straight out of camera | FUJI X WEEKLY

My Post-Processing Workflow

Posted on September 22 by Ritchie Roesch

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

Sometimes I like to go back through the archives of this website, just to see what I wrote years ago. For example, on this day in 2018, I published My Fujifilm Post-Processing Workflow, which, looking back, wasn’t my best work. I had to reread one of the paragraphs twice just to understand what I meant—and I was the one who write it! That’s embarrassing. So I decided to rewrite the article, and make it relevant to 2025.

The question is: What is my post-processing workflow? In other words, what do I do with my photographs after they’ve been recorded to the SD Card? The answer is very simple: Download, crop/straighten, and upload. Of course, that’s the short, simplified answer. Let’s get right into a longer explanation.

*Horsetail Falls from Bridge* – Columbia River Gorge, OR – Fujifilm X100V – Improved Velvia

I’m a straight-out-of-camera photographer. I use Film Simulation Recipes to get the looks that I want in-camera, and avoid editing. This isn’t how I always did it. I used to shoot RAW and post-process my photographs in software on a computer. Once I realized that I could achieve my desired aesthetics in-camera without editing, I abandoned post-processing. This was immensely freeing, and it quite literally changed my life (no hyperbole). I became more productive, photography became more enjoyable, and my at-home life benefitted significantly, too.

When I wrote the original version of this in 2018, I was strictly JPEG-only at that time. I stopped shooting RAW altogether for awhile; however, RAW+JPEG has significant benefits, and for years now I’ve been shooting RAW+JPEG. One benefit of having the RAW file is that it can be reprocessed in-camera or with X RAW Studio (which, essentially, are the same thing—I don’t use X RAW Studio personally; I reprocess in-camera). First, it makes creating new Recipes much, much simpler (not simple, just simpler than doing so in a strict JPEG-only process). Second, I’m able to correct small exposure mistakes by reprocessing in-camera using the Push/Pull Processing feature (which is an exposure adjustment, and does not mimic push or pull processing in a darkroom). Third, I can change to a different Recipe altogether if I decide that I used the wrong one—this is something I try to avoid (it’s better to select the right one in-the-field), but it is sometimes worthwhile when the picture would have been better with a different Recipe. To reprocess a RAW file in-camera, simply push the Q-button while in playback mode.

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

The RAW files never leave my SD Card. Some people will keep them just incase they may wish to edit them in the future. It gives them a backup. I will keep the RAW file on the SD Card for awhile, but when the card fills up, I erase it. I don’t keep the RAW files. I see the JPEG as the finished photo, so I don’t desire to fill up an external hard drive or cloud storage with RAW files that I’m unlikely to ever have any use for.

Once I’m done photographing and ready to do something with my photos, I will cull through the images on my camera. Which ones do I want to keep? I select the frames I want, and transfer those JPEGs from my camera to my phone using the Cam Remote App or X App. I have both apps on my phone, and much prefer the old Cam Remote App, because 1) I’ve been able to get it to work for me consistently and flawlessly and 2) it is compatible with all of my cameras, and not just some (although the latest firmware updates for the newer cameras remove compatibility with the old app). The main point here is that I use one of Fujifilm’s apps to transfer the photos to my phone.

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

After that, I use the Photos app on my iPhone to crop and/or straighten the pictures that need it. Even with the electronic level, I am so bad at getting a straight picture. For Recipes that use Strong/Large Grain, the Photos app will sometimes put a weird grid pattern on the picture (mainly with the Kodak Tri-X 400 Recipe), so for those I will use the Snapseed app for cropping/straightening. Most of my post-processing edits are complete at this point. For the majority of pictures, that’s it; however, some picture do require a minor exposure/brightness adjustment, and I also use the Photos app for that. For 99%+ of my photographs, that is the full extent of the editing. On a rare occasion, I will use Snapseed or the RNI app to apply further edits, but that’s pretty unusual nowadays, especially for pictures from my Fujifilm cameras.

Once I’m done with the editing stage, I upload the pictures to cloud storage. That’s it! I’m done, and ready for more photography. Downloading the pictures from the camera and uploading them to the cloud is probably the most time-consuming part of the process. The edit stage is pretty quick because not every picture needs an edit, and for those that do, it’s mostly just a quick tilt or a crop to remove a small distraction from the edge of the frame. I can have a whole vacation completely finished within a couple of hours.

*Orange Twist* – Buena Park, CA – Fujifilm X100VI – California Summer

A question that I often get is: If you print those pictures do they look good? Absolutely, they look great! I recently did some 2′ x 3′ prints from straight-out-of-camera JPEGs that look amazing. I’ve had great results with 16″ x 24″ prints from the 24mp and 26mp sensor cameras, and 12″ x 18″ prints from the 16mp sensor cameras. I think you can go larger than those sizes, but for sure you can go that large. I don’t do anything to prepare the images for print, I just have them printed at a quality lab, who I know will do a good job.

Post-processing can be as complicated or as simple as you’d like it to be. I much prefer a simple workflow, which has made a world of difference for me personally. I avoid editing, and mostly just crop and/or straighten, and sometimes make minor exposure adjustments. I can get through a whole day’s worth of pictures pretty quickly, which allows me to move onto other things, like more photography or spending time with my family.

What new JPEG Settings Should Fujifilm Introduce Next?

Posted on March 6 by Ritchie Roesch

Fujifilm has the best JPEG output in the camera industry, in my opinion. That’s not to say the others are garbage, because some brands are pretty good (Ricoh, for example); however, they are not all equal, and—in my view—Fujifilm is at the very top when it comes to straight-out-of-camera photography. Leaning into their long history of making analog film, they’ve crafted Film Simulations and various JPEG options (which together make Film Simulation Recipes) that achieve authentic aesthetics that don’t require editing.

Over the years Fujifilm has added many new Film Simulations and JPEG settings so that photographers can get a wider variety of looks straight-out-of-camera. Nostalgic Negative and Reala Ace are found on the latest generation of models. Eterna Bleach Bypass and .5 Highlight and Shadow adjustments were introduced with the Fujifilm X-T4. Classic Negative, Grain size, Color Chrome FX Blue, and Clarity were first found on the X-Pro3. So what should Fujifilm introduce next? What new Film Simulations and JPEG settings should be added to future cameras?

*Fujifilm X100V & Pop Color Advanced Filter*

There are a number of Film Simulations that Fujifilm could make. Probably the easiest would be Fortia, which would simply require moving Pop Color from Advanced Filters to the Film Simulation set. Another easy option would be a new B&W Film Simulation (maybe called Neopan) that would essentially be a higher contrast and grainer version of Acros. A Film Simulations that I believe would be a big hit is one modeled Fujicolor PRO 400H that turns pastel when overexposed, like the film was famous for. Another option that I would like to see is Cross Process, modeled after Velvia 50 developed in C41 chemistry. A fifth potential future Film Simulation is Instax, mimicking instant film.

As for JPEG settings, one option might be Split-Tone, where a certain color cast could be selected for the shadows, and a different color cast could be selected for the highlights (for example, blue for the shadows, yellow for the highlights). This could be available for both color and B&W images. Another one might be Faded Blacks, where deep shadows are rendered lighter. A third potential option could be vignette. For those last two, it could simply be Off, Weak, or Strong. To demonstrate what Faded Black and Vignette might look like, I edited some pictures using the Photos App in my iPhone, simply setting the Black Point to -50 and Vignette to +10, which might be similar to Faded Black Strong and Vignette Weak, if such settings existed. You can see the before and after below:

*Fujifilm X-T50 & Reala Ace Recipe – SOOC*

*Fujifilm X-T4 & Kodak Portra 400 v2 Recipe – SOOC*

*Fujifilm GFX100S II & Nostalgia Negative Recipe – SOOC*

More Faded Blacks & Vignette examples:

Now it’s your turn! What would you like the next Film Simulation to be? Should Pop Color be moved from Advanced Filters to the Film Simulation set? What new JPEG option would you prefer be introduced next? Do you like the idea of Faded Blacks and/or Vignette? Let me know in the comments!

