Photography blog

The Curious Case of D-Range Priority Auto

Posted on by Ritchie Roesch

Fujifilm GFX100S II – PRO Negative 160C except with D-Range Priority Auto

Someone pointed out to me that D-Range Priority Auto behaves differently on his Fujifilm X-T5 than he thought it would. I don’t use D-Range Priority Auto all that often, and it’s been awhile since I’ve done any sort of serious testing with it, so I took the opportunity to see what’s going on. I was quite surprised by what I found.

D-Range Priority (abbreviated DR-P) was a feature first found on old Fujifilm EXR models (this was before X-Trans) that utilized pixel-binning, and it worked much different than the current iteration of it. The modern version of DR-P was introduced in 2018 with the X-H1 and X-T3, and is modeled after a feature called Hypertone found on Fujifilm’s Frontier scanners. DR-P is used in lieu of the Dynamic Range (DR) settings and the Tone Curve (Highlight and Shadow).

Like the DR settings, DR-P is ISO dependent. DR-P Weak requires the same minimum ISO as DR200, and DR-P Strong requires the same minimum ISO as DR400. DR-P Auto should work the same as DR-Auto, and seemingly it does, but upon closer review it is significantly divergent. At least it is now. The way it works has evolved over time, largely unnoticed.

Fujifilm GFX100S II – PRO Negative 160C except with D-Range Priority Auto

Someone reported to me awhile back that they couldn’t get their X-T5 to choose DR-P Strong with DR-P Auto selected. With my X-Trans IV models, in DR-P Auto, the camera will almost always choose DR-P Weak, and only DR-P Strong in extreme high-contrast situations, with both bright highlights and deep shadows. The camera will do it, but not very often. I assumed that this person probably just hadn’t encountered the right situation where the camera would choose DR-P Strong. I can see now that my assumption was wrong.

Let’s backtrack a bit. D-Range Priority works a certain way on the X-H1 and X-T3/X-T30 (at least when the X-T30 was released and I tested DR-P on it back then …it might work differently today after firmware updates, I’m not certain). On those cameras, DR-P Auto will choose DR-P Weak most of the time, and DR-P Strong only in extreme situations. DR-P Weak is the same as DR200 with both Highlight and Shadow set to -1. In the set of three very identical images below, captured with a Fujifilm X-H1 this morning, one is DR-P Auto (which chose DR-P Weak), one is in-camera reprocessed as DR-P Weak, and one is in-camera reprocessed as DR200 with Highlight and Shadow both set to -1. They look exactly alike.

Now let’s fast forward a little. DR-P Auto works a little different on my Fujifilm X100V and X-E4, but not exactly as I remember it working, or as I expected it to. I’m not certain if the way it works changed after some firmware update, or if my memory of it is incorrect (it could go either way). Let’s take a look at a photograph that I captured today on my X-E4 using DR-P Auto, which chose DR-P Strong. I then reprocessed the image in-camera.

Fujifilm X-E4 as shot in DR-P Auto, which selected DR-P Strong
Same image, except reprocessed in-camera using DR-P Strong—surprisingly, it’s not the same.
Same image, except reprocessed in-camera using DR-P Weak; it’s getting closer, but not identical.
Same image, except reprocessed in-camera using DR200 + Highlight & Shadow set to -1; it’s divergent from all of the above images.
Same image, except reprocessed in-camera using DR400 + Highlight & Shadow set to -2. This is identical to the as-shot photograph.
Same image, except reprocessed in-camera using DR200 + Highlight & Shadow set to -2. This is identical to the reprocessed DR-P Weak image.

On the X-H1, DR-P Auto is more straightforward than on the X-E4; on the X-E4, it did not behave as I expected it to. While I could get it to choose DR-P Strong, it didn’t actually create a DR-P Strong image, or even a DR-P Weak image; instead, it created an image identical to DR400 with Highlight and Shadow set to -2 (“DR-P Medium”?). DR-P Weak is the same as DR200 with Highlight and Shadow set to -2; however, on the X-H1, DR-P Weak is identical to DR200 with Highlight and Shadow set to -1. Clear as mud?

Now let’s look at the newer cameras. On X-Trans V, as well as the latest GFX, it works even differently. Check out this set of photographs:

Fujifilm GFX100S II as shot in DR-P Auto, which selected DR-P Weak
Same image, except reprocessed in-camera using DR200 + Highlight & Shadow set to -1. It’s identical to the above photograph.
Same image, except reprocessed in-camera using DR-P Weak.

As you can see, the camera is not using DR-P Weak when in DR-P Auto. Like the X-H1, it is using DR200 with Highlight and Shadow set to -1; however, unlike the X-H1, DR-P Weak is not the same as DR200 with Highlight and Shadow set to -1. On the newer models, DR-P Auto is actually “DR-P Extra Weak” (if such a setting existed, which incidentally is the same as DR-P Weak on the X-H1). DR-P Weak is actually more like DR200 with Highlight set to -2 and Shadow set to -3 (if such a setting existed—in other words, it can’t really be replicated). Also, no matter how hard I tried, I could not get my X-T5 or GFX100S II cameras to choose DR-P Strong when in DR-P Auto; only DR-P Weak (except that the picture is “DR-P Extra Weak” instead of DR-P Weak).

Fujifilm GFX100S II shot with DR-P Strong and in-camera reprocessed to DR-P Weak
Same image, except reprocessed in-camera using DR400 + Highlight & Shadow set to -2. This is the closest I could get the shadows, but the highlights are divergent.

So what is the practical application of this? Since we know on the newer models—X-Trans V and the latest GFX—that the picture you get using DR-P Auto is the same as DR200 with Highlight and Shadow set to -1, you can replace any Film Simulation Recipe that calls for those settings (such as PRO Negative 160C) with DR-P Auto. There isn’t necessarily a practical advantage to doing that, except if you accidentally overexpose the frame, you can recover it by reprocessing the file in-camera with DR-P Weak. Below is an example of that:

Fujifilm GFX100S II as shot in DR-P Auto, overexposed
Same image, simply reprocessed in-camera with DR-P Weak with no other adjustments

I’m not really sure how to conclude this other than to say that D-Range Priority Auto works differently depending on what generation of camera you have. DR-P Weak and DR-P Strong are also a little divergent. I reached out to Anders Lindborg to ask his opinion and see if he had any insights on DR-P Auto, since he’s researched this topic pretty extensively. “The answer is actually in the manual,” he told me. “It says, ‘When an option other than Off is selected, Highlight Tone, Shadow Tone, and Dynamic Range will be adjusted automatically.'” On the newest models, that means Highlight and Shadow both set to -1 and Dynamic Range set to DR200 …and nothing else, unless you reprocess as DR-P Weak. Unfortunately, if you want to shoot with DR-P Weak or DR-P Strong straight-out-of-camera, then don’t use DR-P Auto. I suppose you could look at this way: DR-P Auto is actually DR-P Weak, DR-P Weak is actually DR-P Medium, and DR-P Strong is still DR-P Strong. I hope this somehow clears things up for those confused by it.

Below are a few pictures I created in preparation for this article, using my Fujifilm GFX100S II with the PRO Negative 160C Recipe (except for DR-P Auto in lieu of the DR and Tone Curve settings).

Fujifilm GFX100S II + Fujinon GF 80mm f/1.7
Fujifilm GFX100S II + Fujinon GF 80mm f/1.7
Fujifilm GFX100S II + Fujinon GF 80mm f/1.7

52 Weeks of Photography: Week 3

Posted on by Ritchie Roesch

Moon Palms – Buckeye, AZ – Fujifilm GFX100S II & 80mm f/1.7 – Kodachrome 64

Week 2

I started a new 365 Day photo project, which I’m calling 52 Weeks of Photography, back on Christmas Eve. Even though it is a year-long undertaking, I’m doing it one week at a time. This is the third week, the third set of seven images. I’m pretty excited to do this, and hope you appreciate following along on this journey.

The reason why I’m doing this photo-a-day project is because I noticed some gaps in-between my images over the last year. I haven’t been picking up my cameras daily. On several occasions, four or five days passed by without a single picture created. Twice in 2024, I skipped a whole week. I want to rectify this, and get back into the habit of daily photography. I also want to elevate the quality of my craft in 2025, and am hoping this will help with that.

Dry Leaves in the Green Grass – Buckeye, AZ – Fujifilm GFX100S II & 80mm f/1.7 – Reala Ace

The plan is to capture a year’s worth of notable images, either personally or artistically. Ansel Adams famously stated, “Twelve significant photographs in any one year is a good crop.” It’s important to keep expectations realistic, but I’m also trying to avoid thoughtless snapshots just to fulfill the day’s requirement. I want to push myself to be better, and hopefully that will happen. Not every photo will be great—in fact, most won’t—but I hope they are all at least decent enough to be shared without embarrassment.

I used my Fujifilm X-T4 ES full spectrum infrared camera a lot during this seven day period. IR photography is a ton of fun, so I grab the X-T4 ES frequently. Unfortunately, that only delays other projects that I’m working on, so I need to be a little more deliberate about the gear I’m choosing, and do a better job at spreading the love between my various cameras.

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

Tuesday, January 7th, 2025

Dogs out a Truck Window – Laveen, AZ- Fujifilm X-T4 ES & 35mm f/2 – Agfa 400S

Wednesday, January 8th, 2025

Bicycles on a Dirt Road – Buckeye, AZ – Fujifilm GFX100S II & 80mm f/1.7 – Velvia Film

Thursday, January 9th, 2025

Golden Hills – Buckeye, AZ – Fujifilm GFX100S II & 80mm f/1.7 – Velvia Film

Friday, January 10th, 2025

Sun Through Yellow Bougainvillea – Buckeye, AZ – Fujifilm X-T4 ES & 35mm f/2 – Aerochrome v2

Saturday, January 11th, 2025

Red Tree Canopy – Buckeye, AZ – Fujifilm X-T4 ES & 35mm f/2 – Aerochrome v2

Sunday, January 12th, 2025

Sunday Bougainvillea – Buckeye, AZ – Fujifilm X-E4 + 27mm f/2.8 – Fujicolor Natura 1600

Monday, January 13th, 2025

Iowa Water– Buckeye, AZ – Fujifilm X-T4 ES + 35mm f/2 – Upcoming IR Recipe

Week 4

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

Fujifilm GFX100S II:
Amazon, B&H, Wex
Fujinon GF 80mm f/1.7:
Amazon, B&H, Wex
Fujinon 35mm f/2 in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujinon 35mm f/2 in silver:
Amazon, B&H, Moment, Wex, Nuzira
Fujinon 27mm f/2.8:
Amazon, B&H, Moment, Wex

Godox iM30 Flash

Posted on by Ritchie Roesch

Godox sent me their new iM30 flash to try. I have a number of Godox flashes, including the Lux Junior, Lux Cadet, and Lux Master. Of those, the Lux Master is the most capable, but also the largest and heaviest. The Lux Cadet has a cool retro look, but I like the Lux Junior the most because it is smaller, and a tend to prefer compact gear. The iM30 is significantly smaller than the Lux Junior, so is it an ideal flash to pair with compact Fujifilm X-series gear, like my Fujifilm X-E4? Let’s find out.

