Welcome to the September/October edition of FUJIFILM Focus, your guide to all things Fujifilm! Enjoy this wildlife photography special, with interviews, advice and everything you need to know about the FUJINON XF400mmF4.5 R LM OIS WR – a new telephoto prime that’s perfect for animal photography. There are also new products from instax™ and QuickSnap, plus a bumper community section, packed with photos from our readership. Want to get involved in the next issue? Find out how inside!
Life As You See It
September/October 2026
Winning entries Check out the results of the FUJIFILM House of Photography Photo Competition 2026
Film theory A look at the analogue- inspired colour science behind CLASSIC Neg.
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Also inside… ● Reader gallery ● Introduction to wildlife photography
Desert ghosts David Chancellor searches for elusive sand cats in the wilds of Saudi Arabia
● Simulation Recipe Book
Plus interviews, techniques and the latest from QuickSnap™ and instax™ DISTANT DETAILS Discover the all-new FUJINON XF400mmF4.5 R LM OIS WR
INSIDE: Advice, inspiration & ideas for everyone who likes picture taking and making
Welcome
This Is FUJIFILM Focus! Welcome to the September/ October edition of FUJIFILM Focus – a magazine dedicated solely to the wonderful world of Fujifilm. Available six times a year from the FUJIFILM House of Photography and select retailers, each issue brings you all the key information on our latest releases, alongside interviews, inspiration, tips and tricks to help you get more out of your photography. We’ve got a lot in store if you’re a wildlife photography fan: don’t miss the brand new FUJINON XF400mmF4.5 R LM OIS WR on the next few pages, followed by a field test in the Zambian bush with Ian Dawson on page 6. After that, we talk to wildlife documentarian David Chancellor in our Frame by Frame interview on page 10, in which he discusses adapting GFX System bodies for use in camera traps and photographing elusive sand cats in the deserts of Saudi Arabia. If you want to try your own hand at wildlife photography, you can read an introduction to the craft on page 14, courtesy of the FUJIFILM Learning Centre. This issue also features a
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bumper community section starting on page 19, packed with photographs from you,
our readership. The winner and runners-up from the FUJIFILM House of Photography Photo Competition 2026 are announced on page 20, followed by a gallery of photos taken by our readers in Life As You See It on page 24. We love seeing what our community is getting up to, so if you want to get involved and see your own image in a future issue of the magazine, you can find out how to contact us on those pages. There’s plenty more to get excited about in this edition too, including brand new instax™ and QuickSnap™ products, autumnal Film Simulation recipes for your camera, Vietnamese street photography and a shortlist of the best cameras for your next city break – so please enjoy getting stuck in! We hope you have fun reading the issue and look forward to seeing you again in November.
What’s in This Issue
WHAT’S NEW...
FEATURES & ARTICLES
36 SIMULATION SPOTLIGHT Discover the film theory behind CLASSIC Neg.
04 FUJINON XF400 mm F4.5 R LM OIS WR A new super-telephoto
10 F RAME BY FRAME
David Chancellor on photographing desert cats in Saudi Arabia
COMMUNITY
prime lens for the X Series that’s ideal for wildlife and sports photographers.
20 FUJIFILM HOUSE OF
14 AN INTRODUCTION TO
PHOTOGRAPHY PHOTO COMPETITION 2026 Judging is complete – after over 1000 entries, here are the winners
WILDLIFE PHOTOGRAPHY A beginner’s imaging guide to wildlife settings, fieldcraft and equipment
06 XF400 mm F4.5 TESTED Wildlife photographer Ian Dawson takes the latest XF Lens out on safari in Zambia
32 CITY BREAKS
24 LIFE AS YOU SEE IT
Our top three cameras for urban exploring
Enjoy a gallery of photos from our readers
08 instax LINK WIDE 2™, instax PAL 2™ & QUICKSNAP™ Discover a pocket-sized camera and printer from instax™ and two new QuickSnap™ innovations.
34 SIMULATION RECIPE BOOK Enjoy a gorgeous pair of Film Simulation recipes perfect for autumnal light
28 COMMUNITY FOCUS
We interview photographer and curator of Vietnam Streets, Jack Ross
02 FUJIFILM Focus Magazine
September/October 2026
See Things Differently What’s New… Get the lowdown on these all-new products from instax™ and QuickSnap™ – plus a super-telephoto prime for the X Series
Whether you want to take film photos underwater, create close-ups of incredible wildlife or make stunning instax™ WIDE prints on the go, these products offer plenty of ways for you to take a new approach to photography. Find out more about each one on the next few pages.