Fujifilm’s JPEGs Are Revolutionizing Photography

Posted on January 29 by Ritchie Roesch

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

When I first picked up a Fujifilm camera, I didn’t expect it to transform the way I approached photography. Like many others, I’d grown accustomed to shooting RAW, spending hours editing, and often feeling overwhelmed by it all, which can zap the joy right out of creating images. But then I discovered that Fujifilm’s straight-out-of-camera JPEGs are actually really good. I realized that I didn’t need to spend so much time tethered to a screen to create the photographs I loved. It wasn’t just a convenience; it was a revelation.

A lot of people are surprised to learn that Ansel Adams—the master of the darkroom—was a big fan of Polaroid cameras. He wrote a whole book about it, and dedicated a chapter to the concept of what he called one-step photography. Typically, the first step is image capture, and the second is image development, but Polaroids only required the first step (hence, one-step photography). Adams wrote, “The effect of one-step processing on both amateur and professional creative photography has been revolutionary.”

*Manhattan from Pulaski Bridge* – Fujifilm X-T50 – PRO Negative 160C

That’s exactly what Fujifilm cameras have achieved with their camera-made JPEGs. It’s the modern version of one-step photography. It’s not just about convenience (although it is certainly convenient); it’s a transformative approach to how we think about photography. It was a game-changer for me, and it might be for you, as well.

Fujifilm’s film simulations are at the heart of the SOOC JPEG magic. Drawing on their rich history in film photography, they’ve poured decades of analog expertise into their digital cameras. These film simulations—such as Classic Negative, Velvia, and Nostalgic Neg.—were inspired by iconic film stocks that once defined entire eras of photography. Each film simulation carries its own personality—Classic Chrome has muted tones and punchy contrast, Acros has rich monochrome depth, Eterna has cinematic softness—that give photographers a starting point that already feels curated and intentional, as if they were post-processed. The connection to Fujifilm’s film heritage makes their JPEGs feel authentic, reminiscent of analog photography—a nostalgic yet modern blend, fusing the convenience of digital with the soul of film.

*Doggles* – Philadelphia, PA – Fujifilm X-T50 – Nostalgic Americana

While Fujifilm’s film simulations are good on their own, what really sets the images apart is how customizable the JPEGs are. You can tweak the settings to create Film Simulation Recipes, which empowers photographers to achieve their style straight from the camera. It’s like having a personal darkroom built into your gear, which enables you to spend less time in front of a computer and more time actually making pictures. I have published nearly 400 Recipes for Fujifilm cameras, so there’s bound to be at least one that is a match for your personal style.

Fujifilm’s SOOC JPEGs encourage photographers to slow down and think more intentionally about their craft. Choosing a Recipe for the scene that is in front of you forces you to consider your creative choices upfront. This process brings a sense of mindfulness that some find refreshing. Getting the image right in-camera is a liberating shift. You can shoot with intent, knowing that the aesthetic you’re aiming for is baked into the photo as you press the shutter. Instead of relying on post-processing to fix an image, photographers are encouraged to get it right in-camera, which is a return to the ethos of film photography, where each frame mattered, and decisions were made before the shutter clicked.

*Sign on the Roof* – Gila Bend, AZ – Fujifilm X100VI – Classic Color

This one-step philosophy—made possible by Fujifilm and Film Simulation Recipes—is sparking conversations about the value of simplicity, the importance of craft, and the joy of photography as an experience rather than a chore. While technology can sometimes complicate photography, Fujifilm has managed to simplify it without compromising quality. In my opinion, the results speak for themselves: more time spent shooting, less time stuck behind a computer screen, and photographs that feel authentic and look great. It challenges the “RAW is best” mindset. Beginners, who might feel intimidated by the complexities of editing software, can achieve excellent results right out of the gate, while seasoned photographers are finding new inspiration in the simplicity and authenticity of this approach.

Camera-made JPEGs are more than just a convenience; they represent a shift in how to think about photography. Fujifilm has created a system that celebrates the art of getting it right in-camera by leveraging their film heritage with creative customization, which allows users to focus on intentionality. Because of this, many Fujifilm photographers are rediscovering the pure joy of making photographs. The revolution may be quiet, but—as more and more choose this approach—its impact is undeniable.

*Pacific Poppies* – Montaña de Oro SP, CA – Fujifilm X-E4 – Pacific Blues

Find Film Simulation Recipes for your Fujifilm cameras in the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Join me at the NAB Show in New York City!!

Posted on September 3, 2024 by Ritchie Roesch

*Fujifilm X-T50 + Fujinon 27mm f/2.8 + Pushed Analog Recipe*

Hey, everyone! I will be at the NAB Show in New York City on October 9th and 10th, leading three photowalks. These photowalks will be small groups, meaning that there will be tons of opportunity for one-on-one conversations. This is a teaching photowalk—I’m there to help you—so bring whatever questions you might have, and I’ll make it as informative and educational as I can. The photowalks will take place in the vicinity of the Jacob Javits Convention Center in Midtown West Manhattan.

Fujifilm will be offering “an immersive journey into the world of photography and videography.” As a part of this, there will be 24 photowalks hosted by a variety of extraordinarily talented creators. Seriously, I would love to attend all of these photowalks myself—this is a don’t-miss opportunity!

*Fujifilm X-T50 + Fujinon 56mm f/1.2 + Cinematic Film Recipe*

I will be leading three photowalks: October 9th at 10:30 AM, October 9th at 2:00 PM, and October 10th at 11:00 AM. The theme of my photowalks are Straight Out of Camera Photography—we’re going to “put the legendary Fujifilm colors to the test and learn to craft polished images in-camera to streamline your process.” Basically, we’re going to use various Film Simulation Recipes to photograph New York City. Bring your favorite Fujifilm camera; also, this will be an opportunity to get hands-on with some of the latest X-series gear, so bring a spare SD card.

The themes of the other photowalks are Video Visuals, Camera-to-Cloud, Film Simulations, Couples Portraiture, Street Photography, and Social Reels. These photowalks are free; however, you must preregister for the photowalk that you want to attend, and also be registered for NAB. While NAB is not free, if you follow this link (click here), you can get free registration! Those of you who live in the NYC area will want to come for certain. Spaces are very limited, so don’t procrastinate—sign up today!

I hope to see you in New York City in October!

The Film Simulation Recipe Wrench

Posted on September 27, 2023 by Ritchie Roesch

*Red Rocks Among Green Trees* – Sedona, AZ – Fujifilm X-T5 – Kodak Gold 200 Recipe

Peter McKinnon’s recent YouTube video entitled The Valley really struck me. It was highly relatable, and not just because it was filmed in Arizona and Utah. There were several interesting takeaways, and a lot that could be discussed. For now, I want to focus on one thing in particular: the wrench.

I think it’s important to feel a little uncomfortable sometimes. “The enemy of art is the absence of limitations,” Orson Welles famously stated. Oftentimes restricting ourselves in some way will propel us forward or allow us to achieve what we otherwise could not, as we have to approach the situation differently than we are comfortable doing. That perspective shift is where growth happens. Wrenches are good.

If you haven’t yet seen the video, go ahead and watch it now.

“I mentioned I’ve been shooting for 20 years,” Peter McKinnon states at about the eight-minute mark. “Digital gets a bit—maybe not even digital, it’s not even the way to say it—just photography itself just gets a bit monotonous after two decades. There’s a formula that you can follow, and it works—you’ve got a style and you’re used to it and you’re used to everything. So it’s nice to throw a wrench into that mix, and that wrench—for me—that’s film. Really needing to understand what feels like an entirely new craft in so many ways with so many facets to it—it really puts you on your toes. It takes you out of the comfort zone and forces you to see the world through a new perspective.”