Surprisingly, the Godox iM30 uses two AAA batteries. In one sense this is good, because you can easily carry a spare pair of AAA batteries, and if not, they are easy to find. You could also get yourself some rechargeable batteries and a charger. Personally, I would have preferred an internal rechargeable battery with a USB charging port. I’m not sure how many flashes you can get from a pair of copper-tops because I’m still on the original two after about 50 activations, and I have no idea if the batteries have a lot of life left or if they’re nearly depleted; however, Godox suggests that you can get about 230 flashes, so I might have a long ways to go.

Without a doubt, I can say that the iM30 is for those who want a compact flash. It is 2″ deep, 2.4″ wide, and 1.8″ tall (including the hotshoe mount). It weighs only 0.17 pounds without batteries, and 0.23 pounds with the batteries. It’s not the smallest flash I’ve ever used, but it is certainly one of the smallest. It looks great on cameras like the Fujifilm X-E4. Recycle time is just under four seconds.

The oddity of this flash is that it is cheap, so you might think that it is for beginners, but that is not true. While it is fairly simple, beginners might find it challenging, and perhaps even frustrating. You have to have some prior experience with flashes to use the iM30 effectively (or this might be your opportunity to learn). Also, the lowest setting, which is designated as 1/64, is sometimes too strong, and I wish that there was a lower power option.

My Fujifilm X-E4 – Buckeye, AZ – Fujifilm X-T5 + Godox iM30 & Lux Master – Pacific Blues

For only $35 on Amazon, the Godox iM30 offers cheap thrills. There’s a lot of fun that you can have with it. For instance, it can be used as a secondary flash triggered by a primary flash. While you can’t use colored gels with the iM30 (without tape, anyway), you can shoot through a color correction or B&W film filter. That’s what I did for the above photo. I had a Godox Lux Master attached to the camera (and set to its lowest power), and the iM30 off to the side with a Tiffen 47B filter placed in front of the flash, giving a splash of blue to the otherwise warm scene. Is it ideal for that purpose? No, but it certainly can be done, and without spending a lot of money.

If you want a compact flash and have experience with flashes, and also don’t want to spend much money, the Godox iM30 is for you. It can be a lot of fun, and the opportunity to use it creatively is certainly there. It’s not my favorite Godox flash, but I can see bringing it on trips simply because it doesn’t take up much space in the bag. I do plan to use it in the coming months, but I don’t anticipate it being a tool that I reach for frequently.

Example photos, all camera-made JPEGs captured using the Godox iM30 flash on my Fujifilm cameras:

Backyard Boy – Buckeye, AZ – Fujifilm X100VI + Godox iM30 – Nostalgic Americana
Loves Her Dress – Buckeye, AZ – Fujifilm X-E4 + Godox iM30 (w/Hoya G(XO) Yellow-Green filter) – Nostalgia Color
Jump Over It – Buckeye, AZ – Fujifilm X100VI + Godox iM30 – Kodak Max 800
Distracted – Buckeye, AZ – Fujifilm X-E4 + Godox iM30 (w/Tiffen 47B filter) – Redscale
Jon, at Night – Tonopah, AZ – Fujifilm X-E4 + Godox iM30 – Classic Color
Slow Shutter Portrait – Buckeye, AZ – Fujifilm X-E4 + Godox iM30 – Color Negative 400

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

Infrared Photography on Fujifilm Full Spectrum Cameras

Posted on by Ritchie Roesch

Did you know that you can photograph invisible light? Full spectrum infrared cameras can see beyond what you and I can perceive with our eyes, providing a unique way to view the world.

Lightwaves within the visible spectrum are between about 380-780 nanometers, but there is light outside of what the human eyes can see. On one end is Infrared, also called Thermal Radiation, which is from 780nm to 1 millimeter (700nm to 780nm is sometimes referred to as near-IR). On the other side is Ultra Violet, which is from 380nm to 10nm. Camera sensors are sensitive to these lightwaves, so manufacturers place a filter over the sensor to block the invisible light. If not for this filter, your pictures would look abnormal compared to what your eyes see. Full spectrum cameras don’t have this filter, and are sensitive to the full range of lightwaves.

Above: Full spectrum images without filters, photographed on a Fujifilm X-T4 ES.

Fujifilm has made several full spectrum cameras. First was the S3 Pro UVIR in 2006, followed by the IS-1 (infrared version of the FinePix S9100) in 2007, then X-T1 IR in 2015, then GFX100 IR in 2020, and finally the X-T4 ES (“Extended Spectrum”) in 2024. Typically, Fujifilm does not offer these models to the general public; instead, they are strictly only for “forensic, scientific, and cultural preservation applications.” The X-T4 ES is the first full spectrum model that Fujifilm has sold to the general public, albeit quite quietly. As of this writing, I believe that the only place you can buy the Fujifilm X-T4 ES is from B&H, but it requires a phone call or in-person visit, and cannot be ordered from the internet. If that changes, I’ll be sure to let you know.

For those unable to buy a Fujifilm X-T4 ES (which is a standard X-T4 just without the infrared/UV filter over the sensor), you can convert any Fujifilm camera to full spectrum. It requires an expensive and invasive procedure from a third-party vendor like LifePixel, Kolari Vision, or Spenser’s Camera (there are others, too). Sometimes you can find an already converted camera for sell. You can also get a specific infrared filter over the sensor in place of the removed filter, but that is a much more limiting approach than a full spectrum conversion, and you have to know that you’ll be happy with your filter choice before committing to it, or else you might find yourself regretting your decision. The easiest option—if you can find it, which might be a big if—is the X-T4 ES. I hope that Fujifilm makes this model (or something similar) more easily available to purchase.

One consideration for full spectrum cameras is the lens. Many lenses suffer from IR hotspots, and can perform less than optimally when used with a full spectrum camera. Many lenses are good wide-open at maximum aperture, but as you stop down the hotspot appears. The Fujinon 35mm f/2 is good at all apertures, and that is the one that I most commonly use with the X-T4 ES. There are several databases (here, here, here) for which lenses are good for full spectrum cameras, and which ones to avoid.

Another consideration is filters. You don’t need a filter to use your full spectrum camera, but you can use various filters, such as the Kolari Vision IR Chrome, to control the wavelengths of light that hit the sensor. You can achieve many various looks by the filters you use in conjunction with the camera settings, including film simulation and white balance. These filter and camera setting combinations are called Full Spectrum Film Simulation Recipes, which allows you to achieve striking photos without editing. As of this writing, I have published five Recipes: Aerochrome v1, Aerochrome v2, PurpleChrome, Cotton Candy Chrome, and Agfa 400S. More are in the works, so stay tuned for that.

Clockwise, from top-left: Aerochrome v1, Aerochrome v2, PurpleChrome, Cotton Candy Chrome, Agfa 400S.

Capturing the invisible light spectrum is extremely fun and rewarding because it transforms an ordinary scene into something truly extraordinary. The world becomes a fanciful place filled with unexpected colors. It’s like a crazy dream, except that it’s real, if only you could see it—full spectrum cameras allow you to peel back the curtain and take a peek.

Interestingly, you can actually do infrared photography with non-converted Fujifilm cameras, because the X-Trans sensors are sensitive to near-IR light. My Full Spectrum Film Simulation Recipes won’t work, because those require a full spectrum camera like the Fujifilm X-T4 ES, but nonetheless you can still do IR photography with a 720nm IR filter (which blocks most visible light) on a regular, non-converted model. It’s fun to try! Since most of the light is blocked, you will be using high-ISOs and/or longer exposure times. If you do this, be warned: you might get bit by the IR bug, and find yourself converting a camera, or searching out an X-T4 ES.

Above: B&W IR photo from a non-converted Fujifilm X-E4 & 720nm filter.

See also:
Photographing in Aerochrome
Philadelphia in Aerochrome — Infrared Photography in the City of Brotherly Love

Some Thoughts on Leading Lines

Posted on by Ritchie Roesch

Bicycles on a Dirt Road – Buckeye, AZ – Fujifilm GFX100S II – Velvia Film

My 15-year-old son, Jonathan, has shown a strong interest in photography for a few years now, so for Christmas my wife and I got him a camera. He just began a high school photography class this semester. Jon told me that one of the first lessons was on composition, including leading lines.

A couple days ago, Jon and I were walking down a dirt road out in the desert with our cameras, so I took the opportunity to talk with him about leading lines. I told him that lines are great for taking the viewer on a journey through the picture. Lines that come from the corners (or near the corners) tend to lead into the frame, while lines that are from the edges (top-middle, bottom-middle, left-middle or right-middle) tend to lead the viewer’s eyes out of the frame. Leading lines are great, but they must lead to something to be effective; leading lines that lead to nothing are disappointing and boring.

Desert Road – Buckeye, AZ – Fujifilm X-T4 ES – Agfa 400S

I pointed out the road that we were walking on, showing that the sides of the road, or even the tire tracks in the dirt, are lines. They can be used to take the viewer from the bottom corners into the middle of the frame somewhere. But you have to think about what the viewers are going to find when they get to the end, as there should be something for them to discover.

In the Desert Road image above, the lines take the viewer from the bottom of the frame to the base of the darker mountain in the middle-left of the picture, then up the ridge of the closer hill towards the top-right; your eyes might follow the ridge of the distant hill to the left, or they might leave the frame altogether. It would have been more interesting if a hiker, bicyclist, car, coyote, etc., were at the end of the road just before it disappears around the corner. Or a brightly lit saguaro partway up the closer ridge contrasted with the shadow behind. The image itself is ok, but if the viewer had found a surprise element on their journey through the picture, it would have been much more compelling.

Sunset Bicyclists – Buckeye, AZ – Fujifilm X-S20 – Kodak Negative – Photo by Jonathan Roesch

As we were heading back to the car to go home because the sun had dipped below the ridge, we came across a row of drainage pipes that I suppose will someday serve a purpose. I told him that those could be used as leading lines, too. I noted that there was a dark spot in the road at the end of the pipes, and told him that if only there was something there in that spot, it could make for an interesting picture.

