Fujifilm is working on a camera with a sort of “time-travel” dial.
What do I mean by that?
Now, don’t get too excited — it’s not quite like the one from that legendary movie (the one that inspired the opening image of this post), where you punch in a date and jump through time. But it might just let you photographically do something close.
In fact, if what I hear is accurate, then it’s a dial that lets you choose an era-inspired look for your images. You won’t be jumping through time — but your photos will.
At the moment I don’t know exactly how this works, so from now on it is all just speculation.
My guess is that you might be able to switch from the early black and white era, to the rise of commercial color photography in the 1930s thanks to Kodachrome to the New American Color photography of the 1970s (inspired by artists like William Eggleston, Stephen Shore, Joel Sternfeld and Richard Misrach) and so forth.
I call it a photographic “time-travel dial” — one effortless turn to revisit the looks of photography’s past.
It seems Fujifilm is once again having fun experimenting (Fujifilm X half anyone?), blending nostalgia and innovation to offer photographers a truly new kind of creative experience.
Now, you might like this idea or not, but I guess we can agree that only a company with a massive photography history could come up with such an idea, which speaks for the heritage and creativity of Fujifilm.
Stay tuned on FujiRumors… as soon as I have more details I will let you know. And of course, feel free to reach out to us in case you have some hints or rumors to share about it.
Let’s take a short break from all the gear talk and share a few images that fellow Fujifilm shooters have shared in the Fujifilm film simulation group.
And remember, whether you own an ancient Fujifilm X-Pro1 or the latest and greatest, film simulations are in Fujifilm’s DNA since the beginning. So play around with them and enjoy using them.
The latest Fujifilm financial results are out (Q2/2025 – July to September 2025).
It’s once again a very positive report, with operating income up 21,5% Y-o-Y.
Fujifilm also sounds pretty optimistic about the future of its Imaging division — so much so that it has raised its forecast by 5.6% compared to previous expectations. And it’s not just doing well — it’s doing well enough to balance out expected declines in other divisions.
I wonder how much of this optimism could be the result of them knowing something we don’t know yet… like the arrival of the Fujifilm X-T6, Fujifilm X-Pro4, Fujifilm X-H3/S, Fujifilm GFX100III or any other 6th generation Fujifilm gear.
Professional Imaging
Strong sales of FUJIFILM X and GFX series digital cameras
Operating income forecast is unchanged, as the downward revisions for both the Healthcare, mainly due to higher silver prices, and the Business Innovation, due to increased expenses for strengthening business structure, are offset by higher gross profit in the Imaging.
I certainly hope for the fully automatic subject detection mode to come to all 5th generation cameras (and I showed Fujifilm how easy that could be implemented). I am not a video guy, but why no waveform monitor, vectorscopes and anamorphic mode on all 5th generation cameras? I want more cameras with touch-to-track autofocus in video. And please, panoramic mode on 40MP cameras would be nice too.
And why shouldn’t the Fujifilm X-T50 and X-M5 also be able to store custom recipes on their FS1/FS3 positions? And what about direct to Instax print option?
Also, it never hurts to get some autofocus boost. I mean, for what I do, it’s already amazing. But being 85% as good as other brands is not good enough these days. It’s time to match other brands in terms of AF performance.
INSTRUCTIONS:
You’re welcome to share your wishes in the comments below.
Just in case later I decide to turn them into a survey, it would be helpful if you upvote existing comments that already include your wish, and post a new comment only if your idea hasn’t been mentioned yet.
It’s the night when ghosts rise from their crypts — and it reminded me that Fujifilm, too, has (or had?) a rather unnatural power: the power to bring its cameras back from the dead with a little bit of firmware Kaizen magic.
Cameras that refused to die.
Or better yet: cameras that Fujifilm simply did not allow to die — resurrected again and again through firmware updates that breathed new life into them.
Scary times in which those who wrote excellent Fujifilm camera manuals were doomed to rewrite them over and over again — slowly driven to madness by Fujifilm’s relentless Kaizen spirit, as they struggled to keep up with all the new features added to cameras that refused to stay dead.
So let’s talk about those times.
And let’s talk about where we are now and what has changed (if anything).
We were going on a 4-day trip with my classmates to Siena.
And I remember how I cherished those 27 shots — how intentional I tried to make every single one of them. Every frame mattered so much to me.
The photos might have been flawed — soft, overexposed, touched by grain and blur. But the moments were flawless. I waited for them, guarded each frame, and only pressed the shutter when I felt that it truly mattered.
But somehow all of that went lost with the arrival of digital.
That sense of loss — of meaning, of connection — is exactly what YouTuber Gerald explores in his video “What We Lost When Cameras Got Better”. He looks back at what we unknowingly traded away when photography became effortless, and how we might get those things back.
We thought we were upgrading to digital.
But we weren’t — we were trading.
And this is what we lost in the exchange, according to Gerald.
Intentionality –
Film forced us to think before shooting because every frame was limited and costly.
Digital made shooting cheap and endless, which made each photo mean less.
Presence –
With film, you stayed in the moment.
With digital, we’re constantly checking screens, pulled out of the experience.
Anticipation –
Waiting to see developed photos made us value them more.
Instant previews make us forget instantly — memories don’t have time to form.
Imperfection –
Film had character: grain, light leaks, and “happy accidents.”
Digital and AI perfection removed uniqueness; everything looks the same.
Mindfulness –
Shooting film is a tactile, focused ritual.
You set ISO once, advance manually, and truly participate in the process.
Digital gives results; film teaches discipline.
Conclusion
Technology didn’t just upgrade photography — it also caused a trade-off.
We gained convenience but lost meaning.
Unlimited shots led to unlimited forgetting, while limitations gave us value.
How to Get It Back
You don’t need to abandon digital. Instead, adopt the film mindset.
By slowing down and paying attention, you’ll remember your photos — and the moments — again.
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