“There’s something that connects you with nature,” he continues. “There’s something that connects you to the landscapes you’re standing in when you’re out there loading a roll of film that you’re going to shoot [but] that you can’t see after. There’s something that just feels like true photography. And that feeling I plan on chasing for as long as I can.”

Initially, I saw this through the eyes of a long-time film photographer. Yeah, there is something about loading the roll of film and not knowing what you’ve got until much later that connects you with the scene. But then I saw it through my eyes when I neared the 20-year mark (there’s something about that date…), which was a handful of years back. I desperately needed a wrench, as I was feeling burnt out and uninspired. That wrench for me was Film Simulation Recipes. Shooting straight-out-of-camera was the limitation that I needed to be propelled forward. It’s what rejuvenated and inspired me (still does!), and what I plan to chase as long as I can. For Peter it’s film, for me it’s JPEG Recipes—which, incidentally, do have some similarities.

*Mitchell Mesa* – Monument Valley, AZ – Fujifilm X-T1 – Velvia Recipe

Of course, Peter McKinnon still edits his film photographs. He spot-removed the horse poop, for example. He very obviously used masks to brighten up the subjects. Nothing wrong with that, as it’s his art. For me, though, post-editing just sucks the life out of me. It’s just not my thing anymore, after having done it for so long without any enjoyment. Thankfully, using Film Simulation Recipes allows me to not worry about editing, and focus more on capturing.

I also saw Peter’s video through my current eyes. For several months now I have been feeling that I need some new limitation—a brand new wrench—to force myself to see through a new perspective. And this video was the aha moment. I grabbed my Fujifilm X100V, turned off the EVF so that it was just the optical viewfinder (no image preview), and turned off the rear LCD. Then I determined not to review my pictures until later, sometime after I was done photographing. This would emulate to an extent that film experience Peter talked about, and that I kind of miss (now that I don’t shoot much film anymore). Doing this, I load the Film Simulation Recipe that I want to use into the camera (or, choose one of the seven that I already have saved), capture some photographs, and then I don’t know what I have until sometime later. It’s definitely a different approach than what I’ve been doing, but so far so good. I think I’m going to appreciate this new wrench.

I just started doing this. Below are a few of the first handful of exposures captured using this technique. The Recipe is one that’s not yet been published, but is coming soon, so stay tuned for that. I can only do this on my X100V and X-Pro1, and not my other models, since it requires an optical viewfinder. Maybe this will be a good excuse to buy the X-Pro4 whenever Fujifilm decides to release that someday in the future. In the meantime, this is how I will approach photography whenever I’m out with my X100V. I think it’s the wrench I need right now.

*Pink Arm* – Buckeye, AZ – Fujifilm X100V

*Empty Cage* – Buckeye, AZ – Fujifilm X100V

*Twin Palms & Concrete* – Surprise, AZ – Fujifilm X100V

Fujifilm SOOC Summer 2023 Photography Challenge

Posted on August 25, 2023 by Ritchie Roesch

I just became aware that Fujifilm Middle East is currently conducting a photography contest just for straight-out-of-camera pictures! Use either the factory-default film sims or Film Simulation Recipes. No editing allowed, only camera-made JPEGs.

The rules, which can be found on Fujifilm’s website, are simple enough:

MUST: Shoot RAW + JPEG
CANT: Post-process outside of camera
NEED: Finalists to submit RAW to verify
ALLOWED: Custom Recipes
COUNTRIES: UAE, KSA, Bahrain, Kuwait, Qatar, Egypt, Lebanon, Iraq, Uzbekistan, Nigeria and Pakistan
DEADLINE: 23 September 2023

Third prize is a $500 coupon for Fujifilm gear, second prize is a $1,000 coupon, and first prize is a $2,000 coupon… enough for a Fujifilm X-T5 or X-H2! If you reside in one of those 11 qualifying countries, definitely consider entering this competition.

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

One of the judges is Fujifilm X-Photographer Bjorn Moerman. If you’ve ever watched any of the SOOC Live YouTube videos, you’ll instantly recognize him, as he regularly tunes-in and participates in the show. You’ve likely seen several of his phenomenal pictures; a few are found in the latest Viewers’ Images slideshow published just today! Many of his amazing photographs are straight-out-of-camera using Fuji X Weekly Film Simulation Recipes (including all of those seen in the SOOC Live videos). Sometimes in photography competitions you have to wonder about who the judges are and if they’re actually qualified for that role, but not in this case, especially since Bjorn is one of them.

I love the idea of this competition, and I hope that it catches on. Shooting straight-out-of-camera JPEGs is becoming a more and more popular approach, and Fujifilm photographers are on the leading edge of it. Fujifilm North America should definitely do a SOOC photo contest, too—I think it would be a huge hit, while also spreading the word that Fujifilm cameras are capable of capturing incredible pictures that don’t require editing. For many people, that realization is a game-changer, making photography more enjoyable, more efficient, and more accessible.

Wedding Photographers Adapt to Couples who want Instant Images — An Opportunity for You!

Posted on July 25, 2023 by Ritchie Roesch

I saw an article on PetaPixel today about a particular wedding photography trend. Entitled The Demand for Instant Images is Upending Wedding Photography, the post is based off of a lengthier Associated Press piece called Wedding photographers adapt to couples who want instant images and less tradition. I don’t want to get into the details of either, but the summary is this: customers want a quicker turnaround so they can share pictures and videos of their big event more timely.

I’m not a wedding photographer. I’ve photographed a couple of weddings in the past—many years ago—and I have no desire to jump into that genre. Good wedding photographers are sometimes the first there and last to leave. It’s not uncommon to work 12, 14, or even 16 hours on the big day. Then there are thousands of exposures to cull through, and then edit. That might be an additional 24, 28, or even 32 hours of work! That’s not my cup of tea. For others, though, this is their thing, and they love what they do. Their passion is capturing incredible memories of other people’s weddings.

The shift to a faster turnaround must be frustrating for many in the industry, but it’s actually an opportunity. The article states that some wedding photographers are trying to get some social media type content into the hands of their customers within 48 hours. But why that long? Why not much quicker? Why not as the wedding is happening? If you can do that, you have a huge leg-up on your competition.

*Captured with a Fujifilm X100V using the Kodak Tri-X 400 Film Simulation Recipe.*

I cohost a live YouTube series with official Fujifilm X-Photographer Nathalie Boucry. She does a lot of business photography. Recently she was hired to photograph a corporate event, but they wanted to have the pictures available to share on their social media platforms immediately, in real-time as the event was happening. How did she do this? First, she used Fujifilm gear combined with my Film Simulation Recipes, and shot JPEGs. The pictures looked good straight-out-of-camera, and no editing was needed. Every so many minutes she downloaded the pictures off the camera and uploaded them onto a cloud drive that the customer had access to. Within 10 or 15 minutes of the pictures being captured, the customer was able to share them across the world. This went so well that a week later she was hired to do it again for a different corporate event. I do believe this is the future of event photography, including wedding photography.

Maybe real-time photo sharing isn’t something you’re ready to offer, but if your pictures look great straight-out-of-camera, and further manipulation isn’t needed (or only lightly needed), you can speed up your turnaround significantly. Instead of providing the client with a small batch of photos within 48 hours for social media sharing while they wait up to six weeks for the rest, you can deliver the whole wedding the next day or maybe two. This is, of course, in theory. I’m not aware of anyone who is actually doing this right now. A few different wedding photographers have told me that they are using my Film Simulation Recipes on their Fujifilm cameras, and delivering some of the pictures either same-day or next-day to the client, while providing the rest of photographs at some point later on. I do think, if you’ve got good settings dialed into your camera, and you’re especially careful to get everything right at the time the pictures are captured, that delivering unedited JPEGs of the wedding to the couple is possible, and nobody will be the wiser that you didn’t actually spend hours post-processing RAW files.

