Welcome to the January/February edition of FUJIFILM Focus, your guide to all things Fujifilm! In this issue, you’ll find interviews with professional photographers and a Valentines’ gift guide. On top of that, there’s plenty of imaging inspiration to get your New Year’s resolution started off on the right tracks – and we’re featuring some of our favourite reader-submitted photos in Life As You See It!
Life As You See It
January/February 2026
Also inside… ● Interview with David Chancellor ● Your photos ● Valentine’s gift guide
Winter warmer Pep up your seasonal pics
with Oliver Wheeldon’s unique Suncatcher Film Simulation recipe SHARPEN YOUR SKILLS How to make 2026 your best photographic year yet We’ve got tips, techniques, interviews and images to get you inspired INSIDE: Advice, inspiration & ideas for everyone who likes picture taking and making Sport for all How the FUJIFILM GFX100RF helped create a campaign to get more women active
Life As You See It Showcasing great images made with Fujifilm products
Photos of Life – As Seen by Our Readers Welcome to the January/February 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, each issue brings you all the information on Fujifilm’s latest releases, alongside seasonal tips and tricks to help you get more out of your photography. 2026 is here, and a fresh year of imaging potential awaits. If your new year’s treasure trove of imaging inspiration – for example, you can turn to page 6 for some suggested goals to help you enhance your street, portrait and landscape photography. Film Simulation aficionados should head to page 26, where we have another exclusive Film Simulation recipe. This issue’s recipe was provided by X-Photographer Oliver Wheeldon and is the perfect option for making the most of the winter sun. England’s This Girl Can campaign; and documentary photographer David Chancellor, talking about how he achieves his distinctive look with the GFX System. To start things off though, we’re presenting a selection of community- submitted images. Many thanks to everyone
who sent in a photo – and keep them coming! If you’d like to see your work in a future issue of FUJIFILM Focus , get in touch via focus@fujifilm-collaborators.co.uk . Your photos can be of anything, they just need to showcase life as you see it!
We are also delighted to present new interviews with photographer Madeleine Penfold, discussing her work on Sport
resolutions include anything about improving your photography, then you’re in the right place. Across these pages, you’ll find a
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Life As You See It
On the Cover David Chancellor Documentary and editorial photographer David Chancellor joins us this issue for a look at how his use of technique and choice of equipment helps him achieve a consistent, distinctive style across a range of subjects. Across a stunning catalogue of projects that interrogate the relationship between humankind and the natural world, David’s images make use of the GFX System to evoke a filmic, almost timeless aesthetic. Turn to page 10 to read the full Frame by Frame interview and see more of David’s incredible work.
Oksana Rosh ”I grew up in a family where photography was part of everyday life. “For me, photography isn’t just about images – it’s about emotions, memories and how we see the world. I’m heavily inspired by nature and street life, where moments happen naturally and light tells its own story. “This photograph was made in the Scottish Highlands with my FUJIFILM X-T5.” Instagram: @oxy_rosh
Made with: FUJIFILM X-T5 and FUJINON XF70-300mmF4-5.6 R LM OIS WR
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Life As You See It
Dan Senior ”This photo explores the quiet relationship between landscape and architecture, using natural framing to invite the viewer into the scene. My approach to photography is rooted in observation and restraint, allowing moments to unfold without intervention. I often work with custom Film Simulations to maintain a connection to analogue colour and tone. This profile was picked for its soft contrast, gentle greens and subtle warmth.” Instagram: @shotbysenior
Made with: FUJIFILM X-H2 and third-party 50mm lens
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Life As You See It
Scott Wicking ”This summer I splashed out on a FUJIFILM X100VI for my annual trip to the Alps (my tenth trek there). Usually, I would take a reduced DSLR kit. However, I’ve found that has become quite burdensome to lug around, especially when weight is a serious consideration – like when I’m trekking in the mountains. “The X100VI was a delight to use and perfect for such a trip: it allowed me to quickly have a camera in hand, without the danger or inconvenience of constantly taking off and putting back onmy rucksack.” Website: scottwicking.com
Made with: FUJIFILM X100VI
Elliott Block ”I’m a hobbyist photographer based in London. The work I do with photography is mainly focused on street, travel and capturing the everyday. “I try my best to photograph everyday life – including my own life – and aim to let my photos simply tell it how it is. Just real images with no fancy ideas – this allows everything to have a simple flow and helps people relate and connect with my work. “In the new year, I would like to be able to produce my first zine. I have become obsessed with the idea of having my own physical body of work and making a real bespoke portfolio with all of the materials and paper chosen by myself. It would be something to share with friends and family.” Instagram: @35elliott
Made with: FUJIFILM XF10
Graeme Youngson ”I’ve always been interested in urban pigeons and have been fascinated from an early age by stories of their intelligence and homing abilities (particularly in times of war). “They divide public opinion, I know, but they are very much a part of our lives wherever we dwell in the urban world and are a tricky and fascinating subject to photograph. On the one hand, they are one of the easiest wild animals to get close to – but on the other, they pose a photographic challenge due to their rapid movements and frequent changes of direction. “Glasgow city centre is always full of pigeons. The photo here is of pigeons using the glass shelter at the entrance of a station as a vantage point. Below is the
busy pedestrian precinct of Argyle Street, where they know people sitting on the many benches will drop pieces of food. “I liked the opportunity to photograph the pigeons from an unusual angle and chose my FUJINON XF90mmF2 R LM WR lens. I love the way they seemed to be standing to attention in an almost symmetrical line. The glass cover and metal beams contrasted strongly with the outline of the pigeons suggesting to me that a high-contrast black & white approach might work well.” Website: photocrowd.com/photographer- community/62880
Made with: FUJIFILM X-T5 and FUJINON XF90mmF2 R LM WR
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Inspiration
Looking for photographic inspiration? Here are some great reasons to get creative at the start of 2026 What to Do in January & February
New Year’s Resolutions Improve Your Images
theory specifically geared towards Fujifilm users. Divided up by genre and level of experience, it’s a great resource for both discovering fresh techniques and learning about the fundamentals of photographic theory. However, if you prefer to learn by doing, have a glance at the FUJIFILM School, where we offer everything from introductory courses and workshops to photowalks and masterclasses. These are hosted by a range of incredible guest photographers. Read on for instant inspo on how you can transform your photography in the year to come.
