cameras have a Drive button (for example, X100VI, X-E5, GFX100S II, X-S20), and when you press that, a menu appears—simply scroll until you find Multi Exposure. On other cameras (for example, the X-T5), it’s in Shooting Setting subset of the main Menu. If you can’t find it, refer to your camera’s manual. Once you locate Multi Exposure, you are presented with four options: Additive, Average, Comparative Light, and Comparative Dark. Choose Additive. You can use the BewareMyVelvia Recipe with Average, too, but for this exercise you’ll want to use Additive.

The Additive option in Multi Exposure will (as the name implies) add each exposure on top of the others, increasing the brightness. Because of this, it’s very easy to overexpose the image. This is a major piece of caution. Underexposure will be your best friend. I avoid anything brighter than -1 Exposure Compensation, and find myself often using -2 or even -3 sometimes. It’s very easy to add too much exposure, so less is often more.

Hound – Phoenix, AZ – Fujifilm X-T5 – BewareMyVelvia – Triple Exposure

Once you find something to photograph, compose your image and press the shutter release button. The camera will say: OK Next; ◀︎ Retry; Back Exit. If you are satisfied with your photo and want to layer another image, choose OK. If you are satisfied with your photo but don’t want it to be a multiple-exposure picture (only a single-exposure image), select Back, and the camera will save the photo, and restart the Multi Exposure process. If you are unsatisfied with your picture, arrow to the left and try again (the picture will not be saved).

If you are satisfied and ready to layer the next image, select OK and look for another scene to add to what you’ve already captured. It’s important to carefully consider shadows and highlights, as well as space. Light areas over light areas will look bright and possibly muddy. Dark areas over dark areas will hide details. Placing something bright within a dark area will stand out the most. Since your previous image is superimposed over the current scene, that will help you to align it. Be creative, and experiment with composition and element placement. If you mess it up, simply arrow to the left and retry—you have unlimited redos, as long as you don’t power off the camera. There were instances that I retried an exposure 10 or more times before I was finally satisfied with it.

Structured Abstract – Phoenix, AZ – Fujifilm X-T5 – Double Exposure

You can stop at two exposures, or blend as many as nine. Two or three is often enough. I would avoid going beyond five, but feel free to try. The camera will save each individual frame used in the multiple-exposure image, in addition to the multiple-exposure image itself. You can get creative with the exposures, by adding intentional movement or going out of focus with one or more of the shots. Sometimes a subtle splash of color within the negative space can make a major difference. There’s a lot of experimentation that you can do here, so don’t be afraid to try different things.

Another important creative step, which is optional but highly encouraged, is to change the White Balance between exposures. The easiest way to do this is adjust the WB Shift from -9 Red to +9 Red in between the first and second (or second and third) exposures, which I did frequently but not always. This is something that you can go crazy with, so don’t be afraid to try wild ideas. Adjusting the Kelvin value to something cool (like 3200K) or warm (like 9000K) can be fun; however, simply changing the WB Shift is probably enough. I encourage you to experiment with this, but at the very least, try using a -9 Red WB Shift on some exposures and +9 Red on other exposures within the same multiple-exposure image. That tip alone is both mind blowing and mind opening, so be sure to thank Tom for it.

First Exposure, BewareMyVelvia Recipe, -2 Exposure Comp
Second Exposure, BewareMyVelvia Recipe, -2 Exposure Comp
Third Exposure, BewareMyVelvia Recipe with +9 Red WB Shift, -2 Exposure Comp
Triple exposure photograph, cropped slightly

The example above shows how this works. All three exposures are dark, but when combined together they’re much brighter (that’s how Additive Multi Exposure works). Also, the three frames on their own are nothing spectacular, but when combined together, it’s actually kind of interesting. Had I not adjusted the WB Shift in between the second and third exposure, the picture would have been boring—I know this because that’s what I initially did; however, I redid the third exposure, making sure to adjust the WB Shift from -9 Red to +9 Red. Sometimes multiple-exposures work well without that WB Shift adjustment (see the BewareMyVelvia Recipe examples in Part 1), but oftentimes that WB Shift adjustment is what makes the photo pop.

Below is another triple exposure image example. This time, I adjusted the WB Shift in between the first and second exposure, and then switched it back in between the second and third. I also used a slow shutter speed and intentional movement (while purposefully out of focus) for the third exposure. Oftentimes I use a blurry exposure within my multiple-exposure images.

First Exposure, BewareMyVelvia Recipe, -2 1/3 Exposure Comp (it looks kind of like a double-exposure already because it was shot through glass with reflections)
Second Exposure, BewareMyVelvia Recipe with +9 Red WB Shift, -2 1/3 Exposure Comp
Third Exposure, BewareMyVelvia Recipe, -3 Exposure Comp, 1/8 Shutter
Triple exposure photograph, tilted/cropped slightly

The conclusion is that, when you do multiple-exposure photography, the whole is greater than the parts. Two or three or more uninteresting frames can become something extraordinary when combined together in a thoughtful way. You’ll have the most success with this technique as the sun is going down and into the night. It’s more difficult to get good results during the day, but it’s not impossible, so be sure to try it once you’ve had a chance to practice at night.

Using the BewareMyVelvia Recipe for multiple-exposure photography was extremely enjoyable. It was really invigorating and inspiring! I had so much fun photographing with Tom, and I’m really looking forward to the next opportunity, whenever that happens. I want to give a big thank you to Tom Baumgaertel for allowing me to share his Recipe and technique—if you appreciate it, too, be sure to let him know in the comments! Below you’ll find a few more multiple-exposure example pictures.

Billboard – Phoenix, AZ – Fujifilm X-T5 – Triple Exposure
DOE – Phoenix, AZ – Fujifilm X-T5 – Triple Exposure
Tall Stripes – Phoenix, AZ – Fujifilm X-T5 – Triple Exposure
Frontier Flight – Phoenix, AZ – Fujifilm X-T5 – Quintuple Exposure
Rapid – Phoenix, AZ – Fujifilm X-T5 – Triple Exposure
Burning Bush – Phoenix, AZ – Fujifilm X-T5 – Triple Exposure
Pool – Phoenix, AZ – Fujifilm X-T5 – Triple Exposure

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

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

BewareMyVelvia — A Fujifilm Film Simulation Recipe for X-Trans IV & V

Posted on by Ritchie Roesch

Never be Invisible – Phoenix, AZ – Fujifilm X-T5 – BewareMyVelvia Recipe – Triple Exposure

I first met Tom Baumgaertel, a.k.a. bewaremyfuji, in 2024 at a Fujifilm creator’s retreat in New York. In the time since, we’ve been a part of a few other Fujifilm events, including leading a photowalk together in San Diego. We’ve kept in touch, and even met up for some street photography in L.A. once. Tom just drove out to Arizona this last weekend to lead two photowalks in Phoenix. We’ve wanted to do some sort of collaboration for awhile now, but it just wasn’t the right timing; however, we were able to get this project sorted out while Tom was out here.

Let’s get to some important notes right off the top. First, this is a two-part article—you’re reading Part 1 right now. You’ll find a Film Simulation Recipe below that Tom created and uses for his iconic multiple-exposure images, but Part 2 will explain how to use it to actually make multiple-exposure photographs. Second, this Recipe is intended as the ground floor. You are highly encouraged to experiment with it, modify it, and make it your own. Tom doesn’t strictly stick to it, but makes changes sometimes depending on the exact situation. His Recipe has evolved over time, and will likely continue to evolve. You are not only welcomed to make changes to it, but it is recommended that you do, as you practice more and more with multiple-exposure photography, so that it reflects your style and matches your specific photographic situations. All of the pictures in this article were made with the Recipe as-is, unmodified.

Lime City – Phoenix, AZ – Fujifilm X-T5 – BewareMyVelvia Recipe

You will notice that most of the example pictures are not multiple-exposures, but single-exposure images. This Recipe, which I’ve named BewareMyVelvia in honor of Tom’s social media handle, was created for and is intended for multiple-exposure photos; however, it works well for regular pictures, too. You don’t have to use it for its intended purpose. I saved most of the multiple-exposure images for Part 2, and that’s where you’ll find more example pictures.