FUJINON XF400mmF4.5 R LM OIS WR
instax Link WIDE 2™
FUJIFILM QuickSnap Active™
instax Pal 2™
FUJIFILM QuickSnap Black and White™
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September/October 2026
What’s New
X Series
GO LONG WITH THE FUJINON XF400 mm F4.5 R LM OIS WR Another telephoto prime joins the X Series lens lineup, expanding options for wildlife and sports shooters. Here are five things we love about this new lens
motor drives the lens’ focusing element, providing fast, quiet AF performance that can happily keep pace with AI-enabled subject detection algorithms. The XF400mmF4.5 also features an advanced Optical Image Stabilisation (OIS) system, counteracting lens shake to provide up to 5.5 stops of compensation when working without a tripod. Packaged in a lightweight (1245g) and weather-resistant body, this lens is ready to stand up to long days on location in variable conditions.
overall weight than a similarly ranged zoom lens – helping users freeze the action with higher shutter speeds and making it a more portable prospect for long days in the field. As a prime, its optical construction is optimised for a single focal length, granting improved sharpness and reduced distortion across the entire frame. The XF400mmF4.5’s 21 elements in 14 groups provide a pristine perspective with fine details and rich colour that can resolve for the highest-resolution X Series sensors. Meanwhile, a rapid linear
The X Series continues to build out its long-range options with the introduction of the FUJINON XF400mmF4.5 R LM OIS WR. This ever-expanding lineup of powerful yet lightweight telephoto lenses is great news for wildlife, sports and action photographers who love working with the analogue-inspired
tactility offered by Fujifilm cameras. Providing a full-frame equivalent
perspective of 609mm, the XF400mmF4.5’s fixed-focal-length construction enables a wider maximum aperture and lighter
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What’s New
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With the addition of the FUJINON XF400mmF4.5 R LM OIS WR, X Series users in wildlife and sports spaces can now choose from a solid selection of fast, fixed-focal-length telephoto lenses that can happily keep pace with all the action. THE COMPLETE XF TELEPHOTO PRIME LINEUP Long focal lengths at wider apertures, all with weather resistance and stabilisation
Super Telephoto The XF400mmF4.5 has a 609mm full- frame equivalent focal length. Pair it with an XF1.4X TC WR teleconverter to reach 540mm at F6.3 (852.6mm equivalent), or the XF2X TC WR for 800mm at F9 (1218mm equivalent).
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Prime Performance Superior Fujinon optical quality with a large F4.5 maximum aperture. The XF400mm4.5 helps users freeze the action with fast shutter speeds and low ISO values. Image quality is pristine, with minimum distortion.
FUJINON XF200mmF2 R LM OIS WR Offering incredible light gathering courtesy of its F2 maximum aperture, the XF200mmF2 is a truly unique lens, helping users to capture fast-moving subjects even in lower light. With the included XF1.4X TC F2 WR teleconverter, reach is boosted to 280mm (430mm full-frame equivalent) with no drop in performance.
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Portable Build Weighs only 1245g, while its 239.5mm length ensures it fits in most kitbags. Removable tripod collar doubles as a handle, and strap mounting points on the barrel help users avoid exerting pressure on the lens mount.
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FUJINON XF400mmF4.5 R LM OIS WR Sitting in the middle of the range, this Goldilocks option offers strong telephoto performance while actually being the lightest of the three lenses – making it an excellent choice when a long day of handheld work is on the cards. Just like the other two optics, full weather resistance and OIS comes as standard.
Image Stabilisation Combining its manageable weight and profile with sophisticated 5.5- stop OIS, the XF400mmF4.5 offers excellent handling. Activated via a switch on the lens barrel, this feature reduces the effects of camera shake.
Specifications
● Lens construction: 21 elements in 14 groups (includes 4 ED and 2 Super ED elements) ● Focal length: 400mm (609mm full-frame equivalent) ● Number of blades: 9 ● Focus range: 2.75m-∞ ● Max. magnification: 0.16x ● Dimensions (DxL): 104.5x239.5mm ● Weight: 1245g ● Filter size: 95mm ● Angle of view: 4.1° ● Aperture: F4.5-22
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Weather-Resistance A weather-resistant build means the XF400mmF4.5 is suited to life on the road. Sealed at all crucial sites along the lens barrel, you can create with confidence in adverse conditions and freezing temperatures.
FUJINON XF500mmF5.6 R LM OIS WR The longest prime in the XF lens lineup, this super-telephoto option offers an unrivalled full-frame equivalent focal length of 762mm. Still surprisingly portable at 1335g, it can combine with the XF2X TC WR teleconverter (sold separately) to reach an astonishing 1524mm equivalent for the most distant of subjects.
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September/October 2026
What’s New
X Series
FUJINON XF400 mm F4.5 R LM OIS WR: TESTED
Documentary photographer Ian Dawson explores the Zambian bush with the new XF400mmF4.5 super-telephoto prime
Ian Dawson’s work focuses on the relationship between humans
Any weight saved is a bonus if you’re carrying something and bringing it up to your eye all day. We work out of vehicles. They have open sides, so you’ve got a panoramic view with room to sweep from side to side. If you were fixed to a tripod, you could miss things. You need that facility to move and reframe quickly from one side to the other. We’ve even had animals pass under the vehicle while it’s been stationary, so you need to be flexible. Fresh Perspective Every now and again, I take out a lens I don’t use often and deliberately work with just that for a day. It makes you think and compose differently. While it can be challenging initially, it’s making you work at developing new visual muscles. The XF400mmF4.5 made me look differently, and I came
and wildlife. On location in Zambia’s
South Luangwa National Park, he put the new FUJINON XF400mmF4.5 R LM OIS WR through its paces. An X Series user since the FUJIFILM X-T1, Ian has long favoured the small form factor and tactility of this line of cameras and lenses. It’s almost like having a pair of shoes that fit really well. I use the FUJIFILM X-H2 now, and it’s just right for what I do. It’s never failed me, from -35°C in Antarctica to 35°C in the humidity of Papua New Guinea. It just works. This was my first time with the XF400mmF4.5. I use the FUJINON XF150-600mmF5.6-8 R LM OIS WR as standard, so using a fixed lens at this focal length was very interesting. Aperture and Image Quality When you’re just below the equator, the light comes up at 6:00 AM and goes out at 6:00 PM. At dusk, it drops rapidly. The extra stops of light from this prime made such a difference. There’s a beautiful shallow depth-of-field as well, more so than my zoom lenses with narrower apertures. You often have confusing backgrounds with lots of shrubbery. So, to simplify things and get that lovely bokeh effect was beautiful. The rendering and clarity is great too. Looking through the viewfinder, it felt like somebody had just cleaned the windows, it’s so vivid and bright. Handling and Stabilisation This is a lighter lens than the XF150- 600mmF5.6-8, and more compact.