This is something I’ve talked about before. Back in December I published Want to be a Wedding Photographer? Your Opportunity Awaits! and earlier this month I posted The Future of Photography is Unedited, where I touched on this topic. I keep bringing it up because I see this shift happening, and those who already have a simplified workflow using Film Simulation Recipes are ahead of the curve, and are primed for success in this changing environment. I want to make sure that you are aware of it, in case you want to take advantage of the opportunity.

I don’t do wedding or event photography, but there are still plenty of advantages to shooting JPEGs. Despite having way more photographs to cull through and share, I was able to publish my pictures of the Central Coast of California tour much quicker than Ken Rockwell did, because my workflow is much quicker than his. That’s a pretty meaningless example; I don’t have a lot of strict photographic deadlines. Perhaps a better case is this: on December 8th of last year, Nathalie, myself, a group of guests, and those who tuned-in, created a Film Simulation Recipe during the Let’s Get Festive holiday-special SOOC Live broadcast—this is the first and (as far as I’m aware) only time a Fujifilm Recipe has been made live on YouTube. Within minutes of its creation, I (and others) had captured a picture using the new Film Simulation Recipe and shared it with all those watching. The very next day I published the Recipe, which the live audience named Mystery Chrome, on this website (and the Fuji X Weekly App), complete with 24 example pictures. That’s my best quick-turnaround example.

Even though I don’t have the need to publish pictures immediately after they’ve been captured, I do sometimes share a photo quickly through text or social media, which is never a problem because I don’t post-process my images. What’s more meaningful to me is that I don’t spend hours and hours sitting at a computing fiddling with files, which saves me a ton of time, making me more productive, while also freeing up time for other things (such as writing blog posts and spending time with my family). It’s changed my life, no hyperbole. I think it can and will change event photography and even wedding photography. It will just take some pioneer photographers to give it a try, which could be you.

Not post-processing your pictures is called one-step photography, a term coined by Edwin Land and perpetuated by Ansel Adams in his book Polaroid Land Photography. “The effect of one-step processing on both amateur and professional creative photography,” Adams stated, “has been revolutionary.” With film, step-one is capturing the picture in-camera and step-two is developing and printing it in a darkroom; however, Polaroid cameras removed the second step, creating a one-step process, which greatly simplified the photographic workflow. With digital, step-one is capturing the picture in-camera and step-two is post-processing in software like Lightroom; however, Film Simulation Recipes remove the second step, creating a one-step process, which greatly simplifies the photographic workflow. “The process has revolutionized the art and craft of photography,” Adams concluded. It still is, for those who embrace the one-step approach.

Travel Photography Q&A — Don’t Miss It!

Posted on July 21, 2023 by Ritchie Roesch

*Ken Rockwell at the Coast* – Morro Bay, CA – Fujifilm X-E4 – Kodacolor VR Recipe

Next week—on July 27th—Fujifilm X-Photographer Nathalie Boucry and I will be chatting about travel photography in our upcoming SOOC Live broadcast, including showing your pictures and answering your questions. I hope that you can join us!

The Q&A shows, which are the Part 2 of our monthly topics, are always a lot of fun. They’re more relaxed and interactive. Your participation makes them great—your role is vital! If you don’t have next week’s broadcast on your calendar, be sure to mark it now. I’ve included it below so that you can easily locate it.

Two weeks ago was the Part 1 episode, where Nathalie and I introduced the theme of travel photography. We discussed all sorts of considerations and gave many tips. If you haven’t yet seen that show, you’ll want to take some time to watch it. I’ve included the broadcast below, and you can also find it on the SOOC Live YouTube channel.

In that episode we challenged you to shoot with one or more of these four Film Simulation Recipes: 1970’s Summer, Elite Chrome 200, Fujichrome Provia 100F, and Kodacolor VR. Additionally, if you want an even greater challenge, you can try to get good results from one or more of these Recipes in unfavorable light. And if you want to go boss-level, the third challenge is to print and frame one of your pictures that were captured with these Recipes. To summarize: Level 1 is to use the Recipes listed above, Level 2 is to shoot those Recipes in less-than-ideal light, and Level 3 is to print and frame one of the pictures you captured during the first two levels. Got it?

We invite you to share your results with us and the SOOC Live community. Please upload your images (click here) captured with our four recommended Recipes to be potentially featured in the next episode and also included in the Viewers’ Images slideshow. Don’t forget to include the Film Simulation Recipe name in the file name, so that we know which Recipe you used. The deadline for submission is Tuesday the 25th, which means that you still have a little time, but not a lot, so don’t procrastinate. I look forward to seeing your pictures!

Last month’s Viewers Images slideshow was delayed a little due to a few unfortunate and unforeseen circumstances. If you haven’t yet watched it, I’ve included it below. Thank you to everyone who participated!

The Future of Photography is Unedited

Posted on July 7, 2023 by Ritchie Roesch

*Bench with a View* – Prefumo Canyon, CA – Fujifilm X-E4 – Pacific Blues Recipe – *unedited*

Photography is moving in a clear direction, and it is unedited. Let me explain.

There’s a new photography trend on the iPhone. Instead of using the front-facing camera to take selfies, people are taking screen shots of the preview from the selfie camera. Why? What’s the difference? The pipeline for the image preview and the actual photographs are different on the iPhone. Most notably, Apple applies an HDR processing to the exposure (but not the preview), which creates a less-contrasty picture. If you are going to apply a filter to the photo and edit it, having a flatter starting point makes sense; however, if you are not editing, one might prefer the more-contrasty image preview. Aside from that, it can be frustrating that the preview doesn’t match the photograph.

My RitchieCam iPhone camera app uses the same pipeline for both the image processing and the preview, so it doesn’t have this issue. The preview you see will be the picture you get. No need to screenshot, which produces a much-lower resolution image. Those using my camera app (instead of the native iPhone app) won’t need to go through the hassle of the screen shot (plus cropping out the non-image part); instead, they’ll have better quality pictures with an analog-inspired aesthetic to post to social media.

Photo by Amanda Roesch – iPhone 13 Pro – RitchieCam App – Standard Film filter – *unedited*

Of course, we’re not talking about photographers here, but snap-shooters, as I doubt that anyone who would self-identify as a photographer is taking screenshots instead of using the camera. It shouldn’t be surprising that they’re uninterested in picture manipulation, and just want good results without fuss. Maybe they don’t know how to edit pictures, and the idea of doing so is very intimidating, so they have no interest in learning. It could be that they don’t want to spend their time with picture editing, and just want to share (either through text or social media) their snaps quickly—the easier the better, but the pictures still need to look decent. Others don’t edit because doing so seems less authentic; Photoshop is a bad word, and picture-manipulation equals people-manipulation. Let’s not forget that the vast majority of photos captured across the world are by amateurs, so their opinions, preferences, and trends do matter.

For the advanced-hobbyist or professional, surely photo manipulation is a requirement, right? There’s a growing movement towards reduced (or even eliminated) photo editing. First, the less time spent sitting at a computer equals more production and/or more time with friends and family. For a lot of people, for every hour out with a camera photographing means two hours in Lightroom or Capture One fiddling with the RAW files; if those two hours can be reduced by 50% or more (especially more), that’s a huge win! Second, shooting camera-made JPEGs affords the advantage of knowing exactly what you’re going to get before even pressing the shutter. Don’t like what you see? Simply make a few quick adjustments until you do, then take the picture. Not having to pre-visualize in your mind the finished photo, but seeing it right there in the viewfinder in real time, is a game-changer for many. Third, getting great (often analog-like) results straight-out-of-camera can be a much more fun photographic process, especially if you don’t enjoy sitting for hours at a computer post-processing pictures.