Tom’s Recipe reminds me a lot of cross-processed Fujichrome Velvia 50, a low-ISO slide film made by Fujifilm. Cross-processing is developing film in chemistry other than what it’s supposed to be developed with. It can mean a lot of different things, but most commonly it’s E6 slide film developed in C41 negative film chemistry. Results can vary greatly, but Velvia 50 becomes more grainy and contrasty, with a strong color cast that is often yellow or green. I’ve included some examples of actual cross-processed Fujichrome Velvia 50 below, which I photographed way back in 2014.

Above: Fujichrome Velvia 50 35mm film that’s been cross-processed.

If you are after that cross-processed look, one modification that you might consider is increasing Grain to Strong/Large—or, at the very least, using higher ISOs (like 3200 or 6400), which can make the picture appear more grainy (see Abstract Reflections in the example images). Tom sets Grain to Off; personally, I like the texture of film grain, so I set it to Weak/Small. It’s completely up to you, though. Also, Tom prefers more Noise Reduction than I do, so he sets High ISO NR to 0; I set it to -4 because I want less of it. Again, feel free to choose whatever you want.

This Recipe is intended for night photography. Most commonly (but not exclusively), Tom begins shooting as the sun is going down, continues through “blue hour”, and goes well into the night. But you can use it in sunny daylight, too. There are many examples in this article of daytime use, such as the picture below. In my short experience with this Recipe, I find that it oftentimes works best for multiple-exposures near or after sunset, and it oftentimes works best for single-exposure images during daylight.

Ramada 6 – Phoenix, AZ – Fujifilm X-T5 – BewareMyVelvia Recipe

If you have a fourth or fifth generation X-series camera, which (as of this writing) are the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III, I invite you to give this Recipe a try today. You can also use it on the GFX100, GFX100S, GFX100 II, GFX100S II, and GFX100RF (for the GFX50S II, I recommend increasing Shadow by +0.5). Regarding typical exposure compensation, for multiple-exposure images, you’re likely to be more in the -1 to -3 range, but we’ll talk about that in Part 2.

Film Simulation: Velvia
Dynamic Range: DR200
Grain Effect: Weak, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Strong
White Balance: 6590K, -9 Red & 0 Blue
Highlight: +2
Shadow: +2
Color: +4
Sharpness: +1
High ISO NR: -4
Clarity: 0
ISO: Auto, up to ISO 6400
Exposure Compensation: 0 to +2/3 (typically)

Example photos, all camera-made JPEGs using this BewareMyVelvia Film Simulation Recipe on my Fujifilm X-T5:

Jaywalk – Phoenix, AZ – Fujifilm X-T5
Empty Parking Lot – Phoenix, AZ – Fujifilm X-T5
Downtown Police – Phoenix, AZ – Fujifilm X-T5
Tom at Night – Phoenix, AZ – Fujifilm X-T5 – Triple Exposure
Bar – Phoenix, AZ – Fujifilm X-T5 – Triple Exposure
Electric Train – Phoenix, AZ – Fujifilm X-T5 – Triple Exposure
Squares – Phoenix, AZ – Fujifilm X-T5
Window Reflection Abstract – Phoenix, AZ – Fujifilm X-T5
Walking Reflection – Phoenix, AZ – Fujifilm X-T5
Composing on the Rear Screen – Phoenix, AZ – Fujifilm X-T5
Just Have Fun – Buckeye, AZ – Fujifilm X-T5
Stripes – Phoenix, AZ – Fujifilm X-T5
Abstract Reflections – Phoenix, AZ – Fujifilm X-T5
Urban Patios – Phoenix, AZ – Fujifilm X-T5
Unit – Phoenix, AZ – Fujifilm X-T5
Electric Towers – Phoenix, AZ – Fujifilm X-T5
Broken Saguaro – Phoenix, AZ – Fujifilm X-T5
Saguaro Behind Yellow Blossoms – Phoenix, AZ – Fujifilm X-T5
Abstract Palm Tree Reflections – Phoenix, AZ – Fujifilm X-T5
Tiny Hiker, Large Rocks – Phoenix, AZ – Fujifilm X-T5
Oasis – Phoenix, AZ – Fujifilm X-T5
Tom’s Silhouette – Phoenix, AZ – Fujifilm X-T5
Lime Mountains – Phoenix, AZ – Fujifilm X-T5
Southwest – Phoenix, AZ – Fujifilm X-T5
Sky Harbor Tower – Phoenix, AZ – Fujifilm X-T5
Urban Power Lines – Phoenix, AZ – Fujifilm X-T5
Uptown Sunset – Phoenix, AZ – Fujifilm X-T5
Tower Against the Yellow Light – Phoenix, AZ – Fujifilm X-T5
Last Light Over the Smoky Mountain – Phoenix, AZ – Fujifilm X-T5

Part 2

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

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

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This Doesn’t Have To Be A Problem

Posted on by Ritchie Roesch

There’s something I’ve noticed, and I want to talk about it. I’ve already discusses this at length multiple times, but this is a slightly different take on it, so I hope you’ll forgive me for bringing it up again. I hate talking about it because it will invariably offend someone, but I think it’s important to bring some clarity to this. What is the subject? Autofocus, of course.

Fujifilm has been much maligned over the last few years—especially the last two—for their autofocus, with many on the internet using words like “trash” and “sucks” and other adjectives along those lines. There’s been an excessive amount of negativity. Of course it’s hyperbole; however, there is a small kernel of truth. So let’s discuss it.

For the first handful of years of this blog, autofocus wasn’t a major topic within the community. I think everyone recognized that X-Trans II and earlier models had some low-light difficulties, but otherwise the AF was sufficient for most people and circumstances, and most everyone seemed ok with that. Then, in late-2022, something seemed to shift, and I noticed a significant increase in AF complaints. The discontentment grew much larger around the spring of 2024 when Fujifilm released a firmware update with an autofocus bug—it took six to eight months for them to get that resolved.

What I noticed all the way back in late 2022 is that when the complainer mentioned their camera, it was almost always an X-H2 or X-H2s. Throughout most of 2023, whenever someone made the complaint, I would ask them which camera they own, and it was almost always an X-H2 or X-H2s (you could bet on it). Even today, when you look at the comments where people complain about the AF, they usually admit that they have an X-H2 or X-H2s, typically along the lines of: “If Fujifilm doesn’t have Sony-level AF on their next camera, I’m selling my X-H2s and switching brands!” Probably 75% of the complaints come from those with an X-H2 or X-H2s, while the X-T5 is in a very distant third place. Once you notice this, you cannot unsee it.

Fujifilm X-T30 & Fujinon 90mm f/2

The X-H2s has Fujifilm’s best and fastest autofocus, while the X-H2 has the second best and the X-T5 has the third best. So why do the majority of the complaints come from those with the best autofocus? Shouldn’t most of the complaints come from those with an X-T30 or X-E4 or a lower-tier camera like that?

One explanation might be that those who use the X-H2, X-H2s, and X-T5 are more likely to do types of photography that stress the AF capabilities. That’s a valid point, and I’m sure there is truth to it. These particular models are more likely to be purchased by those doing bird or sports photography, videography, and things like that. What it doesn’t explain are all those who have much success with those same models doing those same types of activities. How is one person doing great with it and for another it “just sucks”? Or how about all those who are doing it with gear that has inferior AF? It just doesn’t make sense, so I don’t believe this holds much weight as an explanation, but it does hold some weight, at least a little.

What I have steadfastly maintained for the last two years is that Fujifilm’s AF isn’t as good as the Canikony brands, but it’s plenty good enough as long as the one behind the camera is good enough. Of course nobody wants to hear that they’re the problem, so they don’t listen to this; instead, they get offended, and disregard the obvious truth. If the person claiming that Fujifilm’s autofocus is bad wants it to work well for them, they have it within their power to make it so. I 100% believe that the camera is capable, and the photographer has the ability to learn and grow and become capable, too. As Ansel Adams famously said, “The single most important component of a camera is the twelve inches behind it.” But, it’s so much easier and more satisfying to blame the gear, so that’s what most people do.

Those who insist that Fujifilm’s autofocus must become “class leading” or “as good as Sony’s” have unrealistic expectations. Fujifilm’s AF will never catch up to their’s, or Canon’s or Nikon’s (perhaps AI levels the playing field a bit… maybe). Why? Because all of those companies have been making autofocus since the 1980’s or earlier. They all have much larger R&D budgets than Fujifilm, and are more likely to attract the best engineering talent. Those companies have also ignored image quality improvements and focused (pun intended) almost solely on AF over the last handful of years (as reported by PetaPixel), and even to the detriment of IQ in some cases. So, yeah, they’re ahead of the curve; however, they’re at the peak of an inverted U curve, and each improvement means less and less and less in any practical sense.

