Photography blog | FUJI X WEEKLY

Fujifilm Recipes to Convey Feeling

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

Many photographers have spent the last couple of decades chasing color accuracy. Neutral white balance, faithful skin tones, true-to-life colors have become measuring sticks by which images are judged. Back when I was first learning photography over 25 years ago, when film was still king, I don’t remember color accuracy being a major topic; if it was, you were probably talking about Kodachrome 25. The wildly vivid colors of Velvia 50 were often preferred for landscapes. The warmth of Portra 400 was appreciated for portraits. There were a lot of reasons to choose various films, but color faithfulness was rarely the primary motive. With digital technology, because you can be extraordinarily specific with the white balance and precisely control the colors, which was not possible with analog photography (at least nowhere near the extent possible with digital), there was a movement towards that end; however, the character that each emulsion brought with it was lost in the process.

If you’ve ever looked at an old family photo album with prints from the one-hour photo lab and felt something stir, it probably wasn’t because the colors were accurate or the white balance was spot-on neutral. Because most films were daylight-balanced, color casts were common. Blues could lean cyan, sometimes shadows had a strange warmth that no colorist would approve of today, maybe the whole image was a tad yellowish. Yet those photographs convey feeling. They seem more like memories. In other words, color doesn’t document reality, it interprets it.

*Truxton Station* – Truxton, AZ – Fujifilm X-T5 – 1-Hour Photo Recipe

This is one of the reasons why Fujifilm resonates with so many photographers. The various Film Simulations, like Velvia, Classic Chrome, Classic Negative, Nostalgic Negative, and Reala Ace (among others), are not intended to be accurate replications of the colors and tones of the scene, but vehicles in which the photographer can convey their interpretation of the scene. Each one carries different emotions, and can tell the story differently. Film Simulation Recipes take it even further, by fine-tuning the aesthetic to more accurately mimic the unique and serendipitous characteristics of analog film. They’re designed to feel a certain way. When color shifts a little, the photograph stops being a record and starts becoming a story.

Modern digital tools make it easy to correct everything. You can neutralize any cast, recover highlights, bend or even change the colors after the fact however you wish, and so much more. When you choose a Recipe, which might have an imperfect white balance and inaccurate color, you’re committing to that character. You’re deciding, before even pressing the shutter release button, how the world should look—not how it technically does—and what the viewers of the photographs should feel. That causes you to be more purposeful in-the-field, because your choices at that time are critical to the outcome of the images.

*Corndog* – San Francisco, CA – Fujifilm X100VI – 1970’s Summer Recipe

When you use Recipes on your Fujifilm camera, you aren’t competing with reality; you’re offering an alternative version of it. Perhaps slightly warm, colors a little faded, with an overall softness, and some grainy texture—similar to memory itself. Interestingly, imperfect color often feels more honest because it acknowledges subjectivity. No two people remember the same scene exactly the same way. Why should photographs pretend otherwise? When colors lean or shift, it mirrors how we actually experience the world—not as a fixed reference chart, but as emotions filtered through time. So don’t worry if your whites aren’t truly white or your blue skies aren’t completely sky blue. It’s perfectly fine if they wander a little. It’s ok if your pictures have a color cast. Let your photographs look the way the moment felt, not the way a color checker demands.

When deciding which Film Simulation Recipe to use, consider how the scene will look through the colors of that Recipe, and whether or not it conveys the emotions that you want it to. If it’s not a good match, find one that will do better. With over 400 to choose from in the Fuji X Weekly App, there’s bound to be one that will work well for you and the scene that’s in front of your camera. Each one is different, so pick the Recipe that best conveys the feelings that you want the viewers of your picture to experience with you. Let them see the world as you see it, which might be very different from how others see it.

Top 10 Fujifilm Recipes NOT Named After a Film Stock

Posted on 2 Days Ago by Ritchie Roesch

*Golden Appalachian Light* – Gatlinburg, TN – Fujifilm X-T5 – Classic Amber

The majority of the Film Simulation Recipes on Fuji X Weekly are modeled—whether loosely or strictly—on actual film stocks. Because of this, most Recipes are named after various emulsions—for example Kodachrome 64, Kodak Portra 400 v2, Kodak Tri-X 400, Fujicolor Superia 100, etc., etc., etc.. Some are a little less obvious, like BewareMyVelvia and Fujicolor Film, which aren’t modeled after a specific film, but have a brand name in the title nonetheless (Velvia and Fujicolor, respectively). Those with a Kodak name (like Kodachrome, Portra, Gold, etc.) tend to be the most popular.

The 10 Recipes in this article were not named after any film. Instead, you’ll see titles with words like Vibrant, Summer, and Classic. I used page-view website statistics to determine which are the Top 10; specifically, these are the 10 that have been viewed the most on Fuji X Weekly since January 1st. The first few didn’t surprise me at all because they’re often found in the most-popular lists, but some of the others were less expected—if I did a Top 100, they’d all be there, and many would make a Top 50 list, too, but only a few crack the Top 25. Since I don’t keep close tabs on those below 25, I’m often unsure just how popular many of the Recipes are or are not. The first three in this list are indeed quite popular, and I’d call the next two popular as well, falling just outside the Top 25; however, the bottom five—especially the last two—are definitely less commonly used.

If you are looking for a Fujifilm Recipe that isn’t named after a specific brand or emulsion, the list below is the Top 10 most popular (in order from most-to-least viewed). You might not like all of them, but there’s probably at least one or two that produce an aesthetic that you’ll appreciate. If you haven’t tried these, or if you haven’t used them in awhile, I invite you to load a couple that are intriguing to you into your camera’s C1-C7 Custom Settings presets, or into FS1-FS3 if you have a Fujifilm X-E5, and give them a try today!

Vibrant Arizona

The Vibrant Arizona Recipe is an approximation of a Wes Anderson look, or at least as close to that as you can get straight-out-of-camera. It’s bright and warm, and works especially well in harsh midday light. It’s compatible with fourth and fifth-generation X-series cameras, as well as newer GFX models.

Pacific Blues

Pacific Blues is a Classic Negative-based Recipe that was inspired by Lucy Laucht‘s Spirit of Summer series, particularly the Positano Blues photographs. While it is intended for a sunny summer day at the beach, I have found that it works quite well on dreary or foggy days, too. While the version linked above is for fourth-generation cameras, there’s also a version for fifth-generation models.

California Summer

Inspired by some of Preet‘s photographs, the California Summer Recipe produces a warm gold-coast summertime vibe. It’s compatible with fifth-generation X-series cameras and the latest GFX models.

Classic Color

The Classic Color Recipe is a variant of Kodak Portra 400 v2. I had a project with Fujifilm and they didn’t want the Recipe I used to have a competing brand name in the title, so I created this one. If you like Kodak Portra 400 v2, you’ll probably like this one, too. It’s compatible with fourth and fifth-generation X-series cameras, as well as newer GFX models.

1970’s Summer

A New American Color aesthetic, 1970’s Summer is a warm summer-like Recipe with a vintage aesthetic. It’s compatible with fifth-generation X-series cameras and the latest GFX models.

