Five Fantastic Film Simulation Recipes that are Versatile

Tattoo & Turkish Pizza – Tempe, AZ – Fujifilm X-T5 – Reala Ace Recipe

Color film almost always is either Daylight balanced or Tungsten balanced. The majority of emulsions are Daylight balanced. Use film intended for sunny light in the daytime, and use film intended for artificial light at night. If the light condition is something else, color correction filters can be used to achieve a correct color cast.

Film Simulation Recipes are often quite similar, and many are meant for use during daylight hours or (less commonly) at night. I get asked sometimes if there are good Recipes that can be used anytime, no matter the light. I think it’s a great strategy to have at least one versatile option programmed into your Custom Presets ready to go. It may or may not be your favorite Recipe, but you know it’s going to deliver good results no matter the situation.

There are actually quite a few of these types of Recipes. The easiest way to find them is, if you are a Fuji X Weekly App Patron, is to Filter by White Balance in the App, and look for Auto White Balance (or Auto White Priority) Recipes. Some are more all-purpose than others, but all of those will be at least somewhat versatile. Even some Recipes that are don’t use Auto White Balance can be surprisingly capable in a variety of light situations—just because it doesn’t use AWB doesn’t mean that it can only be used in one scenario—but those that do use Auto are going to be more so.

Night Snakes – Tempe, AZ – Fujifilm X-T5 – Fujicolor Super HG v2

Below I have five personal picks for versatile Film Simulation Recipes. These are options that I know from my own use are going to be good for when the light condition is uncertain or changing. These are fantastic all-purpose Recipes that you should considered having at-the-ready in your C1-C7 (or C1-C4 if you have an X-S camera) Custom Presets. I like to have at least one programmed, just in case I need it.

Everyday Astia is an X-Trans III plus X-T3 and X-T30 Recipe; to use it on newer X-Trans IV cameras, set Grain size to Small, Color Chrome Effect and Color Chrome FX Blue to Off, and Clarity to 0. Fujicolor NPS 160 Pulled is my go-to Recipe for indoor artificial light (including a wedding reception); to use it on X-Trans V, set Color Chrome FX Blue to Weak. Fujicolor Super HG v2 has both an X-Trans IV version and an X-Trans V. Reggie’s Portra is a very popular for X-Trans IV, to use it on X-Trans V set Color Chrome FX Blue to Off. Reala Ace, which is for X-Trans V, is pretty new but currently getting a lot of buzz—join Fujifilm X-Photographer Nathalie Boucry and myself this coming Thursday (November 2nd) as we discuss the Reala Ace Film Simulation Recipe!

RitchieCam Update — 48MP is now Available!

There’s a brand-new RitchieCam update that I’m really excited to share! If your phone didn’t automatically update the App, be sure to do so now!

Probably the biggest headline is that RitchieCam can now take full-resolution 48MP images! If you have a Pro or Pro Max version of an iPhone 14 or 15 (with a 48mp 1x camera), it’s now possible to capture a richly-detailed high-res picture. In order to do this (for those with a compatible device), select the Gear icon, then tap 48MP Capture to enable. By default, 48MP is disabled. When enabled, RitchieCam will save a 48MP JPEG or HEIC (depending on which format you have selected), plus a 48MP RAW file if that is also selected.

While this new option is definitely wonderful, there are some important considerations that must be mentioned. First, 48MP full-res slows down the camera significantly, and especially if you are also saving a RAW file. If you need to be quick, 48MP should probably be disabled. Second, the image is not pixel-binned, which means that dynamic range will be impacted, and high-ISO pictures won’t look as good. If the scene is particularly contrasty and you are concerned about highlight and shadow details, or if it is a dimly lit, you probably want to take advantage of pixel-binning, and get a standard 12MP image instead. Third, 48MP takes up a lot of storage space on your device, so you might want to use 48MP sparingly and thoughtfully.

One example where 48MP makes a lot of sense is when you are shooting in the 65:24 XPan aspect ratio, which cuts out half of the resolution. Cropping out half of 12MP is a bit crippling. It’s plenty of resolution for internet viewing, but prints are limited to 6″x12″, or perhaps 9″x18″ if you’ve got a clean, sharp picture that won’t be viewed too closely (but that’s definitely pushing it). Now, with 48MP, you have a ton of fine details, and can print 18″x36″ if you want. I think the XPan aspect ratio is the big winner with regards to the high-resolution option, but anytime that you think you might want to make a large print of the scene, and the lighting situation allows, you may want to consider enabling 48MP Capture.