We hadn’t seen another person the entire time, so I didn’t expect anything interesting to happen, but then two bicyclists showed up. I told Jon to wait, that this was a fortuitous opportunity, and be ready to compose his picture. We waved to the two men as they pedaled by, then we set up our shots.

Jon Composing His Shot – Buckeye, AZ – Fujifilm GFX100S II – Kodak Film

My picture is Bicycles on a Dirt Road at the very top, and Jon’s is Sunset Bicyclists two images above. I used the pipes to take the viewer from the bottom-right to the bicyclists at the middle-left. Jon used the lines in the dirt road to lead to the bicyclists, and the pipes served as a secondary element. Even though we photographed the same thing at the same time while standing next to each other, our pictures are much different. Two photographers will rarely see the same scene exactly the same way, because each person has different experiences, emotions, perspectives, etc., to form and execute their visions.

There are a several quick takeaways from this article. First, look for and use lines to thoughtfully direct viewers through your photographs, and try to give them a little surprise if you can. Second, your photographs are your unique voice, and as such are meaningful and important; however, you want to communicate your voice as strongly as possible with each shutter click—it takes much practice to develop strong photographic communication. Next, good pictures often involve some level of luck, but you can greatly increase your chances by being out with your camera—luck has a way of finding you if you give it the opportunity. Finally, if you are a straight-out-of-camera photographer, choose the most appropriate Film Simulation Recipe for how you want the scene to look. It takes some level of experience (oftentimes, trial-and-error) to figure that out, and each person has their own tastes and styles, so what works for one might not for another. I chose Velvia Film (one of the Film Dial Recipes… I use this approach even without the dial) because I wanted a bright and vibrant picture; Jon chose Kodak Negative because he wanted a warm retro aesthetic.

Agfa 400S — Fujifilm X-T4 ES (Full Spectrum Infrared) Film Simulation Recipe

Posted on by Ritchie Roesch

Monochrome Founders – Buckeye, AZ – Fujifilm X-T4 ES – Agfa 400S

This is my first B&W Film Simulation Recipe for Fujifilm full spectrum cameras, like the Fujifilm X-T4 ES (“Extended Spectrum”). It’s not for “normal” cameras; you must have a full spectrum X-Trans IV or X-Trans V model, which requires an expensive and invasive procedure from a third-party vendor like LifePixel, Kolari Vision, or Spenser’s Camera. Otherwise, the Fujifilm X-T4 ES is a full spectrum camera (is sensitive to light outside the visible gamut) briefly offered by Fujifilm to the general public. As of this writing, I believe that you can still buy the Fujifilm X-T4 ES from B&H, but it requires a phone call or stopping by in-person, and cannot be order from the internet.

The reason why it took me so long to publish a B&W Recipe for full spectrum IR cameras is because I had trouble creating one that I was fully satisfied with. I experimented with many different filters and settings, but just couldn’t find the right combination that produced the results that I desired. Initially, this was another one of those failed experiments, until I added a third filter (QB2), and instantly fell in love with the aesthetic that this Recipe creates.

Water in the Desert – Buckeye, AZ – Fujifilm X-T4 ES – Agfa 400S

The emulsion that this Recipe is most reminiscent of is Agfa AviPhot 400S, which is also sold under Rollei Retro 400S, Rollei 400 IR, Japan Camera Hunter Street Pan 400, Astrum Foto 400, and Svema Foto 400. This film was made for aerial surveillance—hence: AviPhot, which is short for “Aviation Photography”, and “S” for surveillance—and is both infrared and UV sensitive, although only a little. In order to get good IR results, the film requires a 720nm filter and adding two or three stops to the exposure.

This Agfa 400S Film Simulation Recipe doesn’t use a 720nm filter; instead, it requires three filters: Kolari Vision IR Chrome, Tiffen Deep Yellow 15, and QB2 blue. The QB2 was given to me and I have no idea what brand it is, but here are some that I found online: JTSF, PMP, Nantong, Shanghai Longway, Tangsinuo. This is a fairly uncommon filter (that’s why none of the name brands make it), but it is used by some in the IR world (my Cotton Candy Chrome Recipe also uses the QB2 filter). I’m not sure if the order matters, but I have the Deep Yellow filter first (closest to the lens), the IR Chrome next, and the QB2 last (furthest from the lens).

Tree in Grey – Buckeye, AZ – Fujifilm X-T4 ES – Agfa 400S

While this Recipe was designed on and intended for the Fujifilm X-T4 ES camera, it should be fully compatible with any full spectrum converted X-Trans IV (except the X-T3 and X-T30) and X-Trans V models. For a grainier look, use higher ISOs, such as 6400 and 12800 (Water in the Desert is an ISO 12800 image). For a cleaner look, use lower ISOs.

Filters: Tiffen Deep Yellow 15, Kolari Vision IR Chrome, & QB2 Blue
Film Simulation: Acros+R
Monochromatic Color: WC 0 MG 0 (Off)
Dynamic Range: DR200
Grain Effect: Strong, Small
Color Chrome Effect: Off
Color Chrome FX Blue: Off
White Balance: 2500K, +9 Red & -2 Blue
Highlight: +4
Shadow: +4
Sharpness: -1
High ISO NR: -4
Clarity: -2
ISO: Auto, up to ISO 12800
Exposure Compensation: -1/3 to +1/3 (typically)

Example photographs, all camera-made JPEGs captured using this Agfa 400S Film Simulation Recipe on my Fujifilm X-T4 ES:

Sunlit Jon – Surprise, AZ – Fujifilm X-T4 ES
Sunglasses – Surprise, AZ – Fujifilm X-T4 ES
Flower Girl – Buckeye, AZ – Fujifilm X-T4 ES
Photographer Jon – Buckeye, AZ – Fujifilm X-T4 ES
Hand in Hand – Buckeye, AZ – Fujifilm X-T4 ES
Dogs out a Truck Window – Laveen, AZ – Fujifilm X-T4 ES
Dramatic Light – Buckeye, AZ – Fujifilm X-T4 ES
Lamp Post – Buckeye, AZ – Fujifilm X-T4 ES
Second Floor Windows – Buckeye, AZ – Fujifilm X-T4 ES
Neighborhood Eucalyptus – Buckeye, AZ – Fujifilm X-T4 ES
White Tree – Buckeye, AZ – Fujifilm X-T4 ES
Grey Saguaro – Buckeye, AZ – Fujifilm X-T4 ES
17th Green – Buckeye, AZ – Fujifilm X-T4 ES
Closed Umbrella in Monochrome – Buckeye, AZ – Fujifilm X-T4 ES
Second Floor – Buckeye, AZ – Fujifilm X-T4 ES
Sunlit Stucco – Surprise, AZ – Fujifilm X-T4 ES
Empty Cart – Buckeye, AZ – Fujifilm X-T4 ES
Shade – Surprise, AZ – Fujifilm X-T4 ES
Coffee Work – Buckeye, AZ – Fujifilm X-T4 ES
Open Umbrellas – Surprise, AZ – Fujifilm X-T4 ES
White Bougainvillea 1 – Buckeye, AZ – Fujifilm X-T4 ES
White Bougainvillea 2 – Buckeye, AZ – Fujifilm X-T4 ES
Palm Fronds – Buckeye, AZ – Fujifilm X-T4 ES
V Tree – Buckeye, AZ – Fujifilm X-T4 ES
Evening Light – Buckeye, AZ – Fujifilm X-T4 ES
Tis but a Scratch– Buckeye, AZ – Fujifilm X-T4 ES
Desert Road – Buckeye, AZ – Fujifilm X-T4 ES
Last Light on the Peaks – Buckeye, AZ – Fujifilm X-T4 ES
Trees & Flare – Surprise, AZ – Fujifilm X-T4 ES
Saguaro Fingers – Buckeye, AZ – Fujifilm X-T4 ES

See also: Full Spectrum Recipes

52 Weeks of Photography: Week 2

Posted on by Ritchie Roesch

Water in the Desert – Buckeye, AZ – Fujifilm X-T4 ES + 35mm f/2 – Upcoming IR Recipe

Introduction & Week 1

I started a new 365 Day photo project, which I’m calling 52 Weeks of Photography, back on Christmas Eve. Even though it is a year-long undertaking, I’m doing it one week at a time. This is the second week—the second set of seven images. I’m pretty excited to do this, and hope you appreciate following along on this journey.

The reason why I’m doing this photo-a-day project is because I noticed some gaps in-between my images over the last year. I haven’t been picking up my cameras daily. On several occasions, four or five days passed by without a single picture created. Twice in 2024, I skipped a whole week. I want to rectify this, and get back into the habit of daily photography. I also want to elevate the quality of my craft in 2025, and am hoping this will help with that.

The plan is to capture a year’s worth of notable images, either personally or artistically. Ansel Adams famously stated, “Twelve significant photographs in any one year is a good crop.” It’s important to keep expectations realistic, but I’m also trying to avoid thoughtless snapshots just to fulfill the day’s requirement. I want to push myself to be better, and hopefully that will happen. Not every photo will be great—in fact, most won’t—but I hope they are all at least decent enough to be shared without embarrassment.

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

Tuesday, December 31th, 2024

Raspberry Tree – Buckeye, AZ – Fujifilm X-T4 ES & 35mm f/2 – Aerochrome v2

Wednesday, January 1st, 2025

Window Ladder – Buckeye, AZ – Fujifilm X-T4 + Pentax-110 50mm f/2.8 – Pacific Blues

Thursday, January 2nd, 2025

Backyard Boy – Buckeye, AZ – Fujifilm X100VI + Flash – Nostalgic Americana

Friday, January 3rd, 2025

Unfair Comparisons – Buckeye, AZ – Fujifilm GFX100S II + 80mm f/1.7 – Astia Summer

Saturday, January 4th, 2025

Office Space – Buckeye, AZ – Fujifilm X-T5 + 56mm f/1.2 + Flash – Pacific Blues

Sunday, January 5th, 2025

Sunglasses – Surprise, AZ – Fujifilm X-T4 ES + 35mm f/2 – Upcoming IR Recipe

Monday, January 6th, 2025

Tis but a Scratch– Buckeye, AZ – Fujifilm X-T4 ES + 35mm f/2 – Upcoming IR Recipe

Week 3

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, Wex, Nuzira
Fujifilm X-T5 in silver:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X100VI in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X100VI in silver:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm GFX100S II:
Amazon, B&H, Wex
Fujinon GF 80mm f/1.7:
Amazon, B&H, Wex
Fujinon 56mm f/1.2 R WR:
Amazon, B&H, Wex, Nuzira
Fujinon 35mm f/2 in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujinon 35mm f/2 in silver:
Amazon, B&H, Moment, Wex, Nuzira

Now, You Probably Don’t Need A Permit to Film in a National Park (Yea!!)