Fluorescent Night

Specifically intended for nighttime photography, Fluorescent Night has a greenish cast in certain light, and a blueish cast in other light. While it’s intended for use after-dark, it’s not bad for daylight, too, if you’re after a cool look. This Recipe is compatible with fifth-generation X-series cameras and the latest GFX models.

Timeless Negative

Timeless Negative is a versatile Recipe that I gravitate towards around the fall and winter holidays. It’s a lovely Recipe that I think a lot of you would like if you tried it. While the version linked above is for fifth-generation cameras, there’s also a version for fourth-generation models.

FRGMT B&W

Fujifilm’s first official Recipe, found in a special-edition of the GFX100RF, FRGMT B&W was created by fashion designer, producer, and artist Hiroshi Fujiwara. I asked for and (seemingly miraculously) received permission to publish it on Fuji X Weekly. It’s compatible with fourth and fifth-generation X-series cameras, as well as newer GFX models.

Summer of 1960

The Summer of 1960 Recipe was modeled after many of the photos found in the December 1960 issue of Arizona Highway’s magazine that had mostly been captured over the prior summer. It’s compatible with fifth-generation X-series cameras and the latest GFX models.

Classic Amber

Classic Amber is a newer Recipe, published on November 1st of last year. It’s very warm, and doesn’t work in every situation; however, when it works, it works exceedingly well. It’s compatible with fifth-generation X-series cameras and the latest GFX models.

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

Report: Next Fujifilm X-Pro Coming As Early As October

Posted on 4 Days Ago by Ritchie Roesch

Fujirumors just reported that the Fujifilm X-Pro3 successor, which might be called X-Pro4 or X-Pro5 or maybe even X-Pro6, will come sometime after September. “After September” could be late this year, such as October or November, or it could be in 2027 sometime, or maybe even 2028. It’s still unknown when the long-overdue camera will be announced, but I hope it’s sooner than later.

There are three things that this report clarifies to me. First, the next X-Pro isn’t coming “early” in 2026 (I guessed that it was coming in early 2026). Based on the pattern of past releases, it should have come in late-2023 or early-2024, but here we are in February 2026 and there’s still not an X-Pro3 successor. Second, the camera is coming sometime, just not imminently. It might be late in 2026, or sometime in 2027, or even later. Who knows? But this is further confirmation that the camera is actively being developed, and the camera line hasn’t been abandoned. There will be another X-Pro, and it could come as early as October (but probably later). Third, it won’t be the first X-Trans VI camera—that might belong to the X-T6, which, according to Fujirumors, is coming in September. Fujifilm introduced X-Trans I with the X-Pro1, X-Trans III with the X-Pro2, and Classic Negative, Color Chrome FX Blue, and Clarity with the X-Pro3 (when you consider that the X-T3 and X-T30 were left on an island, the X-Pro3 could be considered the spiritual introduction of X-Trans IV). So it made sense to me that X-Trans VI would make its debut on the next X-Pro, but that won’t be the case. It also won’t be a fifth-generation camera, like some speculated it could be.

That’s the known, but what’s still unknown is what will be the same or different on the X-Pro4 (or X-Pro5 or X-Pro6, whatever they will call it). My best guess is that the controversial hidden rear screen of the X-Pro3 will be replaced with something different. Maybe it will be more like the GFX100RF screen, or maybe like the X-T5, or something else entirely. I wouldn’t be surprised to see a second screen, perhaps similar to the little vertical one on the X half, make an appearance. A Film Dial like on the X-E5 would make a lot of sense (but please include Classic Negative! And make each position capable of a Recipe, not just FS1-FS3). I really don’t have any other speculation. I’m sure there will be some surprise that will cause a stir, but overall it will be a lot like the previous iterations, which are all fairly similar to each other.

I really don’t know why the X-Pro3 successor is taking so long, other than the X-Pro3 was problematic. Specifically, the ribbon cable to the rear screen was too fragile, and gave a lot of problems, which has been well documented and lengthily discussed. I believe that Fujifilm prematurely halted production (as in, did not secure parts for more when there was still demand) of the X-Pro3 because of this. Had Fujifilm continued to manufacture the X-Pro3 another year or two, the gap wouldn’t seem quite as large. It’s that large gap, which is from late-2022 until now and beyond, that’s so puzzling. When the next X-Pro is released, it will have been at least four years since the last X-Pro was discontinued, which is a large enough gap for a whole different X-Pro to have existed within. It doesn’t make a lot of sense why Fujifilm would allow this to happen, other than they didn’t originally intend for the X-Pro3 to be as short-lived as it was, and how to move forward from the problem was for some reason difficult to figure out. But, it sounds like they got that sorted out, or at least are actively working towards it. It’s a shame, though, that—for over three years now—if you wanted to buy a brand-new X-Pro, which is an iconic camera line, you couldn’t. Soon enough you will be able to again, which is good news, even if long-overdue.

7 Fujifilm Recipes for Midday Retro Americana Photography

Posted on 5 Days Ago by Ritchie Roesch

Someone once told me that Film Simulation Recipes transformed their photography simply because they no longer kept their camera in the bag during midday light. With the right Recipe, they could get good results even in the harsh and often ugly light found when the sun is high in the sky. Interestingly, there are some photographers who prefer midday light for some of their work (Kyle McDougall comes to mind, especially his An American Mile series). While the rule of thumb has always been that golden hour is best for photography (and shooting more during golden hour is the quickest way to improve your photographs), that doesn’t mean you can’t create good photographs at other times. You don’t need to put your camera away just because the sun is high.

One underrated benefit of midday light is that it frees you from endlessly chasing “perfect light,” which can quietly become a creative crutch. When the sun is high and unflattering, you have to engage more deeply with the scene in front of you. It forces you to pay attention to timing, layering, and narrative, rather than waiting for golden hour to do the heavy lifting. It encourages a mindset shift from collecting pretty pictures to telling stories. Limitations improve art, and midday light is one of those limitations that, once embraced, can quietly sharpen your photographic vision. Obviously, all of this is a journey. There’s no right or wrong way to do photography, and I’m not saying that you should or must do anything; I’m only offering a little encouragement to those who put their cameras away when the sun is high—good photographs can be made anytime, even in midday light.

The Fuji X Weekly App has a new Category feature for App Patrons that allows you to Filter Recipes by different genres, styles, or situations. For example, you can Filter By Travel. Or Cloudy. Or Landscapes or Street. One Category that I personally appreciate is Americana. When you Filter By Americana you’ll see nearly 80 results. If you Filter By Midday, there are over 100 Recipes. When you Filter By both Americana and Midday, it narrows it down to 28 Recipes. Filtering by Americana, Midday, and the Fujifilm X-E5 narrows the results further to 12. Maybe from there you can easily choose which one or ones you want to program into your camera, or maybe a dozen is still too many to decide. Adding one more Filter option—in this case, Retro—brings it down further to just seven. So if you are after a retro Americana aesthetic that’s good for harsh midday light, the seven Recipes below are excellent options. If it’s still too many, you can add more Filters, such as DR400, which brings it down to four, and Grain, which narrows it to just two. You can be as specific as you’d like, which really helps to refine the results to exactly what you’re looking for.