Fujifilm X100VI

Fujifilm’s AF is more than good enough for most photographers and situations, and anyone who says otherwise isn’t being honest. But there is definitely some room for improvements, and I’m sure there will be improvements in the near future. I’m certain that Fujifilm is working hard right now at this very moment to get the most out of their autofocus. So why all the negativity, then?

It’s taken awhile for me to come to this conclusion, but I’m pretty sure the AF issue (outside of that one firmware bug that has long been resolved) has little to do with the actual technical capabilities of the camera, and more to do with the intuitiveness of it. The Canikony brands tend to assume that their users just want the camera to work great straight out of the box (ironically, many of these same people insist that they must have full control over a RAW file…). They assume their users don’t want to—and most likely won’t—dig deeply into the menu to customize their experience. On the other hand, Fujifilm (for better or worse) expects that their customers will dig deeply into their camera’s menu and customize the experience. Fujifilm’s cameras aren’t intended to give you peak performance straight out of the box—you must set it up yourself for your preferences and needs. That’s the biggest difference. I know this because I own a Sony a7 IV, and its AF isn’t all that much different than my X-T5; however, I have the X-T5 customized for my photography, and that’s why it does so well for me. Camera Conspiracies had a similar epiphany, and now no longer believes that Fujifilm’s AF is junk.

In my opinion, the reason why the X-H2 and X-H2s receives the most autofocus complaints (despite having the best AF) is because these two cameras were specifically intended to attract Canikony photographers. Since these photographers are not used to the philosophy difference, they don’t realize that they need to customize their camera to the extent necessary to achieve their desired results; even if they become aware, they are likely unsure how to do it. Thankfully, there are plenty of resources. Pal2Tech has several excellent videos (here, here, here, here, and here), and is a great channel in-general. Walter Lyle’s video is pretty good, too. That’s just the tip of the iceberg, you can find tons of help if you look for it.

So, if you’re struggling with Fujifilm’s autofocus, my advice is to spend some time figuring out how to best customize the settings for your needs, and perhaps look for some techniques that might help you overcome the obstacle. Aside from that, the Fujifilm community is always eager to help. Don’t be afraid to talk with other X-Series photographers, and ask how they’re achieving success. Find some local Fujifilm events, and speak with a Fujifilm representative—if they’re unsure how to help, they certainly know who can. This doesn’t have to be a problem, and it only is a problem if you allow it to be one.

Is my Camera X-Trans IV or X-Trans V??

Posted on by Ritchie Roesch

A question that I get asked a lot is whether or not a certain Fujifilm camera model is X-Trans IV or X-Trans V. Mostly, this is about the X-S20, X-M5, and X-T30 III, but not exclusively. In the months that followed each of those three releases, I would get a lot of questions along the lines of, “I see that you list the X-S20 as X-Trans V but it has an X-Trans IV sensor, so which is it?”

For the most part, Fujifilm generations have been defined by the sensor. There were certainly some exceptions, but those were rare enough that you could say (for example) X-Trans III and everyone would know what you’re talking about, and there was no confusion. With the latest generation, though, it’s a little more muddy, because the X-S20, X-M5, and X-T30 III cameras have an X-Trans IV sensor paired with the X-Processor 5. So are they X-Trans IV or X-Trans V? Yes, they are.

Because of this confusion, I started saying “fourth-generation” as a synonym to X-Trans IV and “fifth-generation” as a synonym to X-Trans V. Even though the X-S20, X-M5, and X-T30 III cameras have an X-Trans IV sensor, they are fifth-generation models, and not fourth. That simple change in language clears it up significantly. However, I’m not going to edit years and years of articles to reflect this change (that would be quite the task!), so the confusion still lingers.

Whether or not those three cameras are fourth-generation or fifth-generation only matters for Film Simulation Recipes, and not much else. Does someone with the X-T30 III use X-Trans IV Recipes or X-Trans V Recipes? I think it’s perfectly fine to say either will work; however, the most correct answer is X-Trans V. Why? Because the X-T30 III, despite the sensor, has the JPEG options and JPEG rendering of fifth-generation models, and not fourth. The difference in how the X-T30 III will render a picture compared to the X-T30 II when using the same Film Simulation is very minor; the largest difference is how deeply blue is rendered on Classic Chrome, Classic Negative, Eterna, and Eterna Bleach Bypass, which you might not care about or even notice. So the short answer is to use X-Trans V Recipes on the X-S20, X-M5, and X-T30 III; however, you’re perfectly fine to use X-Trans IV Recipes if you want. If the X-Trans IV Recipe uses one of those four Film Simulations, I recommend dropping Color Chrome FX Blue by one (Weak instead of Strong; Off instead of Weak).

Fourth-generation Fujifilm cameras are the X-T3, X-T30, X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II. While the X-T3 and X-T30 are technically fourth-generation, they are (unfortunately) on an island by themselves when it comes to Recipes, having more in common with third-generation models than their fellow fourth-generation cameras that came afterwards. Fifth-generation models are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III. It’s possible that Fujifilm could release another fifth-generation camera, but I believe that the X-T30 III is the last one, and the sixth-generation will arrive sometime later this year.

Buy a Fujifilm X-T5 & Get an X Half for Free!!

Posted on by Ritchie Roesch

Adorama has a crazy good deal on the black Fujifilm X-T5 bundled with the 16-80mm f/4 lens. Not only is it $100 off (that’s Fujifilm’s discount), but they’ll throw in a free black Fujifilm X half (that’s Adorama’s discount)! Wow.

Of course, the X-T5 is great. I just used it last night for some cool multiple-exposure pictures. I definitely recommend the camera. I’ve never used the 16-80mm (I’m just not much of a zoom lens guy), but I’ve heard good things about it. And I really like the X half as a fun camera for everyday snapshots and family vacations. Altogether, that’s $2,400 for what would have cost you $3,350 just two months ago.

I don’t know why Adorama created this bundle sale, but my assumption is that they have an overstock of black X-T5 with the 16-80mm kits, plus they have too many black X half cameras sitting around. Creating this super bundle clears some of the excess stock for both. I don’t know if that’s the reason, but it seems like it must be.

I wouldn’t read too much into what any of this “means” other than one camera store has an extra supply of the black version of two different cameras. Maybe we can conclude that silver Fujifilm models tend to sell better than their all-black counterparts, but even that is speculation at best. In any event, if you’ve been thinking about getting a Fujifilm X-T5 bundled with the 16-80mm lens and have had the X half on your radar, this seems like a great opportunity for you. Or, if you’re not already using X-series gear and have been considering taking a plunge into the Fujifilm world, this might be your time. Get it before it’s gone, because this sale will probably end soon.

Multiple-Exposure Photography with Tom of BewareMyFuji

Posted on by Ritchie Roesch

Tom at Night – Phoenix, AZ – Fujifilm X-T5

Last night I had the great opportunity to photograph with the one-and-only Tom Baumgaertel, better known as bewaremyfuji on Instagram. We’ll be doing a photowalk later today and tomorrow, but yesterday we were able to get out with our cameras for some night street photography. Tom is very kind, and he shared with me some of his tips and tricks for his unique multiple-exposure technique, and I was able to practice that a little. Tom pretty much invented this fascinating approach, which can lead to some incredible photos. Best of all, it’s done in-camera, and not with software.

I’m very much still learning, and nowhere near as talented as Tom is. His photography is on another level. I don’t want to necessarily copy him, either, only be inspired by him. Anyway, the pictures below are my best multiple-exposure from last night. I’m hoping to make a more detailed how-to article with the settings and such in the future, so that you, too, can do something similar. In the meantime, I hope that you enjoy the images.

2nd Ave Garage – Phoenix, AZ – Fujifilm X-T5
Never be Invisible – Phoenix, AZ – Fujifilm X-T5
Tattoo Tracks – Phoenix, AZ – Fujifilm X-T5
Renaissance – Phoenix, AZ – Fujifilm X-T5
Bar – Phoenix, AZ – Fujifilm X-T5
Stroh’s – Phoenix, AZ – Fujifilm X-T5
Pool – Phoenix, AZ – Fujifilm X-T5

Fujifilm Announces Instax Mini Evo Cinema (leaves more questions than answers…)

Posted on by Ritchie Roesch

***Edit/Update: Apparently, the Instax Mini Evo Cinema can indeed print Instax prints. It wasn’t stated or shown in the announcement, but you can see it clearly in this promotional video.***

Fujifilm just announced the Instax Evo Cinema camera, which will be released in Japan on January 30th. I assume that it will become available worldwide at some point, but that information isn’t included in the announcement. In fact, a lot was left out. Let’s talk about it.