up with results I might not have accomplished with my zooms.
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What’s New
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September/October 2026
What’s New
EXPRESS YOURSELF Create and print on the go with these exciting instax™ releases instax™
instax Pal 2™ The all-new instax Pal 2™ brings fresh analogue inspiration to the lineup’s most pocket-sized companion. Designed for fun, spontaneous shooting, this tiny camera has had a complete design overhaul, combining the experience of film photography with the incredible portability and connectivity of the original instax Pal™. Now featuring an optical viewfinder and new, tactile controls, the instax Pal 2™ dials up its handling, lending even more authenticity to the experience of taking photos. A selfie mirror, angle adjustment accessory and tripod mount also allow you to get creative with group photos and self portraits. Meanwhile, a 1.0-inch LCD screen, USB-C connection and full Bluetooth connectivity give you a fully modern digital experience, letting you share to your phone or print directly from a compatible instax™ portable printer or hybrid instant camera.
Push the print lever to the right when in Still Image mode to quickly switch between instax™ mini, SQUARE and WIDE formats, or push it towards the screen to enter instax Animation™ mode – immediately turning the instax Pal 2™ into a private, portable photobooth. Connect to the instax Pal 2™ app to use your phone as a remote shutter, preview shots, adjust settings and create content that’s ready to be shared.
TWO NEW WAYS TO MAKE AMAZING MEMORIES QuickSnap™ Discover the upcoming FUJIFILM QuickSnap Active™ and the QuickSnap Black and White™
FUJIFILM QuickSnap Active™ Encased in a durable plastic housing, the QuickSnap Active™ is fully waterproof – enabling underwater photography at depths of up to ten metres. A large lever-style shutter and film advance knob enable easy operation underwater or with gloves – letting you create 27 exposures of 35mm colour film from anywhere you want.
Last issue, we celebrated the 40th anniversary of FUJIFILM QuickSnap™ – the pioneering single-use camera that took the world by storm in July 1986. More than 1.7 billion QuickSnap™ cameras have been bought and used in the following four decades – and to celebrate this new milestone, two new QuickSnap™ models have been created for 2026.
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What’s New
instax Link WIDE 2™ Create large, vivid instax™ prints from anywhere with the instax Link WIDE 2™ portable printer – helping you to create beautiful reminders of life’s best moments. Connect the printer to your phone with the instax link WIDE™ app to easily turn your favourite photos into stunning instax™ WIDE prints. The feature-packed software lets you customise and edit your images with text, filters and frames, and create unique mementos using a host of instax™ exclusive features. With creative QR tools, you can place interactive QR codes onto your
photos, turning any image into a link- out moment. Take friends straight to an invite, playlist or any other story you want to share – or link to a custom recorded sound, location or a secret message that’s unlocked once scanned. The collage mode lets you combine a handful of your favourite moments into a single printout, while wireless compatibility with your phone, the FUJIFILM X-T30 III and even computer connectivity (driver download required) makes it easier than ever to bring your favourite images to life.
FUJIFILM QuickSnap Black and White™
Turn everyday moments into distinctive photos with the QuickSnap Black and White™. With 27 exposures of black & white film and a built-in flash, you can now create iconic monochrome photos with ease. Simply frame up through the viewfinder, wind the film, point and click!