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

Is the Fujifilm X Half “Popular”?

Posted on 5 Days Ago by Ritchie Roesch

Fujifilm claims that the X half is “popular” but people on the internet seem to strongly disagree. So which is it: brilliant or bust? Is the Fujifilm X half highly successful or a failed product?

The “popular” claim comes from a statement by Fujifilm after the X half won the Nikkei Excellent Products and Services Award in the Trend Category. Fujifilm wrote on X, “The popular compact digital camera ‘X half’ won the ‘2025 Nikkei Excellent Products and Services Award Trend Category Award’! The award ceremony was held in Tokyo on February 2nd, and the award certificate was presented.” Then, in Fujifilm’s Q3 Business Summary Report, Fujifilm credits the GFX100RF, X half, and X-E5 for expanded sales and revenue growth in the imaging department, which seems to corroborate the claim that the X half is popular.

Why do so many across the internet disagree? There are a few reasons, one of which is that a lot of camera stores regularly have the X half in stock at any given time, while the same can’t be said for some other Fujifilm cameras, like the X100VI. Another reason is that used models seem to be in abundance on eBay, KEH, MPB, etc., and for notably less than MSRP. A third reason is that Adorama recently was giving away an X half with the purchase of an X-T5. A final reason is probably just from all the negativity around the internet—how can a camera that’s been trashed so much possibly be popular?

The answer is simple: the Fujifilm X half is wildly popular in some parts of the world, and is at best only moderately popular in some other regions. For example, the X half was the most-sold camera in Japan last summer, outselling not only every single other Fujifilm camera, but every camera by every company. In many Asian markets, the X half is one of the most trendy cameras, even more so than the X100VI, the most viral camera of all time. Don’t quote me on this, but I’ve heard twice now that China is Fujifilm’s top market, even larger than U.S. sales (there’s probably some truth to that, even if it turns out to not be completely accurate). If it’s doing well in China, it’s doing well, period. When viewed overall globally, the X half can be described as popular and can be credited in-part for Fujifilm’s revenue growth, even if the camera is only selling so-so in some countries, like America.

Above: Various pictures captured with the Fujifilm X half

All those who hate the X half and scoff at it because it’s not for them (apparently, every release has to be for them, personally), can’t fathom or accept the camera as popular, award-winning, and successful. But it is. It’s just not popular everywhere on Earth, and that’s ok. Does it need to be? If it’s extraordinarily popular someplace, it can afford to be only moderately so in some other locations. Besides, there’s still time for it to catch on in the lackluster markets, once people realize how fun it is and how great it is for casual snapshots. After all, the X100V didn’t go viral until over two years after it was first released. We have an X half in our household, and whenever we go someplace—between myself, my wife, and my four kids—someone is using it.

The real measure of success for the X half has less to do with sales numbers than with the mission of the camera itself. It’s intended to be a bridge between Instax and the X-series. Instax is much bigger than X and GFX combined. Most Instax users have never owned an X-series model. How do you get some of those folks to dip their toes into the X-series, and potentially become future customers? The X half, of course! Just throwing out numbers and speculating, but say the camera ends up selling 500,000 copies worldwide over its production run, and 20% of those are first-time X-series purchases from folks with Instax experience (either current or former users); now, if just 20% of those later buy a different X-series camera (like the X-M5, X-T30 III, X-E5, or X100VI), Fujifilm has grown their X-series customer base by 20,000 photographers simply by tapping into a market segment that’s largely ignored by the industry at large. The camera market is highly competitive, and there are only so many growth opportunities, so this type of outside-of-the-box thinking makes a lot of sense.

Why should any of us care? First, you certainly don’t have to care. Fujifilm is just another large corporation trying to earn big profits. For me, I want Fujifilm to be successful because I appreciate using their products, and sales successes or failures today will shape the future of their products. If the X half is a complete failure like some assume it is, then we can safely bet that it will be the only 1″ sensor camera that Fujifilm releases for a long time, if not ever; however, if it is indeed “popular” and a notable reason for revenue gains, well, don’t be surprised to see another camera developed with that sensor, perhaps a compact zoom along the lines of the X30 or XQ2. That’s why I’m interested in this topic personally.

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 half in black:
Amazon, B&H, Nuzira
Fujifilm X half in silver:
Amazon, B&H, Nuzira
Fujifilm X half in charcoal:
Amazon, B&H

15 Fujifilm Recipes for Travel Photography

Posted on 8 Days Ago by Ritchie Roesch

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

A frequent question that I get asked is: which Film Simulation Recipes are good for travel photography? Typically, it’s something along the lines of, “I’ll be visiting [insert location here], and I’d like to know which Recipes I should add to my C1-C7 for this trip.” Since this is a common question, I thought it worthwhile to dedicate an article to the topic.

What makes a Recipe good for travel photography is very difficult to answer. I think it’s one that will produce results that are typical of historic or current travel photography aesthetics. For example, Kodachrome 64 is an iconic slide film for travel photography thanks to photographers like Steve McCurry, so the Kodachrome 64 Recipe is an obvious one. The vibrant colors of many European cities like Copenhagen, Prague, Reykjavik, Burano, etc., are ideal for a Velvia-based Recipe. A trip to Japan wouldn’t be complete without a Classic Negative Recipe. A roadtrip across the American southwest in July would be great for 1970’s Summer. While some Recipes might be good for any trip, others might be more specific to the location and even the season.

*Pool Remnant* – Rodanthe, NC – Fujifilm GFX100S II – Kodak Tri-X 400

For this article, I decided to suggest a Recipe for each C1-C7 Custom Settings preset: one set for fifth-generation cameras, and one for fourth-generation cameras (the X-H2s and X-H2 has C1-C6; the X-S10 and X-S20 has C1-C4). Because you can program a “bonus” 8th Recipe into the IQ Menu on fifth-generation models, I included one for that (the X-E5 has the option for three additional Recipes on the Film Dial… I didn’t account for that in this post). For a number of these suggestions, they could be for X-Trans IV or V, so feel free to swap them out if you prefer one over another—I didn’t want to repeat any, but have 15 different Recipes. Fifth-generation Recipes are compatible with the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III, as well as the GFX100 II, GFX100S II, and GFX100RF. Fourth-generation Recipes are compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II (the X-T3/X-T30 is its own category), as well as the GFX100S. Clear as mud?

I found the 15 Fujifilm Recipes below in the Fuji X Weekly App. If you are a Patron subscriber, you can Filter By a number of things, including Camera and Category (among others). Because the X100-series is the most quintessential X-series model for travel, for the fifth-generation Recipes I chose to Filter By X100VI and for the the fourth-generation I chose to Filter By X100V. In both instances, I also selected Travel as the Category. While this narrowed the results some, it was still a lot of Recipes, an almost overwhelming number to choose from. To narrow it down much further, I chose some other Filter options (in addition to Camera and Travel) to help me find the best Recipes for each set. I’ll explain it below.