I guess first thing’s first: I don’t write a lot about Instax on this blog, despite it being a bigger business than X and GFX combined. I do mention it here-and-there. Dan Allen‘s fascinating project shooting Instax film on a 100+ year old camera was one of my favorite Instax-related articles. The Instax camera that Fujifilm just announced is quite interesting, so I thought it worthwhile to write about.

The Instax Mini Evo Cinema is a digital camera, and not film (I’m pretty sure of this, but it wasn’t explicitly stated in the announcement). This isn’t the first all-digital Instax—there’s the weird Instax Pal; the Fujifilm X half, which is half X-series and half Instax, could also be considered one, but Fujifilm classifies it as X-series and not Instax. Although not mentioned in the announcement, the Mini Evo Cinema has a vertically-mounted sensor, which makes it the second camera to have one (the X half being the other).

According to Matthew Allard, the Mini Evo Cinema has a 5MP 1/5″ sensor and a 28mm full-frame-equivalent f/2 lens. Since the entirety of the sensor is not used, it apparently becomes 35mm full-frame equivalent. I believe it is the same sensor and lens from the Instax Mini Evo. The maximum resolution for video is 2.5K (1080 x 1440), but I don’t expect the IQ will look good on a large screen TV—it’s probably more intended for social media (Reels and TikTok) than anything else. Of the 5mp sensor, 4.9mp are used for still images, which is plenty of resolution for Instax Mini prints and Instagram, but not much else. You do need an Instax Mini printer to make Instax prints, as the camera itself cannot make them (from what I can tell).

So, this new camera is essentially an Instax Mini Evo, but with a vertically-mounted sensor, and in a shape inspired by the Fujica Single-8 8mm camera from the 1960’s. While it is for both stills and video, the Instax Mini Evo Cinema is a video-centric camera, and the first video-centric Instax. One interesting limitation is that clips cannot exceed 15 seconds; using the new app that’s specifically for this camera, individual clips can be combined into one larger clip that is limited to 30 seconds.

Back in November I speculated that a “Film Era Dial” would be coming to the X-series (probably the next X-Pro); however, it was later reported as coming to an Instax camera instead. Well, the Mini Evo Cinema is that camera. It has an Eras Dial, which allows you to select a decade that you want the picture or video aesthetic to resemble, anywhere from the 1930’s to the 2020’s. I’m not sure exactly what each era will look like, but overall I like the general concept. I think it’s cool. Interestingly enough, Fujifilm says, “Audio is also processed with the Eras Dial effects, adding distinctive sound characteristics, while certain effects even play nostalgic sounds—such as the whir of film reels—during shooting, creating an immersive experience that feels like stepping back in time.” Unfortunately, no video examples were included in the announcement.

The reason why this camera is coming to Japan only (at least initially) is, in my opinion, due to the massive success of the X half in that country. Outside of Japan, the X half has done alright for the most part, but in Japan it’s been a major hit, and was the 5th best-selling digital camera in the country in 2025, outselling even the X100VI. The Instax Mini Evo Cinema is likely to be another sales success in Japan, while worldwide it might be received less enthusiastically. Letting it become trendy in Japan first might help it when it’s later released elsewhere.

Fujifilm didn’t specify the MSRP. My guess is that it will be around $250-$300, maybe a little less. It seems like a camera that could be a lot of fun, just as long as expectations aren’t too high. I think younger people, like Gen Z and Gen A, will be especially interested in it. An Instax-less Instax video camera with a vertically-mounted sensor was not anything I expected to wake up to this morning, but it makes a lot of sense as a fun toy. It would make an excellent birthday or Christmas gift for the kids, so I’m pretty excited for this one, although it’s unlikely that I’ll ever use one myself.

Comparing Six Film Simulation Recipes

Posted on by Ritchie Roesch

Red Barn – Ronks, PA – Fujifilm GFX100S II – Kodachrome 64

Yesterday I published Film-Like Recipes for Americana Pictures that’s good for Landscapes & Street Photography, in which I used the new Filter By Categories feature in the Fuji X Weekly App. By selecting Americana, Film-like, Landscapes, and Street, along with Filter By X-Trans V Sensor, I was presented with six Recipes: Kodachrome 64, Kodak Ultramax 400, Kodak Gold 200, Kodak Portra 800 v3, Summer of ’59, and Ektachrome E100. The intention of the article was simply to demonstrate how Filter By Categories can be a useful tool for finding Film Simulation Recipes that match your specific desired aesthetic and shooting situation. A heck-of-a-lot of work went into it, and it can be quite handy. It’s far from perfect, though, but hopefully it will only get better with time.

Someone asked for a direct comparison of the six Recipes from the article. That wasn’t really the intention of the post, but I understand why that could be helpful. I’ve had requests for years to photograph the same scene with each Recipe so that direct comparisons can be made (maybe something like the DPReview Studio Shot Comparison Tool, except with Recipes). That would be a daunting task to say the least, but I get why people might want that. Personally, I prefer to see how things work “in real life” in a variety of situations, and I don’t find test charts or static studio scenes to be particularly useful (or at least they tend to miss the most important things). I wanted to fulfill the request for a direct comparison for these six Recipes, so I reprocessed in-camera two exposures using each of the six Recipes. You’ll find those images below.

Ektachrome E100
Kodachrome 64
Kodak Ultramax 400
Kodak Gold 200
Kodak Portra 800 v3
Summer of ’59
Ektachrome E100
Kodachrome 64
Kodak Ultramax 400
Kodak Gold 200
Kodak Portra 800 v3
Summer of ’59

Interestingly enough, for my personal tastes, the Recipe that I liked best in the first set was one of my least favorites in the second set, and the Recipe that I liked least best in the first set was one of my favorites in the second set. The lighting and subject can make all of the difference. I don’t think a single Recipe exists that’s perfect for every subject and situation (obviously, some are more versatile than others), and that’s why most Fujifilm cameras have seven Custom Settings presets. With seven Recipes available at any given time, you are much more likely to have an excellent option for whatever you encounter. In the right light and for the right subject, each of these six could be a good choice; however, there are likely scenarios where each of these Recipes would not be good, some more than others.

The two Recipes in this article that are the most similar to each other are Kodachrome 64 and Kodak Ultramax 400. In sunny daylight, they can produce a difficult-to-distinguish (but not 100% identical) aesthetic; however, they differ more in other light situations, and are easier to tell apart. The one that’s the most divergent is Ektachrome E100. Kodak Portra 800 v3 and Summer of ’59 are the most warm, with Kodak Gold 200 not terribly far behind. Which of these six is your favorite? Let me know in the comments!

Film-Like Recipes for Americana Pictures that’s good for Landscapes & Street Photography

Posted on by Ritchie Roesch

One of the cool new features of the Fuji X Weekly App is Categories. There are a couple of ways to interact with and use Categories, one of which is only available to Patron subscribers, which is what we’re discussing in this article. For App Patrons, if you select Filter you can Filter By Category, in addition to all the other Filter options. This can really help you to hone in on Film Simulation Recipes for your specific situation and desired aesthetic. Let me illustrate.

Let’s say that you have a fifth-generation X-Trans camera, like the X100VI, X-T5, X-E5, etc., and you want a film-like aesthetic for Americana pictures that’s good for both landscape and street photography, you can find that. Simply Filter By your camera or sensor generation, and choose those Categories: Americana, Film-like, Landscapes, and Street. You can select as many or as few as you’d like—the more Categories you choose, the fewer results you’ll get. While you may not see a lot of options, the Film Simulation Recipes you do see will match your request pretty well. Let’s take a look at the results.

Kodachrome 64

Across the Grand Expanse – Grand Canyon, AZ – Fujifilm X-T5 – Kodachrome 64

If there’s one film-like Recipe for Americana photography that’s good for both landscape and street photography, it’s Kodachrome 64. The film that this Recipe is based on is, of course, iconic. There are also versions for other cameras: X-Trans IV, X-T3/X-T30, and X-Trans II.