Posted on by Ritchie Roesch

Young Yucca – White Sands NP, NM – Fujifilm GFX100S II – Fujicolor PRO 160C Warm

A year ago, I published an article entitled My Experience Obtaining a Permit to Film in a National Park (you probably need one, too), which detailed my ordeal getting a permit to film a YouTube video at the Grand Canyon National Park. It was my first time going through the process, and I found it to be unnecessarily arduous and frustrating. The article got some attention, and I was even interviewed by the press regarding this topic.

The good news is that you probably no longer need a permit to film in a National Park, unless you are an actual production crew or are doing something that requires special permission. Just this last weekend, the President signed into law the Explore Act, which allows most people to freely film within the National Park Service. Essentially, the Explore Act allows photography and filming without a permit for parties of five or fewer people as long as it involves allowed activity in a National Park, regardless of whether those documenting are receiving compensation for their work.

Cold Rim, Warm Light – Grand Canyon NP, AZ – Fujifilm X-T5 – Kodak Vision3 250D v2

Because my small YouTube channel was monetized, a year ago I needed a permit, even if the video I made didn’t earn hardly anything (and cost way more to make than it earned). Even the potential of one penny of Adsense revenue meant I was a for-profit film production crew, and as a for-profit film production crew a permit was required to film, even if I were merely recording on my cellphone or a GoPro. Today, that’s not the case at all. As long as you have five or less people and you’re doing normal things that tourists are allowed to do, you can film, and can skip the permit process. This is definitely a win for small creators.

I understand why not everyone is celebrating. The National Park Service has two equal missions that oppose each other: conservation and access. They have to preserve the land, and they have to open the land to visitors. To best conserve requires closing the gate to visitors, and to best allow access greatly risks conservation. They have to walk a fine line, which is not easy to do, and not everyone will be happy. The law—as it was on Friday prior to the Explore Act—leaned more towards conservation (even if awkwardly and ineffectively), and now, as of Saturday, it leans more towards access. There are some who prefer preservation over people. I get it, and am sympathetic towards that; however, I believe that this was the right thing to do, and I’m quite happy to see this new law on the books.

Fujifilm Grain Comparison: GFX100S II vs. X-T5

Posted on by Ritchie Roesch

Unfair Comparisons – Buckeye, AZ – Fujifilm GFX100S II – Astia Summer

I’m planning to do a number of comparison tests between the JPEGs from the Fujifilm GFX100S II and my X-series models, like the Fujifilm X-T5. What’s different? What’s the same? I haven’t come to very many conclusions yet. There’s clearly a difference, but it seems so subtle it is tough to put a finger on what exactly is divergent.

For this article, I’m comparing the faux Grain between the GFX100S II and the X-T5. This isn’t a carefully controlled scientific test. When my wife (on the X-T5) and I (on the GFX100S II) captured these images, we did not intend for them to be used in any sort of comparison test. I chose these because they were made in the same location (White Sands National Park in New Mexico). They were captured with the new Kodak Gold Max 400 Expired Recipe, and reprocessed in-camera with the Astia Summer Recipe. I chose those two Recipes because of their Grain: Weak/Small and Strong/Large.

Fujifilm X-T5 – Astia Summer – Grain Weak/Small
Fujifilm GFX100S II – Astia Summer – Grain Weak/Small
Fujifilm X-T5 – Kodak Gold Max 400 Expired – Grain Strong/Large
Fujifilm GFX100S II – Kodak Gold Max 400 Expired – Grain Strong/Large

You cannot tell much at all from the above photos. From examining the pictures more closely, I can state that the size of the faux grain is a little larger in the X-T5 JPEGs than the GFX100S II, but you can’t really tell without cropping in. So let’s crop in!

In the first set (identified simply by “Crop”), I’ve made the pictures roughly the same size. If you look carefully, the Weak/Small Grain is slightly more visible in the X-T5 pictures, but it’s not overtly obvious. In the second set (identified by “Bigger Crop”), I’ve tried to match the Grain, and I had to crop much more deeply on the GFX100S II pictures to do so. These are significant crops, and you’d have to print large to view them this big. I think if a Grain size Medium existed on GFX, that would more closely match Grain size Small on the X-series.

Crop – Fujifilm X-T5 – Astia Summer – Grain Weak/Small
Crop – Fujifilm GFX100S II – Astia Summer – Grain Weak/Small
Bigger Crop – Fujifilm X-T5 – Astia Summer – Grain Weak/Small
Bigger Crop – Fujifilm GFX100S II – Astia Summer – Grain Weak/Small

Below is a repeat, except for with Strong/Large Grain. I think if a Grain size Medium existed on the X-T5, it would more closely match Grain size Large on the GFX100S II.

Crop – Fujifilm X-T5 – Kodak Gold Max 400 Expired – Grain Strong/Large
Crop – Fujifilm GFX100S II – Kodak Gold Max 400 Expired – Grain Strong/Large
Bigger Crop – Fujifilm X-T5 – Kodak Gold Max 400 Expired – Grain Strong/Large
Bigger Crop – Fujifilm GFX100S II – Kodak Gold Max 400 Expired – Grain Strong/Large

I don’t know that it makes any practical real-world difference, but the size of the Grain—whether Small or Large—is not identical on GFX as it is on X-series cameras. It’s not scaled the same. It’s smaller on GFX and larger on X-series, specifically when comparing the 100mp images from the GFX100S II to the 40mp images from the X-T5. There are also likely variances between the 26mp APS-C sensor and the 50mp GFX sensor.

The way to look at this, I suppose, is that film grain appears more fine on medium-format film than 35mm. The difference in silver grain between—say—120 film and Advanced Photo System Type-C film is much, much more significant than the difference in Grain between GFX and X. I think you’d expect the Grain to be more “fine” on GFX—and that’s what you find—but it isn’t nearly as much of a difference as with actual film.

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, Wex, Nuzira
Fujifilm X-T5 in silver:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm GFX100S II:
Amazon, B&H, Wex

Top 25 Most Popular Film Simulation Recipes of 2024

Posted on by Ritchie Roesch

Red Rock at Sundown – Sedona, AZ – Fujifilm X-T50 – Reala Ace

I get asked fairly regularly which Film Simulation Recipes are the most popular. For me, this is a fascinating topic, but it’s definitely hard to know definitively. While I get a glimpse on social media, my best gauge is the Fuji X Weekly website statistics; specifically, which Recipe articles are viewed the most. I don’t collect any data on the Fuji X Weekly App, so that’s no help—although, if I did, it would likely offer the most accurate picture; however, it would still be impossible to know which Recipes people programmed into their Fujifilm cameras, or how often they used each. Perhaps a survey would be particularly useful, yet even it has its limitations. While certainly a flawed method, page-view website statics offer the best glimpse at which Film Simulation Recipes are the most popular, so that’s what I’m using for this article. These are simply the Top 25 most-viewed Recipes on the Fuji X Weekly website in 2024.

It’s quite fascinating comparing this list to last year’s. First and second place are the same, but otherwise there’s a lot of change, with several not making the Top 25 this year. I could have guessed the Top 10, maybe the Top 15, but I was surprised by a couple near the bottom—I didn’t think they’d make the cut, but here they are!

Dumbo Crowd – New York City, NY – Fujifilm X-T50 – Reala Ace

Those Recipes with Kodak brand names in the title—Kodachrome, Portra, Gold, Tri-X, etc., etc.—are usually the most popular. Classic Chrome is the king of film simulations, as the majority of the most-viewed Recipes are based on that film simulation, including the first four, as well as 12 of the Top 15.

Without any further delay, below are the most popular Recipes of last year!

Top 25 Most Popular Film Simulation Recipes of 2024

#1:

Kodachrome 64

A Classic Chrome based Recipe for X-Trans IV cameras that is the long-time most popular Film Simulation Recipe for Fujifilm cameras. It was #1 last year, too.

#2:

Kodak Portra 400 v2

A Classic Chrome based Recipe for X-Trans IV cameras that is the long-time #2 most-popular Recipe on Fuji X Weekly. Last year it was ranked #2.

#3:

Reggie’s Portra

Reggie’s Portra, a popular Classic Chrome based Recipe for X-Trans IV cameras, is the most versatile Portra Recipe. It was #9 last year—it saw a significant rise in 2024.

#4:

Vibrant Arizona

A Wes Anderson inspired Recipe based on Classic Chrome for X-Trans IV and X-Trans V cameras. It was ranked #4 last year, too.

#5:

Reala Ace

This Recipe uses the Classic Negative film simulation (and not the Real Ace film sim), and is for X-Trans V cameras. While it was published in 2023, it did not crack the Top 25 last year. Those Recipes published during the year are at a notable disadvantage compared to the long-established ones.

#6:

Kodak Portra 400

This version of Kodak Portra 400, which is compatible with X-Trans IV cameras, fell three spots compared to 2023.

#7:

Kodak Portra 400 v2

This is the X-Trans V version of Kodak Portra 400 v2. It was ranked #17 in 2023.

#8:

Pacific Blues

This particular version of Pacific Blues is compatible with X-Trans IV models, but there is also an X-Trans V version. It fell two spots since last year.

#9:

Kodak Portra 800 v3

A Classic Chrome based Recipe for X-Trans IV and X-Trans V cameras, published in February of this year. It has quickly established itself as one of the essential Fuji X Weekly Recipes to try.

#10:

Kodak Tri-X 400

This is the long-time most popular B&W Recipe on Fuji X Weekly. It’s based on the Acros film simulation, and has compatibility with X-Trans III, X-Trans IV, and X-Trans V models. It fell two spots compared to 2023.

#11:

Vintage Kodachrome

Vintage Kodachrome, which is based on Classic Chrome, is one of the older Film Simulation Recipes on Fuji X Weekly, and is compatible with X-Trans III cameras. It was ranked #5 last year.

#12:

McCurry Kodachrome

This Recipe—published in January—is reminiscent of scanned Kodachrome 64 slides, and is compatible with X-Trans IV cameras.

#13:

Kodachrome 64

This is the X-Trans V version of Kodachrome 64. It was ranked #21 in 2023.

#14:

Kodak Gold 200

Another Classic Chrome based Recipe, for use on X-Trans III models, plus the X-T3/X-T30. It has the same ranking as last year.