Fifth-Generation (X100VI):

C1 — Kodachrome 64

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

Kodachrome is the most iconic film, gracing the covers and pages of magazines like National Geographic and Arizona Highways for decades. While the film was discontinued awhile ago along with the chemistry to develop it, the soul of it lives on (quite ironically) in Fujifilm cameras. Because I wanted C1 to be an ideal Recipe for an American roadtrip, I chose Americana, Film-Like, Street, and Travel as my Filter By Category options, and that’s how I found the Kodachrome 64 Recipe. For those with fourth-generation cameras, there’s a version of Kodachrome 64 for you.

C2 — 1976 Kodak

*Rainbow over Jersey* – Jersey City, NJ – Fujifilm X-T50 – 1976 Kodak

For the second slot, I prioritized versatility. Specifically, I wanted a Recipe that uses Auto White Balance, for instances when the light is tricky, and a daylight-balanced Recipe might be disappointing. Of course, I also wanted the Recipe to be good anytime, not just in tricky light. To find the 1976 Kodak Recipe, I chose Classic and Travel as my Filter By Category options, and also Filter By Auto White Balance. Reala Ace is an alternative to strongly consider for this spot, but I was specifically thinking of a Kodak-like aesthetic.

C3 — 1970’s Summer

For the third slot, I wanted a warm and grainy Recipe, so I chose Grain, Travel, and Warm as my Filter By Category options. While 1970’s Summer won’t be for every subject and situation, in the right circumstances it can be amazing. I debated between this and Kodak Portra 800 v3, but I personally like the 1970’s Summer Recipe just a little more, so I went with it.

C4 — 1-Hour Photo

*Truxton Station* – Truxton, AZ – Fujifilm X-T5 – 1-Hour Photo

This is one of my new favorite Recipes. I just absolutely love it! But, 1-Hour Photo is an App Patron Early-Access Recipe, so it’s only currently available to Patron subscribers. I found it by selecting Grain and Travel as the Categories, and also Filter By Classic Negative Simulation. Classic Negative is one of my top favorite Film Simulations, so I wanted to include it in my travel set.

C5 — Classic Amber

I kept Filter By Classic Negative, but changed the Categories to Travel and Warm. Classic Amber is another new personal favorite Recipe, but it requires the right situations—when it works, it really works; when it doesn’t, it really doesn’t.

C6 — Vivid Velvia

*Roaring Fork* – Great Smoky Mountains NP, TN – Fujifilm X-E5 – Vivid Velvia

No C1-C7 for travel would be complete without a Velvia Recipe, so I selected Filter By Velvia and Filter By Travel to find Vivid Velvia. This Recipe is dramatic and vibrant, and is perfect when the situation calls for something bold.

C7 — Kodak Tri-X 400

*Low Clouds Over Manhattan* – New York City, NY – Fujifilm X100VI – Kodak Tri-X 400

The final slot demands a black-and-white Recipe. I chose Dramatic and Travel for the Categories, as well as Filter By B&W. Of course, Kodak Tri-X 400 is one of my all-time favorite Recipes, so it would be a shame to not include it.

IQ Menu — Film Dial Recipe

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

On the newer cameras, whenever none of the C1-C7 Custom Settings presets are selected, the camera will use whatever is programmed into the IQ Menu set, which means you get a bonus 8th Recipe. For this, the Film Dial Recipe (which is not one, but 14 Recipes) is perfect. It adds a ton of aesthetic versatility. The best part is that it doesn’t require a camera with a Film Dial; just like the Universal Negative Recipe set, it can be used on any fifth-generation model. I found it by selecting Film-Like, Landscapes, Nighttime, Street, and Travel as the Categories, which revealed Fujicolor PRO 160C Warm, one of the 14 Film Dial Recipes. Simply change the Film Simulation to turn it into any of the other Film Dial Recipes.

Fourth-Generation (X100V):

C1 — Kodak Portra 400 v2

*Sunset Photography* – Laguna Beach, CA – Fujifilm X100V – Kodak Portra 400 v2

This is one of my all-time favorite Recipes, and is especially great when the sun is low to the horizon. I found it by choosing Americana, Film-Like, Golden Hour, Street, and Travel as the Categories. For those with a fifth-generation camera, there’s a version of Kodak Portra 400 v2 for you.

C2 — Reggie’s Portra

*Mountain Sunset* – Flagstaff, AZ – Fujifilm X100V – Reggie’s Portra

This was the most popular Recipe on Fuji X Weekly in 2025. Like in the fifth-generation set, I wanted a Recipe that uses Auto White Balance for C2. I found it by selecting Filter By Americana and Travel Categories, as well as Filter By Auto White Balance. Having a versatile Recipe like Reggie’s Portra in your C1-C7 can be invaluable when traveling.

C3 — Vintage Color

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

For the third slot, the Categories I chose are Grain, Retro, and Travel. That narrowed it down to a handful of options, and of those I chose Vintage Color. This is a Recipes that really works when it works, and really doesn’t when it doesn’t. For those with a fifth-generation model, set Color Chrome FX Blue to Weak instead of Strong.

C4 — Nostalgia Color

*Columbia River* – Hammond, OR – Fujifilm X-E4 – Nostalgia Color

It’s time for a Classic Negative Recipe. I used the same Filters as C4 in the previous set (Grain and Travel for the Categories, and Classic Negative for the Film Simulation), and picked Nostalgia Color for the Recipe. For those with a fifth-generation model, set Color Chrome FX Blue to Off instead of Weak. Initially I had Fujicolor Natura 1600 in mind for this spot, but it’s not compatible with the X100V because it uses .5 Tone Curve adjustments.

C5 — Pacific Blues

I found Pacific Blues when I used the same Filter By options as C4 (Grain and Travel for the Categories, and Classic Negative for the Film Simulation); since it’s one of my top favorite Recipes, I knew that I needed to include it in this set. For those with a fifth-generation camera, there’s a version of Pacific Blues for you.

C6 — The Rockwell

*Abandoned Dream* – Red Rock Lakes NWR, MT – Fujifilm X100V – The Rockwell

Just like in the previous set, this list wouldn’t be complete without a Velvia-based Recipe. I found this simply by selecting Filter By Travel and Filter By Velvia. When the situation calls for bold Recipe, The Rockwell will accomplish that, delivering vibrant and sharp results.

C7 — Ilford HP5 Plus 400

*Horsetail Falls From Bridge* – Columbia River Gorge, OR – Fujifilm X100V – Ilford HP5 Plus 400

There’s got to be at least one black-and-white Recipe, and I chose Ilford HP5 Plus 400. There are plenty of good ones to pick from, this is just one of many that would work well for C7. I found it by selecting Travel as the Category, as well as Filter By B&W.

There are so many different C1-C7 combinations that one could create that would do well for travel photography, the 15 Recipes above merely constitute two examples. One should consider the weather, the potential light situations, the genre of photography, and one’s preferred aesthetics. In the Fuji X Weekly App, you can use the various Filter By options to get as specific as you want—the more specific, the fewer results. For example, if you want something for your X-T30 III that’s good for cloudy conditions and nighttime photography, plus is grainy, retro, and film-like, and is good for travel, you can find that Recipe. Or if you have an X-E4 and want a Velvia Recipe for nighttime street photography, there’s a Recipe for that, too. If you’re simply searching for a good set of travel Recipes for your C1-C7 Custom Settings presets, the two suggestions above will be a good starting place—if you don’t like one or two of the Recipes, exchange them out for ones that you do like. If you are traveling somewhere soon and are really unsure which Recipes to program into your fifth or fourth-generation Fujifilm camera, I think you’ll appreciate these options, as at least one of the Recipes should work well no matter where you are and what situation you are in.