Kodak Ultramax 400

Grand Golden Hour – Grand Canyon, AZ – Fujifilm X-T5 – Kodak Ultramax 400

This is one of those Recipes that seems to always work no matter the circumstance. If you’ve never tried the Kodak Ultramax 400 Recipe, you definitely should. There are also versions for X-Trans IV and X-Trans III + X-T3/X-T30.

Kodak Gold 200

Dodge Van Steering Wheel – Buena Park, CA – Fujifilm X-T5 – Kodak Gold 200

Kodak Gold 200 is a legendary film, so the inclusion of the Recipe that is based on it should not surprise anyone. There is also an X-Trans III + X-T3/X-T30 version.

Kodak Portra 800 v3

Motor Hotel – Buckeye, AZ – Fujifilm X-T5 – Kodak Portra 800 v3

I find that Kodak Portra 800 v3 produces a similar aesthetic to some of the pictures in Kyle McDougall’s An American Mile series. The Recipe includes instructions for both X-Trans V and X-Trans IV cameras.

Summer of ’59

All Way Stop – Phoenix, AZ – Fujifilm X100VI – Summer of ’59

Summer of ’59 is currently a Fuji X Weekly App Patron Early-Access Recipe. Those that can Filter By Category can also view and use this Recipe; for everyone else, it will eventually become available once it has been replaced by a new Early-Access Recipe.

Ektachrome E100

Terminal Passenger – Phoenix, AZ – Fujifilm X-T50 – Ektachrome E100

Ektachrome E100 is another App Patron Early-Access Recipe. It’s the most different of the six in this article. Like the previous one, this is currently only available to Patron subscribers, but it will eventually be available to everyone.

If you don’t have the Fuji X Weekly App on your phone, download it for free today—it’s available in both the Google Play Store and Apple App Store. It’s intended to be a useful free tool; however, becoming a Patron subscriber unlocks the best experience, and supports Fuji X Weekly.

Free Fujifilm Photowalks in Phoenix featuring BewareMyFuji

Posted on by Ritchie Roesch

Nuzira is hosting free photowalks with Tom Baumgaertel, better known as bewaremyfuji on Instagram, this coming Friday and Saturday in Phoenix, Arizona. It’s a two-day event that you won’t want to miss! Lucas at Nuzira pulled some strings to make this happen, and it’s a real privilege to have Tom come out and teach us his incredible multiple-exposure techniques.

Tom is a friend of mine. We first met two years ago at a Fujifilm event in New York, and we’ve met up a few times since. Last year we co-lead a photowalk together in San Diego, which was unforgettable. He’s an incredibly talented photographer who basically invented a new technique that produces striking results. He’s also just a really great person. Photographing with him will be an experience that you won’t soon forget, whether you have any interest in double-exposures or not. If you are even slightly curious about multiple-exposure photography, this is something you need to attend.

If you are in Arizona and have some time to spare on Friday, January 9th, and/or Saturday, January 10th, be sure to come. You do need to register (click here), but the event is completely free. I hope to see you there!

Above: Various photos of Tom Baumgaertel.

Above: Some of my multiple-exposure images (not nearly as good as Tom’s).

My 2025 Photography Recap

Posted on by Ritchie Roesch

Golden Appalachian Light – Gatlinburg, TN – Fujifilm X-T5 & 90mm f/2 – Classic Amber

It’s New Year’s Eve, the very last day—the very last few hours—of 2025. Very, very soon it will be 2026. For the last article of the year, I thought I’d simply share some of my favorite photographs of 2025, choosing three from each month. Some months were more prolific than others—for a few, it was difficult to narrow it down to just three; for other months, it was challenging to find three that I could classify as a favorite. There were certain days where I made more good photographs than I did over the course of several months. That’s just the way it goes.

I hope you all had a very merry holiday season. I wish you much luck and success in 2026! Now, to the photographs….

January

Balloons – Goodyear, AZ – Fujifilm GFX100S II & 80mm f/1.7 – Fujicolor PRO 160C Warm
Orange Desert – Phoenix, AZ – Fujifilm X-T4 ES & 35mm f/2 – CitrusChrome 
Tis but a Scratch– Buckeye, AZ – Fujifilm X-T4 ES & 35mm f/2 – Agfa 400S

February

Oak Creek – Sedona, AZ – Fujifilm GFX100S II & 80mm f/1.7 – Nostalgia Negative
Oak Creek – Sedona, AZ – Fujifilm GFX100S II & 80mm f/1.7 – Velvia Film
Ready to Fly – Buckeye, AZ – Fujifilm X-T4 & 90mm f/2 – Fujicolor 100 Gold

March

White Bridge across Pond – Charleston, SC – Fujifilm X-E4 & 27mm f/2.8 – Pacific Blues
Sailer on Sumter – Fort Sumter, SC – Fujifilm GFX100S II & 80mm f/1.7 – Kodak Tri-X 400
Beach Chairs – Folly Beach, SC – Fujifilm X-E4 & 27mm f/2.8 – Velvia Film

April

Church – Litchfield Park, AZ – Fujifilm X-E4 & 27mm f/2.8 – Pacific Blues
Southwind – Litchfield Park, AZ – Fujifilm X-T4 & 90mm f/2 – Kodak Portra do Sol
Rural Water – Buckeye, AZ – Fujifilm GFX100S II & 80mm f/1.7 – FRGMT B&W (originally photographed with Kodachrome 64, but later reprocessed in-camera)

May

Worn Out – Buckeye, AZ – Fujifilm X100VI – Kodak Portra 400 v2
Boulder Theater – Boulder, CO – Fujifilm X100VI – Fujicolor PRO 160C Warm
Flowers & Flatirons – Boulder, CO – Fujifilm X100VI – Kodak Tri-X 400

June

Pool Remnant – Rodanthe, NC – Fujifilm GFX100S II & 80mm f/1.7 – Kodak Tri-X 400
Low Clouds Over Manhattan – New York City, NY – Fujifilm X100VI – Kodak Tri-X 400
Red Barn – Ronks, PA – Fujifilm GFX100S II & 80mm f/1.7 – Kodachrome 64

July

All Way Stop – Phoenix, AZ – Fujifilm X100VI – Summer of ’59
Rocks in the Sky – Sedona, AZ – Fujifilm GFX100S II & 80mm f/1.7 – FRGMT B&W (originally photographed with Summer Sun, but later reprocessed in-camera)
Shadow Shapes – Sedona, AZ – Fujifilm GFX100S II & 80mm f/1.7 – FRGMT B&W (originally photographed with Summer Sun, but later reprocessed in-camera)

August

Corndog – San Francisco, CA – Fujifilm X100VI – 1970’s Summer
Pacific Vista – Elk, CA – Fujifilm X-T4 ES & 35mm f/2 – Aerochrome v2
Coastal Cove – Elk, CA – Fujifilm X-T5 & 56mm f/1.2 – Kodak Plus-X 125

September

Sky Harbor – Phoenix, AZ – Fujifilm X-E5 & 23mm f/2.8 – Kodak Tri-X 400
SoFi Stadium – Inglewood, CA – Fujifilm X-E5 & 23mm f/2.8 – Kodak Tri-X 400
Flight Watch – Los Angeles, CA – Fujifilm X-E5 & 23mm f/2.8 – Superia Negative

October

Roaring Fork – Great Smoky Mountains NP, TN – Fujifilm X-E5 & 23mm f/2.8 – Vivid Velvia
Corn Crib – Great Smokey Mountain NP, TN – Fujifilm X-T5 & 56mm f/1.2 – Classic Amber
Forest Road 3 – Great Smokey Mountain NP, TN – Fujifilm X-T5 & 56mm f/1.2 – Classic Amber

November

Autumn Trail – Sedona, AZ – Fujifilm X-E5 & 56mm f/1.2 – Kodak Farbwelt 200 Expired
Oak Creek in Monochrome – Sedona, AZ – Fujifilm X-E5 & 56mm f/1.2 – FRGMT B&W
Cheers – Scottsdale, AZ – Fujifilm X-E5 & TTArtisan 35mm f/1.8 – FRGMT B&W

December

Glowing Gold Leaves – Buckeye, AZ – Fujifilm X-E5 & TTArtisan 35mm f/1.8 – Astia Negative
Phoenix Sunset – Phoenix, AZ – Fujifilm X-E5 & TTArtisan 35mm f/1.8 – Astia Negative
Swirly – Phoenix, AZ – Fujifilm X-E5 & TTArtisan 35mm f/1.8 – Astia Negative

My Top 5 Favorite Fujinon Lenses

Posted on by Ritchie Roesch

Which lenses you should buy for your Fujifilm camera is a personal decision. There’s not a single lens that’s for everyone. One person will like one lens, another person will like a different lens. Some people prefer zooms, some people prefer primes. Some prioritize sharpness, some prioritize character. There’s no right or wrong lens, only what you personally appreciate.

