Portraiture with the Fujifilm 50mm f1 R WR. A Love Story

The Fujifilm 50mm f1 R WR gives legitimacy to the X series that full-frame photographers have long complained about.

I think we have to admit to ourselves that professional photographers will use a flash or create their own light if they need it. And so, the light-gathering that the Fujifilm 50mm f1 R WR boasts will appeal to the hobbyist. Most photographers these days are hobbyists–and a lens with extra bokeh is like a baited hook. Liken the hobbyist shooter to a dog. When the creature receives a treat, they’ll be happy each and every time. Portrait photographers shooting the Fujifilm 50mm f1 R WR will be similar. In fact, I was shocked.

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Which Look Is Right for You? Fujifilm Film Simulations Compared

The ever-growing list of film simulations available in Fujifilm cameras is one of their most loved features.

Fujifilm has long been celebrated as the manufacturer of some of the world’s most-used film emulsions. Fujifilm wisely brought this analog legacy with them when they made the transition to digital. Many of these are available in digital form as film simulations across Fujifilm’s X-series and GFX-series cameras. Some say these film simulations are the special sauce that makes Fujifilm cameras so endearing. They each have unique characteristics and were created to emulate the look of the Fujifilm emulsions with which they share their name. Fujifilm X-series and GFX-series cameras give the ability to apply these film simulations to your images in-camera. You can also “re-process” your images in-camera using different film simulations. Better yet, you can even see the effects of each one in real-time through the EVF or the rear LCD while photographing. Our latest original infographic explores the various Fujifilm Film Simulations and how they compare to one another.

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Fujifilm: ACROS II Had a “Steadily Increasing” Pro Photographer in Mind

Fujifilm ACROS II is likely to excite photographers as much as the growing market of professional photographers that Fujifilm sees.

“The Professional segment has been steadily increasing for the last couple of years. Usage of professional film in this segment is primarily driven by wedding and portrait photographers. This is not novelty use,” says Manny Almeida, Division President, Imaging Division, Fujifilm North America Corporation in an interview with the Phoblographer regard the development of the Fujifilm ACROS II 100 film. The emulsion is $12 a roll in either 35mm or 120. Indeed, if you look around the web, you’ll see lots of photographers either embracing the film look or probably shooting film. In fact, one of them won a World Press Photo Award in 2020. Now don’t get us wrong; film isn’t as strong as digital by a long shot. But, it’s a growing market in some ways. Otherwise, why would Kodak, Lomography, and Fujifilm come out with new emulsions?

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Review: Fujifilm X Pro 3 (The GOAT of Fujifilm Cameras)

The Fujifilm X Pro 3 will be the best camera for a certain type of photographer while others will gawk at it.

You should think about the Fujifilm X Pro 3 as a tool for a photographer who wants to be present in the moment and doesn’t want to miss a thing that’s happening. I’ve been waiting for the Fujifilm X Pro 3 for a long time; I felt that the X Pro 2 was great but not ideal. When the X Pro 3 was announced, I joined others in reveling at how much of a slap in the face to the industry this camera really is. The hidden LCD screen means the photographer needs to look through the viewfinder or unfurl the LCD screen to shoot. When I walked around NYC with Fujifilm reps, they stated I was the only photographer to not use the LCD screen to shoot at all. And that’s what this is about. The desired effect of this keeping you in the zone while shooting is something the Fujifilm X Pro 3 does very well.

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First Impressions: Fujifilm 16-80mm F4 R WR OIS (A Great Zoom Lens!)

The Fujifilm 16-80mm f4 R WR OIS is already receiving a lot of hype as a walkabout lens!

I never thought that a lens like the Fujifilm 16-80mm f4 R WR OIS would be made. But in retrospect, it’s one of the most sensical lens options for the company. This lens is small enough that a photographer would enjoy photo walking with it. But it’s also convenient enough to give a professional a fair working range. At f4 on an APS-C sensor, I’d argue that this lens should have been made with a faster aperture. Combined with one of Fujifilm’s camera options with image stabilization on the sensor, the Fujifilm 16-80mm f4 R WR OIS will do very well. But even on the older Fujifilm X-T2 that we used, the Fujifilm 16-80mm f4 R WR OIS produced beautiful results.