#15:

Kodak Gold 200

This is the X-Trans V version of Kodak Gold 200. While it was published in 2023, it didn’t make the Top 25 list last year.

#16:

Classic Chrome

The very first Film Simulation Recipe on Fuji X Weekly, this Recipe is compatible with X-Trans III cameras. It fell six spots since 2023.

#17:

Bright Summer

Bright Summer—another Classic Chrome based Recipe for X-Trans IV—is sometimes called Preetra 400, because it is modeled after Preet’s aesthetic (Preet himself is the one who gave it that nickname, btw). It didn’t crack the Top 25 list last year, but grew significantly in popularity in 2024.

#18:

14 Film Dial Recipes

It is probably unfair to include the Film Dial Recipes in this list because it is not one Recipe, but 14; however, the Vibrant Arizona article is technically four Recipes, so there is a precedence for its inclusion. Published in May, this is the newest Recipe in this list.

#19:

Fujicolor Super HG v2

A Classic Negative based Recipe that’s compatible with X-Trans V cameras (there’s also an X-Trans IV version). While it was published 18 months ago, it didn’t crack the Top 25 last year.

#20:

Kodak Portra 160

This version of Kodak Portra 160 is for X-Trans IV cameras, but there are also versions for X-Trans II, X-Trans III + X-T3/X-T30, and X-Trans V. It’s another Recipe that was published in 2023, but didn’t make the Top 25 list last year.

#21:

PRO Negative 160C

This was the first Recipe I published that uses the new Reala Ace film simulation, published in March of this year.

#22:

Classic Color

I published this Recipe, which uses Classic Chrome and has compatibility with both X-Trans IV and X-Trans V cameras, in April.

#23:

Kodachrome II

Kodachrome II is an older Recipe made for X-Trans III cameras. It was ranked #12 in 2023.

#24:

CineStill 800T

This is an Eterna-based Recipe for X-Trans V cameras; however, it’s simply an adaptation of the X-Trans IV version that has been around for awhile. This version was published in April of this year.

#25:

Kodak Ultramax 400

This is the X-Trans IV version of this Recipe, but there’s also a version for X-Trans III plus the X-T3 and X-T30 cameras, and also a version for X-Trans V. In 2023 it was ranked #11.

See also:
How To Add Film Simulation Recipes To Your Fujifilm Camera
The Essential 7 Film Simulation Recipes to Program Into Your Fujifilm Camera First
Which Film Simulation Recipe, When?

Find these Film Simulation Recipes and many more on the Fuji X Weekly App!

New Year, New Project: 52 Weeks of Photography — Part 1, Introduction & 1st Week

Posted on by Ritchie Roesch

Young Yucca – White Sands NP, NM – Fujifilm GFX100S II + 80mm f/1.7 – Fujicolor PRO 160C Warm

It’s officially 2025! Happy New Year’s Day, everyone!

I started a new 365 Day photo project, which I’m calling 52 Weeks of Photography, back on Christmas Eve. This article is simply the introduction of the project, and the first set of seven images. I’m pretty excited to do this, and hope you appreciate following along on this journey.

This isn’t the first time that I’ve done a 365 Day photo project—I did one from August 2018 through August 2019. I developed the habit of picking up a camera daily, and my photography improved from start to finish. Also, I captured some photographs that I wouldn’t have otherwise, a few of which I was quite happy with. There is definitely a benefit to doing this type of thing. Professional athletes and musicians practice daily, so why shouldn’t photographers?

The reason why I’m doing this now is because I noticed gaps in-between my images. I haven’t been picking up my cameras daily. On several occasions, four or five days have gone by without a single picture created. Twice in 2024, a whole week passed. I want to rectify this, and get back into the habit of daily photography. I also want to elevate the quality of my craft in 2025, and am hoping this will help with that.

Full Service – Idalou, TX – Fujifilm X-T5 + 56mm f/1.2 – Superia Negative

I’ve set some ground rules for myself. I’m taking things one week at a time. That’s a little easier mentally than looking at it as one whole year chunk. If I mess up on a week, I’ll simply extend the project by a week; however, I’m also giving myself two grace days. I’d actually like to finish this on Christmas Day, which is 367 days from the start. If I miss two days, that’s perfectly ok. If I miss three to seven days, this project will be extended by one week. I think it’s good to build-in some breathing room, because life happens.

My hope is to capture a year’s worth of notable images, either personally or artistically. Ansel Adams famously stated, “Twelve significant photographs in any one year is a good crop.” It’s important to keep expectations realistic, but I’m also trying to avoid thoughtless snapshots just to fulfill the day’s requirement. I want to push myself to be better, and hopefully that will happen. Not every photo will be great—in fact, most won’t—but I hope they are all at least decent enough to be shared without embarrassment.

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

Tuesday, December 24th, 2024

Christmas Candle – Haslet, TX – Fujifilm X100VI – Superia Negative

Wednesday, December 25th, 2024

Fox & Jo – Flower Mound, TX – Fujifilm X-T5 + 56mm f/1.2 – Reggie’s Portra

Thursday, December 26th, 2024

Santa Display – Princeton, TX – Fujifilm X-T5 + 56mm f/1.2 – Kodak Portra 400 v2

Friday, December 27th, 2024

West Texas Sunset – Idalou, TX – Fujifilm X-T5 + 56mm f/1.2 – Superia Negative

Saturday, December 28th, 2024

Red Yucca in the White Sand – White Sands NP, NM – Fujifilm X-T4 ES + 35mm f/2 – Aerochrome v2

Sunday, December 29th, 2024

Fire, Truck – Lordburg, NM – Fujifilm GFX100S II + 80mm f/1.7 – 1970’s Summer

Monday, December 30th, 2024

Cactus Pads – Buckeye, AZ – Fujifilm GFX100S II + 80mm f/1.7 – Superia Negative

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

Kodak Gold Max 400 Expired — Fujifilm X-Trans V Film Simulation Recipe

Posted on by Ritchie Roesch

Half Moon Over Central Park – New York City, NY – Fujifilm X100VI – Kodak Gold Max 400 Expired

This new Film Simulation Recipe came about after someone shared with me some photographs they captured with a roll of long-expired Kodak Gold Max 400 film. Kodak introduced this color negative emulsion in 1987 under the name Kodacolor VR-G 400. Later, they renamed it GC 400, Gold 400, Ultra Gold 400, Gold Max 400, Max 400, Max Versatility 400, then Ultramax 400, which is still available today. Over the years the emulsion has been updated a few times, but it is still essentially a 1980’s Kodacolor film.

Even though the roll was long-expired, it looked pretty good. Sometimes expired film has a much different aesthetic than a fresh roll, and sometimes it’s only subtly different. In this case, it seemed more muted and grainy than Ultramax 400, and with a little different color cast, but overall not overtly divergent. The photographer did edit the scans a little, which I’m sure affected the outcome. I wasn’t able to perfectly match it, but I feel this was pretty close. I also found some examples of expired Kodak Gold Max 400 film online, and this Recipe seems to similarly match those images fairly well but not perfectly.

What I love about this Kodak Gold Max 400 Expired Recipe is that it has an obvious analog vibe. The pictures captured with it just seem film-like to me. You could probably convince some people that you didn’t use a digital camera. These photographs don’t look like typical camera-made JPEGs.

Sand Trail – White Sands NP, NM – Fujifilm X-T5 – Kodak Gold Max 400 Expired – Photo by Amanda Roesch

This Kodak Gold Max 400 Expired Film Simulation Recipe is compatible with all fifth-generation X-Trans cameras, which, as of this writing, are the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, and X-M5. You can use it on newer GFX cameras, too. I have a couple of photos at the bottom that were captured with a GFX100S II, and it seems pretty close to the X-Trans V rendering.

Film Simulation: Reala Ace
Dynamic Range: DR400
Grain Effect: Strong, Large
Color Chrome Effect: Strong
Color Chrome FX Blue: Strong 
White Balance: 6700K, +1 Red & +4 Blue
Highlight: -1.5
Shadow: +1.5
Color: -2
Sharpness: -2
High ISO NR: -4
Clarity: -3
ISO: Auto, up to ISO 6400
Exposure Compensation: +2/3 to +1 1/3 (typically)

Example photographs, all camera-made JPEGs captured using this Kodak Gold Max 400 Expired Film Simulation Recipe on a Fujifilm X100VI, X-T5 & X-S20:

Oh – New York City, NY – Fujifilm X100VI
Street Portrait – Philadelphia, PA – Fujifilm X100VI
Model Photography – Philadelphia, PA – Fujifilm X100VI
Two Ladies and a Dog – Philadelphia, PA – Fujifilm X100VI
Light on a Dark Building – Philadelphia, PA – Fujifilm X100VI
Pentax Photographer – Philadelphia, PA – Fujifilm X100VI
Bench Corner – Philadelphia, PA – Fujifilm X100VI
Three Story Home – North Bergen, NJ – Fujifilm X100VI
Alien Dunkin’ – Roswell, NM – Fujifilm X-S20 – Photo by Jonathan Roesch
Tractors is dumb – Tularosa, NM – Fujifilm X-S20 – Photo by Jonathan Roesch
Family Boating – Clinton, CT – Fujifilm X100VI
Three Leaves in the Water – Clinton, CT – Fujifilm X100VI
Flag on a Windy Day – Roswell, NM – Fujifilm X-S20 – Photo by Jonathan Roesch
Wood Fence – White Sands NP, NM – Fujifilm X-S20 – Photo by Jonathan Roesch
Christmas Sand – White Sands NP, NM – Fujifilm X-T5 – Photo by Amanda Roesch
Roesch Kids – White Sands NP, NM – Fujifilm X-T5 – Photo by Amanda Roesch
Dry Brush – White Sands NP, NM – Fujifilm X-T5 – Photo by Amanda Roesch

Fujifilm GFX100S II:

Yellow Brush, Pink Sand – White Sands NP, NM – Fujifilm GFX100S II
Brown Leaves – White Sands NP, NM – Fujifilm GFX100S II

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, Wex, Nuzira
Fujifilm X-T5 in silver:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X100VI in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X100VI in silver:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-S20:
Amazon, B&H, Moment, WEX, Nuzira
Fujifilm GFX100S II:
Amazon, B&H, Wex

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

10 Frames in New Mexico — Fujifilm GFX100S II XPan Photographs

Posted on by Ritchie Roesch

Sand & Sky – White Sands NP, NM – Fujifilm GFX100S II – Fujicolor PRO 160C Warm

The main reason why I purchased a Fujifilm GFX100S II camera a couple of weeks ago was for XPan photography. For those who don’t know, XPan cameras were a joint venture between Hasselblad and Fujifilm in the late-1990’s through the mid-2000’s, right at the pinnacle of film. XPan models were interchangeable-lens rangefinder cameras that used approximately two frames of 35mm film to capture panoramic pictures in a 65:24 aspect ratio.