I get asked fairly regularly which lenses I recommend. I’m not certain how helpful it is to know which ones I personally like, because we’re all different, and which lenses I like best could be very different from what you’ll like best. With that aside, below you’ll find my five favorite Fujinon lenses for X-series cameras. In addition to those, I also sometime use vintage and third-party lenses, but for the sake of simplicity, I kept this list strictly to Fujinon glass.

The order is widest to most telephoto. I’ll provide some brief commentary about why I like the lens, and when I use it. I will also give them a rank of one-through-five; I really like all of them, so don’t read too much into where I rank them. Let’s dive right in!

Fujinon 23mm f/2.8 R WR

Fujifilm’s latest prime lens offering is the Fujinon 23mm f/2.8 pancake. Paired with the Fujifilm X-E5, it’s the closest you’re likely to get to an interchangeable-lens X100VI. This lens is an excellent performer, and has some good close-focus capabilities (not macro, but cropping a little will get you near-macro). An advantage that APS-C has over full-frame is size and weight, so you’d think that Fujifilm would offer a series of pancake lenses to pair with their smaller cameras; however, for many years your options have been the hard-to-find 27mm f/2.8 and the 18mm f/2, which is barely a pancake and, as one of the older lenses in the lineup, in need of a refresh. So I think it was smart for Fujifilm to release a third option, and I hope that another pancake lens or two are in the works.

While I really like the Fujinon 23mm f/2.8 pancake, I don’t love it quite as much as the 27mm f/2.8 pancake. Clinically speaking, it’s probably the better of the two, but it lacks a little of the soul that makes the 27mm special. I tend to only use it when the 27mm focal length is a bit too tight, or I want to focus a little closer. It’s completely worth owning, but you’re likely to choose either the 23mm or 27mm, and not both, since their focal lengths are fairly similar. I rank the 23mm f/2.8 pancake as my fifth favorite Fujinon lens.

Fujifilm X-E5 + Fujinon 23mm f/2.8 – Astia Negative
Fujifilm X-E5 + Fujinon 23mm f/2.8 – Vivid Velvia
Fujifilm X-E5 + Fujinon 23mm f/2.8 – Kodak Vericolor VPS

Fujinon 27mm f/2.8 R WR

When I preordered the Fujifilm X-E4, I did so as a kit with the (new version) Fujinon 27mm f/2.8 pancake lens. I was hesitant to do so because the maximum aperture of “only” f/2.8 wasn’t impressive, and I was unsure if it was going to be sharp enough. At the time, the Fujinon 35mm f/2 was my favorite lens, and it has a similar focal-length, a larger maximum aperture, and, while not a pancake, is pretty small overall. After getting the 27mm f/2.8, I fell in love with the character and compact size, and it immediately became my favorite lens.

This is my most used lens over the last several years. Even after getting the 23mm f/2.8 pancake, I still use the 27mm more than any other; however, I do use it a little less than I used to. If I could only own one Fujifilm lens, it would probably be this one. I rank the 27mm f/2.8 pancake as my second favorite Fujinon lens.

Fujifilm X-E4 + Fujinon 27mm f/2.8 – Pacific Blues
Fujifilm X-T50 + Fujinon 27mm f/2.8 – Pushed Analog
Fujifilm X-T5 + Fujinon 27mm f/2.8 – 1960 Chrome

Fujinon 35mm f/2 R WR

I purchased the Fujinon 35mm f/2 lens in 2019, as a kit with the X-T30. It immediately became my most-used Fujifilm lens; however, after getting the 27mm pancake, it got relegated to secondary duty. I would only use it in place of the pancake when I needed an extra stop of light. It was barely used for a few years. Then, last year I purchased a full-spectrum infrared Fujifilm X-T4, and the 35mm f/2 lens gained new life. Since it doesn’t have any IR hotspots, it’s a great option for infrared photography. It has practically remained glued to the IR camera, which has been one of my favorites to use.

The Fujinon 35mm f/2 lens is a solid option that exemplifies everything that Fujifilm glass is renown for. It’s a great lens, and I use it often—mostly just for infrared photography nowadays. I rank the 35mm f/2 as my fourth favorite Fujinon lens.

Fujifilm X-T4 ES + Fujinon 35mm f/2 – Aerochrome v2
Fujifilm X-T4 ES + Fujinon 35mm f/2 – Cotton Candy Chrome
Fujifilm X-T4 ES + Fujinon 35mm f/2 – CitrusChrome

Fujinon 56mm f/1.2 R WR

The Fujinon 56mm f/1.2 (new version) lens is extra special. It’s mostly regarded as a portrait lens, but it is good for so much more than that. The extra large maximum aperture makes the lens super useful for low light situations, and the shallow depth-of-field and extra sharp glass gives a medium-format feel to the photographs. The 84mm full-frame equivalent focal-length is a slightly awkward for some subjects and situations, and it can take some time to get used to, but well worth the effort to get comfortable with.

My only gripe with this lens is that it’s not mine. It belongs to my wife, Amanda, but thankfully she lets me borrow it whenever she’s not using it. I don’t have access to it all of the time, but I like to use it whenever the opportunity arises. Because it’s significantly larger and heavier than the previous three lenses, I prefer to use it on my X-T5, but I’ve used it plenty of times on a X-E4 and X-E5, too. I rank the 56mm f/1.2 as my number one favorite Fujinon lens.

Fujifilm X-E5 + Fujinon 56mm f/1.2 – Kodak Farbwelt 200 Expired
Fujifilm X-T5 + Fujinon 56mm f/1.2 – Kodak Plus 125
Fujifilm X-E5 + Fujinon 56mm f/1.2 – FRGMT B&W

Fujinon 90mm f/2 R LM WR

I purchased the Fujinon 90mm f/2 lens second-hand in 2018 for a specific project. Once that project was finished, I had intended to sell it and (hopefully) get most of my money back. But I ended up loving it so much that I kept it. It’s another portrait lens, this one longer at 135mm full-frame equivalent focal-length. Back in the day 135mm was fairly common, but it’s definitely gone out of style over the last 30 or so years. Still, I really love it.

When I want a longer reach and the 56mm f/1.2 isn’t long enough or isn’t available (because my wife is using it), I will use the 90mm f/2. It’s great for landscape photography, especially when the subject is at a distance. Seven years of solid service isn’t bad for second-hand glass; that was money well spent. I rank the 90mm f/2 as my third favorite Fujinon lens.

Fujifilm X-T5 + Fujinon 90mm f/2 – Classic Amber
Fujifilm X-T5 + Fujinon 90mm f/2 – Eterna Summer
Fujifilm X-E4 & Fujinon 90mm f/2 – Ferrania Solaris FG 400

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

Fujinon 23mm f/2.8 in black:
Amazon, B&H
Fujinon 23mm f/2.8 in silver:
Amazon, B&H
Fujinon 27mm f/2.8:
Amazon, B&H, Moment
Fujinon 35mm f/2 in black:
Amazon, B&H, Moment, Nuzira
Fujinon 35mm f/2 in silver:
Amazon, B&H, Moment, Nuzira
Fujinon 56mm f/1.2 R WR:
Amazon, B&H, Nuzira
Fujinon 90mm f/2:
Amazon, B&H, Moment

Grading Fujifilm Releases in 2025

Posted on by Ritchie Roesch

I’m going to rate Fujifilm’s class of 2025 gear releases. I’ve never done something like this before. I’ve seen plenty of other people do end-of-the-year camera gear grading, which I sometimes agree with and sometimes don’t. Since 2025 is nearly over, I thought I’d try my hand at grading all the cameras and lenses that Fujifilm’s released over the last 12 months.

Specifically, there were five cameras—two GFX and three X-series (one is only sort-of X-series)—and three lenses, one of which is a GFX cinema lens. That’s eight items in total. For the sake of this article, I’m excluding Instax. Let’s dive in!

Cameras

Fujifilm released five cameras in 2025: three X-series and two GFX models. We’ll grade each camera individually, then each series as a whole, and finally grade all of the cameras as a group.