FUJIFILM Focus Magazine 09
September/October 2026
Interview
Frame by with professional image makers
Frame Talking equipment and technique
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Interview
F or the last two years, David Chancellor has been working alongside Saudi Arabia’s National Center for Wildlife (NCW), documenting the Kingdom’s rewilding of its existing ecosystems and re- establishment of its biodiversity. His passion for the region was ignited after spending over a month there on assignment in 2021. “While working with National Geographic, I was commissioned by the Saudi Green Initiative (SGI) to document the early stages of the Kingdom’s ambitious rewilding program,” David recalls. “By the end of that assignment, I had seen, first-hand, the huge potential of what could be achieved in this landscape, and wanted to understand more. “In many cases around the world, the eradication of wildlife is due to habitat destruction caused by overpopulation, and in some cases, hunting. This is also evident in Saudi Arabia; however, large areas of the Kingdom remain pristine. Therefore, the reintroduction of wildlife into these landscapes can be relatively straightforward, providing you engage with local communities. “Then there were species I had never realised once roamed Saudi Arabia – leopards, lions, cheetahs,” he adds. These apex predators, repeatedly depicted in ancient rock carvings found throughout the Kingdom, are now critically endangered or locally extinct. “Those petroglyphs have become a shining illustration for what used to be here, what is no longer here and what could be rewilded,” David notes. Desert ghosts “Lately, I’ve been working with sand cats, which are extraordinary mesopredators,” David continues. “They occupy a lower tier of
the food pyramid, but they remain essential prey for the species above them that we plan to reintroduce. “It’s been very difficult to photograph them,” he remarks. “These are largely nocturnal animals. They move over huge, barren desert landscapes, and they spend the daytime in burrows deserted by large lizards, so we were reliant on the scientific teams working at Prince Mohammed Bin Salman Royal Reserve (PMBSRR) who are collaring the cats to further understand their behaviour. Living in some of the country’s harshest environments, these shy, elusive animals are rarely spotted, let alone photographed. Once the team identified a burrow used by the cats, David would use low-resolution trail cameras to check if the animal had re-entered after a night’s hunting. “If we saw them go in, we could take the gamble and presume they were still in there and wouldn’t come out until sunset. That gave us an opportunity to set camera triggers with the GFX bodies outside the burrows,” David explains. “We could then watch from the mountains that surround the desert. When we saw the cats come out of the burrows, we’d use radio releases to fire the cameras. We didn’t want to use artificial light or flashes that might frighten the cats, so we had to use higher ISOs and lower shutter speeds. That meant the cameras needed to be very solidly mounted, and we had to be in a position to see when the cats were not moving so we’d know when to release the shutter.” The GFX System Larger imaging formats like the GFX System are more commonly associated with
David Chancellor
David Chancellor is a multi- award-winning documentary photographer whose work interrogates the complex relationship between humankind and the natural world. Website: davidchancellor.com Instagram: @chancellordavid
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Interview
controlled studio environments and fine art applications, but David has spent much of his career using this style of camera in the challenging conditions he faces for his documentary work. Recently, he’s been pushing the limits of what’s possible with GFX System cameras, incorporating them into remote trigger systems like the ones mentioned earlier and even experimenting with building them into fully autonomous camera traps. “It’s been quite a process to do that with these cameras,” notes David. “We need them to sit in standby mode for a considerable amount of time. We’re using high-output D-Tap batteries and dummy batteries within the body, which allows us to get eight or ten hours.” With more established set-ups existing for other types of cameras, it begs the question of why David goes to all the extra effort. “These cameras give you a very different perspective,” he asserts. “I’ve always thought that about medium format photography. You can draw a square in the sky, and whatever falls within in it – that’s exactly what you’re seeing. That’s very much how I like to document the work I do.” Although longer telephoto lenses and teleconverters are available for GFX System users looking to photograph faraway subjects, the results sought by David require a more creative approach. “I’m not as keen on longer lenses as they isolate subjects and give no context as to where the story is taking place,” he explains. “It’s been quite intriguing to see that a lot of these landscapes are not necessarily what we associate with the Kingdom of Saudi Arabia. It’s not all deserts and camels – you have incredible mountain ranges and lush wadis that are very much like the landscapes I work in in Africa. I think it’s important to incorporate these landscapes into the imagery.” A different perspective Medium format cameras and shorter lenses that require David to get closer to his subjects are key to his imaging style. He previously achieved this full, detailed perspective with an analogue system, but has spent the last few years using mirrorless GFX bodies. “I’m not saying you couldn’t do it on 35mm,” he muses. “You definitely could – but my choice has always been to work on 6:7 medium format. I can set up the GFX System to give me that framing through the “A LOT OF THESE LANDSCAPES ARE NOT WHAT WE ASSOCIATE WITH SAUDI ARABIA... I THINK IT’S IMPORTANT TO INCORPORATE THEM INTO THE IMAGE”
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Interview
viewfinder, so it helps me to achieve this creative vision.” With photography more accessible than it has ever been, David’s commitment to this particular aesthetic helps his photos to leap off the screen and hold people’s attention. “If you have the opportunity to produce imagery that’s in some way different to what we’re familiar with on a daily basis, people might take a second look,” he suggests. “With the GFX System, you are able to introduce people to photos they can spend a considerable amount of time looking at.” Working backwards As capable as the GFX System is, it’s fair to say that implementing these bodies into such unusual set-ups isn’t the easiest choice for photographing wildlife. However, finding the easiest way isn’t the mindset with which David approaches his work.
burrow, so you’re only firing the camera when the subject is in the position you want. “One cat came out, saw the camera and was interested in it,” David recalls. “I could see it looking at the camera and realised it would be staring straight down the lens when you look at the frame.” The anticipation of knowing that just one successful image will be so impactful is the reason David insists on pushing the limit of what these cameras are capable of. “They’re sitting in 50°C temperatures with huge batteries attached to them. You can barely pick them up at the end of the day – you could fry an egg on them. It’s a leap of faith, and it’s a good question as to why I want to do it. But I’m solid in my mind that when I look at photos from other cameras we’re using, the results are very different to what we’re getting from the GFX System. I do think the imagery is worth it.”