Forget health fads and fitness regimes – if you’re reading this magazine, why not make a New Year’s resolution to step up your photography? Whether you’re a total beginner or a working professional, we can suggest a plethora of goals to get your creative cogs whirring and give you the impetus to work on your craft. We can also help improve your image making – whether that’s through guided learning or in- person masterclasses. To help reach your targets, why not check out the FUJIFILM Learning Centre, where we host an ever-growing assortment of articles on photographic
Learning Centre
FUJIFILM School
Step Up Your Street Photography
If street photography is your focus for the coming year, make a habit of getting out regularly and exploring your locale. Different streets offer different stories, so vary your surroundings and get to know your stomping ground. If you want to ease into the genre within a group environment, join one of the FUJIFILM School’s regular photowalks, held throughout the year in cities throughout the UK. These offer a great way to practise while getting gentle guidance. To dig deeper, keep an eye out for FUJIFILM School Masterclasses led by experienced street photographers. These sessions let you pick the brains of artists who live
FUJINON XF18mmF2 R
FUJINON XF23mmF2.8 R WR
and breathe the genre, helping you understand how they think and work.
Keen to hit the streets? Scan the QR for some tips on nighttime street photography.
FUJINON XF33mmF1.4 R LM WR
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Inspiration
Portraiture is about working with people, so it’s worth practicing with a range of subjects. The more you can put people at ease and guide them into natural, confident poses, the stronger your photos will be. Technique matters too. Spend time practising in natural light and learn how subtle shifts in direction and quality can change the photo’s mood. If studio lighting feels daunting, check out the regular lighting workshops at the FUJIFILM House of Photography – a Perfect Your Portraiture
welcoming way to learn the basics, experiment with pro kit and build your confidence step by step.
Just getting started? Scan the QR to read five tips for better portraits.
Goals for 2026:
Make portraits of five people you already know
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Goals for 2026:
Spend two hours exploring your city or town and make a list of spots to revisit Practise using the camera without lifting it to your eye Use a single prime lens for a month to strengthen your instinct for composition Choose a street – then don’t leave it until you’ve found five strong compositions Head out after sundown and work on using artificial light for your images Make a series of ten photos incorporating reflections from windows or water Spend one hour in a single spot, working on identifying interesting subjects Build a cohesive project of street photos with a clear theme or consistent style
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Ask to make portraits of four strangers in public spaces Make portraits of ten different people in ten different locations Create a set of portraits at home using only window light and a reflector Use a single prime lens for a month and refine your approach to composition Learn and then master three new lighting set-ups Analyse and recreate the lighting from an existing portrait you admire Produce a portrait project with a clear narrative or concept and edit it into a sequence ready to share or exhibit
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Inspiration
Goals for 2026: Photograph the same local viewpoint once a fortnight to observe changing light Wake up early for a sunrise session each month
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Elevate Your Landscapes
Use a tripod confidently and consistently Create a set of black & white landscapes to study tone and texture
Looking to refine your landscape work this year? We’ve put together a set of challenges for every level of experience. Start by finding a place you can return to often – a nearby park, beach, hill or field – and use it as your practice ground. Keep visiting in different weather and times of day to experience shifting light and seasons while trying a range of techniques. Part of the appeal of landscape photography is the chance to roam. The UK is full of amazing scenery, so use your free time to work on your fieldcraft and find new locations that stretch your creativity. For guided learning in breathtaking surroundings, explore events held by the FUJIFILM School, including landscape
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Practise composing using both wide and telephoto focal lengths Plan a trip to a new place with the express intention of photographing the landscape Perfect the art of using slow shutter speeds for water and cloud movement Create a landscape project that showcases each of the four seasons
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workshops during the year in Eryri National Park and the Lake District.