First up is the Fujifilm GFX100RF. This is a medium-format fixed-lens compact camera, and best thought of as the GFX equivalent of the Fujifilm X70. It’s the smallest, lightest, and cheapest medium format camera-lens combo from any brand. It’s the only retro-styled GFX camera currently being made, and only the second ever (the long-discontinued GFX 50R is the other). This camera is high on my bucket list, and I hope to someday purchase it, but at $5,600 it’s well outside of my current budget.

Common complaints about the GFX100RF are that 1) it lacks IBIS, 2) it has a maximum aperture of “only” f/4, and 3) it’s not fully weather-sealed (an adapter and filter are required to fully seal it). I’m perfectly ok with point three—it’s no problem for the X100-series, and it shouldn’t be seen as an issue for the GFX100RF. As far as points one and two, Fujifilm has said that the camera would need to be significantly larger and heavier to accommodate either of those, and especially both. Interestingly enough, the medium-format camera-lens combo that’s closest in size and weight to the GFX100RF (the Hasselblad 907X plus CFV 100C back with the 28mm lens) also lacks IBIS and has a maximum aperture of f/4 (but is much, much more expensive than the GFX). Fujifilm could certainly make a larger, heavier, and more expensive camera that’s similar in concept (just like they made both an X70 and an X100T), and I hope they someday do. Anyway, the GFX100RF deserves a very high grade, so I give it an A+.

Next is the Fujifilm X half, which is currently the smallest X-series camera; however, it’s not X-Trans. It’s a compact fixed-lens model with a vertically mounted 1″ sensor. Sitting in-between an Instax Evo and the X-M5, it’s intended to deliver an analog-like experience in a simple package. The designers took inspiration from half-frame 35mm cameras. The X half is a ton of fun, and great for snapshots of family vacations and things like that. I enjoy using it, and so does my wife.

Common complaints are that 1) it’s too expensive for what it is, 2) it has some flaws like the lack of a proper flash or hotshoe, and 3) it’s a gimmicky concept. I agree with point one, as the camera should be around $650-$700 in my opinion. I also agree with point two, and I hope those are addressed in a future iteration. As far as point three, I think it’s not really intended for the majority of people who typically buy X-series gear. Fujifilm had in mind a bridge between Instax and the X-series, a pathway for Instax customers to move up (remember, Instax is much larger than the X-series and GFX combined). From what I’ve seen, it seems to be successful in this regard, so, even though the usual crowd might bemoan it, the camera is largely a hit with those whom it was made for. I grade the X half a B-.

Third is the Fujifilm X-E5, which is the closest you’re likely to get to an interchangeable-lens X100VI. This camera is a much different model than its predecessor. The X-E4 was a minimalist low-budget model, serving as Fujifilm’s smallest, lightest, and cheapest camera with an EVF. Inexplicably, Fujifilm discontinued it when it was in high-demand, with months-long waitlists. The X-E5 is the long awaited successor; however, Fujifilm gave it many notable upgrades, and the camera is no longer minimalist or entry-level.

Common complaints are that 1) it’s so much more expensive than the X-E4 and 2) the EVF should have received an upgrade. For point one, the X-E4 was the cheapest (both in price and quality) of any X-E series model, while the X-E5 is the most premium iteration, so it stands to reason that it would be significantly more expensive. I agree with point two; however, it’s not a major issue whatsoever in practical use, only a minor point. My biggest complaint is that Classic Negative was left off the Film Dial, which is inexcusable. The X-E5 is one of my favorite cameras, and I give it an A.

Fourth is the GFX Eterna 55 cinema camera. I’ve seen it in person, I’ve talked to a couple of people who have personally used it. From what I understand, it’s not perfect, but it will likely be highly appreciated by certain segments of the professional cinema crowd. At some point in the coming few years, a major motion picture will be recorded using the Eterna 55, I’m certain. It’s Fujifilm’s most expensive model, but it’s reasonably priced for the segment that it’s in. I give the Eterna 55 an A-.

Last but not least is the Fujifilm X-T30 III, a mild refresh to the X-T30 II, which was a mild refresh to the Fujifilm X-T30, released in early 2019. It fills an important role in the X-series lineup, which is an affordable interchangeable-lens model with an EVF. While it doesn’t have all the bells-and-whistles of the more expensive models, it is very capable, and is the overall best value within the X-series. Fujifilm will sell a whole lot of X-T30 III cameras. I grade it a B+.

Now, to the overall grades, beginning with the X-series. To recap, I gave the X half a B-, the X-E5 an A, and the X-T30 III a B+, which puts the overall grade for the 2025 X-series releases as a B+. Now, to GFX. To recap, I gave the GFX100RF an A+ and the Eterna 55 an A-, which puts the overall grade as an A. That puts the total grade for both the X and GFX lines combined at an A-.

Lenses

Fujifilm only released three lenses in 2025: two X-series and one GFX. I’m not going to spend nearly as much time on this as I did the cameras. I’m going to grade each lens, and then give one overall grade for all the lenses.

First is the Fujinon 23mm f/2.8 pancake. I’ve long advocated for more pancake lenses for the X-series. The 27mm f/2.8 is one of my favorites, while the 18mm f/2 is barely a pancake, and is need of a refresh. The 23mm f/2.8 pancake has been long requested, adds a solid third pancake option for the X-series, and is a great performer; however, the 23mm focal-length is now a bit crowded with several options. That’s really the only complaint, if there is one. I grade this lens an A-.

Next up is the Fujinon XC 13-33mm f/3.5-5.6 kit zoom. I prefer primes, personally. This lens is the smallest X-series zoom, and the closest Fujifilm has to a pancake zoom, but I’m not excited about it in the least. I’m sure it’s good, and some people will really love it. I give it a C.

Lastly, we have the GF 32-90mm cinema lens. If I’m not mistaken, this is the first and currently only GFX lens offered by Fujifilm specifically for filmmaking. Unsurprisingly, this is the most expensive lens for GFX cameras. I don’t know much about it, but the little I have heard has been very positive. This rating is more of a shot in the dark, but I’ll give it an A.

To recap, I gave the Fujinon 23mm f/2.8 pancake an A-, the Fujinon XC 13-33mm zoom a C, and the GF 32-90mm cinema lens an A. Between the three, the overall grade is B+.

Conclusion

It’s also important to consider if the gear that Fujifilm released is the gear they should have released. Did they do enough? Did they introduce the wrong things? We should take that into consideration.

The largest hole is the very-long-overdue X-Pro3 successor, which probably should have come in 2023 or 2024; it’s the end of 2025, and we haven’t seen it yet. My guess is that it will arrive next year, probably within a few months, but that’s only a guess. I get that they might wait for it to be extra special, and perhaps it will be well worth the wait, but I do think some points need to be deducted for its continued absence. Fujifilm should make this camera their top priority for 2026.

The lens lineup has matured over the years, so it makes sense that they might release fewer and fewer new options each year, but there are still a few holes that I’d like to see them fill. Between X and GFX, four or five new or updated lenses each year is probably a better number than just three. I’m a big fan of one of their 2025 lenses, but overall it was a ho-hum year for glass, mostly because the class was so small.

I gave the cameras an A- and the lenses a B+. When factoring in the lack of an X-Pro and the small number of lenses introduced, overall I have to give Fujifilm a grade of B for the gear they released in 2025. Do you agree or disagree? What grade would you give Fujifilm for their class of 2025 gear? Let me know in the comments!

Astia Negative — A Fuji X Weekly App Patron Early-Access Recipe

Posted on by Ritchie Roesch

Glowing Gold Leaves – Buckeye, AZ – Fujifilm X-E5 – Astia Negative

Nearly a year ago, at the beginning of 2025, I began a Recipe series with the intention of clearing up the backlog of Early-Access Recipes that have only been available to Fuji X Weekly App Patrons for years. I never intended for Early-Access Recipes to be unavailable to non-subscribers for so long, so I devised a plan to make one new Early-Access Recipe using each Film Simulation to expedite the process. I had hoped to get through most of the Film Simulations in 2025; while Provia and Velvia came together without too much trouble, I got stuck on Astia.

I started working on this Recipe early in the summer. My inspiration was some Provia 100F slides that I captured 20 years ago. Unfortunately, I got frustrated because, while I could get pretty close sometimes, most of the time it was off just enough that I considered my attempts as failures. It seemed like it was possible, but I always came up just short. So I shelved it for a few months, and didn’t try again until autumn. I gave myself a little more grace this time, deciding that it didn’t necessarily need to be accurate, only good. If the pictures captured using this Recipe looked nice, I should be satisfied with it. That’s how this Astia Negative Recipe evolved.