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Review: Fujifilm XF10 (A Surprisingly Capable Point and Shoot)

The Fujifilm XF10 is a point and shoot camera that seriously surprised me in so many ways.

When the Fujifilm XF10 was announced, I genuinely felt it to be a very sort of lazy announcement from Fujifilm. It uses their 24MP APS-C sensor, it isn’t X Trans, and it doesn’t have Acros or any of the newer film simulations. Instead, it was pretty much like the X-T1 in some ways but brought into a point and shoot camera and with a higher resolution sensor. For $499.95 though, I’m pretty shocked. This camera proved to me that it is not only incredibly capable, but that it’s also a camera that I’d be happy to bring with me everywhere.

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A Dirty Confession: I Enjoy Fujifilm’s JPEGs Sometimes More Than the RAW Files

The Fujifilm film simulations look great right out of the camera and there is no need to do major adjustments in post if you shoot carefully.

Despite the fact that so many photographers would rather throw their cameras away than shoot in JPEG, I’ve come to realize that I like the look of the JPEGs of many cameras–Fujifilm in particular, but the output from Canon, Sony, and a number of others is also really stunning. I’m not discouraging the shooting in RAW photo mode; I’m encouraging the shooting in RAW and JPEG mode. This doesn’t go necessarily just for Fujifilm, but I’ll admit that of the major camera manufacturers they have the single most unique JPEG photos. I’m also not even sure that’s up for debate; it’s more a fact.

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Film Emulsion Review: KOSMO Foto Mono (35mm Emulsion)

KOSMO Foto Mono has to be one of those weird black and white films that I’m probably not understanding.

The film renaissance has given us a number of fantastic new film emulsions that we should all be supporting in some way or another, and for the sake of KOSMO Foto Mono I genuinely hope that everyone and their mother finds out about it. I’ve shot a number of photos with KOSMO Foto Mono loaded into my Hexar AF that I’m completely over the moon about. When it was first announced, there were photographers on the web coming out with pitchforks and stating that it was just a rebranded Fomapan film. Indeed, it is a new film stock produced by Fomapan and Stephen Dowling, the man behind KOSMO Foto Mono, says that this is only the start of what he’s going to be doing.

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Let’s Play a Game: Film or Digital? A Fujifilm Film Emulsion vs Digital Simulation Blind Comparison

Lots of photographers believe that the Fujifilm film simulations on their cameras really look like film. But is that true? To put this to the test, we're having a bit of fun before the weekend hits. This is a blind taste test, can you tell which images were shot with film and which ones were shot digitally?

Look through each section and then check out the answers towards the end.

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Report: Using the Fujifilm GFX 50S for Studio Portrait Photography

The Fujifilm GFX 50s is the apple of many a photographer’s eye, as it surely should be. It’s one of the first affordable medium format camera systems to hit the market that offers the benefits of a mirrorless camera system with the image quality of that of higher end formats. Of course, the case with medium format cameras is that they’ve always been very popular in the studio. Part of this traditionally has to do with slow autofocus, thinner depth of field, and the relatively slower lenses in comparison to 35mm small format. Though with Fujifilm’s GFX 50s, that seems to be changing.

Editor’s Note: All images here were edited with our presets available complimentary to all La Noir Image subscribers.

A New Breed of Medium Format Photography

The Fujifilm GFX 50s is a medium format camera in terms of genre, but Fujifilm themselves don’t call it medium format. The sensor is smaller than a standard 645 piece of film or sensor; but it arguably performs better than a lot of options out there with the exception of the highest end products in some regards. Fujifilm has been working to not only target the studio portrait demographic, but also the photojournalist/wedding photographer. That type of work was done with medium format back in the film days for sure, but not really a whole lot now. Much of this type of work has been taken over by 35mm full frame cameras.