You can crop images from any model to the XPan ratio without much trouble, but composing it in-camera is different than doing it after-the-fact because you can better visualize the outcome. Also, I prefer straight-out-of-camera photography over sitting at a computer editing, but that’s just me. All GFX models, including the GFX100S II, have the 65:24 aspect ratio built-in; however, X-series cameras do not (in my opinion, Fujifilm should add the XPan ratio to all of their 40mp cameras via a firmware update). If you are serious about XPan photography and you use Fujifilm cameras, GFX is the preferable route.

Sand Wall – White Sands NP, NM – Fujifilm GFX100S II – Velvia Film

Since the 65:24 aspect ratio cuts out about half of the resolution, having a high-megapixel sensor is important. With that said, you can’t truly appreciate XPan when viewing on a computer or your phone. XPan from a GFX100S II isn’t going to look any more impressive than (for example) an XPan crop from a Fujifilm X-T10. These pictures need to be printed to be appreciated, and that’s my goal. I plan to print a couple of these to see what they look like, and if I create any in the future that are worthy, I hope to make some really large prints that are two-feet tall by five-feet-five-inches wide. For that, the 100mp sensor of the GFX100S II is essential.

All of these photographs, which were captured yesterday and the day before in New Mexico, were made using a Fujifilm GFX100S II camera with a Fujinon 80mm f/1.7 lens. These pictures are camera-made JPEGs using a few different Film Simulation Recipes. Over the coming days and weeks I’ll be testing various Recipes to see what works best on GFX, and I’ll be sure to share the results with you, so stay tuned! In the meantime, I hope that you enjoy these 10 XPan images.

Cars – Tularosa, NM – Fujifilm GFX100S II – Fujicolor 100 Gold
House Fire – Lordsburg, NM – Fujifilm GFX100S II – 1970’s Summer
Yucca in the Sand – White Sands NP, NM – Fujifilm GFX100S II – Velvia Film
Yucca and Grass– White Sands NP, NM – Fujifilm GFX100S II – Velvia Film
Sandscape – White Sands NP, NM – Fujifilm GFX100S II – Fujicolor PRO 160C Warm
Dune Brush – White Sands NP, NM – Fujifilm GFX100S II – Fujicolor PRO 160C Warm
Sunset Behind Brush – White Sands NP, NM – Fujifilm GFX100S II – Velvia Film
Sand at Sunset – White Sands NP, NM – Fujifilm GFX100S II – Velvia Film

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

Fujifilm GFX100S II:
Amazon, B&H, Wex
Fujinon GF 80mm f/1.7:
Amazon, B&H, Wex

Merry Christmas from Fuji X Weekly!!

Posted on by Ritchie Roesch

Merry Christmas to you and your family! I hope that you are surrounded by love this holiday, and you create many warm memories …and photographs.

2024 has been an incredible year! It seems a bit surreal. I’ve told the story before, so forgive me for repeating it.

I started Fuji X Weekly in 2017, with the intention of writing one (or more) articles per week. Initially it was a journal or long-term review of the X100F, but it evolved into all things Fujifilm, with an emphasis on JPEG camera settings (Film Simulation Recipes). The website grew organically. In the early days I did literally nothing to promote it—people came by word of mouth, or they stumbled on it via Google. I’m always amazed how people found Fuji X Weekly back then.

Lightning Strikes Antelope Island – Fujifilm X100F – A photo from Day One of Fuji X Weekly

Four years ago I released the Fuji X Weekly App, and that’s when things really began to take off. Fujirumors reported on it, as did PetaPixel, and others. Ken Rockwell mentioned me in an article; Andrew Goodcamera, Leigh & Raymond Photography, Serr, and Omar Gonzalez shared videos about Fuji X Weekly Recipes. Each year since has seen substantial growth. I did very little promotion (I’m really bad at that, apparently), it was still largely organic growth.

Eventually this website (and apps) became a full-time job, and I was faced with a decision: quit my day-job, or quit Fuji X Weekly. I could no longer do both. Even though I was not earning enough at that time to support my family with Fuji X Weekly profits, after much consideration and prayers, I took a leap of faith, and put in a two-week notice with my employer, leaving my job just before the holiday season, which was quite scary. That was three years ago.

I got a surprise phone call from Fujifilm back in January. They said that they wanted to work with me in 2024, but they didn’t yet know what that would mean exactly. I was super excited, but since people say all sorts of things, I didn’t count on it. I told my wife, “If it happens it happens, and if it doesn’t, that’s ok.”

NAB Photowalk Group 3 – New York City, NY – Fujifilm X100VI – Nostalgic Americana

But very quickly things began to happen. First, they asked me to be a part of a film simulation project, which resulted in this webpage. Then they sent me a preproduction Fujifilm X-T50 to try prior to its announcement. I was invited to a Creator’s Retreat in the Catskill Mountains with a number of incredibly talented photographers and videographers, followed by a release event for the X-T50 on a rooftop in Manhattan. Fujifilm then asked me if I’d like to co-lead a series of photowalks over the summer, in Denver, San Diego, Nashville, and Philadelphia. They also asked me to co-lead two photowalks for their Create With Us event in Austin, and three at The NAB Show in New York. That was followed by a couple more photowalks: Ann Arbor, and back to Philadelphia. If someone had told me a year ago that all those things would happen in 2024, I would not have believed them.

I’m extremely grateful and honored that Fujifilm reached out to me, and brought me along for an incredible ride. Fuji X Weekly has been an amazing journey from the beginning, but 2024 was the best year yet. I’ve met hundred and hundreds of wonderful people (some of you reading this), and worked with unbelievably talented creators. Also, in October I launched a protective case for Fujifilm X100-series cameras in collaboration with Evergreen Cases. I don’t yet know what 2025 will bring—it could be even greater than 2024—but for right now, I’m appreciative for where I’m at on this journey. The view is good from right here, right now.

Thank you for being a part of all this! It’s because of you—the greatest community in all of photography—that any of these amazing things happened. You all are why Fuji X Weekly continues to exist. It’s truly an honor to be helpful in some way to your photography. I hope that you are having a very merry Christmas right now!

Possible Fujifilm Film Camera Coming??

Posted on by Ritchie Roesch

In a recent interview, Theo Georghiades, general manager of Fujifilm Imaging Solutions UK, told Amateur Photographer that there is a possibility of a Fujifilm film camera coming in the future. Some have called this a “bombshell revelation”, but is it really?

Theo was asked, “Would Fujifilm ever consider launching a film camera again, especially if it had the retro look of an X100VI?”

He responded, “I’ve been with Fujifilm for 25 years, so have learned to never say never—but I don’t know. There is without doubt a massive resurgence in film as we see from film sales. Go down to the markets around Westminster in London and you can see the popularity of film cameras again. And it’s the same in Japan, as I found on a recent trip. As I say, I’ve learned to never, ever say never! However, any business needs to analyze the prospects for a long-term opportunity over a short-term fad.”

I’m not sure how some have interpreted this to mean Fujifilm is in development of a film camera (outside of Instax), but some have insinuated that. Others are taking a more pragmatic interpretation, that Fujifilm simply hasn’t shut the door on a film camera, which is probably the more accurate analysis.

Photography in the ’80’s – Fujifilm X-T30 – Kodacolor Recipe

My guess is that Theo was speaking off-the-cuff, and didn’t mean to make any official statements on this topic. In other words, a large grain of salt should be taken. Perhaps there has been water-cooler talk of the possibility, perhaps not even that. I think he is simply saying that Fujifilm does unexpected things sometimes, so you just never know what they might do in the future, but there are no current plans at this time.

If I were Fujifilm, this is what I would do: rerelease the Fujica Compact Deluxe. They already have the designs. Maybe modernize the light meter, but mostly it should stay the same. I’m sure it would sell well enough to justify manufacturing it. But time is of the essence, so if they want to do this, they should be quick about it. If they hesitate, the market for 35mm film cameras might decrease by the time it hits the shelves. You’ve got to ride the waves while they’re high and before they crash.

Fujifilm currently makes “digital film” cameras, which isn’t the same thing, but in some ways it’s better. In my opinion, the X-series bridges the gap between the positive aspects of both film and digital photography. It’s still apples-to-oranges, and I’m not suggesting otherwise, but there is enough crossover that it’s worth pointing out, and even celebrating. I have no idea whether or not Fujifilm will release a 35mm film camera, but I’m extremely happy with my X-series gear. Still, it would be really cool if they did make a brand-new film camera, so I hope they do.

Top 10 Most Popular Classic Negative Film Simulation Recipes of 2024

Posted on by Ritchie Roesch

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

I get asked fairly regularly which Film Simulation Recipes are the most popular. For me, this is a fascinating topic, but it’s definitely hard to know definitively. While I get a glimpse on social media, my best gauge is the Fuji X Weekly website statistics; specifically, which Recipe articles are viewed the most. I don’t collect any data on the Fuji X Weekly App, so that’s no help—although, if I did, it would likely offer the most accurate picture; however, it would still be impossible to know which Recipes people programmed into their Fujifilm cameras, or how often they used each. Perhaps a survey would be particularly useful, yet even it has its limitations. While certainly a flawed method, page-view website statics offer the best glimpse at which Film Simulation Recipes are the most popular, so that’s what I’m using for this article. These are simply the Top 10 most-viewed Classic Negative Recipes on the Fuji X Weekly website so far in 2024.

It’s close enough to the end of the year that there is unlikely to be much movement, if any, between now and January 1st, so I thought it would be a good time to begin looking at year-end statistics. When I share the Top 25 most popular Recipes of any given month, the results are pretty predictable: color Recipes dominate, especially those that mimic Kodak film stocks and use Classic Chrome. On the suggestion of a Fuji X Weekly reader, I’m going to share some Top 10 articles for Recipe categories where few are likely to crack the Top 25 overall. I started with B&W, followed that up with Fujicolor, then Eterna Recipes; X-Trans III was next; now we’ll look at Classic Negative based Recipes.

Two Boats – Clinton, CT – Fujifilm X-E4 – Pacific Blues

This list looks similar to Top 10 Fujicolor Recipes because many of those use the Classic Negative film simulation. In my mind, when I decided to do this one, I thought it would be a little more divergent. Since I had pretty much finished putting this together when I realized the similarities, I decided to publish this list anyways. I hope you don’t mind a little redundancy.