New to landscape photography? Scan the QR for some help setting up your camera.
FUJINON XF70-300mmF4-5.6 R LM OIS WR
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Inspiration
14 February: Valentine’s Day
Give the Gift of Photography
Have something you want to say to a loved one? Maybe you can say it with a photo – after all, the right picture can say a thousand words. Head to page 25 for some Valentine’s Day gift inspiration.
Late Winter Winter Sun
Landscape Photography
Rise and Shine The other upside to these short days is that catching a sunrise is far less of an ordeal. In February, the sun comes up on the UK at around 7:00 AM – changing depending on your latitude and the exact date – so it doesn’t require a super early morning to make the most of this majestic view.
While most people will be eagerly awaiting the seemingly endless days that come with the summer, winter’s fleeting hours of sunlight do offer a key advantage to image makers. On a clear day, the quality of light – thanks to the sun being much lower in the sky – adds amazing character to naturally lit photographs.
X Series Pancake Lenses
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17 February: Pancake Day
X Series Lenses
FUJINON XF27mmF2.8 R WR
We like to celebrate Shrove Tuesday a little differently around here: with a tribute to our favourite pancakes. Named for their ultra-thin designs, pancake lenses make for the ultimate on-the-go optics, pairing perfectly with lightweight X Series bodies like the FUJIFILM X-M5 or X-E5. Stacks of Potential Three different focal lengths in the X Series lens lineup have now had the pancake treatment, meaning you can use a brilliantly compact camera set-up for a huge range of imaging genres. Come and see them in person at the FUJIFILM House of Photography!
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Technique
Frame by with professional image makers
Frame Talking equipment and technique
S ome photographers develop a visual signature that’s recognisable at a glance. Sometimes it comes from years of refining technique, sometimes from deliberate equipment choices and most often from a careful combination of both. With today’s tools offering more creative flexibility than ever, image makers have near-endless scope to shape an individual style that feels consistent and purposeful. For documentary photographer David Chancellor, whose work focuses on natural history subjects, that visual language has
he explains why mirrorless cameras from the FUJIFILM GFX System allow him to preserve the aesthetic look that he values, while gaining the responsiveness required for contemporary documentary work. He also discusses how FUJINON GF lenses help him maintain a consistent visual approach across a range of photographic subjects and working conditions. To check out any of the
its roots in a long relationship with medium format film. The proportions, tonal subtlety and sense of space that are associated with larger formats continue to influence his work today, lending it a quietly timeless quality. Whether he is depicting vast landscapes, intimate portraits or finely detailed wildlife images, that distinctive look runs through everything he makes. Working in demanding environments and with unpredictable subjects, David now relies on the speed, accuracy and dependability of modern digital systems. In this interview,
cameras or lenses mentioned and explore equipment loan options, scan the QR code.
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“I’ve always been interested in wildlife: in working with it and attempting to document it,” begins David. “When I started in photography, I started with wildlife and natural history because that was easy for me to do as a very young person. My father was a keen photographer, so even at eight or nine I could photograph things in the garden relatively easily. “But when I started working as a photographer, I never thought it would be possible to generate income from wildlife photography. I considered it an addition to what I was doing as a professional – a way for me to use a skill I had to really look at something I cared greatly about.” Instead, David’s first career step was sports photography. “While doing an HND qualification in advertising, editorial and documentary photography, I was very passionate about sport. I wanted to be a sports photographer in the days of Eamonn McCabe and others,” he recalls. “I joined a sports agency straight out of art college. It gave me access to and the ability to use long lenses. In those days, everything was manual focus, manual exposure.” Working through a period of countless advances in photography, David experienced the pros and cons of different imaging technologies. “I went from E-6 to C-41 processing and then later to digital,” he recounts. “Years ago, I went back to analogue and started using 120 film.” With a 6x7 medium format film camera, David began to establish a style that he felt worked perfectly for the documentary subjects he wanted to photograph. “I shot everything on that set-up. I felt it gave me a calmness and an
ability to work on stories I wanted to, such as trophy hunting and wildlife- related topics. It gave me an intimacy I didn’t feel in digital at the time. “I only used 120 film and it worked really well for me. I probably wouldn’t have changed if it wasn’t for Covid. I found myself working on a story in Kenya for National Geographic with four or five hundred rolls of film and absolutely no way to process it because the world had shut down. I then looked for the closest equivalent to medium format film and that, for me, was the GFX System.” FUJIFILM GFX System David’s imaging style – compared to 19th-century daguerreotypes on his website – is heavily linked to that of larger-format images. Brimming with detail, his photos are carefully composed to fill the 6x7 aspect ratio he works in. “I changed to the GFX System and I’ve worked with it ever since. I think it’s my style,” he remarks. “What I like is how the system lets me see everything in 6x7 through the viewfinder. Obviously, I’m capturing the entire frame, but I’m looking at a 6x7 framing. It allows me to draw a sort of virtual square in the air and fit whatever I feel is happening in a given scene into it.” “WHEN I STARTED WORKING, I NEVER THOUGHT IT WOULD BE POSSIBLE TO GENERATE INCOME FROM WILDLIFE PHOTOGRAPY ”
