This is the 1,000th post!
I started the Fuji X Weekly blog on August 21, 2017, with the intention of writing one article per week. Initial this was a long-term review (or journal, as I called it) of the Fujifilm X100F, but (obviously) it morphed into something much different than that. Life has a way of taking you down roads you wouldn’t have considered or even thought possible. Here we are, four years and ten months later, and this website doesn’t much resemble its origins.
Firstly, Fuji X Weekly is no longer about one camera, but about all Fujifilm cameras. Secondly, its focus is no longer mere journalling; instead, the primary purpose of this page is JPEG camera settings, called Film Simulation Recipes, that allow you to achieve straight-out-of-camera results that look good—you don’t have to edit if you don’t want to. And, of course, there’s the Fuji X Weekly App, so you can take these recipes with you on the go—almost 250 of them!
I wanted to do something special for this important 1,000th article. I knew that it needed to be related to film simulations and recipes somehow, but I wasn’t sure how exactly. Like the time I didn’t know why the ball kept getting bigger, then it hit me (sorry for the bad joke…)—I figured it out: for this article, I would rate my favorite film simulations—from most liked to least liked—and also share my favorite Film Simulation Recipes for each. The new Nostalgic Negative film simulation isn’t in this list because I’ve never used it, so I have no idea how I would rank it, but I do believe it’s one that I would particularly appreciate.
Without further ado, here are my favorite Fujifilm film simulations, plus my favorite Film Simulation Recipes for each!
#1 Acros
Love at first sight!
When I tried the Acros film simulation on my Fujifilm X100F for the first time, I was blown away by it, as it produced the most film-like results I’d ever seen straight-out-of-camera. It was a big reason why I decided to stop shooting RAW and rely on camera-made JPEGs instead. I’m a sucker for black-and-white (probably because I shot a lot of it in my early film days), and the Acros film simulation produces incredibly lovely monochrome pictures. Acros is found on all X-Trans III, IV & V cameras, as well as GFX.
Favorite recipes:
Kodak Tri-X 400
Agfa Scala
Acros Push-Process
#2 Classic Negative
Modeled carefully after Superia film, Classic Negative is the closest film simulation to replicating the aesthetic of actual color negative film (albeit, Fujicolor film, not Kodak). It is programmed uniquely and beautifully—there’s so much to love about it! For color photography, I could shoot exclusively with Classic Negative and be happy. Unfortunately, this film simulation is only found on the X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras, as well as X-Trans V and GFX.
Favorite recipes:
Fujicolor Natura 1600
Fujicolor Superia 800
Xpro ’62
#3 Classic Chrome
Prior to the introduction of Classic Negative, Classic Chrome was my favorite color film simulation, with its distinctive Kodak color palette. While it’s third on this list for me, I bet that it’s number one for many of you, since the most popular Film Simulation Recipes are those that use it. Fujifilm introduced it in 2014 with the X30, and retroactively gave it to some of their prior X-Trans II cameras (although not all) via firmware updates. Most Fujifilm models have Classic Chrome, and all since 2014 do.
Favorite recipes:
Kodachrome 64
Kodak Portra 400 v2
Vintage Kodachrome
#4 Eterna
The Eterna film simulation has a uniquely soft tonality; while it can be somewhat mimicked with PRO Neg. Std, there’s nothing that can completely faithfully replicate it. Because its beauty is in its subtleness, it can be easily overlooked. Some might think it’s only for video (which it is good for, too), but it is great for still photography. It was introduced on the X-H1, but that’s the only X-Trans III camera with it; otherwise, Eterna can be found on X-Trans IV, V, and GFX.
Favorite recipes:
Vintage Color
Kodak Vision3 250D
Negative Print
#5 Monochrome
While the Acros film simulation grabs the headlines, the Monochrome film simulation is itself a solid black-and-white option; however, because I liked Acros so much I basically ignored it for years, which is unfortunate. Monochrome has a different tonality than Acros and doesn’t have the built-in Grain, but it is still an excellent film simulation—one of the best, in fact. All Fujifilm cameras have the Monochrome film simulation.
Favorite recipes:
Ilford HP5 Plus 400
Ilford Pan F 50 Plus
Dramatic Monochrome
#6 Eterna Bleach Bypass
This is Fujifilm’s latest film simulation (aside from Nostalgic Negative, which is currently only found on one GFX camera, but soon on X-Trans V), and it’s basically the Eterna film simulation but with lots more contrast and even more muted colors. Eterna Bleach Bypass can deliver stunning results that are definitely different than what’s possible with the other options. This film simulation is only found on the X-T4, X-S10, X-E4, X-T30 II, X-Trans V, and the newest GFX models.