“It’s been less about finding the equipment we need to work in a particular situation. We know what the limitations are, but we’re working backwards – if we can use this camera in this particular way, it would be our dream image. So how do we make the GFX System do that?” he asks. “We went with one camera quite close to the sand cat burrow, with the FUJINON GF30mmF3.5 R WR on it. And we had a second further away, with the FUJINON GF250mmF4 R LM OIS WR. “You know with the longer lens there’s a possibility you’re not going to get that many frames. But if you get a single frame on that format, on that lens, from that particular angle, you’re going to produce an outstanding image,” David states. “That’s the nice thing about watching the camera from a distance with binoculars. You can actually see the cat come out of the
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Technique
An Introduction to Wildlife Photography Take a walk on the wild side with this guide to photographing animals
I f you’re feeling inspired by the previous article and want to try your own hand at working with wildlife, there are a few things to consider before you disappear off into the undergrowth. Wildlife photography is a discipline that many creatives have committed their lives to mastering. As well as good imaging technique, practitioners need to learn fieldcraft, study the behaviour of their subjects and – above all – acquire the patience of a saint. So, whether you’re headed out on safari or popping down to your local nature reserve, here are some settings, techniques and considerations to help you get started in the world of wildlife photography. What Makes Wildlife Photography Different? In wildlife photography, you never have control over your scene. Animals won’t wait for you to adjust your settings or move into better light, so the discipline centres on being ready to react when the critical moment occurs. Many species are naturally wary of people, meaning you’ll often be working at distance with longer lenses. Others can appear suddenly and disappear just as quickly, leaving little time to compose your image. And lots of wildlife is most active at dawn and dusk, when available light is more limited. For these reasons, wildlife photography places particular demands on your choice of equipment and the way you set it up. Responsive autofocus, fast burst shooting and effective image stabilisation can all help you react to fleeting moments, while a little preparation before you head out allows you to focus on observing your subject rather than fiddling with settings.
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Technique
Camera Settings for Wildlife Photography The vastness of the animal kingdom means there’s no one methodology for snapping every species. While no single combination of settings will suit every situation, several Fujifilm camera features are worth knowing. Autofocus Modern Fujifilm cameras feature Subject Detection AF. Animal mode recognises a range of wildlife, while Bird mode is optimised specifically for birds and insects. To activate Subject Detection, press MENU/OK and navigate to AF/MF SETTING > SUBJECT DETECTION SETTING, or find it in the Q Menu by default. For moving subjects,
Continuous Autofocus (AF- C) combined with Subject Detection offers the best chance of maintaining accurate focus as your subject changes position.
Continuous Shooting Wildlife photography can be a thankless task: hours, days, even weeks of prep may only result in a fraction of a second to take the perfect photo. To make the most of that moment, continuous shooting records a rapid sequence of images while you hold the shutter button. Maximum burst rates vary depending on whether you’re using the mechanical
or the electronic shutter. To change this, navigate to SHOOTING SETTING > SHUTTER TYPE. Just consider that the fastest electronic shutter modes may apply a slight crop.
Stabilisation Wildlife photographers often like to work handheld, allowing them to react quickly – though long focal lengths naturally magnify camera movements, making stabilisation valuable. Cameras equipped with in-body image stabilisation (IBIS) reduce camera shake, while many Fujinon telephoto
lenses also feature Optical Image Stabilisation (OIS) for additional support. If your Fujifilm camera features IBIS, navigate to SHOOTING SETTING > IS MODE to ensure stabilisation is enabled.
Shutter Speed A fast shutter speed is one of the most important settings in wildlife photography. Exactly how fast depends on the subject – a sleeping lion will require different settings to a diving kingfisher, so be ready to experiment. Don’t hesitate to push your ISO up: a small increase
in noise is better than too much motion blur. Many photographers work in shutter priority or use fully manual exposure, giving direct control over shutter speed while adjusting any other exposure settings.
FUJIFILM Focus Magazine 15
September/October 2026
Technique
While almost any camera can photograph wildlife, certain features become extra valuable once you begin working with fast-moving or distant subjects. Responsive AF, effective stabilisation, weather-resistance and good battery life all help you stay ready for unexpected opportunities when working in the field. Best Fujifilm Cameras and Lenses for Wildlife Photography
X Series Cameras
The FUJIFILM X-H2S ’s stacked sensor enables fast readout speeds, supporting rapid AF and continuous shooting up to 40fps. With an IBIS system granting up to 7.0 stops of assistance, weather resistance and the high-capacity NP-W235 battery, it’s excellent for demanding days outdoors. For the utmost in depth and quality, the FUJIFILM GFX100 II combines a 102-megapixel medium format sensor with professional, modern If travelling light is your priority, the FUJIFILM X-S20 combines compact dimensions with a deep handgrip, for comfortable use when working with long lenses. This camera also features powerful AF, effective IBIS and excellent battery life, making it ideal for everything from local wildlife walks to longer adventures. performance. With a weather- resistant build, 8.0 stops of IBIS and an 8fps high-speed burst mode, this camera redefines what’s possible with the GFX Ssytem.
X Series Lenses Wildlife photography often requires longer focal lengths, allowing you to create images of animals from a safe distance while filling more of the frame. Optical Image Stabilisation and weather- resistance are particularly beneficial when working in this field – look for OIS and WR in the names of Fujinon lenses.
FUJINON XF100-400mmF4.5-5.6 R LM OIS WR: A versatile super-telephoto zoom designed for longer distances.
FUJINON XF70-300mmF4-5.6 R LM OIS WR : A lightweight telephoto zoom with excellent reach.