To appeal to a new breed of photographers, many of whom don’t know the first thing about medium format, there is a 50MP sensor at the heart of the Fujifilm GFX 50s. This sensor is larger than a full frame 35mm sensor and when you’re comparing specs and numbers, the sensor isn’t that much larger. However, when you look at it you notice a bigger difference. The Fujifilm GFX 50S also incorporates weather sealing, pretty darned fast autofocus abilities, a detachable viewfinder, Fujifilm’s signature film simulations, and access to some of the newest and sharpest lenses on the market.

Here are the main specs:

  • 51.4MP 43.8 x 32.9mm CMOS Sensor
  • X-Processor Pro Image Processor
  • Removable 3.69m-Dot OLED EVF
  • 3.2″ 2.36m-Dot Tilting Touchscreen LCD
  • 117-Point Contrast-Detection AF System
  • Extended ISO 50-102400, 3 fps Shooting
  • Full HD 1080p Video Recording at 30 fps
  • Multi Aspect Ratio Shooting
  • Film Simulation Modes
  • Weather-Sealed Magnesium Alloy Body

Just imagine medium format digital Acros…pretty cool, right?

Ease of Use

If you’re used to working with the Fujifilm camera system, then this will be pretty straight forward. There are other additions and features that Fujifilm added to the GFX 50s to appeal to those coming from Canon, Nikon, Pentax and even Phase One. For example, you can set the aperture and shutter speed dials to be non-functional and instead work with the exposure dials the camera offers. But otherwise, think of the Fujifilm GFX 50s as a much larger Fujifilm XT2 camera. Fujifilm designed the camera with a wide appeal factor amongst advanced photographers and professional photographers.

With that said, this camera is squarely designed to go up against the likes of the Sony a9, Sony a7r II, Canon 1Dx Mk II, Nikon D5, Pentax 645Z, and in some ways the Nikon D810 and Canon 5Ds. In fact, it’s around the size of a DSLR with nowhere near the same weight.

What this translates to in the studio is a simple experience. Most photographers tend to create and set their lighting up beforehand with little to no modification in the exposure settings after the shooting has begun. So you can shoot at 1/125th, f5.6 and ISO 100, lock that in and just keep going. With that statement is perhaps one of my biggest problems with the Fujifilm GFX 50s–1/125th shutter speed shooting abilities. There are many cameras with significantly smaller sensors that can do faster flash sync speeds. 1/125th is fairly awful. The way that you’re going to need to offset this is by using a flash or strobe with a fast flash duration. Alternatively you can also use ND filters to cut down on extra ambient light that could be in the scene.

Luckily, the Fujifilm GFX 50s also has a native low ISO setting of ISO 100. If you’re shooting indoors or outdoors with cloudy weather, that will surely be fine depending on a number of parameters in the scene.

Fujifilm’s own flashes aren’t very powerful either, unfortunately. So your best bet is working with some of the newer options from Interfit, Profoto, Elinchrom, Flashpoint, Impact, etc. Sadly, Fujifilm hasn’t partnered with Profoto or other manufacturers yet for TTL control and radio capabilities.

Autofocus

Autofocus on medium format cameras has never been a big selling point with the exception of the Hasselblad True Focus system. With the Fujifilm GFX 50s, you can select one of a number of different focusing points while enabling face detection and eye detection.There’s no big need to focus and recompose at all the way you would with film medium format cameras. Instead, just focus and shoot. In lower light situations, the focusing slows down. In cases like that, try using the modelling light from your strobe.

Studio shooting generally doesn’t involve a whole lot of movement when it comes to subjects; but when it does you’ve still got a pretty good medium format autofocus system. You’ll probably still want to pre-focus/zone focus using the Peaking function and the digital depth of field focusing abilities offered by the Fujifilm GFX 50s.

With Fujifilm though, I’m sure we can expect all of this to become even better after some firmware updates.