Without any further delay, below are the most popular Classic Negative Recipes of 2024!

Top 10 Most Popular Classic Negative Film Simulation Recipes of 2024

#1:

Reala Ace

This is one of the most popular Recipes (even briefly #1) of 2024, so I wasn’t surprised in the least to see it at the peak of this list. It uses the Classic Negative film simulation and not the Reala Ace film sim, and is for X-Trans V cameras.

#2:

Pacific Blues

Pacific Blues used to be the highest ranked Classic Negative based Recipe until I published Reala Ace. This particular version of Pacific Blues is compatible with X-Trans IV models; you’ll find the X-Trans V version a couple spots further down.

#3:

Fujicolor Super HG v2

This Recipe is highly versatile and is compatible with X-Trans V cameras (there’s also an X-Trans IV version).

#4:

Pacific Blues

The X-Trans V version of Pacific Blues.

#5:

Kodak Max 800

One of my favorite Recipes for use with flash photography. Compatible with X-Trans IV cameras.

#6:

Fujicolor Blue

This is an App Patron Early Access Recipe, which means that right now it is only available in the Fuji X Weekly App to Patron subscribers. Eventually it will be available free to everyone, but that might take awhile. This Recipe is compatible with X-Trans V cameras, and is very new, published in late October.

#7:

Superia Xtra 400

This is the X-Trans V version of this Recipe (the X-Trans IV version is a little further down).

#8:

Kodak Royal Gold 400

Compatible with both X-Trans IV and X-Trans V cameras.

#9:

Fujicolor Superia 800

This Recipe is for X-Trans IV cameras; however, for X-Trans V, set Color Chrome FX Blue to Off.

#10:

Superia Xtra 400

The X-Trans IV version of this Recipe.

Find these Film Simulation Recipes and many more on the Fuji X Weekly App!

Firmware Updates for Fujifilm X-T5, X-T50, X100VI, X-S20 & GFX100S II

Posted on by Ritchie Roesch

Fujifilm released a new set of firmware updates, which they had promised would come before the end of the year: one for the X-T5, one for the X-T50, one for the X100VI, one for the X-S20, and one for the GFX100S II. This is simply an autofocus fix for the bug introduced earlier in the year that was partially fixed already, and should be fully fixed now. Unlike the firmware updates last month for the X-H2s, X-H2, and GFX100 II, this one doesn’t include F-Log2 C or some of the other improvements that were given to those cameras, only the AF fix. It’s possible those things might still come in a future firmware update, but I’m not sure.

I haven’t yet updated any of my cameras, because I always like to wait awhile—you never know if there will be some unexpected issue. For example, Sony famously released a firmware update earlier this year that cost their customers $700 to fix. A good rule of thumb is to wait a week or two to see if any issues arise. Most of the time there is not an issue, and I don’t suspect any problems with this one specifically, but since it does happen every once in awhile, it’s prudent to wait at least a few days, and if something major comes up, it should be well known by then.

I’m sure that you’ve read about the AF woes somewhere, or seen a YouTube video or two about it; however, in my opinion it has been largely overblown and misunderstood. Let me explain why.

First, most people weren’t affected. Some were, for sure, but not the majority; however, the large vocal outcry caused a bit of hysteria, which made it seem like a much bigger issue than it actually was—essentially, trolls took over the Fujifilm corner of the internet for awhile. A few different people told me something to the effect of, “I didn’t know my camera was broken until I saw it demonstrated on a YouTube video, and now I’m mad because I paid a lot of money for it.” It didn’t affect them personally and they would have never known without someone telling them, but since they did know, they were pissed. A lot of people got angry over something that had no negative implications for them personally, only the idea that it possibly could.

Second, Fujifilm’s AF can perform very different depending on the specific lenses used and the specific settings programmed, and if you are using lenses and/or settings that are not ideal for the specific situation, you might get less than ideal results. An example of this comes courtesy of Camera Conspiracies, as Kasey discovered that his prior criticisms of Fujifilm’s AF—including the bug—were at least partially user-error by him. I suspect that is true of a lot of the criticisms, but people tend to get offended when you suggest that the gear isn’t the primary problem. Perhaps something can be said of the intuitiveness of the AF system—there’s certainly room for improvement—however, a lot of the blame that was directed at the camera wasn’t fully the camera’s fault, but largely the lens and/or setting choices made by the one using it.

Third (and this is related to second), some people seem to want AF to automatically focus precisely as they wish it would without any input from the user. It’s like if you put your exposure triangle into full-auto, and then complained that it didn’t choose the specific aperture, shutter speed, or ISO that you wished it had. Autofocus doesn’t necessarily mean that you should set-and-forget it; like with the exposure triangle, a little control can go a long ways. After all, we’re photographers, not merely button pushers. I see people all of the time create wonderful images and videos with the gear that supposedly has sucky AF, and it isn’t a limiting factor for them (proving that it isn’t sucky after all). As Ansel Adams famously stated, “The single most important component of a camera is the twelve inches behind it.”

Fourth, I think some people have unrealistic expectations of how Fujifilm’s AF should perform, ignoring that the Canikony brands have been developing autofocus systems since the 1960’s and ’70’s, have significantly larger R&D budgets for it, and have even prioritized AF over image quality in recent years. Of course theirs is better, but that does not mean Fujifilm’s AF is bad, because it is not—far from it. If you could take any current Fujifilm model back in time 15 years, you’d shock the camera world with seemingly impossible technology. Photography has been around for nearly 200 years, and videography for over 135 years, and not just since the invention of our incredibly capable modern gear. People created amazing photos and videos in the past with their subpar gear (as compared to what is available today), so literally nothing should stop you from doing so with your superior gear. If something is stopping you, it is only you, and you have the power to change that.

Thankfully, Fujifilm’s AF has been fully fixed. Can it be improved? Sure, just like everything else, there is always room for improvement (there is no such thing as a perfect camera). Those who continue to moan about it are either haters, constant complainers, or trolls, or they are experiencing user-error and are blaming the gear instead of themselves. It’s beyond time for all that negativity to end—I’m sick of it, and I know a lot of other people are, too. Let’s get back to enjoying our gear, and creating awesome content with it.

Top 10 Most Popular X-Trans III Film Simulation Recipes of 2024

Posted on by Ritchie Roesch

Summer Feeling – Buckeye, AZ – Fujifilm X-Pro2 – Kodacolor

I get asked fairly regularly which Film Simulation Recipes are the most popular. For me, this is a fascinating topic, but it’s definitely hard to know definitively. While I get a glimpse on social media, my best gauge is the Fuji X Weekly website statistics; specifically, which Recipe articles are viewed the most. I don’t collect any data on the Fuji X Weekly App, so that’s no help—although, if I did, it would likely offer the most accurate picture; however, it would still be impossible to know which Recipes people programmed into their Fujifilm cameras, or how often they used each. Perhaps a survey would be particularly useful, yet even it has its limitations. While certainly a flawed method, page-view website statics offer the best glimpse at which Film Simulation Recipes are the most popular, so that’s what I’m using for this article. These are simply the Top 10 most-viewed X-Trans III Recipes on the Fuji X Weekly website so far in 2024.

It’s close enough to the end of the year that there is unlikely to be much movement, if any, between now and January 1st, so I thought it would be a good time to begin looking at year-end statistics. When I share the Top 25 most popular Recipes of any given month, the results are pretty predictable: color Recipes dominate, especially those that mimic Kodak film stocks and use Classic Chrome. On the suggestion of a Fuji X Weekly reader, I’m going to share some Top 10 articles for Recipe categories where few are likely to crack the Top 25 overall. I started with B&W, followed that up with Fujicolor, then Eterna Recipes; now we’ll look at X-Trans III compatible Recipes.

Spring Wildflowers & Dead Wood – Buckeye, AZ – Fujifilm X-Pro2 – Provia Slide

These Film Simulation Recipes are compatible with all X-Trans III cameras—Fujifilm X-Pro2, X100F, X-E3, X-T2, X-T20 & X-H1—as well as the X-T3 and X-T30. The majority of people use Recipes on X-Trans IV and V cameras, but X-Trans III isn’t too far behind. Some of these Recipes do routinely crack the Top 25 list, but most of them do not.

Without any further delay, below are the most popular X-Trans III Recipes of 2024!

Top 10 Most Popular X-Trans III Film Simulation Recipes of 2024

#1:

Vintage Kodachrome

One of the older Film Simulation Recipes on Fuji X Weekly, and typically one of the Top 15 most popular. Uses Classic Chrome as the base.

#2:

Kodak Gold 200

This Classic Chrome based Recipe is for the Fujifilm X-T3 and X-T30, but is fully compatible with X-Trans III cameras because Color Chrome Effect is set to Off. This one usually cracks the Top 25.

#3:

Classic Chrome

The very first Film Simulation Recipe on Fuji X Weekly, unsurprisingly uses Classic Chrome as the base. Another Recipe that is commonly in the Top 25 list.

#4:

Kodak Portra 400

This was the first Portra Recipe that I created. It requires a difficult-to-get-right Custom White Balance measurement.

#5:

Kodachrome II

One of my favorite Recipes for X-Trans III cameras. Like the four above, it uses Classic Chrome.

#6:

Cinestill 800T

This Recipe is specifically for nighttime photography, and uses the PRO Neg. Std film simulation.

#7:

Classic Kodak

One of the newer X-Trans III Recipes, it uses Classic Chrome.

#8:

Fujicolor Superia 800

This Recipe uses PRO Neg. Std, and is one of my favorites for dreary days.

#9:

Kodak Ultramax

Another Classic Chrome based Recipe.

#10:

Kodak Ektar 100

This Recipe uses the Astia film simulation, and is the most vibrant on this list.

Find these Film Simulation Recipes and many more on the Fuji X Weekly App!

Selling and Trading my Unwanted Gear

Posted on by Ritchie Roesch

Over the years I have accumulated quite a collection of photography gear. I have cameras and lenses that I rarely—if ever—use. They’re on my shelf collecting dust, or packed away in a box. I’ve been meaning to get rid of some of these items, but I just never seem to get around to it.

The number one reason why I hold onto my old, unused gear is not because I want to keep it, but because I dislike the process of selling. Over the years I have used sites like Craigslist, eBay, Facebook Marketplace, and even Instagram Stories to sell my stuff, but it has rarely been an easy and smooth process. I’ve been ghosted more times than I can count, and even scammed a couple of times. It’s such a headache!

I want to be transparent upfront: MPB is the sponsor of this article. If you don’t know it yet, they are the largest global platform to buy, sell and trade used photo and video gear—each piece checked by hand before being MPB Approved. MPB asked me to create a series of articles sharing my honest opinion about using gear loaned from their platform (you can find the links at the bottom of this article). 