I used to shoot RAW and edit, but thanks to Fujifilm cameras and Film Simulation Recipes, I now use unedited (or sometimes lightly-edited) camera-made JPEGs. I will crop or straighten when needed, which is the majority of my post-processing; occasionally I will adjust the brightness a notch, but very rarely do I manipulate any further than that. Most of my pictures are unedited, even to a strict definition. This has changed my life, no hyperbole! My post workflow takes minutes instead of hours, which has made me a much more productive photographer while simultaneously improving home-life, because I can now spend more time with my wife and kids. That’s amazing!

*Pacific Poppies* – Montaña de Oro SP, CA – Fujifilm X-E4 – Pacific Blues – *unedited*

For example, on a recent trip to the California coast, during the downtimes—such as while at lunch, as a passenger in a car, or at night before bed—I transferred the JPEGs from my cameras to my phone, cropped if needed, and uploaded to cloud storage. A few minutes here and there meant that, by the time I got home, my workflow was essentially already complete. For most photographers, once back home the work would just be getting started, with many hours sitting at a computer.

But, but, but… surely the unedited camera-made JPEGs are not good enough for serious photography, right? You couldn’t do true professional work like this, could you? You can’t print very large and still look stunning, can you? Actually, yes—you can! I know because several successful professional photographers have told me that this is how they now do their paid work. You’d be surprised by just how many are doing some or even all of their pro photo work completely unedited or just lightly edited.

It’s not just photographers who benefit from a simplified workflow, but clients. Because of social media, people often desire to have a quick turnaround on their professional photographs. The newlywed couple doesn’t want to wait two weeks for the wedding pictures to be done, and in fact their parents wished for them that very day! If you can deliver the images quickly, you have a clear advantage over your competition.

*Dave Wyman using RitchieCam* – Montaña de Oro SP, CA – Fujifilm X100V – Superia Premium 400 Recipe – *unedited*

In fact, Fujifilm X-Photographer Nathalie Boucry told me about two recent corporate events where the client wanted the photos as the event was happening! Periodically, every so many minutes throughout the day, she would download the straight-out-of-camera images from her camera to her phone, then upload them to a cloud location that the client had access to. As the event was happening, they were able to share the pictures to their social media accounts. Delivering real-time results to the client is going to be the future of event photography. Nathalie was able to do this thanks to the Film Simulation Recipes that she had programmed into her Fujifilm cameras.

Whether it is professional, hobby, or snap-shooting, photography is slowly and stubbornly moving towards less editing. It is easier and quicker and more fun, the disadvantages of it are disappearing, and the stigmatization is dissipating. More and more, people want great results without fuss. Editing is no longer a requirement, especially if you have gear that will deliver solid out-of-camera pictures, such as Fujifilm cameras or the RitchieCam app.

The next battle will be AI. Technology allows one to simulate a photograph with a string of words, or add to an image what wasn’t there—all with a similar ease to shooting camera-made JPEGs. It will come down to authenticity. I believe that as tech pushes us towards an augmented or even fully artificial reality, society will push back with an equal and opposite force towards the genuine. People will generally prefer authenticity over artificial, but it will be a divide. Camera makers should carefully consider how to move forward through all of this, and how they can improve their straight-out-of-camera experience. Fujifilm has a clear advantage, which materialized in the recent explosion in demand for the X100V. A simplified workflow with less editing or even no editing is the future of photography, and the future is now.

Let’s talk about the upcoming Fujifilm X100Z

Posted on June 30, 2023 by Ritchie Roesch

The Fujifilm X100V was an overnight sensation two-and-a-half years after it was released. Yes, it sold well for Fujifilm during those 30 months prior to the explosion in demand, but, beginning last fall, the X100V was suddenly the one camera model that everyone wanted, yet few could get.

Fujifilm couldn’t make enough copies of the camera to keep up with the newfound demand. The X100V was out-of-stock everywhere. The backorder list quickly grew long. A large camera store told me months ago that if there were no new orders, and at the current rate that Fujifilm was manufacturing the X100V, it would take them six months just to fulfill all of those backorders; however, the backorder list was growing faster than Fujifilm was delivering new cameras.

Some of those who did have an X100V—even a used one—were selling them at significantly inflated prices. I saw one listed at $1,000 above MSRP in one instance. And people were actually buying them! The price for older versions, such as the X100F, but going back all the way to the 12-year-old original X100, also increased and became more difficult to find. Even other Fujifilm series, such as the X-E line (and even Ricoh GR), saw a bump in demand as people looked for alternatives to the X100V.

*Yellow Kayaks, White Trucks* – Pismo Beach, CA – Fujifilm X100V – Superia Premium 400

It’s been about nine months since the craze began and it hasn’t slowed. The X100V has been an in-demand model during that time, but Fujifilm just can’t keep up with it, due to things like parts shortages and balancing manufacturing demands with the also-hot-selling X-T5. Ideally Fujifilm would have been able to truly capitalize on their fortuitous situation, but they really haven’t. Perhaps the only thing that Fujifilm has been able to do is continue to limp the manufacturing of this model a little longer than they originally anticipated, delaying the discontinuation date by as much as a year.

When you look at the history of the X100-series, a release pattern emerges. The X100S came out about two years after the original X100, the X100T came out about two years after the X100S, and the X100F was released about two years after the X100T; however, the X100V was released three years after the X100F, and we’re already beyond the three-year-mark since the X100V came out. I believe that Fujifilm would have liked to have announced the next X100-series camera, which I’ll call the X100Z, back in February, but that obviously didn’t happen. I anticipate that it will be February 2024.

Why didn’t it happen in 2023? The X100V is selling faster than they can be made. What’s the hurry in releasing a successor? I do believe the issues that plagued not only Fujifilm but also most of the tech industry are still problematic to an extent, and this gives Fujifilm more time to get their parts supply and manufacturing operations back on track. I bet Fujifilm is hoping to make just enough copies of the X100V to give a glimmer of hope that one can be obtained with enough patience—and that the buzz continues for a bit longer—but not so many that the demand is deflated when the X100Z (or whatever Fujifilm will call it) is announced in eight months or so. Honestly, Fujifilm should release one or two limited-run special-edition X100V versions between now and then.

*Flare over a Log*– Prefumo Canyon, CA – Fujifilm X100V – Fujicolor 100 Gold

The X100-series doesn’t change much with a new release. The improvements are just enough to make you desire the new model, but are never groundbreaking. There’s not going to be a redesign. If it ain’t broke, don’t fix it. What can we expect in an X100Z? What do I wish for?

I do believe the biggest “upgrade” will be the 40-megapixel X-Trans V sensor and processor. While I actually prefer the 26-megapixel sensor in general (as 40mp is overkill for most people), as I’ve thought about it, this sensor makes a lot of sense in an X100 because of the Digital Teleconverter, something I used far more frequently on my recent trip to California’s Central Coast than I had at any point in the two years prior. The X100V has 35mm full-frame-equivalent lens, and the Digital Teleconverter, which is a digital zoom with some smart upscaling, produces a 50mm-equivalent or 70mm-equivalent picture, adding versatility to the fixed-lens camera. There is a noticeable loss in quality when set to 70mm, but it’s still surprisingly good; however, the 40mp sensor would make this feature better and more practical for routine use. In fact, Fujifilm could even add 80mm if they wanted. The one thing I’d like Fujifilm to fix with regards to the Digital Teleconverter is scale the faux Grain, because Strong/Large Grain looks massive when using the 70mm option, but it should appear to be the same size as if the Digital Teleconverter wasn’t used.

The new sensor and processor will bring several improvements to the spec sheet for both stills and video. Autofocus will see a boost. In an age of diminishing returns, I don’t think any of that makes a big difference, but the marketing department will still use it to promote the camera and reviewers will still use it to get clicks and likes.