Lenses

Fujifilm has always had a fantastic lineup of lenses available. They’ve got some focal lengths that may seem weird to both brand new digital photographers and those familiar with medium format systems. For example, their 63mm f2.8 is a more normal style lens designed to act like your standard 50mm. Their 120mm f4 Macro is more like a 90mm offering which doubles as a fantastic portrait lens. The quality, especially when using flash output is fantastic. The images will be super sharp–and they may even be the sharpest photos on the market. There are other options on the way, but your best bet is typically prime lenses.

If the sensor were an X Trans sensor though, the output would be that much better.

Additionally, Fujifilm will hopefully come out with faster lenses. In the 645 medium format world, the fastest lens available is an 80mm f1.8. If a larger format can get to f1.8 then I see no reason why the GFX format can’t get them too in addition fo f1.4 lenses or even f1.2. That would truly take advantage of what a larger sensor can do. In the studio, it would mean that you’ll be able to blend more natural lights in with your flash output. This is a popular option when shooting on location actually.

Second Curtain Flash

Fujifilm has for years limited the second curtain flash abilities of many of their cameras–only allowing it to happen with their own flashes. With the Fujifilm GFX 50s though you can do it and take more advantage of the slow sync abilities that can stop one section of movement through an entire frame. This is fantastic for location work but best done with an assistant to help you out and get the lighting exactly where you need it.

Second curtain flash, for the uninitiated, uses the flash output to stop one particular section of the photo while showing off a whole lot of light trails in the rest of the image. They’re great for fire performers, hula hoopers, sports, or anything else involving movement that needs to be emphasized.

Of course, what would a medium format camera system be if it couldn’t do this.

The Photographer’s Essential Guide to Fujifilm Acros 100 and Digital (Premium)

Fujifilm has never really been as well known for black and white photography like they have for other emulsions. Indeed, Pro400H and Velvia are often the two names that every photographer associates with the brand these days. But if you had to dig really far back into history, then emulsions like Reala, Superia, Astia and others were surely of interest for many photographers.Considering this and the world’s transition into digital photography, Fujifilm Acros 100 hasn’t been talked about as much vs other emulsions like those from Ilford and Kodak. But with all this said, it’s time to talk about Acros.

What is ACROS?

Fujifilm Neopan Acros 100 is at the moment, the company’s last holdout when it comes to black and white film emulsions. Some time ago, Fujifilm had other variations of the film; but these days it’s mostly regulated to the film simulation in Fujifilm’s X series digital cameras. So for that reason, lots of other photographers may have been interested in at least trying the film out to see what it’s like.

The film is a panchromatic film, which means in lay man’s terms that it’s designed to work with every color of the visible spectrum of light. The film surely can; and the odd thing is that when you work with the film and then work with the digital simulation from a camera like the Fujifilm X100F, you start to see how the two handle certain tones differently.

Unfortunately, Fujifilm Neopan Acros was never really as popular as some other options from Kodak and Ilford; or at least it’s never been talked about or marketed in the same way. At one point, Fujifilm Neopan Acros came in a 100, 400 and 1600 speed emulsions. Here’s how Fujifilm described them:

Exposing Acros 100

Despite Fujifilm’s recommendations, Fujifilm Acros 100 has been pushed by photographers to ISO 1600 with still good results. While you’d think that maybe the ISO 400 film would have been the most popular, it couldn’t compete with Tri-X. What you’ll notice with Fujifilm Acros 100 though is just how similar the exposure process can be with digital photography. In fact, Fujifilm has always recommended underexposing the film for the absolute best results at least when working with it in the 120 emulsion size. With that said, it doesn’t really follow the standard Sunny 16 laws. Here’s what we’re talking about:

Weird, huh? The laws don’t apply in the same way that normal Sunny 16 does. Either way, when you consider how much Fujifilm worked to make their digital simulation look like the film, it makes sense. More on that later though.

Due to its nature, Acros 100 was popular for studio, landscape and still life photography. Specifically, Fujifilm described it as such:

“…These features make it an excellent choice for a wide range of photographic applications, including portraits, landscape, architectural subjects, product photography, photomicrography and duplication work.”