Favorite recipes:
Ferrania Solaris FG 400
Lomochrome Metropolis
Ektachrome 320T
#7 PRO Neg. Std
PRO Neg. Std used to be my third favorite film simulation, behind Acros and Classic Chrome. It has a subtle beauty with muted tones and contrast—similar to Eterna (although not quite as pronounced) but with more of a color negative feel than cinematic. Even though Fujifilm has introduced new film simulations that I like better, I still very much appreciate this one. Most Fujifilm models (with the exception of a few really old ones) have PRO Neg. Std.
Favorite recipes:
Fujicolor Superia 800
Fujicolor 100 Industrial
CineStill 800T
#8 Velvia
Velvia 50 was my favorite color transparency film for landscape photography. While the Velvia film simulation isn’t a close approximation of that film straight out of the box, it can be made to look pretty similar with some adjustments. For vibrant landscapes, this is the film simulation to choose. Velvia can be found on all Fujifilm cameras.
Favorite recipes:
Vibrant Velvia
The Rockwell
Velvia v2
#9 PRO Neg. Hi
At this point we’ve moved into the film simulations that use far less frequently. PRO Neg. Hi is basically PRO Neg. Std but with more contrast and saturation. It’s not bad at all, and it used to be my go-to film simulation for portraits (which I think it’s particularly good for). Most Fujifilm models (with the exception of a few really old ones) have PRO Neg. Hi.
Favorite recipes:
Jeff Davenport Night
Fujicolor Pro 400H
PRO Neg. Hi
#10 Provia
Fujifilm calls the Provia film simulation their “standard” profile, but I’ve never really liked it. Because of that, I usually only shoot with it when I force myself to do so, and sometimes some interesting things come from that. All Fujifilm cameras have the Provia film simulation.
Favorite recipes:
Standard Provia
Provia 400
Cross Process
#11 Astia
The Astia film simulation is pretty close to PRO Neg. Hi in terms of contrast and saturation (although Astia is a bit more vibrant), but with a different tint that I think you either like or don’t like. I used to shoot with it a lot more more than I do now. It’s a good alternative for landscapes when Velvia is just too strong. Every Fujifilm camera has the Astia film simulation.
Favorite recipes:
CineStill 50D
Super HG Astia
Redscale
#12 Sepia
Last and least is Sepia, the often forgotten film simulation. For some reason every camera has it and almost nobody uses it.
Favorite recipes:
It’s your turn! Which film simulation is your favorite? Which Film Simulation Recipe do you use most? What on this list was most surprising to you? Let me know in the comments!
Hi Richy,
03.32 AM and to hot to sleep here in the Netherlands and there is a thunderstorm with large flashes so who can sleep!
First off, a thank you and congratulations on a job well done of course and welcome to the ‘madness’ that is fuji simulations.!!
So glad that Across is your number because with me it’s any colour as long as its B&W!
And Across in its various forms
reigns supreme and I hardly use and colour. And when I do it doesn’t take long for me to switch to The Master. That’s it really, many happy returns and, from beneath the Dutch sheets, Keep creating and have one on me!
Color is by far more popular, but my heart belongs to B&W. I appreciate your kind words and encouragement!
The photo entitled “Motel – Panguitch, UT” is on point. Love it.
Thanks so much!
I don’t often use film “sims” and recipes but my default when I do is “Classic Chrome” and “nostalgic negative”.
Thanks! I got that as a Random Recipe on the FXW App. Now I get to go shoot with it! 🙂
I have a FujifilmX100S, but I don’t lust over the idea of more film simulations. Let’s say I have six colors and 4 graphite pens to draw with my camera (and a forgotten sepia one), with your recipes I have a box of many colors. So congratulations, Ritchie… and thank you! It is a fascinating journey you have taken us with you. 1000 posts is quite a book of exploration.
My favorite film simulation is Astia. My favorite recipe is Ektar 100, but I would be lying if I say it is the one I use the most, as when light changes Vivid Color, Aged Color, Fuji Industrial or the Rockwell. No surprises as I coincide with you: I tried to use sepia but I overused it in the 2000s, I use Provia only when I think I could need a bit more of dynamic range.