A couple of weeks back, they asked me about testing the selling and trading process for myself—and since I’d been putting off selling my old gear to raise funds for a camera I had my eye on, I jumped at the suggestion to try (fingers crossed) an easier way. It is important to note that they didn’t give me any special treatment or pricing. So while I have purchased from MPB a couple of times in the past, this article is about my experience going through the sell and trade process as a normal customer for the first time. Free, fast, and fair is how they describe their instant quote process, so let’s put that to the test.

I had three items that I no longer needed: My Fujifilm X-M1, Fujinon 100-400mm lens, and Canon EOS 5DS R. For the X-M1, I wanted to trade for a Fujinon TCL-X100 II Conversion Lens, which MPB had loaned to me back in October. For the zoom lens and Canon DSLR, I wanted cash. I did this in two separate transactions—one trade, and one sell.

How to sell with MPB

When you visit the MPB platform, you are presented with a path choice: “Shop” or “Sell/Trade”. When you click “Sell/Trade”, you are prompted to provide information about the gear you’re looking to sell—what exactly is it, and what is the condition it’s in (there’s even a quick guide if you’re not sure how). After that, you just select “Get Instant Quote”, provide some basic information (name, email, and optionally your phone number), and MPB presents you with a tentative offer. All quick, easy, and painless.

For my Fujifilm X-M1, since I was planning to trade, I added the TCL-X100 II lens to the Buying category, selected my desired cosmetic condition, and chose the specific one that I wanted to trade for. When I clicked “Get Instant Quote”, I was presented with a price for the X-M1 that was well above what I had anticipated being offered—I didn’t expect so much! I added some batteries and accessories to the trade, and still had ample cash leftover. The next step was to box up the camera, and ship it for free via FedEx. I should note that trading gear doesn’t increase or decrease the price of whatever you are buying or selling.

A few days later I received an email from MPB that my item was received. The next day another email came stating that my item had been inspected, and my quote updated. They reduced the amount they wanted to pay for it by a little and I could either accept or reject it. I had the option to reject the offer and get my gear returned for free if I wasn’t happy, but I accepted. It was still more than I had anticipated, and there was still cash leftover after the trade. I provided MPB with banking info, and two days later I was paid. Just yesterday, the TCL-X100 II, batteries, and accessories arrived in the mail, and I couldn’t be happier with the whole process.

Next, I went through the same process to sell my Fujinon 100-400mm lens and Canon 5DS R camera; however, the quote for these two items were both less than I had hoped for. I needed them gone fast, so I decided to send them in anyway. When MPB reviewed the lens and camera, they once again adjusted the quote, this time significantly increasing the value of the Canon DSLR. It was still less than I would have liked to have sold them for, but the overall increase made me feel a little better about it. I later learned they use MPB Re.Value—the world’s leading proprietary dynamic pricing engine for used camera gear with millions of data points—to provide real-time prices for buyers and sellers.

I was curious how much of a markup MPB would give my items (after all, they’ve got to earn a profit), so I found them on their website. The X-M1 has a markup of $149, which seems quite reasonable. The Fujinon 100-400mm has a markup of $339, and the Canon EOS 5DS R has a markup of $333, which leans in their favor. You could say that I left money on the table, had I sold these items myself instead of using MPB, but that’s assuming I would have been able to sell them for that price, and that I wouldn’t have had to pay shipping and other fees. Add to that the time and hassle of doing it, plus the risk of being scammed or worse, and I would say that selling to MPB was undoubtedly preferable.

After selling gear through MPB for the first time, I’ve learned that it’s a quick, easy, and painless process. While I would have liked to have received a little more for two of the three items that I sold, overall I am pleased with the outcome, and I will certainly use MPB again in the future.

See also:
Fujifilm X-Pro2 — The camera that got away (again)
Fujifilm X-T50 + Fujinon 23mm F/2 = Interchangeable-Lens Fujifilm X100VI??
Leica Q2 from the perspective of a Fujifilm photographer
Fujifilm X30 — Fujifilm’s Forgotten Retro Compact Zoom
Close Up with the Fujinon XF 30mm F/2.8 R LM WR Macro
Traveling Light with the Fujifilm X100VI + WCL-X100 II & TCL-X100 II Conversion Lenses
Your Gift Guide for Affordable Fujifilm Gear

My new Fujifilm camera is…

Posted on by Ritchie Roesch

My latest camera purchased arrived in the mail a few days ago: a Fujifilm GFX100S II. Along with the camera I also got a couple of lenses to go with it: Fujinon GF 80mm f/1.7 and GF 30mm f/3.5. This was, by far, the most money that I’ve ever spent on gear, and it was with some apprehensiveness that I clicked the Proceed with Purchase button. Let me explain why I bought it.

My first GFX experience was with the GFX 50S, which I was able to borrow for a couple of weeks in early 2021. It was a dream-come-true to try, but I was not convinced that it was something I wanted to own. Not only was it pretty far outside of my budget, but it was big, heavy, and slow, and didn’t provide any major advantages to my photography over the X-series. If I was given one I wouldn’t say no, but I wasn’t about to shell out many thousands of dollars for it.

The next GFX experience came earlier this year when Fujifilm invited me to a retreat in the Catskill Mountains of New York. Some photographers, including myself, were loaned preproduction Fujifilm X-T50‘s to try out, and some were loaned preproduction GFX100S II’s. While I didn’t get a chance to use one myself, I did get to see the amazing images that other photographers created with it, including Bryan Minear. I’ll never forget when Bryan and I got completely drenched on an early-morning photo outing in the rain.

A few days later Fujifilm had a rooftop launch party for the GFX100S II and X-T50 in New York City (above Foto Care), and myself and Bryan were enlisted to help. We were placed together at a touch-and-try station for the GF 500mm f/5.6 lens. I didn’t know much about the gear, so I wasn’t particularly helpful. I did get to touch-and-try very briefly, though, but not enough to form any sort of opinions of the gear. I met a number of interesting and talented people, and had an amazing time, so I’m extremely grateful and honored for the opportunity.

Most recently, when Bryan and I cohosted a photowalk in Ann Arbor last month, he let me try out his GFX100S II camera with the Fujinon 80mm f/1.7 lens attached. It was a beast, but also produced amazing images. It was that experience that pushed me over the edge to want one. Prior to this, I would have said that there’s no way I’m buying one, I can’t afford it. Instead, I began looking at what it would take to buy one. I had already began saving for the next camera purchase, so I was already partway along the path, but, you know, GFX is quite expensive.

It might seem like I just suddenly wanted one, like I was smitten with G.A.S., which is partially true. Actually, I’ve been thinking about it for some time now. Specifically, I have had an interest in creating 65:24 XPan panoramas, and the GFX cameras are especially excellent for that. I also want to explore square photographs, and GFX is quite good for that, too. My hope is to make large prints of these images, if I should capture any worthy of being printed.

Above: Me, as photographed by Bryan Minear using a Fujifilm GFX100S II & Fujinon 80mm f/1.7 with the XPan aspect ratio, in Ann Arbor, Michigan.

There’s also the benefit of figuring out which Film Simulation Recipes work best with the camera, and what modifications, if any, need to be considered. I haven’t made much headway with that just yet, but hopefully over the coming weeks I can publish some findings. I’ve had a number of requests for GFX Recipes, but, without any GFX gear, that’s tough to do. I should be able to make some big strides regarding this now that I have a GFX100S II in my hands.

I’m not a big fan of the heft, or the non-tactile controls, but the images are incredible! However, for everyday use, there’s no way that you can tell it’s GFX, and not X-series. In fact, I published a few pictures on Fuji X Weekly that were captured with the GFX100S II, and nobody noticed. You have to crop deeply and/or print very large to really appreciate it, I think. Those who truly “need” GFX are a small group, and I’m not one of them …yet, anyway. I’m making plans where I hope the GFX100S II proves to be a necessity for what I’m creating, so we’ll see if it does.

Above: Vultures circling a desert ridge; photo by Ritchie Roesch with a Fujifilm GFX100S II & Fujinon 80mm f/1.7 with the XPan aspect ratio and Kodachrome 64 Film Simulation Recipe.

I had to sell a couple of items to afford the camera (and to make room on the shelf for it). Even then, it was a stretch to pay for it. I had some trepidation when I ordered it, but I think it might eventually be worthwhile. Now I’ve just got to get it to the places I want to take it to—mostly, National Parks—in order to create the images that I imagine capturing with it.

I’ll try not to bombard you with GFX articles. I plan to keep this website primarily focused on X-series gear, and only sprinkled with with GFX content. But I can’t guarantee that. I might end up absolutely loving the camera, and speaking more about it than I initially intend. Or maybe it will mostly collect dust, as I choose smaller, lighter, more fun gear. Time will tell. But, for this first post, I will share with you some of my first pictures captured with the new camera.

Fujifilm GFX100S II + Fujinon 80mm f/1.7 + Reggie’s Portra
Fujifilm GFX100S II + Fujinon 80mm f/1.7 + Reggie’s Portra
Fujifilm GFX100S II + Fujinon 80mm f/1.7 + Nostalgic Film
Fujifilm GFX100S II + Fujinon 80mm f/1.7 + Nostalgic Film
Fujifilm GFX100S II + Fujinon 80mm f/1.7 + Reggie’s Portra
Fujifilm GFX100S II + Fujinon 80mm f/1.7 + Reggie’s Portra
Fujifilm GFX100S II + Fujinon 80mm f/1.7 + Reggie’s Portra
Fujifilm GFX100S II + Fujinon 80mm f/1.7 + Reggie’s Portra
Fujifilm GFX100S II + Fujinon 80mm f/1.7 + Pacific Blues
Fujifilm GFX100S II + Fujinon 80mm f/1.7 + Nostalgic Film
Fujifilm GFX100S II + Fujinon 80mm f/1.7 + Reggie’s Portra
Fujifilm GFX100S II + Fujinon 80mm f/1.7 + 1970’s Summer
Fujifilm GFX100S II + Fujinon 80mm f/1.7 + Kodachrome 64
Fujifilm GFX100S II + Fujinon 80mm f/1.7 + Kodak Gold 200
Fujifilm GFX100S II + Fujinon 80mm f/1.7 + Kodak Tri-X 400
Fujifilm GFX100S II + Fujinon 80mm f/1.7 + Kodak Tri-X 400

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

Fujifilm GFX100S II:
Amazon, B&H, Wex
Fujinon GF 80mm f/1.7:
Amazon, B&H, Wex