And of course, all of this goes hand in hand with development.

Best Development Practices

Here are some of the ways that Fujifilm recommends developing your film. Of course, there are loads of other more experimental options out there when it comes to working with stuff like Caffenol, Rodinal, etc.

The Digital Simulation

Now here’s where we get to where most of you will care perhaps the most.

Not long ago, Fujifilm released the Fujifilm X Pro2. This camera incorporated a 24MP APS-C sensor inside and the camera also included a new film simulation: Acros. Later cameras such as the X-T20, X-T2 and others also incorporated the new film simulation. Acros is a million times better than the Fujifilm Monochrome mode built into their cameras. When working with film, photographers tend to keep their ISOs locked in. But this is digital, and things change.

Of course with digital photography, that mentality has greatly changed. It has transitioned into just a beautiful look that can be embraced at any ISO and by using the Fujifilm X Trans Sensor to simply embrace the grain and noise that naturally comes with digital photography. Have you shot or looked at Fujifilm Acros video at all from a Fujifilm X-T2? It’s gorgeous. For the best results, I recommend turning off the grain effect that Fujifilm will add.

Fujifilm Acros is also simulated by preset packages from a few companies like Mastin. But arguably nothing touches Fujifilm’s own simulation.

How to Use Fujifilm Acros in a Studio Setting (Digital and Film) (Premium)

Fujifilm Acros 100 is a very fine grain film that works absolutely swimmingly in the studio due to not only the fine grain but also just because it’s capable of rendering some very sharp and detailed images. Due to its truly versatile look, it can also be used in a variety of ways. Its slow ISO 100 speed means that it’s best for certain applications such as landscapes and portraiture. But then when you consider the versatility that digital photography offers and Fujifilm’s Acros setting, you get almost endless options with what’s possible when working with the film and the simulation in a studio.Here’s how to make the most of it.

Creating Low Contrast and High Contrast Light

Photo by Anthony Thurston – https://anthonythurston.com

As you read this article, keep this tidbit in mind: Acros will do what you tell it to do. If you’re a computer programmer or you’ve studied coding language, you’ll completely understand this.

Generally speaking, when working in a studio a lot of photographers tend to want to create high contrast lighting. High contrast lighting works in a very interesting way that puts a major emphasis on blacks. The science behind it: the deeper the blacks are in a photo, the sharper it will appear when looking at the image as a whole. The reason for this has to do with the fact that the brain and eyes tend to simply ignore the blacks and go for the brighter colors.

Think about shiny things…no, really…

Because of this there is usually a whole lot of blacks and deep shadows to make the eye focus on certain areas. In black and white, this can become more complicated because you’re sometimes incorporating a number of different colors. This is why the greats often try to keep their portraits to three main colors:

Fujifilm Acros 100

  • The skin tone
  • The background
  • The clothing

And that’s all.

To create higher contrast lighting, it’s best to underexpose your photo a bit. So if you’re working with an off-camera flash, you should shoot at the maximum flash sync speed. This tends to kill all the ambient light in the scene without letting shutter curtain clipping happen. Then you simply meter your flash to the aperture and the ISO and work from there. Considering Acros’ ability to go medium contrast, high contrast, or low contrast it’s all just about what you do to make the scene work. In that way, it’s a true creator’s film!

Well, it’s not all THAT simple; but we’re going to get more into blending different lighting types in a bit.

Let’s talk about light modifiers. There’s a special rule that goes something like:

  • The larger and closer the light modifier is in relation to the subject, the softer the light will be. The further and smaller the light modifier is in relation to the subject, the harder the light will be.

So what that means is that you’re probably going to want to use a light modifier that is specular and not incredibly larger than your subject. A six foot umbrella: probably not needed. A 48 inch octabank? Yeah, that can work!

Blending Light Types

Off-camera flash blended with ambient light

We talked about the rule of lighting a little bit when it comes to shutter speeds, but let me go deeper into it.