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

12 Fujifilm Recipes for Rainy Days

Posted on 10 Days Ago by Ritchie Roesch

*Pouring Rain* – Philadelphia, PA – Fujifilm X-T50 – Pacific Blues

I get asked fairly regularly which Film Simulation Recipes are good for overcast days, perhaps when it’s rainy or foggy. I live in Arizona where the sunshine seems endless, and dreary weather only occurs every now and then. Like film, the majority of Recipes are intended for sunny daylight conditions. When the sun is hidden by clouds, which Fujifilm Recipes should you use?

There are definitely a lot of great options. Much will depend on the lighting (thin or thick clouds?), photographic subject, and desired aesthetic. I might like a certain Recipe for rainy days, but you might not, and vice versa. Everyone has their own tastes. Having a large number of options allows you to discover what works best for you, but where do you even find them?

*Bryan Minear getting soaked* – Windham, NY – Fujifilm X-T5 – Kodak Tri-X 400

A recently added feature to the Fuji X Weekly App is Categories. One way to use Categories is—if you are a Patron subscriber—to Filter By Category, and one of the Categories is Cloudy. So I did just that: I selected Fujifilm X-T5 as my camera and Cloudy as a Category (you can select as many Categories as you’d like, to really narrow it down). When I did this, I was presented with 40 results. You might not like all 40, and that’s ok—different strokes for different folks—but there’s a good chance that a few will match well with your light, subject, and desired aesthetic.

I went through the 40 results—Recipes that are good for cloudy situations and are compatible with my Fujifilm X-T5—and picked my favorite 12, which you’ll find below. If you are unsure which Recipes to use on rainy days, these 12 are ones to strongly consider. Surely one or two will be a good fit for you and your specific situation and style. Or, open up the Fuji X Weekly App, and Filter By your camera and whatever Categories you’d like. For example, if you choose X-Pro3 plus Cloudy, Film-Like, and Street, you’ll get 10 results.

PRO Negative 160C

The PRO Negative 160C Recipe, which uses the Reala Ace Film Simulation, produces slightly vibrant and warm pictures that are overall pretty true-to-life, with a color negative film aesthetic. Because it uses Auto White Balance, it’s very versatile, making it an excellent choice for dreary days.

Kodak Pro 400

Another Reala Ace-based Recipe, Kodak Pro 400 has a Portra-like look that’s a little less warm than the other Portra-like Recipes. While it’s daylight balanced, it does quite well in rainy weather.

Chrome City

Chrome City is found in the Universal Negative Recipe set. Really, any of the 14 Recipes within that set are good for cloudy days, but Chrome City, which uses Eterna Bleach Bypass, is my personal favorite.

Reala Ace

Despite the name, the Reala Ace Recipe does not use the Reala Ace Film Simulation; instead, it’s based on Classic Negative. Because it uses Auto White Balance, it’s highly versatile, and does well in overcast light.

Emulsion ’86

Emulsion ’86 is based on the Nostalgic Neg. Film Simulation. While it uses Daylight White Balance, it is quite good for cloudy situations.

Kodachrome 25

Another Daylight White Balance Recipe, Kodachrome 25, which uses Classic Chrome and produces a sharp slide-film aesthetic, is a good option for overcast days.

Thommy’s Ektachrome

Thommy’s Ektachrome is intended for sunny daylight, but its overall cool cast combined with the warmth of the Nostalgic Neg. Film Simulation make for an excellent rainy day Recipe.

Nostalgic Americana

While the Nostalgic Americana Recipe, which uses the Nostalgic Neg. Film Simulation, is warmer and intended for sunny daylight situations, it can produce good results on dreary days; however, it definitely depends on the situation, as this one can easy be a little too warm.

Kodak Vericolor VPS

One of my personal favorites for overcast light is Kodak Vericolor VPS, which uses the Nostalgic Neg. Film Simulation. Even though it’s intended for sunny daylight, I love how it looks when the sky is covered with clouds.

Appalachian Negative

Another Nostalgic Neg.-based Recipe that is daylight-balanced, I have had good luck using the Appalachian Negative Recipe on overcast days.

Superia Xtra 400

While Superia Xtra 400, which uses the Classic Negative Film Simulation, is the warmest of the Superia-like Recipes, because it uses Auto White Balance, it’s also the most versatile, and is great for use on rainy days.

Pacific Blues

My overall favorite Recipe to use on foggy or dreary days is Pacific Blues. Even though it was made for a sunny day at the beach, I just love how it works in the rain. It’s not a Recipe that everyone will appreciate for those situations, but I do, and I know some of you will, too.

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

26 Fujifilm Recipes to try in 2026

Posted on 11 Days Ago by Ritchie Roesch

*Cruiser’s Cafe 66* – Williams, AZ – Fujifilm X-T5 – PRO Negative 160C

Those who have been around Fujifilm for awhile likely have a good idea of which Film Simulation Recipes they like, and probably have their favorites programmed into their camera. But there are many newcomers to the system, as well as some who have been around awhile but are looking for a new Recipe to try. If you are unsure, you’ll find some solid suggestions below.

The idea for this article has been in my head since the beginning of the year—now that January is over, I figured I better get to it before it’s too late. For this post, I didn’t want to offer the usual set, and I also didn’t want to fill the list full of the most popular Recipes; instead, I wanted to include some that were overlooked, that maybe you haven’t yet tried even if you’ve been around for awhile. I also didn’t want it to be strictly Recipes for the newest models (although I focused much more on the newer cameras than the older ones because that’s what most are using).

Without further ado, and in no particular order, below are 26 Fujifilm Recipes to try in 2026!

PRO Negative 160C

The PRO Negative 160C Recipe uses the Reala Ace Film Simulation, which means that it is only compatible with fifth-generation X-series cameras—X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III—as well as the latest GFX models: GFX100 II, GFX100S II, and GFX100RF. But, there is a version that uses PRO Neg. Hi, which is compatible with “newer” fourth-generation models. This Recipe is quite versatile, producing a negative film aesthetic similar to Fujicolor PRO 160C that works well in most situations. While it leans slightly warm and vibrant, overall it remains fairly neutral and true-to-life.

Agfa Ultra 100 v2

Agfa Ultra 100 v2 is a warm Recipe that leans towards green, and is best for sunny daylight situations, although I’ve had some good luck using it in natural-light indoor situations, as well as at night. Because it uses the Nostalgic Neg. Film Simulation, it is only compatible with fifth-generation X-series cameras—X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III—as well as the latest GFX models: GFX100 II, GFX100S II, and GFX100RF.