David Chancellor David is a multi-award winning photographer who focuses on the relationship between humans and the natural world. Website: davidchancellor.com Instagram: @chancellordavid
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Technique
David largely utilises the FUJIFILM GFX100S II, which is equipped with a 102-megapixel sensor that measures 43.8x32.9mm, around 1.7 times larger than a full-frame sensor. The bigger sensor size helps him achieve his characteristic medium format look, as it grants greater image resolution and improved dynamic range. The additional resolution also enables extensive cropping. While the GFX System’s native 4:3 aspect ratio delivers the sensor’s full 102 megapixels, David’s preferred 7:6 framing retains 89 megapixels, which is more than enough for most desired applications and still allows him to pull off his medium format aesthetic. “It’s gloriously tactile, and the images are just so beautiful,” David notes. “I recently photographed some Arabian leopards, and the detail is so in your face. Your eye goes straight to the sand that is caught on the whiskers of the leopard, as it’s trying to work out why you’re there. That’s what you need.” FUJINON GF Lenses The GFX System has an ever-growing range of compatible Fujinon lenses available, from full-frame equivalent focal lengths of 16 to 396mm and including a selection of both zooms and primes. David’s preference, though, is firmly for the latter. “I use entirely fixed focal length lenses. If you like, I’m mimicking the experience of a medium or large format film camera,” he explains. “You’re making a decision to produce an image in a particular way that cannot be changed by zooming. So it has to be changed by either backing off or walking towards your subject – or knowing exactly where to stand in the first place. And I like that. I like stripping everything to a minimal amount of technical interference.” With a wide range of perspectives to choose from, David simplifies the process with a common starting point. “While I take everything with me, my stock, capture-everything lens is the FUJINON GF55mmF1.7 R WR. If I can, I will get into a situation that allows me just to use that. If I can shoot wildlife on it, I’ll shoot wildlife on it. I shoot people on it; I shoot landscapes on it. “If I can’t, then I have to go up to the FUJINON GF80mmF1.7 R WR or “I’M MIMICKING THE EXPERIENCE OF A MEDIUM OR LARGE FORMAT FILM CAMERA”
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Technique
LM OIS WR lets you do is not cause angst or disturbance to an animal. But if you’re working with individuals like vets or capture teams, then you are up close and personal with the animal anyway.” For portraiture, the wide aperture of the GF55mmF1.7 combines with the increased bokeh of the GFX100S II to create a compelling option for David. “If I want to include the subject within the landscape, then I’ll work at F2.8, F4, F5.6,” he explains. “But if I want the subject to be all I’m looking at – while keeping it in context – then that lens allows you to do it. “It feels like you’re almost painting a background, because it is so out of focus and yet so beautiful. What you produce is almost like a silk scarf. You can’t quite see why it has these beautiful tones, but you’re reading it as the African bush or as the desert in Arabia,” he remarks. “You can’t see it, but you can feel it – and it’s
up again to the FUJINON GF110mmF2 R LM WR, until I can capture what I want from a distance that is either feasible to photograph the subject or safe to work with a particular animal. But my starting point will always be the GF55mmF1.7. “These fixed focal length lenses allow me to think – ‘I want to produce that particular scene in this particular way’ – and then select a specific lens instead of using something that can go from 35mm to 200mm. I don’t like the infinite amount of zooming and reframing that you can do. I like to see a particular image in my head and then know that this lens is how I’m going to achieve it. “For me, using the GF55mmF1.7 means that, 90% of the time, you’re going to have a conversation with the individual you’re photographing. You’re not getting anything where the subject isn’t aware of your presence. What the FUJINON GF500mmF5.6 R
not distracting from the subject. The GF lenses allow you to pull the background out of focus in such a beautiful, tactile way.” For David, another key advantage of the GFX System over his previous analogue set-up is its sheer reliability. “I’ve not had an issue with a single camera or lens the entire time that I’ve used them,” he notes. “And they are really trashed – they’re in sandstorms, rain, they’re on boats. Of course, they get loved and cleaned, but their performance is fantastic. They have been – touch wood – completely and utterly faultless, which is extraordinary.” Such is the dependability of his GFX equipment that David has even began to experiment with them in camera traps. “I’ll push them as far as they can go, because they produce really interesting files,” he states. “It’s very different to anything else that you’re going to see.”