Suitable X Series lenses include:
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Technique
FUJINON XF200mmF2 R LM OIS WR: A bright telephoto prime that can make the most of any available light.
FUJINON XF400mmF4.5 R LM OIS WR : A lightweight super-telephoto prime delivering stunning image quality.
FUJINON XF150-600mmF5.6-8 R LM OIS WR: Extensive telephoto reach for distant birds and elusive animals.
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September/October 2026
Technique
Fieldcraft and Animal Welfare
This comes from Learning Centre, our online educational Want to Learn More? Head to Learning Centre! yourself with any local access restrictions and follow guidance designed to protect sensitive habitats. Dressing appropriately, moving quietly and allowing yourself time to observe your surroundings will all improve your chances of success. Wildlife photography should always put the welfare of your subjects first. Avoid disturbing animals or altering their natural behaviour for the sake of a photograph, and take extra care around nests, dens and young animals. By keeping a respectful distance, you’ll not only reduce stress for wildlife but it often results in more natural-looking images. Before visiting a location, familiarise
resource. It’s full of articles just like this, which are all designed to help you get better images with your Fujifilm camera.
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Showcasing images and inspiration from our readership
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Featuring contest winners, a deep dive into street photography in Vietnam and Life As You See It A FRESH PERSPECTIVE
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September/October 2026
Community
FUJIFILM House of Photography Photo Competition 2026 The winners of our annual contest have been decided... T his was the third year of the FUJIFILM House of Photography Photo
First Runner-Up Ilaria Grasso Camilla and Marcella: Welcome and Goodbye This series explores one of the most special moments in my family’s lives: the birth of my niece Camilla. The arrival of new life brought immeasurable joy yet uncertainty into our lives. This forced me to wonder: as a new generation enters the door, what will happen to the previous ones?
Competition, and the biggest yet. After more than 1000 entries, all of which explored the subject of authenticity, it fell to three judges – Andrew Sanigar, editorial director for photography at Thames & Hudson; Nicky Hamilton, FUJIFILM X-Photographer; and Dazhané Fleming, photographer and instax™ brand ambassador – to comb through the shortlist and decide on three overall winners. Here they are! Congratulations to the final three and thank you to everybody who entered.
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Community
Second Runner-Up Aaliyah Mohammed Ode to Sincerity
There is a specific beauty in watching someone who isn’t ‘performing’ for a camera. They are just being. I’ve found, most often, my subjects are completely immersed in a moment. There is so much beauty in human behaviour; like chasing a patch of sunlight in an empty park to make reading a book a bit lovelier.
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Community
Winner Elisa Tonini They Started to Fall on a Monday
After being diagnosed with breast cancer, I began photographing my daily reality as a way to preserve an authentic memory of what I am living through. Chemotherapy makes days blur and fade quickly, so these images become evidence and emotional translation. All photos, taken in my bathroom, are an intimate and honest attempt to hold onto my changing body, my surroundings and a future I refuse to ignore.
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September/October 2026
Community
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September/October 2026
Community
LIFE AS YOU SEE IT Get inspired by these photos from our readers. Want your photo in a future issue? Scan the QR!
Will Head Instagram: @artografiehaus Made with: FUJIFILM X-T5 and FUJINON XF16-55mmF2.8 R LM WR
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Community
Patrycja Kostecka Instagram: @pati.kostecka Made with: FUJIFILM X100VI
Holly Pearson Instagram: @35mmholly Made with: FUJIFILM X100VI
Graeme Youngson Website: photocrowd.com/graemeyoungson Made with: FUJIFILM X-T50 and FUJINON XF8mmF3.5 R WR
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Community
Richard Snow Instagram: @richard_snow_hillclimb_racer Made with: FUJIFILM X100VI
Lee Gannon Instagram: @leegannon Made with: FUJIFILM X-T5 and FUJINON XF16-80mmF4 R OIS WR
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Community
Jamie Kerr Instagram: @kerr_jamie4 Made with: FUJIFILM X-T5 and FUJINON XF16-55mmF2.8 R LM WR
FUJIFILM Focus Magazine 27
September/October 2026
Community Focus Community
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Community
C hicago-based street photographer Jack Ross first set foot in Vietnam in 2017, when he completed a TESOL course in Hanoi. Since then, his experiences in the country include deepening his understanding of photography, meeting his wife and co-creating an online archive for street photos made in Vietnam, known as Vietnam Streets. We spoke with Jack about inspiration, equipment and where he wants to take his craft next. Q. What first drew you to photography? A. A class in high school, in Champaign, Illinois. It was the first time anyone showed me how a camera actually worked – the mechanics of it, the developing process, why one composition holds and another falls apart. The pictures I made then weren’t good. What stuck was the permission to look at an ordinary place properly. Champaign is flat and quiet, and nothing obviously happens there, so if you want a photograph out of it you have to slow down and find it. I’ve been doing a version of that ever since – just in louder cities. Q. How do you describe your imaging style? A. Geometry, hard light and one person somewhere inside it. I’m drawn to lines – stairs, escalators, colonnades, the edge of a shadow across a crossing. I find the structure first and wait for someone to walk into it. A lot of my frames are a strong shape with a figure who is small