Kodak Vericolor VPS

Another Nostalgic Neg.-based Recipe, Kodak Vericolor VPS is good for both sunny and cloudy situations. It produces a late-1970’s to early-1980’s color negative film vibe. It is only compatible with fifth-generation X-series cameras—X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III—as well as the latest GFX models: GFX100 II, GFX100S II, and GFX100RF.

Kodak Vision3 250D v2

The Kodak Vision3 250D Recipe uses Eterna, and there’s a version for both the X-T3/X-T30 and “newer” fourth-generation models; however, this Kodak Vision3 250D v2 Recipe has Nostalgic Neg. as the base instead of Eterna. It produces a warm look that is great for sunny daylight situations. This version of the Recipe is only compatible with fifth-generation X-series cameras—X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III—as well as the latest GFX models: GFX100 II, GFX100S II, and GFX100RF.

Nostalgic Americana

Nostalgic Americana is one of my favorite Nostalgic Neg.-based Recipes. It produces an aesthetic similar to color photos printed in magazines (such as Arizona Highways) back in the 1960’s and ’70’s, with a lot of grain and a warm cast. This Recipe is best for sunny daylight situations. It’s only compatible with fifth-generation X-series cameras—X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III—as well as the latest GFX models: GFX100 II, GFX100S II, and GFX100RF.

Classic Color

Fujifilm has displayed two of my photographs at some of their events, and both were captured with this Classic Color Recipe. It has similarities to my Kodak Portra 400 v2 Recipe, but isn’t identical. It’s most ideal for sunny daylight situations, but I did have some luck with it at night. This Recipe is compatible with “newer” fourth-generation models (X-T4, X-S10, X-E4, and X-T30 II), fifth-generation cameras (X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III), and recent GFX releases (GFX100S, GFX100 II, GFX100S II, GFX100RF).

Kodak Portra 400

This Kodak Portra 400 Recipe is for fourth-generation X-series cameras—X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II—plus the GFX100S. There’s also a version for the X-T3/X-T30 (plus GFX100). To use this Recipe on fifth-generation cameras, simply set Color Chrome FX Blue to Off instead of Weak. It produces a warm look similar to the iconic film of the same name. If you’ve been around awhile you’ve likely already tried it, but if you are new to Fujifilm you might not yet have programmed it into your camera.

Elite Chrome 200

The Elite Chrome 200 Recipe is a facsimile of Kodak’s low-budget version of Ektachrome E200, a “high ISO” consumer-grade slide film from the 1990’s and early 2000’s. It’s best for sunny daylight situations. This Recipe is for fourth-generation X-series cameras—X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II—plus the GFX100S; for use on fifth-generation models (plus newer GFX), simply set Color Chrome FX Blue to Off instead of Weak.

Kodak Pro 400

Kodak Pro 400 is an approximation of Portra 400 using Reala Ace instead of Classic Chrome. It’s best for sunny daylight situations, although I did have some good luck with it in natural-light indoors, as well as at night. It’s warm, but less warm than other Portra-like Recipes. Because it uses Reala Ace, it is only compatible with fifth-generation X-series cameras—X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III—as well as the latest GFX models: GFX100 II, GFX100S II, and GFX100RF.

Classic Amber

Classic Amber, which is the first in this list that uses Classic Negative, is a very warm Recipe that produces striking results in the right situations (mainly, sunny daylight). When it works, it really works; when it doesn’t, it really doesn’t. This Recipe is compatible with fifth-generation X-series cameras—X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III—as well as the latest GFX models: GFX100 II, GFX100S II, and GFX100RF. For “newer” fourth-generations cameras, blue won’t be quite as deep, but the results will be quite similar overall, so feel free to try it anyway.

Fujicolor 100 Gold

This is another warm Recipe that utilizes Classic Negative, and is best for sunny daylight situations. Fujicolor 100 Gold is for fourth-generation X-series cameras—X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II—as well as the GFX100S. For fifth-generation models (and the latest GFX), it will render blue just a little more deeply, but the results will be quite similar overall, so feel free to try it anyway.

Old Kodak

The Old Kodak Recipe has similarities to Vintage Kodachrome and Kodachrome 1. It’s compatible with “newer” X-series models—X-T4, X-S10, X-E4, and X-T30 II—as well as the GFX100S. For fifth-generation cameras (and the latest GFX), simply set Color Chrome FX Blue to Weak instead of Strong. While this Recipe is warm, it’s quite versatile, and can be used in a lot different situations.

Eterna Summer

Eterna Summer produces a warm, cinematic aesthetic that’s best for sunny daylight situations. This Recipe is compatible with “newer” fourth-generation models (X-T4, X-S10, X-E4, and X-T30 II), fifth-generation cameras (X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III), and recent GFX releases (GFX100S, GFX100 II, GFX100S II, GFX100RF).

SantaColor

This SantaColor Recipe is not necessarily for Christmas, but for sunny daylight situations. While warm, it leans more red-orange than yellow. This Recipe is compatible with fourth-generation cameras—X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II—and the GFX100S. For fifth-generation models (and the latest GFX), it will render blue just a little more deeply, but the results will be quite similar overall, so feel free to try it anyway.

Ferrania Solaris FG 400

The only Eterna Bleach Bypass-based Recipe in this list, Ferrania Solaris FG 400 produces striking results. This is another warm Recipe that’s intended for sunny daylight situations. It’s for “newer” fourth-generation cameras—X-T4, X-S10, X-E4, and X-T30 II—as well as the GFX100S; for fifth-generation models (and the latest GFX), set Color Chrome FX Blue to Off instead of Weak.

Nostalgia Color

A “memory color” aesthetic of photographic prints from the ’90’s, Nostalgia Color uses Classic Negative and has a warm cast that’s perfect for sunny daylight. This Recipe is compatible with fourth-generation cameras—X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II—and the GFX100S; for fifth-generation models (and the latest GFX), set Color Chrome FX Blue to Off instead of Weak.

Superia Premium 400

Superia Premium 400 might be the most overlooked of the various Superia-like Recipes. It leans warm, more towards red than yellow. This Recipe is for sunny daylight situations, but I’ve also had good luck with it on dreary days. It’s compatible with fourth-generation cameras—X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II—and the GFX100S; for fifth-generation models (and the latest GFX), set Color Chrome FX Blue to Off instead of Weak.

Fujicolor NPS 160 Pulled

Probably my favorite Recipe for indoor artificial light situations, Fujicolor NPS 160 Pulled is a great allrounder if you want a subdued aesthetic. This might be the most underrated Recipe in this list. It’s for fourth-generation cameras—X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II—and the GFX100S; for fifth-generation models (and the latest GFX), set Color Chrome FX Blue to Off instead of Weak.

AgfaChrome RS 100

For a slightly cool color cast, try the AgfaChrome RS 100 Recipe. In situations where other Recipes are too warm, this is a good one to use. It’s compatible with fourth-generation cameras—X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II—and the GFX100S; for fifth-generation models (and the latest GFX), set Color Chrome FX Blue to Weak instead of Strong.