RitchieCam App – Vibrant Color Filter – 65:24 – iPhone 13 Pro – 48MP Capture enabled

There are some other great parts to this update. Photos captured with RitchieCam can now be viewed, shared, or deleted straight from the App—this is a first step in a bigger plan, so it’s definitely not finished, but finished enough to include in this update. The HEIC format has been fixed, and is once again available. We found the bug that Apple included in iOS 17, and circumvented it. It was a needle-in-a-haystack situation, but thankfully it was found and fixed, and you can use HEIC instead of JPEG if you’d like. There are also some small efficiency improvements and bug fixes that you’re not likely to notice (but maybe you will). A lot of work went into this update.

We’re not finished, though. A lot of other great features and improvements are being worked on right now, most of which will be for all iPhones (regardless of whether it has 48MP or not). I’m not sure when the next update will be ready, but it shouldn’t be all that far in the future, so stay tuned!

The Fujifilm X-E4 is INSANELY expensive right now!!

The cost of a second-hand Fujifilm X-E4 is completely out of hand!

Before we get to that, let’s rewind this all a bit. Fujifilm released the X-E4 in late-February 2021. I preordered my copy, which arrived in early March. The X-E4 was the fifth in the X-E line, which began in 2012 with the X-E1, Fujifilm’s second interchangeable-lens X-series model (the X-Pro1 was the first). The X-E2 came out only one year later, and the nearly identical X-E2s was released three years after that. The X-E3 was released in 2017, and rumors floated around that it might be the last X-E camera.

The X-E line is much beloved by those who own them. It’s a combination of beautiful rangefinder styling, diminutive size, simplicity, and affordability, while producing images that are equally as good as the bigger and more expensive models. But sales have always been so-so. The X-E3, in particular, was a slow-mover, and it was possible to buy a brand-new copy for less than MSRP as recently as last year. Two years ago the X-E3 was on sale for $560. This is to say that the X-E line is niche, even within Fujifilm, which is itself sort of a niche brand; however, it’s a much loved series by many who have had the pleasure to use them. The X-E1 was my gateway into Fujifilm; today the X-E4 is my second-favorite camera, only behind the X100V.

Two Caballeros – Culleoka, TX – Fujifilm X-E4 & Fujinon 27mm f/2.8 – Kodachrome 64

With the X-E3 not moving particularly quickly, Fujifilm seriously considered discontinuing the X-E line. But with the discontinuation of the low-budget X-A and X-T000 cameras, plus a vocal outcry from their customers, I believe Fujifilm had a change of heart, so the X-E4, with its minimalistic design, was born. However, between the global parts shortage and the expected so-so sales, Fujifilm didn’t produce as many copies as other cameras. My guess is that they were concerned that unsold boxes of the X-E4 would be sitting around for years like with the X-E3 (and, to an extent, the X-E2s before that, and the X-E2 before that, and the X-E1 before that), so Fujifilm made the decision to discontinue the X-E4, and divert manufacturing resources to other cameras, like the X100V, X-T5, and X-S20.

What Fujifilm did not anticipate is that the sudden success of the X100V—thanks to social media and Film Simulation Recipes (to a degree)—would spill over to the X-E4. Since it became so hard to get a copy of the X100V, and new orders were being placed faster than Fujifilm could manufacture the camera—with backorder lists six months long—people began to look for alternatives. The X-E4, especially paired with the 27mm pancake, was a top alternative suggested for those who wanted an X100V but couldn’t get one. The X-E4, which was already hit-or-miss to find, was now sold out everywhere, and Fujifilm couldn’t manufacture new copies nearly fast enough.

Even though the X-E4 was suddenly super successful, Fujifilm inexplicably discontinued it back in March of this year, just two years after it was initially released. I believe that Fujifilm had already decided to discontinue it, and cease manufacturing at a certain point—not secure the necessary parts to make more copies—and they followed through with their plan despite the increased demand. In my opinion, this was a big mistake. Apparently, Fujifilm may have also planned to quietly discontinue the X-E line with the X-E4. My hope is that they change their minds and create an X-E5, but I’m not holding my breath, because it probably won’t happen. Maybe articles like this will convince them otherwise.

Working – Salt Lake City, UT – Fujifilm X-E4 & Fujinon 27mm f/2.8 – Kodak Vision3 250D

Since the X-E4 was discontinued while demand was high, the prices of used copies has skyrocketed, as reported by Fujirumors. I began this article prior to Patrick publishing his, but got busy with other things before finishing it, then I saw his post on the subject. I questioned if it was even worth publishing, but, after thinking about it, I decided to finish this article. I believe that I have a divergent-enough take on this topic that it’s worthwhile to publish anyway.