When a flash and flash output is added to a scene, the following happens:

  • Shutter speed ends up controlling the ambient light in the scene
  • Aperture controls flash. If the flash is set manually then you need to meter the flash to the aperture. The more stopped down you are, the less flash output will affect the scene. But in TTL, the flash reads the ISO and the aperture and makes a decision based on that.
  • ISO controls overall sensitivity
  • Flash output comes from the flash. I typically recommend that you work with manual flashes.

So in theory, the slower your shutter speed is the more you’ll be able to get from the ambient light in the scene. Indeed, that’s correct but then you need to consider flash duration–which can often cut down on how much ambient light is in the scene. Before you buy a flash, you’ll want to check this. But the faster your shutter speed is, the less ambient light will affect your exposure.

Fujifilm GFX 50s Acros. Ambient Light

To get that high contrast Fujifilm Acros look that we’re talking about, aim for a faster shutter speed, a lower ISO setting and metering your flash and diffuser to your aperture. Then shoot and figure it out from there. Sometimes you may even want to increase the power of the flash.

Working with Color Channels to Get More from Certain Areas

Now that we’ve talked about a number of the things that you can do in the studio, let’s talk about digital post-production. Once you’ve set your image to the Acros camera profile, you can work with various Acros filters. For example, the green filter tends to kill blue light and daylight. Red tends to sometimes make skin look brighter and healthier.

But if you want even more, then Adobe Lightroom and Capture One let you tweak specific color channels. You’ll be able to increase brightness to get more from a specific area. With that said, don’t expect a color image to look exactly how you’d want it to be when rendering in black and white. Instead you’ll need to do some tweaking.

One example: the photo adobe shows little separation between his jacket and the background. But in color, there’s tons of it.

Happy shooting folks!

Manuel Pombo: Street Photography on Fujifilm Acros

All images and words by Manuel Pombo. Used with permission.

I discovered black and white photography relatively late in my photography. Living in Ireland it is hard not to be in love with the colours of this island so I initially did a lot of colour landscape photography. As I progressed as a photographer, I got interested in street and travel photography which lead me to start playing around with black and white. The more I used black and white and the more I studied the classics (Winogrand and HCB are huge inspirations for me) the more I fell in love with the simplicity and complexity of the medium.

I feel that black and white allows me to focus on the essence of an image. Often colour distracts from the lines and shapes of an image and draws the eye away from the focal points of the photograph. I find that the role of photography is to convey a message and generate an experience for the viewer. Black and white allows me to better direct the eye of the viewer and allows them to better see all the details and feelings I want to convey.

Photography for me is a form of meditation that also allows me to produce art. It allows me to be extremely present in the world while also having a zen-like detachment to my current situation. Through it I can place my focus fully on the world around me and become a seamless component of the complicated machinery of everyday life.

Creating photographs also allows me to bring my viewer into the world I experience. It allows me to share my stories and the places I travel to and show where my mind went when I was in that moment. Photography is not a passive art, it is highly active and creative. Every time I take a photograph I feel what I want to convey.

It is hard to explain why I take any given photo but it is a mixture of gut and intellect, conscious and subconscious, spontaneity and technique. Some photos are taken in the spur of the moment, others require long waiting times until you get what you had in your mind’s eye but at the end of the day they all come from the same place.

A well taken black and white photo has the capacity to strip away the unnecessary and leave behind only the essence. In our modern world I feel that flash and bling have overloaded our senses and people get easily distracted by the next shiny thing. Black and white is an opportunity to stop and take a minute to enjoy something beautiful and simple.

For me it is like the difference between a cocktail and a glass of wine. Both have their places in our lives. Cocktails are great and necessary for socialising and partying but when you want to slow down and enjoy the moment, a simple wine is the best way to go.

As I mentioned, photography for me is a sort of meditation, it allows me to go into a state of heightened awareness and zen-like detachment. Nowhere do I enjoy this more than when I am shooting on the street. I find it priceless to be able to look around at your everyday surroundings with new eyes and experience a city you’ve seen hundreds of times before as something new.