*Playing with Waves* – Cambria, CA – Fujifilm X100V – Kodak Tri-X 400

Will the X100Z have IBIS? Fujifilm has made some significant strides with their In-Body-Image-Stabilization, but I’d be mildly surprised if the new model has it. The argument is that the Ricoh GR III has IBIS, and it’s a much older and smaller camera, so why can’t the X100-series? First, IBIS isn’t really needed in the GR III and it’s pretty mediocre anyway, so it’s often overstated as a feature in that model. I do think it makes more sense in the X100-series than in the Ricoh, but if it makes the body larger or more expensive, Fujifilm will have to carefully consider the potential consequences of that. I think, with the higher-resolution sensor, a digital stabilizer for video would be sufficient.

What I would love to see in the Fujifilm X100Z are more film simulations and JPEG options. Of course that’s what I’d love to see, since I make Film Simulation Recipes. What I don’t think Fujifilm or the photography community in-general realizes is that the ability to get analog-like results straight-out-of-camera is what’s largely driving the interest in the X100V. While many long-time Fujifilm photographers purchased the X100V, for a lot of people the camera is (or would be if they could find one in stock) their first Fujifilm—whether they mainly shoot Canon, Sony, Nikon, etc., or it’s their first “real” camera—and it makes a lot of sense because it doesn’t require investing in a whole system. They can get their feet wet with something fun, and maybe later they’ll jump into the deep end. In the meantime, they’ve got a cool camera that doesn’t require sitting in front of a computer to get great results. Not only does this drive camera sales, but it is also a big reason why many end up sticking around and not moving onto something else.

*Spooner Cove* – Montaña de Oro SP, CA – Fujifilm X100V – Fujicolor 100 Gold

So what would I like Fujifilm to add to the X100Z? Obviously Eterna Bleach Bypass and Nostalgic Neg. will be included, but I think Fujifilm should strongly consider introducing a new film sim with this camera. Some ideas are Fujicolor Pro 400H (that with overexposure behaves similarly to the film), Fujicolor Pro 800Z (would make a lot of sense if they name the camera X100Z), Fujichrome Sensia, Fujichrome Fortia, cross-process, infrared, Instax, Neopan 400CN, etc.—there are still a ton that Fujifilm could and should do. Some JPEG options that I’d like to see are mid-tone adjustments (additional to Highlight and Shadow), black-point (a.k.a. fade, to lift blacks), split-toning (for both B&W and color pictures), more Grain options (Weak, Medium, Strong; Small, Medium, Large, Extra-Large; plus maybe various patters?), and maybe even a tint slider for the major colors to tweak their rendering? I think Fujifilm has to be careful balancing new features with simplicity, so that the many options don’t become overwhelming—in other words, pick a couple of things to add and not everything, as much as I’d love to have everything.

The X100Z will be a very successful camera for Fujifilm, and for a lot of people standing in the long line for an X100V, this new model can’t get here fast enough. There won’t likely be a huge difference between the two versions—just the new sensor and some new features, but it will nonetheless be a nice refresh. While it might seem to be a long ways off, Fujifilm will announce this camera in the not-too-distant future, and it will be here before you know it. In the meantime, I’ve included below a video published today by Leigh & Raymond Photography that discusses this very topic.

There’s an Easier Way — JPEG Photography for a Faster Workflow

Posted on February 3, 2023 by Ritchie Roesch

*Arches National Park, Utah — iPhone 11 — RitchieCam App — Analog Gold filter*

“I’ve been working on my photos from October rather than reviews….”
—Ken Rockwell, February 2, 2023

I just stumbled upon that quote from Ken, which was followed by an iPhone photo from October (that’s why this article begins with an iPhone picture). I bet a lot of you can relate to his statement. When you photograph a lot, your post-processing workflow can get backed up quite a bit. I have thousands of unprocessed RAW files that have been sitting on a now-obsolete computer’s hard drive for at least seven years now. I get it: you’ve got stuff to do, and your limited time is being pulled every which way, so something’s got to give.

I discovered that there’s a better way. There’s no need to get four or five months behind. There’s no need to let your photographic work back up so much. You can can accomplish so much more with the time that you’ll save. What is this better way? It’s really simple: shoot JPEGs, and skip the picture editing step (called One Step Photography, as explained by Ansel Adams in his book Polaroid Land Camera). More and more photographers are embracing this approach.

*Sitting Above Horseshoe Bend* – Horseshoe Bend, AZ – Fujifilm X-E4 & Pergear 10mm – “The Rockwell” Recipe

Ken Rockwell knows this. Not only does he often shoot JPEGs, but he once tried one of my Film Simulation Recipes on a Fujifilm camera. He shoots with a lot of brands, and Fujifilm isn’t his main make. I have Film Simulation Recipes for Fujifilm cameras, I have Recipes for Ricoh GR cameras, and I have an iPhone camera app called RitchieCam; if you don’t shoot with Fujifilm, Ricoh, or iPhone, your options are much more limited (I did make a few Recipes for Nikon Z, too, but it’s a pretty small number).

The reason why it’s important to shoot with Recipes is because the settings have been fine-tuned to produce a particular aesthetic that doesn’t require editing. The images look good straight from the camera, as if they had been post-processed or perhaps were even shot on film. Except they weren’t, which saves you a ton of time, money, and hassle. If you aren’t shooting with Recipes, you are most certainly doing some amount of post-processing, whether you shoot RAW or JPEG. There are some people who do still edit their camera-made-using-Recipes JPEGs, but they’re doing much less editing than they otherwise would be. The point of using Film Simulation Recipes is to edit less or (preferably) not at all, which has a huge upside, but it does require Recipes that produce excellent results, and a little extra care by the photographer in the field, since “I’ll fix it in post” isn’t really an option.

If Ken had used a Fujifilm camera programmed with Fuji X Weekly Recipes, surely he would not be busy right now post-processing pictures captured way back in October. Instead, he’d be writing those reviews that have been delayed, or out on some other photographic adventure. The October exposures would have been completed in October, or maybe early November at the latest. If he had used RitchieCam, there would be no need to process his iPhone images with Skylum software, because they would have been ready-to-publish the moment they were captured. Ken, you should try my iPhone camera app. And you should shoot with Fujifilm cameras more often.

*Captured at the end of October, posted to Instagram the next day, and published on this website November 8th.*

With the Canikony brands, shooting awesome straight-out-of-camera (SOOC) JPEGs isn’t as easy or prevalent. Sure, it can be done, but it is much more often done with other brands because of things like the Fuji X Weekly App, which contains approaching 300 Film Simulation Recipes for Fujifilm cameras, so no matter your desired aesthetic, there’s a Recipe for you. Download the Fuji X Weekly App for free today (Android here, Apple here), and consider becoming a Patron subscriber to unlock the best App experience. Ken is sitting at a computer right now fiddling with files, since he didn’t shoot with Fujifilm cameras programmed with Film Simulation Recipes.

People seem to either love or hate Ken Rockwell. To be clear, this article is not bashing him. I’ve actually had correspondence with Ken, and he seems like a very nice guy. I think his “real” personality is much more kind and genuine than his online persona, which can sometimes come across as abrasive and perhaps even offensive. If you hate him, I would suggest that you reach out to him with an open mind and heart, and try to get to know him a little, because your mind might get changed, even if just a bit. Personally, I have found some of his articles, insights, and commentary to be quite helpful; however, I certainly don’t agree with everything that he says, and I take his words with a grain of salt (as you should with mine). He’s very successful at what he does, so he’s obviously doing something “right” even if I don’t fully agree with what it is.

All of that is to say, if you don’t want your workflow backed up for months because you have so many exposures to edit, and you’d rather spend your time doing something else—including capturing more photographs—then SOOC JPEGs might just be the thing for you. If you don’t own a Fujifilm camera, consider picking one up. Download the Fuji X Weekly App. Select a few Film Simulation Recipes to try. Let your RAW editor subscription expire.

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-E4 in black: Amazon B&H Moment
Fujifilm X-E4 in silver: Amazon B&H Moment

SOOC Season 2 Kicks Off This Thursday!