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Madeleine discusses her work using the FUJIFILM GFX100RF on Sport England’s campaign to help get more women active Madeleine Penfold women, South Asian Muslim women, pregnant women, mothers of children under one and women aged 55 to 74. Obviously, there are cultural factors We Like the Way You Move In Conversation with Madeleine Penfold Interview
that play into that as well – I think it’s less celebrated to play sports in certain cultures. But for that reason, certain women don’t see themselves represented. Q. What is it about this message that appeals to you? A. I can relate to the message in my own way – if you don’t see yourself reflected in mainstream messaging, you start to think you shouldn’t be doing something or perhaps that there’s something wrong with you. You can’t be what you can’t see. Not all struggles are the same, but as a gay, Northern woman from a working-class background, I don’t remember seeing myself in mainstream messaging or having role models to look up to. I remember feeling like football wasn’t a serious career and that loving who I loved wasn’t normal or acceptable. This creates shame. When you start to feel like the world isn’t designed for you, you can understand how other marginalised groups may struggle to feel comfortable participating in something that doesn’t feel inviting to them. When I decided I wanted to be a photographer, my main motivation was to create images that made people feel seen and included. Q. What was your role in the project? A. My focus was photography only. I was working around the main television commercial, which was done by an incredibly talented director called Priya. Priya had spent an important amount of time casting the people for this campaign. After the filmed element, it was my job to photograph these women and capture the group dynamics.
Madeleine Penfold is a UK- based photographer and director whose work focuses on storytelling through impactful and energetic visual media. Specialising in sports photography, it has been her mission to raise the profile of women in sports by framing participants with authenticity and empowering them by creating media that is both representative and inclusive. Q. Tell us about the We Like the Way You Move campaign A. The campaign is the next iteration of the original This Girl Can campaign, which was an initiative by Sport England that came out ten years ago and was intended to get more women and girls active and moving. Obviously, there’s a huge correlation between positive mental health, positive physical health and how much we exercise. So, in 2015, Sport England did a huge campaign that was meant to be very inclusive, showing women of all ages, body shapes and ethnicities getting active in a multitude of ways. This campaign was super successful – it got almost three million women more active in the years that followed. Sport England continued to do research, but they found that the women who that campaign failed to reach – the women who were least active – were those with the biggest barriers to entry, and who didn’t see themselves reflected in any marketing material that encourages them to get active. These demographics include women on lower incomes and from underrepresented groups – Black
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Interview
A lot of that involved doing my own research to understand who we were going to and what the sport and location was. On the day, I tried to be respectful and observant. You’re going into someone else’s world, and it can be intimidating, arriving with a camera and a group of strangers. First and foremost, for me, it was about creating a bond with the women and understanding how they became part of the campaign. Have they done anything like this before? The reality was no, none of them had. I believe the reason I was chosen for the campaign is because I love connecting with people. By doing that, you naturally bring something out of them and help them relax in front of the camera. It’s a process of discovery and celebration.
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Technique
Q. You’ve worked with a number of household names – does the dynamic change when your subject has much less experience in front of a camera? A. I’d say very few people actually like having their picture taken. Even working with the biggest athletes with huge followings, what they actually want is to be on a pitch playing sport. I’m still going into someone else’s world – maybe their training ground – and they’re giving me their time and energy, and it’s my job to photograph the essence of who they are in a very short amount of time. That’s the same for anyone. I found it easier for this campaign because the subjects were willing. There was a collective desire of wanting these “TO HAVE THAT MUCH POWER AND QUALITY INSIDE A COMPACT CAMERA IS AMAZING”
photos or not. She said they’d all get a chance to feed back – and that was important to me. I don’t want anyone to feel they don’t have control over their own image. We did a launch event where we had all the photos printed on big foam boards, and seeing everyone with the images around them was special. Everyone had really nice things to say. One woman said to me, ‘I didn’t think photography was a job or a skill, but now I can see why it is.’ Q. What made you choose the FUJIFILM GFX100RF for this project? A. I wanted to have something small, so that I could go into the room and be very underwhelming and friendly, because this was part of a bigger campaign. For most of these women, there were huge film crews going into their houses. To create a commercial like this, you need so many people – and I had heard a few of the women say that they had no idea all these people would be involved. I wanted to make sure that when it was my turn to go in, which was almost always after the main commercial crew, they could relax a little bit. I wanted them to feel instantly like I was just a friend popping in with a camera. I didn’t want to have this big elaborate and intimidating set-up. When my agent got to the launch, the first person she spoke to was one of the subjects, who said, ‘Oh, I know
images to exist, to show similar people that they can do it too.