Used copies of the X-E4 are being listed for sale for 50% to 100% more (and sometimes higher!) than the camera cost when brand new. Crazy! It’s simple supply and demand. There’s a lot of demand, and Fujifilm didn’t manufacture nearly enough supply. So now, if you want an X-E4 you’re going to pay through the teeth. Even the X-E3 is selling for more than it was, although it still seems pretty affordable—if you can’t find an X-E4, buy an X-E3 instead. I love my X-E4, but I wouldn’t recommend buying one for these prices. What it really shows is that Fujifilm should make an X-E5, or start manufacturing more X-E4 bodies. It’s a wasted opportunity.

Below are some screenshot examples I found of the insanely inflated X-E4 prices. If you are trying to buy one, I sincerely wish you the best of luck finding one for a reasonable cost.

See also: The Current Fujifilm X-Series Lineup

Photographing a ghost town with the World’s Smallest lens!!

Fujifilm X-T5 + Pentax-110 24mm + 1970’s Summer Recipe

I just published a new video to the Fuji X Weekly YouTube channel!

Just in time for Halloween, this video is about using the world’s smallest interchangeable lens—the Pentax-110 24mm f/2.8—on my Fujifilm X-T5 camera, and photographing a haunted ghost town in the Arizona desert!

I’ve included it below, so check it out!

The four Film Simulation Recipes that I used are 1970’s Summer, Fujicolor Natura 1600, Kodak Ektachrome E100VS v1, and Agfachrome RS 100. Find all of these Recipes plus hundreds more in the Fuji X Weekly App! The adapter is a Fotasy Pentax 110 to Fujifilm X, which is really quite affordable. The lens, as I said, is the tiny Pentax-110 24mm, which is comically small when attached to my Fujifilm X-T5.

I hope that you enjoy the video!

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

Fujifilm X-T5 in black:  Amazon  B&H  Moment
Fujifilm X-T5 in silver:  Amazon  B&H  Moment

Kodak Gold 200 — Fujifilm X-T5 (X-Trans V) Film Simulation Recipe

Field of Gold – Flagstaff, AZ – Fujifilm X-T5 – Kodak Gold 200 Recipe

A favorite Film Simulation for the Fujifilm X-T3 and X-T30, plus X-Trans III cameras, is Kodak Gold 200. I published this Recipe about two-and-a-half years ago, and have had many requests to adapt it for newer models, something that I just recently got around to doing. I took the opportunity to see if I could improve it, utilizing the options that have come out since. While it is still quite similar to the original, I really like how this Kodak Gold 200 Film Simulation Recipe came out.

Kodak introduced Gold color negative film in 1986, and it is still around today. It was originally called Kodacolor VR-G, then Kodacolor Gold, and finally Gold. It replaced Kodacolor VR, which actually (and interestingly) still exists today as ColorPlus. While the film has been improved a few times over the years, it still looks pretty much the same today as it did in the 1980’s. The film is prone to color shifts, and results can vary significantly depending on how i was shot, developed and printed or scanned. Unfortunately, it’s not possible to emulate all of the possible aesthetics of Gold in one Recipe, so this is only a facsimile of one particular Kodak Gold 200 look.

Sonoran Saguaro – Buckeye, AZ – Fujifilm X-T5 – Kodak Gold 200 Recipe

This Kodak Gold 200 Film Simulation Recipe, which will work best in sunny daylight situations, is intended for and is fully compatible with all fifth-generation X-Trans cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, and X-S20 (yes, X-S20). Because X-Trans V renders blue more deeply on some film simulations, setting Color Chrome FX Blue to Weak (instead of Off) will make this Recipe compatible with newer fourth-generation X-Trans cameras—specifically, the X-T4, X-S10, X-E4, and X-T30 II. This Recipe is not compatible with the X100V and X-Pro3; however, you can either try this one with Highlight set to -2 and Shadow set to +1 (and maybe increase exposure by 1/3 stop), or adapt the old Recipe by selecting Grain size Small, Color Chrome FX Blue Off, and Clarity set to 0. Those with newer GFX cameras can use this Recipe, too, but it will render slightly different (give it a try).