I enjoy street photography the most when I travel as it breaks down my barriers and allows me to dive head-first into my new surroundings. I also find it helps me interact more with people around me and create a connection with total strangers I never would have met otherwise. That’s also another reason why I love Fujifilm’s rangefinder style of cameras. As they only cover a small part of my face when shooting, I feel people are less intimidated as they can see me smiling and not being a sneaky photographer.

Street and documentary photography allows me to convey the moment better than any other type of photography and I think that’s why it also goes so well with black and white photography.

How Closely Does Fujifilm Acros Compare To the Digital Film Simulation?

One question that lots of photographers who have shot film wonder about is how closely Fujifilm’s film simulations closely mimic the look of film. Considering how Fujifilm created Acros, it would make a whole lot of sense that their digital simulation would be the closest thing possible to the film, right? Well, that depends on a number of different situations.Fujifilm Neopan Acros can take on different looks based on how you shot it and how you develop it. For example, Rodinal may make it look one way vs another developer. Then you’ll need to consider how the images were obviously shot, how you’re lighting them, etc. To get a better idea though, we’ve been using Acros 100 in a number of situations plus we looked at one digital preset to see how it performed vs Fujifilm’s option.

Acros 100: Landscapes

Fujifilm GFX 50S Acros Simulation

The above photo was shot with the new Fujifilm GFX 50S. The Acros simulation was shot and later on in Lightroom I ensured that that camera profile was applied. In this photo, there are no Graduated ND filters applied.

Minolta a7 Sony 35mm f1.4 Acros 100.

Lomography developed the images above and below from Fujifilm Acros 100 shot at and developed for 100. They’re shot on 35mm film look pretty close but not totally so. Still though, it’s tough to state that this isn’t the closest thing to Acros film. Fujifilm does a fantastic job with their emulsion rendition but another factor could also surely be the lenses. The new 110mm f4 from Fujifilm is pretty contrasty and the optics are far newer than the Sony A mount lens. With that said, it’s a bit hard to compare seeing that Fujifilm doesn’t make a full frame 35mm sensor and their medium format camera isn’t even 645.

Minolta a7 Sony 35mm f1.4 Acros 100.

Acros 100: Studio Portraits

Fujifilm Acros 100

In the studio is where I feel the comparison between Fujifilm Acros 100 and the GFX 50s became more interesting. In a studio setting, you’re truly making your own lighting. Often times a photographer will not care about any sort of ambient lighting because it’s all supplemented by a flash. To that end, the images are typically more high contrast depending on how the photographer lit them. The image above and below were lit in the exact same ways.

Fujifilm GFX 50S Acros

What you’ll see is that both images are very sharp. Acros 100, the emulsion proper, has a bit of grain but not really. The Fujifilm GFX 50S though looks very clean and digital. However, the 6×9 format photo also looks very clean.

Digital Presets vs Fujifilm’s Emulsions Simulation

X100F Acros Simulation

Now lastly, we’re looking at how the Acros camera simulation compares to something like Capture One Film styles. It’s close, but the shadows in the Capture One Film Styles simulation are deeper–perhaps designed to make the film look more high contrast in the lighting type.

Capture One Film Style Acros Simulation

Editor’s Letter May 2017: Fujifilm Acros Month

If you think about and mention Fujifilm Acros these days, you’re surely going to get different responses depending on which circles of photographers you’re amongst. These days, it’s mostly all about the beautiful job that Fujifilm did when creating the Acros simulation as the once glorious and well sold film emulsion is only available in ISO 100 for 35mm and 120 format. For many years, Fujifilm Acros was an option for loads of photographers on the market but with only the ISO 100 emulsion being left, the more popular options tend to leave it behind in the dust. For example, did you know that the proper full name for it is Fujifilm Neopan Acros? I’m positive that if you started photography in the past few years that you didn’t!This month though, La Noir Image is exploring an extremely interesting intersection between both digital and film photography alike. In the world of black and white photography, Acros is in a very strange spot. It’s well loved by all of the Fujifilm X photographers; but the convenience of digital means that it’s also often overshadowed in the film world. Combine this with Kodak Tri-X, T-Max and the marketing with Ilford and you’ve got yourself a film emulsion in a very tough spot.