The approach is always the same for me – it’s about the person first. I really want them to shine, and I will flex to whatever they need to do that. Q. Do you have a preference for this kind of work? A. Anything that has purpose behind it speaks to my heart. We all have a finite amount of time on the planet. Whenever I can, I want to be working on things that make a difference rather than just transactional things. I don’t work in a charity. I can’t see the difference my work makes right before my eyes. But my hope for these images is that somebody might see them one day, and it will plant a seed that might nudge them in a direction they weren’t already going in. I’ll probably never know the full impact or scale, or whether it makes a difference or not, but the hope for change means a lot to me – and things with purpose will always be what my heart wants to do. Q. What did the participants think about your photos? A. A big thing for me is making sure people are comfortable and like what I’m doing. There were moments when I would even hand the camera over to someone in their family and be like, ‘Do you want to have a go?’ Breaking down the idea that you’re the subject and I’m the photographer helps bring everyone into this equal playing field. I remember asking the person who commissioned me if the women would get a say on whether they liked the
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Interview
part – seeing all the women at the launch saying really nice things and sharing stories about how they had kept the campaign secret until the commercial came out. Two of the women we photographed that were pregnant have now had their babies, so it’s nice to think how these images are going to immortalise that moment for them. More than anything, I hope
it’s special for the women. As a storyteller, artist and
photographer, are you always going to want to do more or think back to what you would change if you could do it again? Of course – I’d love to spend a week with all of the women individually and photograph a day in their life, completely naturally. It can be hard when you have a whole crew around you, which it was on the day. Q. Where will the campaign go next? A. Continued conversation is important. I’ve asked everyone involved so many times, ‘What’s the feedback from the images?’ From the world, social media, the women themselves. I want to stay involved because we might realise in a year’s time the campaign hasn’t worked – and in that case, we need to look into why. If this approach wasn’t the right one, what do we need to adapt? A continual conversation led by the very people who the images and campaign are targeted at is the most important thing. Q. What’s the role of a photographer in a time when most ordinary people can make photographs very easily? A. It’s about a story. I probably spend approximately 2% of my time with a camera in my hand, and the rest is about designing a story. What are the messages that we want to come from this? How could we do this stylistically? Sometimes, it’s technical conversations about lenses and lighting, but most of the time these are emotional conversations – about the journey or purpose of the groups we want to connect with.
the subject is at ease, which means I can’t stress if something’s not working with the lighting. My main focus is not losing the trust or energy that my subject is giving me. I’d rather change the angle than keep trying to finesse it to get it right because we don’t always have the luxury of time, and that stress can rub off on the subject. Q. How about post-processing? A. I like to get it right in-camera as much as possible on the day. For We Like the Way You Move, I didn’t want the images to look overly retouched because the campaign needs to feel real and relatable. Heavy retouching would go against the objective of what the images are about. Q. How do you feel about the finished photographs now? A. I really like them. It was amazing to see the images out in the wild – the feeling you get when you see your images driving past on a bus for everyone to see across the UK is incredibly special. What sticks with me the most is the feedback from everyone that took
Madeleine. She’s the one I actually remember from the shoot because she was so nice to me. She made me laugh and we just had a good time.‘ For me, that’s the best feedback ever. I don’t want them to think of me as the one with the big set-up who’s telling them what to do. That was important to the approach, but also to have that much power and quality inside a little compact camera is amazing. And I just love the way the colours look on Fujifilm because it looks real. Real skin tones; real light. Q. What was your approach to the lighting? A. I worked with the natural light. I did bring lighting, but it was to add to what was already there. I wanted to keep it natural because they’re all natural environments and settings. But I do want it to have a nice look to it – so no harsh or unflattering shadows. It’s about bringing out the best of what’s already there. In this instance, we didn’t have loads of time to light or do tests. But my number one thing is making sure
FUJIFILM Focus Magazine 17
January/February 2026
Technique
What Makes a Good Beginner Camera? Find out which features make for a great starter camera – and why the FUJIFILM X-T30 III fits the bill W hen starting out in photography, the right camera can make all the difference. It should help you learn the essentials, encourage creative exploration and stay with you as your skills grow. The FUJIFILM X-T30 III has been built with exactly that in mind – a stylish, tactile and surprisingly powerful camera that makes learning photography both intuitive and inspiring. Released late last year, it’s now available to buy as a kit with a compact zoom lens. Read on to find out why it’s the perfect choice for those seeking a camera that will push them to new levels.
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January/February 2026
Technique
It’s Easy to Get Started Getting to grips with your first camera shouldn’t feel daunting,
to your fingertips. Offering instant access to 20 looks inspired by the company’s 90-year film heritage, you can start experimenting with colour immediately. For those who want to delve deeper, the camera’s dial-based controls make the fundamentals of photography – aperture and shutter speed – feel more tangible. This is a camera that lets you learn by doing and helps you enjoy the process from the first photo you make.
and you shouldn’t need a complete understanding of imaging theory just to make your first few photos. To get new users started, the X-T30 III’s AUTO mode is accessed by a switch on the top-plate. This takes care of exposure and focus so you can concentrate purely on composition and creativity. You can also find on the top- plate the new Film Simulation dial, which brings Fujifilm’s colour science
It’s Portable
Paired with the FUJINON XC13-33mmF3.5-6.3 OIS kit lens, it forms the perfect match. The lens weighs 125g and packs down to only 37.5mm in length when retracted, yet covers a versatile range of everyday focal lengths. Used together, this camera-and- lens combo is a compact, travel- friendly kit that’s always ready to make photos worth keeping.
The best way to learn is by doing, and the only way you’re sure to keep practising photography is if you have your camera with you. Fortunately, at just 378g body only with battery and memory card, the X-T30 III is light enough to take anywhere. It’s small, balanced and easy to keep close by, whether you’re exploring a new city or photographing the everyday.