Fujicolor C200 v2

The Fujicolor C200 v2 Recipe somehow seems both warm and cool simultaneously. It’s best for sunny daylight, but I’ve had good luck with it in overcast situations, indoors, and at night. This Recipe is for fourth-generation cameras—X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II—and the GFX100S; for fifth-generation models (and the latest GFX), set Color Chrome FX Blue to Weak instead of Strong.

Vivid Velvia

The most vibrant Recipe in this group, Vivid Velvia produces dramatically colorful pictures. It’s quite versatile, just as long as long as you’re after a vibrant aesthetic. This Recipe is compatible with fourth (except X-T3/X-T30) and fifth-generation X-series cameras, as well as “newer” GFX models.

Fluorescent Night

Fluorescent Night is the only Recipe in this list that’s specifically intended for nighttime photography. Because it uses the Nostalgic Neg. Film Simulation, it is only compatible with fifth-generation X-series cameras—X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III—as well as the latest GFX models: GFX100 II, GFX100S II, and GFX100RF.

Moody Monochrome

Moody Monochrome is a contrasty black-and-white Recipe that uses Acros+Ye. Compatible with fourth (except X-T3/X-T30) and fifth-generation X-series cameras, as well as “newer” GFX models.

FRGMT B&W

This is Fujifilm’s first official Recipe—created by fashion designer, producer, and artist Hiroshi Fujiwara—which was included in a limited edition GFX100RF. I asked for and received permission to publish FRGMT B&W on Fuji X Weekly. It’s for fourth (except X-T3/X-T30) and fifth-generation X-series cameras, as well as “newer” GFX models.

Agfa Scala

Agfa Scala is one of the older Recipes on Fuji X Weekly, published in 2018. It’s modeled after a B&W slide film that was discontinued, then later brought back. This Recipe is for X-Trans III cameras, plus the X-T3/X-T30; however, I’ve used it on newer models, setting Grain size to Weak, Color Chrome Effect and Color Chrome FX Blue to Off, and Clarity to 0 or +1.

Classic B&W

Classic B&W, which uses Acros+G, is great for everyday monochromatic photographs. Compatible with fourth (except X-T3/X-T30) and fifth-generation X-series cameras, as well as “newer” GFX models.

Find these Film Simulation Recipes and many 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 Fujifilm GFX100RF is my Dream Travel Camera

Posted on 15 Days Ago by Ritchie Roesch

The Fujifilm GFX100RF is my dream travel camera. I am so thoroughly impressed by it, even though I’ve only used it for a few days now. I don’t actually own it. I’m working on a Route 66 project, and a friend of mine (who has one) thought that my project would benefit from the camera, so he’s letting me borrow his for a time (thank you!!). I’ve said since the camera’s announcement that I really want to own one someday, but it’s also outside of my budget (especially since other cameras that I also want are also released, such as the X-E5, and I’ve diverted my savings towards that instead). I’m saving up for a GFX100RF of my own, and someday I’ll get there. In the meantime, I’m extraordinarily grateful for the opportunity to use one for the time being.

To be clear, this is not a review of the GFX100RF. Maybe someday I’ll write one, but this is definitely not it. This is simply my gushing over the initial use of the camera. It’s not my first time shooting a GFX. I own a GFX100S II and a couple of GF lenses. It takes beautiful pictures, but it is large and heavy. I dropped a lot of money on it just before the GFX100RF was announced, which was the most I’ve ever spent on photography gear. I use it sometimes, but I tend to gravitate more towards smaller and lighter cameras and lenses. My wife, Amanda, uses it every now and again, too, for portraits. It doesn’t collect dust, but I feel bad that I don’t pick it up more often, considering how expensive it was. Sometimes I think I should sell it, but I purchased it for a specific purpose (large panoramic prints) and I still intend to use it for that. For now, it stays.

The GFX100RF is essentially a medium-format Fujifilm X70, but with an EVF and two card slots. A number of people have claimed that the camera is basically an X100VI, but GFX; however, that’s not what it is, and I think it gave a lot of people false expectations. For example, if it’s supposed to be like an X100VI, why doesn’t it have IBIS? Or a larger maximum aperture? Those are probably the two largest points of contention. In my opinion, Fujifilm should consider making an actual X100VI-like GFX model, with a 45mm f/2.8 lens and IBIS; however, just like the X100-series is larger, heavier, and more expensive than the X70, people should have the expectation that this maybe-someday GFX camera will likewise be larger, heavier, and more expensive than the GFX100RF, because it will be. The GFX100RF is the smallest, lightest, and cheapest digital medium-format body-lens combo ever made, yet it feels exceptionally premium. It will be a true classic—I have no doubt that 20 years from now some people will still be using it.

Perhaps more important than the body are the photographs that it produces, which are just beautiful. I think this has more to do with the lens than anything else. In my opinion, GFX isn’t inherently better than the X-series for the majority of photos and photographers; 26mp is more than enough for most purposes, let alone 40mp, let alone 100mp. There’s not a major difference (only very small dissimilarities) in JPEG output from the 100mp GFX and the 40mp X-series, other than the resolution and high-ISO capabilities. You can easily achieve a medium-format-like shallow depth-of-field with the X-series using a large aperture lens, like the Fujinon 56mm f/1.2 (and shoot in the dark with it, too). So it really comes down to the lens, and the 35mm f/4 (28mm full-frame-equivalent) that is permanently attached to the camera is a really good one.

I’m not really sure how to end this, other than with the photographs that I captured on Route 66 earlier this week. It’s not the only camera that I used on the trip, or even the one that I used the most (surprising to me, the X-T5 was the one that I chose most often). But, when reviewing the photos, I was really impressed with the pictures. Plus, the camera was small and light enough to be ideal for travel. What’s not to love? Anyway, below are some of the pictures that I captured in northern Arizona with a Fujifilm GFX100RF this last Tuesday. I hope you enjoy!

*Housing for Hope* – Kingman, AZ – Fujifilm GFX100RF – Agfa Ultra 100 v2

*Joshua Tree Hotel* – Kingman, AZ – Fujifilm GFX100RF – Agfa Ultra 100 v2

*Herbie on Route 66* – Antares, AZ – Fujifilm GFX100RF – 1-Hour Photo

*Truck 9* – Antares, AZ – Fujifilm GFX100RF – 1-Hour Photo

*Rural Mailboxes* – Antares, AZ – Fujifilm GFX100RF – Agfa Scala

*Rusty GMC* – Truxton, AZ – Fujifilm GFX100RF – Kodak Ektachrome E100VS v1

*Abandoned Buick* – Seligman, AZ – Fujifilm GFX100RF – 1-Hour Photo

*Arizona Motor Hotel No. 9* – Williams, AZ – Fujifilm GFX100RF – Astia Negative

*Faded Highway Shield* – Williams, AZ – GFX100RF – Agfa Scala

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

Fujifilm GFX100RF in black:
Amazon, B&H, Nuzira
Fujifilm GFX100RF in silver:
Amazon, B&H, Nuzira

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

Fuji X Weekly App Update — Two Big Improvements!!

Posted on 16 Days Ago by Ritchie Roesch

Earlier this week I released a new Fuji X Weekly App update, which I’m excited to share with you. I didn’t announce this right away because there was a minor bug that I wanted to fix before telling everybody about this, which has since been fixed and updated, so, as of late last night, that’s no longer an issue. There are two major new features, plus several really minor things you’re unlikely to notice—we’ll just focus on those two big things in this article.