Posted on March 8, 2022 by Ritchie Roesch

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

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

Creative Collective 014: Using a Fujifilm X100V as a Disposable Film Camera

Posted on January 12, 2022 by Ritchie Roesch

Well, this is going to sound crazy, but I turned my Fujifilm X100V into a disposable film camera. No, I didn’t disassemble my digital camera, rip out the sensor, and adapt a film spool. Instead, I configured my X100V to capture pictures that appear as though they were captured with a cheap throwaway film camera. Why? I’ve done crazier things before, including distressing a camera, so it shouldn’t be too shocking that I’d do this—perhaps it was just a matter of time.

The inspiration for this project has been building for awhile. I have a picture displayed on my dresser that’s over 20 years old—it’s my wife and I, captured sometime shortly after we got married. A friend took the picture with a disposable camera. I can tell that it was a Fujifilm QuickSnap camera by the color palette, which is clearly Fujicolor. The picture is special to me because it’s a very personal (and happy) moment that’s been frozen in time through photography. It’s nothing more than a snapshot captured on a cheap camera, and would be completely meaningless to almost anyone else. I have a box full of these type of pictures, mostly 4″ x 6″ prints. You might have a box like this, too—snapshots that are meaningful to you.

*Bread Truck* – Farmington, UT – Fujifilm X100V

Fujifilm developed the QuickSnap camera, a “one-time-use” 35mm film camera, in the mid-1980’s (Kodak released its version, called FunSaver, a couple years later), and it was an instant hit. These “disposable” cameras were extremely popular in the 1990’s and 2000’s. They came preloaded with 27 frames (a 24-exposure roll of film, but you got three extra shots), and were point-and-shoot. You’d push the shutter-release and advance the film, but otherwise there typically weren’t any other controls, so anyone could use these cameras—no skill required. Once you exposed all of the frames, you’d take the camera to the 1-hour lab, where they removed the film for development and recycled the camera. 60 minutes later you’d have a packet of 4″ x 6″ prints.

Cheap digital point-and-shoots made a dent in disposable camera sales, but it was really the cellphone camera that rendered them obsolete; however, you might be surprised to learn that you can still buy disposable cameras today. Thanks to the Lomography movement and an increased interest in film photography, there’s enough of a market for these cameras to continue to exist in 2022. I briefly considered purchasing one, but instead of that, I decided to capture QuickSnap-like images on my Fujifilm X100V.

Now you know the why, so let’s get into the how.

Note: This was a Creative Collective article, but now it is available to everyone.

I started with research. I discovered that the Fujifilm QuickSnap cameras have a fixed 32mm f/10 lens with focus preset to somewhere near 6 feet. The shutter is permanently set to 1/140. Depending on the unit, the flash is either permanently on or can be powered on-and-off. The film… depends. Nowadays, Superia 400 is what you’ll find in QuickSnap cameras. Superia 800 was also commonly used in these for awhile, but it’s been discontinued for a number of years now. Superia 200 and Superia 1600 had very brief runs in disposable cameras, although they were “specialty” versions: Superia 200 for bright daylight, Superia 1600 for indoors/night. Before Superia, there was Super G Plus, Super HG, Super HR, and probably others. These cameras have no exposure control. Basically, the latitude of the film was the exposure control. Any overexposure and underexposure would be “fixed” when printing. You could overexpose Superia by three stops, arguably four, and still get a usable picture, and underexpose by a stop or maybe two.

The Fujifilm X100V has a full-frame-equivalent 34.5mm focal-length lens, which is slightly less wide-angle than QuickSnap cameras, but pretty close to the 32mm focal-length of the disposable. I figured it was close-enough for this project. I set the aperture to f/10 and the shutter to 1/160, as 1/140 wasn’t an option (I could have alternatively used 1/125). I set ISO to Auto, up to ISO 6400. The X100V doesn’t have the same exposure latitude of the film, so it was important to have some level of exposure control. In bright daylight conditions, I activated the ND filter to prevent overexposure (I programmed the ND filter to the Fn button on the top, as an On/Off switch). The Exposure Compensation Dial was set to +1/3. I manually focused to six-and-a-half feet and left it there. I set the flash to be be On (TTL +1/3), and let it fire on every exposure.

For the film simulation recipe, I went with Fujicolor Superia 800, except that I set Sharpness to -4, Grain to Strong Small, and the White Balance Shift to be -1 Red & -2 Blue. This seemed to be a pretty close match to the prints I was hoping to mimic the aesthetic of.

The X100V’s lens is too sharp and flawless to mimic a cheap one-time-use camera, so I needed some help. I used a 10% CineBloom filter to take the digital edge off of the pictures, and also a UV filter that just so happened to have a thin layer of dust on it (not sure if the dust made a difference or not, but I figured it was worth trying). I briefly considered very lightly sandpapering a UV lens, but decided against that, just because I didn’t want to ruin the filter without knowing whether it would work or not.

I wanted it to be a disposable camera experience, so, after I got the camera set, I disabled the rear screen and the electronic viewfinder, and used only the optical viewfinder. I turned off all of the display information (except for the ND filter, because I wanted to know if it was On or Off). With everything set, I went out and captured 27 exposures!

I didn’t review any of the pictures until after all 27 images were captured. I had no idea what the pictures would look like until the project was complete. The only controls I used were the shutter-release and the ND filter—it really was a point-and-shoot experience, with aperture, shutter, focus, and flash all preset.

Here are my 27 exposures captured using my X100V-as-a-disposable-camera:

I think some of these shots are very convincing as disposable camera images. If I had them made into 4″ x 6″ prints, I could probably trick some people into thinking I actually used a QuickSnap camera. To that end, I think this project was a success. More importantly, I had fun. I really appreciated not seeing the pictures until the end—I might use the optical viewfinder more often, and keep the rear screen off.

The biggest challenge was keeping track of the exposures. I used the notes section (under the recipe) in the Fuji X Weekly App to help remember, but that wasn’t ideal, and I ended up going over by one, thinking that it was the 27th frame when it was actually the 28th. If I do this again, I’ll have to figure out a better method.

I think you could do this technique with any camera, but the JPEG tools, built-in flash, ND filter, and optical viewfinder make the X100V particularly ideal for this. I tried a few shots on my X-T30 using a kit zoom and the Kodak Gold 200 recipe, and it seemed to do alright, but it wasn’t the same experience as the X100V. If you don’t own an X100V, I invite you to try this on whichever Fujifilm camera you do own. You might just discover something fun, and capture some meaningful moments in the process.

Understanding Color Chrome Effect & Color Chrome FX Blue (Videos)

Posted on December 19, 2021 by Ritchie Roesch

In these two “SoundBites” (as we’re calling it) from Episode 06 of SOOC, Fujifilm X-Photographer Nathalie Boucry and I discuss Color Chrome Effect & Color Chrome FX Blue features on Fujifilm X-Trans IV cameras. These are short snippets from the show, and it gives you an idea of the type of content that’s found in a SOOC broadcast. If you missed Episode 06, I’ve included it below, so you can view it in its entirety if you’d like.

If you’ve never watched, SOOC is a monthly live video series that’s interactive. It’s a collaboration between Nathalie and I. We discuss film simulation recipes, camera settings, and answer your questions. Basically, we’re trying to help you master your Fujifilm camera, with a focus on simplifying your photographic workflow.

The film simulation recipe used in both videos is Kodachrome 64. If you don’t have the Fuji X Weekly App, be sure to download it for free today!

Best Film Simulation Recipes for Portraits (Video)

Posted on December 17, 2021 by Ritchie Roesch

In this “SoundBite” (as we’re calling it) from Episode 06 of SOOC, Fujifilm X-Photographer Nathalie Boucry and I discuss three film simulation recipes that are good for portrait photography. This is a short snippet from the show, and it gives you an idea of the type of content that’s found in a SOOC broadcast. If you missed Episode 06, I’ve included it below, so you can view it in its entirety if you’d like.