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January/February 2026
Technique
It Has Limitless Possibilities While the X-T30 III is accessible, it’s also ready for ambitious work. The interchangeable-lens design gives access to the full range of FUJINON X Mount lenses, offering endless creative potential from wide-angle landscapes to intimate portraits, while the X-Processor 5 enables rapid 30fps burst mode and high- quality 6.2K/29.97p video recording. Custom Film Simulation recipes can be stored and recalled from the dial, so you can get into the nitty gritty of personalising your colour and tone. Whether you prefer the rendering of REALA ACE or the analogue warmth of NOSTALGIC Neg. as a baseline, you can explore your own visual style.
Great Starter Prime Lenses Fast, compact, weather- resistant prime lenses to help you begin exploring a range of imaging styles and genres.
FUJINON XF23mmF2 R WR
FUJINON XF35mmF2 R WR
FUJINON XF50mmF2 R WR
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January/February 2026
Technique
It Makes Sharing Easy Learning photography is more rewarding when you can see and share your progress. With the free FUJIFILM XApp, the X-T30 III can connect to your smartphone via Bluetooth
Beyond sharing, the app can become a creative companion. Use it to control the camera remotely, record your photographic activity in a timeline or diary view – and even backup or restore your favourite settings. Whether reviewing where you’ve been, learning from your results or planning the next day out, the XApp helps you stay connected to photography wherever you go .
or Wi-Fi, letting you browse, transfer and post images straight from the camera. You can resize photos before you send them, or enable automatic transfer to copy across in the background while you keep making more.
It’s Capable The X-T30 III may be lightweight, but it’s far from limited. At its heart is the X-Processor 5 – the imaging engine found in Fujifilm’s flagship cameras – married to a 26.1-megapixel X-Trans CMOS 4 sensor. This combination delivers outstanding image quality, quick responsiveness and intelligent autofocus powered by AI-enabled subject detection. For beginners, that means you can depend on your camera to respond instantly and accurately, while users taking on more ambitious projects can rest assured they are using the same technology as the professionals. It’s a level of performance that helps you focus on creativity rather than worrying about settings.
Make Photography Your New Year’s Resolution
The best beginner cameras don’t just help you learn about photography – they help you grow. We think that the X-T30 III is a great option for this: bringing together intuitive controls, beautiful colour science and a timeless, compact design which feels great in the hand. Paired with the lightweight XC13- 33mmF3.5-6.3, it’s a set-up that will help realise the depths of your creative potential. If taking your photography seriously was on your list of New Year’s resolutions, make sure you’re equipped for the task at hand. Head to the FUJIFILM House of Photography to see the X-T30 III in person and find out if it’s right for you.
FUJIFILM Focus Magazine 21
January/February 2026
Community
Introducing: Our Newest
X-Photographers! For 2026, we’ve welcomed two new image makers into the ranks of our X-Photographers. FUJIFILM X-Photographers are ambassadors for the Fujifilm way of thinking, whose imaging expertise demonstrates what can be done with X Series and GFX System cameras and lenses. These two have been consistently impressive with their image making while throwing themselves into our community, so we’re delighted to welcome them aboard!
Rebecca Douglas It is such an honour to be joining the Fujifilm X-Photographer family. My work amplifies nature’s
voice and, through visual storytelling, invites us to rewild our connection to nature. Fujifilm’s lightweight mirrorless system has been central to this journey, empowering me to explore, travel light and stay attuned to moments that matter. Over the next two years, I’ll be sharing my love of Fujifilm kit and showing what’s possible when we meet the wild edges of earth, sea and sky, where curiosity is awakened, wonder ignites and we remember what connects people, place and planet. Website: rebeccadouglas.co.uk Instagram: @rebeccadouglasphotography
Nicky Hamilton Fujifilm has been a big part of my journey for the last three years; it’s shaped how I make images. My work is always story-led and takes a filmic approach – strong on detail and narrative, and focused on bringing out the emotion and inner life of the people I photograph. The GFX System is a huge enabler of that: it gives me the depth, detail and tonal nuance to build cinematic images while keeping the process simple and in the moment. I’m excited for the adventures ahead of me – pushing my style, exploring what’s possible and sharing the process along the way. Thank you to the Fujifilm team for the trust. I’m looking forward to what we create next. Website: nickyhamilton.com Instagram: @nicky_hamilton
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January/February 2026
Ideas
SHORT ON INSPIRATION? Find new ways to fill your life with photography
There isn’t one right way to improve your photography. Some like to read, watch tutorials or experiment on their own, while others learn best by doing. If you fall into the latter camp, FUJIFILM School could be exactly what you need. Do you love photography and want to enhance your skills? FUJIFILM School can help you turn your enthusiasm into progress, offering fun and rewarding experiences. Whether you are brand new or seasoned, you’ll find something for your level. From beginner and intermediate sessions to photowalks, masterclasses and specialist workshops, each course is designed to boost your confidence and help you see the world with a little more intention. You’ll learn alongside like- minded creatives, guided Try out FUJIFILM School Level Up Your Learning
by experts who love to share their knowledge. Scan the QR code for the full range of courses.