First up is something that’s been under development in one way or another for five years. I explored many different ways to implement this idea in principal, and there were a couple failed attempts, just because of the complications in making it function smoothly. Ultimately, the approached that worked best and most consistently was less intuitive than what I would have ideally preferred, but it was the best option all things considered. I actually rolled it out first in the Ricoh Recipes App, just so I could work out any unforeseen issues before adding it to the Fuji X Weekly App. What is this new feature? Backup/Restore.

Notes, Favorites, and Custom Recipes are stored locally on your phone within the App’s data, and there has not been a way to share them among devices. If, for example, you have both an iPhone and iPad, you’d need to manually input all your Custom Recipes into both devices—they don’t synch. If you switched phones or lost your phone, it was possible to lose your Notes, Favorites, and Custom Recipes. Now, with Backup/Restore, you can save a copy, and share it among devices.

To save a backup, tap the Gear icon, then choose Back Up Data. You’ll be prompted to either Cancel or Continue. If you select Continue, you’ll have the opportunity to choose where you want the .zip file to be stored—it can be on your device or in cloud storage. Once saved, you can share this .zip file with any device that has the Fuji X Weekly App. To restore, simply choose Restore Data, locate the .zip file and tap on it (if it’s a different device, you may need to download the .zip file onto that device). One note of caution: when you Restore Data, it will override and replace whatever you may have added and/or changed since the Backup file was created. For instance, if you have a Custom Recipe on your iPad that’s not on your iPhone, but you Back Up Data on your iPhone and Restore that .zip on your iPad, you’ll lose the Custom Recipe on the iPad. It doesn’t add the backed up data on top of what’s already there; instead, it replaces it.

My recommendation is to periodically Backup the Fuji X Weekly App, even if you don’t have intentions of sharing it to another device. If you add a new Custom Recipe, or you made some changes to your Favorites, that might be a good time to select Back Up Data and create a new .zip file. Cloud storage is probably the most ideal place to keep it, just so if you lose your phone or change devices, you’ll have it available. Should something unforeseen happen, which does occur now and then, it’s better to be safe than sorry. With Backup/Restore, you can now have that peace of mind, and also match up your Notes, Favorites, and Custom Recipes between multiple devices.

The other big feature of this update is a major overhaul to Custom Recipes. Not only is adding Custom Recipes easier and more intuitive now, but they look and behave more like the 400+ Fuji X Weekly Film Simulation Recipes that come in the App. For example, you can add them as Widgets. You can Filter them, and Search them. You can add them as Favorites. If you sort alphabetically A-Z/Z-A, they will be in the correct place. This is a very significant improvement.

All of the fields (except Sensor generation) are freeform text; however, many have a dropdown menu or -/+ field for easier selection. If (for example) you type Velvia instead of selecting it from the dropdown list, the App will still include this Recipe in Filter by Velvia (just as long as it’s spelled correctly). Custom Recipes created prior to this update are fully compatible and will automatically be transformed to the new system (which was probably the trickiest part of revamping it). If you leave a field blank, that field will not appear in your Custom Recipe in the App. For instance, those with X-Trans III cameras can skip Color Chrome Effect, Color Chrome FX Blue, and Clarity, since X-Trans III cameras don’t have those options, and they will simply not show in the finished Recipe. Once you save it, at the very bottom of the Recipe you’ll notice a Notes field, which wasn’t available in the old system.

Those who use the Custom Recipes feature of the Fuji X Weekly App will absolutely love this update. This has been in the works for a long time, and I’m very happy with how it turned out. And it needed to be done prior to the implementation of Backup/Restore. In a sense, as far as the coding goes, these two features go hand-in-hand, and that’s why they were done together. While this update is mostly beneficial to Patron subscribers, there are some small under-the-hood improvements that affect everyone, so even if you are using the App for free, I do recommend updating to the latest version, if your phone did not do so automatically.

The Fuji X Weekly App is free to download and use. Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Using X-Trans IV Recipes on X-Trans V Cameras

Posted on 19 Days Ago by Ritchie Roesch

*Streaming Light Through the Mountains* – Phoenix, AZ – Fujifilm X-T5 – Kodak Portra 400

When Fujifilm first introduced the fifth-generation of X-series cameras, I spent some time updated fourth-generation Film Simulation Recipes for the new models. There are several small differences in how fourth and fifth generation cameras render images, most notably how deeply blue is on the Classic Chrome, Classic Negative, Eterna, and Eterna Bleach Bypass film simulations. It’s an easy fix: if a fourth-generation Recipe uses one of those four film sims, reduce Color Chrome FX Blue by one (Weak instead of Strong; Off instead of Weak) on the fifth-generation camera. Or don’t make that adjustment, because you might not notice the difference anyway, and you’re perfectly happy with the results.

After republishing a number of “old” Recipes for use on the new cameras, I began to receive some feedback: stop rehashing existing Recipes. “You’re just publishing ones you’ve already made,” is one example. So I stopped. There are about 100 Recipes that I could do this with (make an X-Trans V version of an X-Trans IV Recipe). Not only would that take a lot of time to accomplish, but it would end up constituting most of the Recipes published for a couple of years. In other words, I totally get why some people would get annoyed by it. Still, there are a lot of fourth-generation Recipes that people want to use on their fifth-generation cameras.

*Uptown at Sunset* – Phoenix, AZ – Fujifilm X-T5 – Kodak Portra 400

One such Recipe is Kodak Portra 400, which is quite popular. Although I prefer Kodak Portra 400 v2 just a little more (that’s just my personal taste), which I did make an X-Trans V version of, I still really like this one and use it sometimes. I never did make a fifth-generation version of Kodak Portra 400, though; however, the Recipe can be used on the new cameras simply by either 1) leaving the Recipe as-is and accepting the results for what they are (which is nearly the same), or 2) do what I do, and adjust Color Chrome FX Blue to Off instead of Weak. There are a lot of people with newer models that have no idea that they can use the Kodak Portra 400 Recipe.

In other words, if you have a fifth-generation camera, 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 (plus the GFX100 II, GFX100S II, and GFX100RF), you can use any fourth-generation Recipe—if it calls for Classic Chrome, Classic Negative, Eterna, or Eterna Bleach Bypass, simply adjust Color Chrome FX Blue down one position (or don’t make that adjustment, it’s ok if you don’t). Even though I didn’t make an updated version specifically for the new cameras, the Recipe is still available for you to use. So, if you have a newer model, take a look at the X-Trans IV Film Simulation Recipes, because your next favorite might be found there, just waiting to be discovered.

Future Fujifilm Lens Ideas

Posted on 22 Days Ago 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 26 Days Ago 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 26 Days Ago 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 29 Days Ago 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 30 Days Ago 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 January 14 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 January 13 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:

*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

*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

*Abstract Reflections* – Phoenix, AZ – Fujifilm X-T5

*Urban Patios* – 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

*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 January 12 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.

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’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 January 11 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.