Phoenix Sunset – Phoenix, AZ – Fujifilm X-E5 – Astia Negative

Interestingly, just a few days ago, Dan Allen shared with me some pictures he had captured with Kodak’s new Kodacolor 100 35mm film. He told me that he got some “weird results” from the scans, which he tried to fix with post-processing. The images he shared with me had a striking resemblance to this Recipe. Not a 100% match by any means, but surprisingly similar nonetheless. Perhaps this could be thought of as a Recipe for the new Kodacolor 100 film that had unexpected results from scanning and were corrected in-post. Or it’s just a nice looking Recipe that occasionally has some resemblance to Fujichrome Provia 100F, but most often doesn’t.

What you can expect is a contrasty and colorful daylight-balanced aesthetic that leans slightly towards blue. It’s bold but not over-the-top. It tends to work best in slightly-warm low-contrast light, but it can look great in a variety of situations. While Astia tends to be a good option for portrait photography, this particular Recipe probably isn’t your best bet for that. For landscapes, it can be quite excellent.

Amber Leaves – Sedona, AZ – Fujifilm X-E5 – Astia Negative

This Astia Negative Recipe is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III cameras (in other words, all X-Trans IV and V cameras except for the X-T3 and X-T30). You can also use it on the GFX100, GFX100S, GFX100 II, GFX100S II, GFX100RF, and the GFX Eterna 55; for the GFX 50S II, I recommend increasing Shadow by +0.5. This is a Fuji X Weekly App Patron Early-Access Recipe, which means that it’s available today on the App to subscribers.

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

Hollow Face – Sedona, AZ – Fujifilm X-E5
Golden Tree in Red Canyon – Sedona, AZ – Fujifilm X-E5
Oak Leaves – Sedona, AZ – Fujifilm X-E5
Bright Yellow Leaves – Sedona, AZ – Fujifilm X-E5
Window to Nowhere – Sedona, AZ – Fujifilm X-E5
Road through Dark Forest – Great Smoky Mountains NP, TN – Fujifilm X-E5
Tennessee Mountains – Gatlinburg, TN – Fujifilm X-E5
Old Shed – Gatlinburg, TN – Fujifilm X-E5
Just Around the Bend – Great Smoky Mountains NP, TN – Fujifilm X-E5
Vintage Car – Gatlinburg, TN – Fujifilm X-E5
Vibrant Autumn Trees – Gatlinburg, TN – Fujifilm X-E5
Bougainvillea Blossoms over Roof – Buckeye, AZ – Fujifilm X100VI
Sky Tram – Gatlinburg, TN – Fujifilm X-E5
Purple Patina – Buckeye, AZ – Fujifilm X100VI
Rosy Santa – Buckeye, AZ – Fujifilm X-E5
Sunshine Smile – Gatlinburg, TN – Fujifilm X-E5
Swirly – Phoenix, AZ – Fujifilm X-E5
Medieval Mist – Scottsdale, AZ – Fujifilm X100VI
Flying Horse – Scottsdale, AZ – Fujifilm X100VI
Orchestra – Phoenix, AZ – Fujifilm X-E5
Look at this Meme – Surprise, AZ – Fujifilm X100VI
Happy Holidays – Buckeye, AZ – Fujifilm X100VI

Find this Film Simulation Recipe and over 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.

Expired Kodak Vision2 250D — A Film Simulation Recipe for Fujifilm X-Trans IV & X-Trans V Cameras

Posted on by Ritchie Roesch

Dry Fountain Evening – Buckeye, AZ – Fujifilm X-E4 – Expired Kodak Vision2 250D

A Fuji X Weekly reader shared with me some scans of expired Kodak Vision2 250D motion picture film that he shot on a Canon camera and had developed using the ECN-2 process. The pictures were very interesting, and I thought it would be fun to recreate the aesthetic for my Fujifilm cameras. I don’t feel that this Recipe is a 100% perfect match, but it’s pretty darn close, and definitely has the right vibe.

Kodak made Vision2 250D, a daylight-balanced color negative motion picture film, from 1997 to 2005. It was replaced by the very similar Vision3 250D. I have two Film Simulation Recipes for Kodak Vision3 250D (here and here), which renders noticeably different than this Expired Kodak Vision2 250D Recipe. I doubt this will be anyone’s go-to option for everyday use, but it is a fun Recipe to use occasionally, especially if you like warm pictures. Some people enjoy purposely using expired film, and this Recipe—plus a handful of others, like Kodak Farbwelt 200 Expired, Kodak Gold Max 400 Expired, Expired Velvia, etc., etc.—allows you to replicate the experience with your Fujifilm camera.

Neighborhood Bougainvillea – Buckeye, AZ – Fujifilm X-T5 – Expired Kodak Vision2 250D

For “newer” fourth-generation cameras—specifically, the X-T4, X-S10, X-E4, and X-T30 II—set Color Chrome FX Blue to Weak; for fifth-generation cameras, which are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III, set Color Chrome FX Blue to Off. Those with newer GFX models can use this Recipe, too. The Tone Curve options (Highlight and Shadow) are not included below because this Recipe uses D-Range Priority, which disables the Tone Curve plus Dynamic Range. Fuji X Weekly App Patron subscribers have had access to this Recipe for two years now, but it’s been replaced by a different Early-Access Recipe, so it’s now available to everyone.

Film Simulation: Eterna Bleach Bypass
D-Range Priority: DR-P Auto
Grain Effect: Weak, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Off (X-Trans V); Weak (X-Trans IV)
White Balance: 8700K, -4 Red & -3 Blue
Color: -2
Sharpness: -2
High ISO NR: -4
Clarity: -2
ISO: Auto, up to ISO 6400
Exposure Compensation: -1/3 to +2/3 (typically)

Example photographs, all camera-made JPEGs using this Expired Kodak Vision2 250D Film Simulation Recipe on my Fujifilm X-E4 and Fujifilm X-T5:

X-Trans IV

Sun Below the Trees and Above a Building – Buckeye, AZ – Fujifilm X-E4
Waterless Fountain Detail – Buckeye, AZ – Fujifilm X-E4
Fountain Corrosion – Buckeye, AZ – Fujifilm X-E4
Reflection & Leaves – Buckeye, AZ – Fujifilm X-E4
Architectural Abstract – Buckeye, AZ – Fujifilm X-E4
Four Trumpets – Buckeye, AZ – Fujifilm X-E4
Sunlight through Tree Leaves – Buckeye, AZ – Fujifilm X-E4
End of the Road – Buckeye, AZ – Fujifilm X-E4
Cactus Moon – Buckeye, AZ – Fujifilm X-E4

X-Trans V

Fresh Blooms, Fading Blooms – Buckeye, AZ – Fujifilm X-T5
Electric Wheels – Buckeye, AZ – Fujifilm X-T5
Empty Pathway, Empty Chairs – Buckeye, AZ – Fujifilm X-T5
Indoor Joy – Buckeye, AZ – Fujifilm X-T5
Concrete Shapes – Buckeye, AZ – Fujifilm X-T5
Sun-Kissed Shrub Leaves – Buckeye, AZ – Fujifilm X-T5
Garden Wall – Buckeye, AZ – Fujifilm X-T5
Stucco & Spanish Tiles – Buckeye, AZ – Fujifilm X-T5
CVS Pharmacy – Buckeye, AZ – Fujifilm X-T5
Sunlit Bulb – Buckeye, AZ – Fujifilm X-T5
Red Vans – Buckeye, AZ – Fujifilm X-T5
Watering Pot – Buckeye, AZ – Fujifilm X-T5
Backyard Girl – Buckeye, AZ – Fujifilm X-T5
Happy Boy – Buckeye, AZ – Fujifilm X-T5
Bougainvillea & Blurry Tree – Buckeye, AZ – Fujifilm X-T5
Pink Oleander Blossoms – Buckeye, AZ – Fujifilm X-T5
Cactus Spikes – Buckeye, AZ – Fujifilm X-T5
Curious Dog – Buckeye, AZ – Fujifilm X-T5
Enjoying the Outdoors – Buckeye, AZ – Fujifilm X-T5
Sunstar through Leaves – Buckeye, AZ – Fujifilm X-T5
Arizona Sunset & Saguaro – Buckeye, AZ – Fujifilm X-T5

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