in it, and I’d usually rather have the silhouette than the face. It’s candid, always. I don’t direct anyone and I don’t ask people to pose. Asking someone to act like a stranger to a camera makes the photograph untrue the moment you do it. Street photography is dynamic and chaotic – the chaos is the point. The motto I walk with is ‘expect nothing, appreciate everything’. I come home with nothing most days. That isn’t modesty, it’s just the arithmetic of it. Q. What is your intention for your images? A. Fairly modest, honestly. The camera is a tool I use to share how I see a place with the people who follow the work. I’m not trying to explain Vietnam to anyone, or to document it in some complete way – I don’t think I have the standing for that. What I want is for the pictures to be true to the moment they came from. Nothing staged, nothing arranged, nobody asked to perform. If a frame shows someone getting on with their day and it makes you look We talk to Jack Ross, street photographer and the curator of Vietnam Streets
Jack Ross
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September/October 2026
Community
twice at something you’d normally walk past, that’s the whole job. When I put the Vietnam work out as a body, I dedicated it to the people of Vietnam. That isn’t a flourish. They’re the ones in the frames. Q. Why is it that you choose to work with Fujifilm equipment? A. Because the controls are on the outside, where your fingers already are. Shutter speed on a dial, aperture on the lens, exposure compensation under your thumb. You can change a setting without taking the camera away from your eye, and on the street that’s the difference between making a frame and watching it leave. Almost everything I shoot is underexposed a stop or so to hold the highlights and let the shadows go – that is one dial, one thumb, no menu. Q. Tell us about Vietnam Streets. A. Sam Derbyshire, Adrien Jean and I kept ending up on the same photowalks in 2022, working the same districts of Ho Chi Minh City. Sam and I had been shooting early; a couple of beers into the middle of the day, we had it: an Instagram account curating Vietnamese photographers with an eye. Most of what got seen from Vietnam then was staged and composed. Real street work was happening, and almost none of it had a platform outside the country – partly a language thing. My background is in marketing, so the part I could contribute was making people more findable. I ran it day to day; Sam sent me what he’d found each week. When I moved back to the US I kept going, because by then I’d become convinced Vietnam needs an archive. Over 170 photographers published, past 7000 following. That word – archive – matters more to me now than it did at the start. We used to post constantly. I’ve come round to thinking that showing too much of a place does the viewer out of the experience of finding it themselves, so we post far less and more selectively, and the real work has moved to a proper website: longer, story-based pieces with the archive underneath. Q. What is the next milestone you aim to achieve with your photography? A. Prints, then a zine. I’ve printed six or seven times but almost always for other people. I’ve only made two for myself, and both are the kind of object that makes you realise a screen was never going to be enough. “ACCEPT THE HIT RATE. COMING HOME EMPTY IS NORMAL... THOSE WHOSE WORK YOU ADMIRE ARE SIMPLY THE ONES WHO KEPT GOING OUT”
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Community
The next thing is a zine. Something light, built around a theme rather than the greatest hits. The idea I keep circling back to is making it annual – here’s what I shot in 2026, edition one – so that it becomes a habit rather than a project. I’ve no idea how it’ll go. That’s most of why I want to do it. Q. What advice do you have for those looking to improve their street work? A. Pick one prime lens and stay on it for years, not weeks. The specific number matters far less than the commitment; the point is to stop thinking about focal length so you can think about the picture. A 35mm
equivalent has been home base for me for five years and I still don’t feel finished with it. Go on photowalks with no goal. Not to get a shot – to train your eye. Most of them produce nothing and they still count. That’s the part nobody photographs: the years of walking that never show up in anyone’s feed. And accept the hit rate. Coming home empty is the normal outcome of a day’s shooting, not evidence that you’re doing it wrong. The people whose work you admire are simply the ones who kept going out.
See Jack’s work on Instagram @jackjross and check out vietnamstreets.org
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September/October 2026
Best For...
Take a Break Getting away this autumn? Here are some perfect cameras for exploring a new city
in Belgium on 20 September. After that is FUJIKINA NYC, taking place from 16-18 October in the Big Apple. Each and every one of these events serves as a celebration of photography as well as an opportunity to explore a new city with camera in hand. Experiencing a place for the first time always lends itself to creative expression – even more so when you find yourself surrounded by fellow photographers with whom you can share ideas and techniques. Whether you’re joining us for a FUJIKINA or embarking on your own city break, we’ve put together a list of three cameras from our X Series and GFX System that can help you look up and take in a new perspective.
W ith the changing of the season comes a transition from summer getaways to city breaks. As the nights draw in and temperatures drop, it only makes sense to switch out lounging on the beach for exploring the concrete jungle. We certainly think so at Fujifilm – which is why we’ve kicked off an autumn of FUJIKINA
events in a host of incredible cities around the world. These festivals of photography invite creatives of all walks to get stuck into packed programmes of talks, photowalks, workshops and gallery exhibitions. We’ve just wrapped up FUJIKINA Paris, which took place from 4-6 September, with FUJIKINA Ghent just around the corner
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Best For...