I used to give my prints a Sepia bath (for archival reasons), and it would stain them slightly, but not to the extent of the film simulation. I think, in the newer cameras, the B&W Toning options are better. I appreciate your kind comment!
First of all, congratulations for those 1000 posts, it’s a long way traveled. Bravo!
My favourite Fujifilm simulations are Classic Negative and Acros, and my favourites recipes are Kodachrome 64, Fujicolor Superia 800, Ilford Ortho Plus 80 and Kodak T-Max 400. About this, what do you think is the main difference between T-Max and Tri-X, deeper black? more contrast?
Thanks again my friend and go for next 1000!!
The differences are (mostly) blacks, grain structure, and tolerance for push-processing; however, the differences really aren’t all that significant. T-Max has finer grain, but Tri-X can be pushed further. Both films have seen revisions since I last used them—the emulsions I used are not exactly the same as what you can buy today. I appreciate your input!
Thanks my friend!
Congratulations on the 1000th post!
Thank you!
Big congratulations on 1,000. That’s a huge commitment, and it feels like you’re accelerating if anything!
I read your favourites with interest, as I think of us both as coming from a different angle with sims and recipes, so it was interesting that we also have different favourites.
For me, my favourite sim is Eterna, and recipe of yours is FX Kodak Vision3 250D. Next up, I also put Classic Negative, and fav recipe of yours is Nostalgia Color. And then third is Classic Chrome and Kodachrome 25.
Thanks again for all the hard work
I appreciate your kindness! Those are some of my favorite recipes, too (I debated about Nostalgia Color and Classic Chrome making the list). Thanks for your input!
Two years ago Imaging Resource’s Dave Etchells wrote a lovely article detailing the color science and pallet behind each of the Fuji film simulations: https://www.imaging-resource.com/news/2020/08/18/fujifilm-film-simulations-definitive-guide
Cheers,
Eric Anderson
Oh, for me, it’s Tri-X and K64 hands down. Ektachrome if I want a bit higher punch to my colors.
Eric Anderson
Awesome! I appreciate the input!
Thanks for sharing!
Where has your blog been my entire life! Oh my god, I wish I had found you earlier. I love film and digital, but most of all, I love imitating film on digital, haha. Thanks for sharing this!!!
Awesome! Glad that you found it!
On my X-TransIII processors, my go-to had always been HP5+ and Kodachrome II. It’s all I really used. However, now with X-TransIV, I have migrated to the Vintage Color II and Portra (Reggie style), and made my own version of an Acros simulation. I realized the other day I don’t use much of the other 5 recipe slots on my camera! 🙂
If you have three or four that you love and that work for you, that’s awesome! That’s all you really need.
Great Post, I love your recipes! Just got my X100V and I was wondering, if the slow down die to clarity starts bugging me, what you would suggest – just leave clarity out of the recipes or use different recipes without clarity (which I can’t seem to find for the exact sims I want to use…)?
Thank you!:)
There are a few different ways to approach it. First, I try to look at the pause caused by Clarity as a positive thing. It helps me to slow down and focus more. It’s also about the same time as it takes to advance to the next frame on a film camera. Also, the first two GFX cameras have a similar pause despite not having Clarity. If the pause is too troublesome, you can disable Clarity and (if you shoot RAW+JPEG) you can add it in later by reprocessing the RAW file in-camera or with X RAW Studio (this is Fujifilm’s suggestion, btw). You can switch from single shot (S) to a continuous mode (CL or CH), which will automatically disable Clarity, so if you don’t need to be quick use S (and have Clarity) and when you do need to be quick, simply switch to CL or CH and just know that those images don’t have Clarity. If you like the results, just don’t apply Clarity to those images, or if you don’t like the results, add Clarity after the fact by reprocessing. If a recipe calls for minus Clarity (not plus Clarity), a diffusion filter (Black Pro Mist or CineBloom… I prefer CineBloom) could be used in lieu of Clarity. I hope this helps!
That helps a lot. Thank you so much for the detailed answer and keep up your awesome work! Greetings from Hamburg!
Congratulations!!
After one year with fujifilm camera and fujixweekly suggestions
my favorite ones are
fujicolor superia 800 and Kodak porta 400 v2.
Still in search of a good monochrome simulation , hope to find one soon.
Best to all fuji lovers.
Awesome! I love those two Recipes, too. Thanks for sharing!