FUJIFILM Focus Magazine 23
January/February 2026
Ideas
Compact X Series Prime Lenses
FUJINON XF23mmF2 R WR
FUJINON XF35mmF2 R WR
FUJINON XF50mmF2 R WR
Go Beyond Your Kit Lens
Explore new perspectives in 2026
FUJINON XF23mmF2 R WR offers the iconic X100 perspective, while the XF35mmF2 R WR gives a natural, versatile point of view similar to the human eye. For a bit more reach, the XF50mmF2 R WR is perfect for portraiture and isolating details in your images. This year, why not go beyond your kit lens and see how a new perspective can transform your work?
If you’re ready for your next step, a wide- aperture prime lens is a great place to start. The fixed focal length helps you to compose with more intention, while the bright aperture gives you beautiful background bokeh and additional flexibility in low light. The three lenses above are compact, lightweight and weather-resistant – ideal for street, travel and everyday photography. The
Still using the lens your camera came with? A kit lens is a brilliant starting point and a dependable all-rounder, but relying on just one can hold back your creative growth. The X Series range has an enormous choice of Fujinon optics to explore, with everything from ultra wide-angle to super telephoto. Each one opens up fresh possibilities and encourages you to think differently.
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January/February 2026
Ideas
Valentine’s Day Gift Guide
Say it with a picture
If you’re looking for a thoughtful Valentine’s gift this year, a photo-based present is a brilliant way to share a moment that means something to both of you. A framed print can brighten a wall, while a personalised photo card adds a simple but heartfelt touch to any other plans for the day. For something a little more distinctive, try a custom acrylic photo block filled with loveheart confetti – a keepsake that feels special without being over the top. By incorporating your own photographs, there are plenty of ways to create a gift that feels personal, meaningful and rooted in a shared memory – the kind of present that will keep brightening up your partner’s day, long after Valentine’s is over.
If you’d like to share your passion for photography with your partner, an instax™ instant camera makes a brilliant gift. They’re fun, stylish and wonderfully simple to use, producing keepsakes you can enjoy straight away. It’s perfect for a morning surprise before a day spent making new memories together. To explore the full range and chat with the experts before Valentine’s Day, pop into the FUJIFILM House of Photography. Share the Fun with instax™
Browse the options at the FUJIFILM House of Photography or visit your local PHOTO by Fujifilm retailer. Scan the QR code to find your nearest dealer.
Fujifilm has lots of options to make your
photos into something tangible
A photo block like this is a great way to turn a special memory into a meaningful gift
FUJIFILM Focus Magazine 25
January/February 2026
Technique
Settings
n FILM SIMULATION: ACROS+R or ACROS+G n GRAIN EFFECT: None
n COLOR CHROME EFFECT: Off n COLOR CHROME FX BLUE: Off n WHITE BALANCE: 2700K; R: +8, B: -9 n DYNAMIC RANGE: DR400
n HIGHLIGHT: +1 n SHADOW: -2 n COLOR: 0
n SHARPNESS: +1 n HIGH ISO NR: 0 n CLARITY: 0 n ISO: 640 n EXPOSURE COMPENSATION: -1 to -2.5
SIMULATION RECIPE BOOK Suncatcher Oliver Wheeldon shares his moody black & white Film Simulation recipe, which makes the most of intense winter sun
Suncatcher is designed to perfectly render moments of intense natural light, such as the sun baking down against a street, or light glistening up from the ocean.
Need some help with programming this recipe into your camera? Scan the QR code for a guide.
Got your own custom Film Simulation that you’re eager to share with our community? Get in touch with us at focus@ fujifilm-collaborators.co.uk for a chance to feature in our next Simulation Recipe Book! Share Your Recipes
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January/February 2026
Deep Dive
Simulation Spotlight Delving into the world of FUJIFILM Film Simulations
A Film Simulation that is primarily designed for photographing people in natural lighting conditions, PRO Neg. Hi promises authentic colour reproduction – particularly for skin tones – and a tastefully increased level of contrast. Both PRO Neg. Hi and PRO Neg. Std were created to bring the look of colour-negative film to digital photographers, providing a beautifully natural aesthetic with a subtly muted colour palette. Where PRO Neg. Std offers a more natural lighting response better suited to studio work – allowing you to create your own dramatic lighting and photograph it accurately – PRO Neg. Hi has hardened shadow and highlight details, which provide increased contrast for characterful portraits even under fairly flat light. While intended for portraiture, this combination of dramatic contrast and slightly desaturated colours also offers excellent results for everything from street to architectural photography. With its largely neutral colour rendering and dramatic contrast, PRO Neg. Hi is also a great base to use for building your own Film Simulation recipes.
Ideal for the variable light of the winter months, PRO Neg. Hi offers dramatic yet natural images
COLOUR
Both PRO Neg. Film Simulations are based on the Fujicolor Pro 160NS colour-negative film stock look. Optimised for natural skin tone reproduction, soft contrast and neutral grey balance, this film was made
MUTED
VIVID
HIGHLIGHT TONE
SOFT
HARD
SHADOW TONE
SOFT
HARD
CHARACTERISTICS
for wedding, portrait and fashion photographers.
STANDARD
UNIQUE
Values based on PROVIA/Standard
FUJIFILM Focus Magazine 27
January/February 2026
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