The three recipes discussed in this video are:
Kodak Portra 400 v2
PRO Neg. Hi
Fujicolor Super HG v2

Also, if you don’t have the Fuji X Weekly App, be sure to download it for free today!

Episode 06:

Best Film Simulation Recipes for Cityscapes (Video)

Posted on December 14, 2021 by Ritchie Roesch

In this “SoundBite” (as we’re calling it) from Episode 05 of SOOC, Fujifilm X-Photographer Nathalie Boucry and I discuss three film simulation recipes that are good for urban photography. This is a short snippet from the show, and it gives you an idea of the type of content that’s found in a SOOC broadcast. If you missed Episode 05 and/or Episode 06, I’ve included them below.

The three recipes discussed in this video are:
Kodachrome 64
Jeff Davenport Night
Fujicolor 100 Industrial

Also, if you don’t have the Fuji X Weekly App, be sure to download it for free today.

SOOC Season 01 Episode 05:

SOOC Season 01 Episode 06:

Fujifilm X-E4 (X-Trans IV) Film Simulation Recipe: Kodak High Definition Plus 200

Posted on December 14, 2021 by Ritchie Roesch

*Evergreen Tops* – Farmington, UT – Fujifilm X-E4 – “Kodak High Definition Plus 200”

This Kodak High Definition Plus 200 film simulation recipe was a fun one to make. My wife, Amanda, was looking through an old box of pictures when she came across a group of prints that she thought looked interesting, so she showed them to me. The images were captured in the Sierra Nevada mountains, largely in the Sequoia National Forest, in 2006. I had no idea what film I used, but after locating the negatives, I discovered it was Kodak High Definition Plus 200. The pictures were printed on Fujicolor Crystal Archive paper. Not surprisingly, Fujifilm paper produces a different aesthetic than Kodak paper, so if this film had been printed on Kodak paper the pictures would look a little different. Back then, the rule of thumb for best results was that Kodak negatives should be printed on Kodak paper, Fujifilm negatives should be printed on Fujifilm paper, etc., but obviously I broke that “rule” with these travel pictures.

Kodak High Definition Plus 200 was a color negative film that was also sold under the name Kodak Royal Supra 200. At the time, Kodak claimed that it was the sharpest and finest-grained ISO 200 color negative film on the market. Originally there were ISO 100, 200, 400 and 800 varieties, but since this film line was introduced right at the beginning of the decline of film, it didn’t take Kodak long to discontinue all but the ISO 200 and 400 versions, and even those didn’t last all that long. I shot a few rolls of the film, and after digging through that photo box, I found two sets of negatives, both exposed around that same timeframe. I honestly don’t remember all that much from the experience, but it was fun to rediscover these long-forgotten pictures and recreate the aesthetic on my Fujifilm X-E4 camera.

*A picture of Kodak High Definition Plus negatives, captured with this recipe.*

*A picture of Kodak High Definition Plus 200 prints, captured with this recipe.*

*A poor quality scan of one of the prints. Sorry. I really need to buy a better scanner.*

For ISO 200 color negative film, Kodak High Definition Plus 200 was indeed pretty sharp and fine-grained. It was moderately vibrant (just a little above “true to life”) and contrasty but not overly contrasty. From what I can tell, it didn’t have as large of an exposure latitude as some of Kodak’s other color negative films. It was warm, but seemed to lean more towards green than red when printed on Fujicolor paper. Obviously, how the film is shot, developed, printed and/or scanned will affect how it looks (I apologize for my poor quality scan above, which doesn’t do the picture justice whatsoever, but I wanted to share it anyway). This recipe mimics how I shot the film in 2006, printed on Fujicolor paper. It is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras.

Classic Chrome
Dynamic Range: DR400
Highlight: 0
Shadow: +1
Color: +2
Noise Reduction: -4
Sharpening: 0
Clarity: -3
Grain Effect: Weak, Small
Color Chrome Effect: Weak
Color Chrome Effect Blue: Weak
White Balance: 4800K, -2 Red & -7 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +2/3 (typically)

Example photographs, all camera-made JPEGs using this Kodak High Definition Plus 200 film simulation recipe on my Fujifilm X-E4 & Fujifilm X100V:

*Walking Bridge* – Farmington, UT – Fujifilm X-E4

*Hollow Building* – Bountiful, UT – Fujifilm X100V

*Leaves that Left* – Farmington, UT – Fujifilm X100V

*Flag & Evergreen* – Layton, UT – Fujifilm X-E4

*Green Pine Needles* – Farmington, UT – Fujifilm X100V

*Red Roof* – Farmington, UT – Fujifilm X-E4

*Lonely Table* – Orem, UT – Fujifilm X100V

*Night Shopping Carts* – Draper, UT – Fujifilm X100V

*Pillow on Couch* – Farmington, UT – Fujifilm X100V

*Fake Succulent* – Farmington, UT – Fujifilm X-E4

*Evening Clouds Over Wasatch Mountains* – Farmington, UT – Fujifilm X-E4

*Disappearing Light on Francis Peak* – Farmington, UT – Fujifilm X-E4

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

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SOOC Episode 06 – Cross Process

Posted on December 9, 2021 by Ritchie Roesch

Episode 06 of SOOC was today! I want to thank everyone who tuned in and participated! It was a long show, but I hope a good one. If you missed it when it was live, you can still catch it above.

In this month’s episode we discussed the Cross Process film simulation recipe, and we took a look at your wonderful pictures captured with this recipe. We also introduced the next recipe: Kodak Gold 200. I look forward to seeing your pictures captured with it!

How Does Noise & Grain Affect An Image? (Video)

Posted on December 8, 2021 by Ritchie Roesch

In this “SoundBite” (as we’re calling it) from Episode 05 of SOOC, Fujifilm X-Photographer Nathalie Boucry and I discuss how digital noise and faux grain affect an image on Fujifilm cameras. This is a short snippet from the show, and it gives you an idea of the type of content that’s found in a SOOC broadcast.

I Love Getting Analog Looks SOOC

Posted on November 8, 2021 by Ritchie Roesch

*Captured with a Fujifilm X100V using the Fujicolor Pro 400H recipe.*

I love getting an analog aesthetic right out of camera! Fujifilm X cameras offer many great tools to get film-like results straight-out-of-camera without the need to edit. By adjusting the JPEG parameters, you can create various looks that I call film simulation recipes—I have published nearly 200 of them! These settings save you time, simplify the photographic process, and make capturing pictures even more enjoyable.

“By making it possible for the photographer to observe his work and his subject simultaneously,” wrote Edwin H. Land, co-founder of Polaroid, “and by removing most of the manipulative barriers between the photographer and the photograph, it is hoped that many of the satisfactions of working in the early arts can be brought to a new group of photographers.”

Ansel Adams called it One-Step Photography, and added, “The effect of one-step processing on both amateur and professional creative photography has been revolutionary. As with all art forms, we must accept the limitations of the medium as well as revel in the advantages.”

Land and Adams were specifically talking about Polaroid pictures, but I think it applies similarly to Fujifilm X cameras and film simulation recipes. The “manipulative barriers between the photographer and the photograph” have been removed! Now you just have to decide which recipe you want to use, like picking which film to load, and start creating, without worrying about how you’re going to later manipulate the pictures, because the straight-out-of-camera pictures are pretty darn good, and don’t require manipulation. Sure, edit if you want—there’s nothing wrong with that—but you don’t have to if you don’t want to, and there’s nothing wrong with that, either. Ansel Adams called it “revolutionary” and said to “revel in the advantages.” There’s freedom in this.

All of the pictures in this article are unedited (except for perhaps some minor cropping) straight-out-of-camera JPEGs that I recently captured using a Fujifilm X camera and a film simulation recipe.