But then you actually try it; and you realize that it’s a very good film.

Join us, as we delve into this convergence between analog and digital.

How to Get the Most out of The Acros Setting on Your Fujifilm X Series Camera (Premium)

Fujifilm Acros is one of the most interesting film simulations available for your Fujifilm X series camera. For a while, the cameras offered a monochrome setting but it’s absolutely nothing like what Acros can deliver. Since it’s become available, a strong argument can be made for the fact that it’s amongst the most popular offerings available. The reason for this has to do with the fact that Acros is overall very versatile and is very dependant on the contrast in the scene and the contrast of the lens that you’re working with. Want deeper blacks? Simply underexpose and the whites will still be there.Here’s how you can get even more out of Acros.

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Image Gallery: Fujifilm X100F Samples

Today, I’m really happy to say we’ve got Fujifilm X100F samples in our first impressions post. I’ve been super busy as of late, but I’m pretty glad to finally have the Fujifilm X100F in for review. On paper at least, the camera has a whole lot going for it. And it’s also fair to say that after a really long time, many users are going to be very happy with the camera and the progression it’s taken. Indeed, photographers like Rinzi Ruiz are doing some fantastic work with it. Overall, it’s pretty difficult to take a really awful photo with the camera.

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35mm Black and White Film You Can Still Get Quickly Online

Black and White 35mm Films

Film photography is having a renaissance, and this means more and more photographers are looking to buy. But an issue many are finding is the difficulty of actually buying film in a store these days. You can usually find film in camera stores still, but even their stock is usually limited, and the other unfortunate reality is that these shops are becoming more and more rare.

Lucky for those of us who enjoy shooting with film you can still get your film fairly quickly when ordering online, and if you happen to be an Amazon Prime member you can get it second day for free or next day (in some areas) for really cheap. Amazon has a great stock of black and white films available too!

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First Impressions: Fujifilm X100F

Very recently, we had the opportunity to play with the Fujifilm X100F ([amazon_link asins=’B01N33CT3Z’ template=’PriceLink’ store=’thephobl-20′ marketplace=’US’ link_id=’a4336861-df32-11e6-8fb7-0be1248381aa’])at an event hosted by Fujifilm. The new camera receives an overhaul in many ways. It has the new 24.3 MP APS-C sensor that the flagship cameras house in addition to a number of other goodies like Acros. The Fujifilm X100F is really targeted at the higher-end enthusiast, professional, documentary photographer, street photographer, etc. It combines a lot of aspects of the Fujifilm X Pro 2 with the more traditional X100 series of cameras.

We took a closer look at the camera for a little bit.

Editor’s Note: Sample images added

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5 Cool New Features Found in the New Fujifilm X100F

The new Fujifilm X100F is here and brings with it a number of big upgrades from its predecessor. The Fujifilm X100 series of cameras have always been targeted at street and documentary photographers. They’re fantastic cameras that are both pretty and low profile in design. If you were to equate it to anything in the film world, it would be the Hexar AF. Since it’s inception, the camera has received a number of upgrades in image quality, autofocus, to the viewfinder, and in minor ways to the design.

Let’s take a look at some of the new things that make this camera so exciting.

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The Long Awaited Fujifilm X100F Has the 24.3MP Sensor, Acros Simulation

Fujifilm has made a metric ton of announcements today, and along with the others, we have ourselves the long awaited X100 update, the newly minted Fujifilm X100F. Beyond the X-T line of cameras, probably the most popular line of Fujifilm’s digital cameras is the X100 series, and since Fujifilm unveiled their latest X-Trans sensor technology last year photographers have been clamoring for an updated X100 with the new tech. Continue reading…