Compatible with the full line-up of FUJINON XF Lenses, this camera lets you explore all genres of image making. Fit a discreet pancake prime for a lightweight street photography set-up, or try a standard zoom for more versatile imaging options. An IBIS system reduces camera shake, while the Film Simulation dial lets you effortlessly switch between 20 analogue-inspired colour profiles. FUJIFILM X-T50 Beautifully designed and easy to carry, the FUJIFILM X100VI offers a simple yet highly capable all-in-one photography experience. A 40.2-megapixel sensor and powerful processor provide effortless performance, while an IBIS system helps keep photos sharp and video steady. Get creative with a built-in flash, digital teleconverter, ND filter and 20 different Film Simulation modes. FUJIFILM X100VI
Despite its large GFX sensor, the FUJIFILM GFX100RF is surprisingly portable – it’s the smallest ever GFX System camera – and it comes with an incredible range of creative features to help you make in-camera masterpieces. Explore the aspect ratio dial, digital teleconverter and full selection of Film Simulations, and turn ordinary street scenes into deep, impactful images that depict your unique view of the world. FUJIFILM GFX100RF
FUJIFILM Focus Magazine 33
September/October 2026
Technique
SIMULATION RECIPE BOOK
Settings
n FILM SIMULATION: CLASSIC Neg.
n GRAIN EFFECT: Weak, Small n COLOR CHROME EFFECT: Strong n COLOR CHROME FX BLUE: Off n WHITE BALANCE: Auto; R +1, B -5 n DYNAMIC RANGE: DR400 n HIGHLIGHTS: +0.5 n SHADOWS: -1.5 n COLOR: -1
n SHARPNESS: -2 n HIGH ISO NR: -4 n CLARITY: -2
The Rewinder Nathalie Boucry takes inspiration from her family, creating a quietly nostalgic recipe for everyday moments
the photos my dad used to take. This prompted me to create a Film Simulation recipe that would emulate the look of a printed photo – something worthy of celebrating family life while honouring my dad. “I set out to create a look that’s contrasty, full of colour and warmth yet slightly desaturated, like printed photos that have been stuck in an album for years.” Website: nathalieboucry.com
Nathalie Boucry is a lifestyle, event and portrait photographer that’s passionate about teaching and building the imaging community. “I grew up in the 80s, in a home filled with printed photos,” she says. “My father was an enthusiastic photographer in his spare time and spent most weekends capturing our family life on film. “While planning a visit from my daughter, I kept reminiscing about
Do you have your own custom look that you would like to share with the community? Scan the QR and tell us about your Film Simulation recipe for a chance to feature in a future issue. Share Your Recipes
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Technique
Reala Āta Dice Sales offers a travel and landscape Film Simulation recipe inspired by the tranquil quality of those quiet moments in nature New Zealand-based photographer Dice Sales provides a Film Simulation recipe built around softness and calm light that’s perfect for autumnal atmospheres as golden hour draws in. “The name comes from the Māori word ‘āta’, meaning gently and slowly,” Dice explains. “That meaning fits this recipe perfectly. It was designed for quiet moments, early starts and fading light at the end of the day. “The base Film Simulation is REALA ACE, which I find ideal for landscapes and everyday scenes. It offers rich, filmic tones without feeling heavy or oversaturated. Greens stay natural, shadows lean slightly cool and highlights roll off smoothly, even when working in difficult light. This makes it a strong all-round choice for travel and landscape photography.” Instagram: @dicesales
Scan the QR code for help with programming these recipes into your Fujifilm camera
Settings
n FILM SIMULATION: REALA ACE n GRAIN EFFECT: Strong, Large n COLOR CHROME EFFECT: Strong n COLOR CHROME FX BLUE: Strong n WHITE BALANCE: Auto; R +2, B -3 n DYNAMIC RANGE: DR400
n HIGHLIGHTS: -2 n SHADOWS: +0.5 n COLOR: +1 n SHARPNESS: -3 n HIGH ISO NR: -4 n CLARITY: 0
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September/October 2026
Simulation Spotlight Delving into the world of FUJIFILM Film Simulations
Shadows are biased towards cyan- green, while highlights take on a magenta tint. The resulting palette feels immediately familiar – though without simply looking like a faded old photograph. This Film Simulation remains colourful through the midtones, while its deeper contrast provides added definition and depth, capturing the imperfect charm associated with photos from the analogue era. Designed to evoke the feeling of looking back at photographs from days gone by, CLASSIC Neg. has a naturally nostalgic quality. It works particularly well for everyday images, but its unusual colour rendering also makes it an interesting choice for more considered work.
Many Film Simulations draw inspiration from specific film stocks – frequently from Fujifilm’s own history of producing pro-grade emulsions for photographers and filmmakers. However, CLASSIC Neg. is based on consumer negative film that’s used to record everyday moments and create family photo albums. The distinctive character of consumer negative film has become closely associated with personal memories. CLASSIC Neg. recreates this aesthetic with hard contrast and strong colour contrast.
COLOUR
MUTED
VIVID
HIGHLIGHT TONE
SOFT
HARD
CLASSIC Neg. is based on FUJIFILM SUPERIA, a colour negative film loved by generations of photographers. Rather than reproducing the look of a single film stock, it draws on the character of consumer negative photography as a whole. This distinctive aesthetic makes it effective for snapshots, travel photography and everyday moments, though its characterful palette means it’s well worth exploring across other genres too.
SHADOW TONE
SOFT
HARD
CHARACTERISTICS
STANDARD
UNIQUE
Values based on PROVIA/Standard
As seen in these photographs from Luke Davis, CLASSIC Neg. has a vividly evocative aesthetic that instantly invokes consumer negative film
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