Film Simulation: Classic Chrome
Grain Effect: Strong, Small
Color Chrome Effect: Weak
Color Chrome FX Blue: Off
White Balance: Daylight, +4 Red & -5 Blue
Dynamic Range: DR400
Highlight: -1.5
Shadow: +0.5
Color: +3
Sharpness: -2

High ISO NR: -4
Clarity: -2
ISO: Auto, up to ISO 6400
Exposure Compensation: +2/3 to +1 (typically)

Example photographs, all camera-made JPEGs using this Kodak Gold 200 Film Simulation Recipe on my Fujifilm X-T5:

Evening Hoop – Buckeye, AZ – Fujifilm X-T5
Jon on the Gold Coast – Laguna Beach, CA – Fujifilm X-T5
Wave Crashing – Laguna Beach, CA – Fujifilm X-T5
Rainbows & Palms – Buena Park, CA – Fujifilm X-T5
Vines & Cage – Buckeye, AZ – Fujifilm X-T5
Trumpet Blossom Day – Buckeye, AZ – Fujifilm X-T5
Sun Pouring Over Tree Leaves – Buckeye, AZ – Fujifilm X-T5
Rays & Leaf – Buckeye, AZ – Fujifilm X-T5
Happy Thoughts – Buckeye, AZ – Fujifilm X-T5
Golden Hour Fountain – Buckeye, AZ – Fujifilm X-T5
Golden Bougainvillea – Buckeye, AZ – Fujifilm X-T5
Bougainvillea Arm – Buckeye, AZ – Fujifilm X-T5
Mission Inn & Flag – Riverside, AZ – Fujifilm X-T5
Dodge Van Steering Wheel – Buena Park, CA – Fujifilm X-T5
Bird on a Twisted Dead Tree – Buckeye, AZ – Fujifilm X-T5
Leaf Alone – Flagstaff, AZ – Fujifilm X-T5
Red Leaves – Flagstaff, AZ – Fujifilm X-T5
Golden Trees – Flagstaff, AZ – Fujifilm X-T5
Yellow Forest – Flagstaff, AZ – Fujifilm X-T5
Autumn Woods – Flagstaff, AZ – Fujifilm X-T5
Aspen Leaves – Flagstaff, AZ – Fujifilm X-T5
Golden Aspen – Flagstaff, AZ – Fujifilm X-T5
Dream – Flagstaff, AZ – Fujifilm X-T5

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

Fujifilm X-T5 in black:  Amazon  B&H  Moment
Fujifilm X-T5 in silver:  Amazon  B&H  Moment

Find this Film Simulation Recipe and over 300 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Help Support Fuji X Weekly!

Nobody pays me to write the content found on the Fuji X Weekly blog. There’s a real cost to running this website. I also put a lot of my own time into writing the posts. If you’ve found something on Fuji X Weekly helpful to you and you’d like to give back, this is a good place to do it. You can donate to this blog using PayPal by clicking below. I appreciate it! Thank you for your support! Please do not feel obligated to give, but do so only if you want to.


I used THESE 7 Film Simulation Recipes for Fall Colors on my Fujifilm X100V

Autumn in a Mountain Meadow – Flagstaff, AZ – Fujifilm X100V – Fujicolor Superia 100

When you think of dramatic displays of Autumn colors, you probably don’t think of Arizona. It’s easy to miss that Arizona has a significant amount of mountainous terrain, with extensive forests and even snow-capped peaks in the winter. In autumn, some of these trees change color as the leaves prepare to drop. The fall foliage in Arizona can be impressive!

Two days ago I drove up north to the slopes of the San Francisco Peaks just outside of Flagstaff for an autumn hike. The trail is called Aspen Corner Trail, which sits right below the Snowbowl ski resort. Interestingly, I was looking for the Aspen Loop Nature Trail, but I didn’t quite go far enough, and didn’t realize until later that I wasn’t even on the intended path. I had never been on any trails in this area before; I saw all of the cars and the many photographers, and just figured I was in the right place.

It was an easy hike, with very short sections that might be considered moderate (maybe). I didn’t go anywhere close to the end, just perhaps a quarter mile down where the thick forest opened to a large meadow, then back to the car as the sun was beginning to dip below the horizon. The place was nothing short of stunning!

Arizona Aspens – Flagstaff, AZ – Fujifilm X100V – The Rockwell

I had my Fujifilm X100V with me. I picked seven Film Simulation Recipes—some because I knew they’d do well, and others because I wasn’t sure how they’d do and I wanted to find out. The Recipes that I chose for my C1-C7 are The Rockwell, Kodak Ektar 100, Kodak Portra 400, Reggie’s Portra, CineStill 400D v2, Fujicolor Superia 100, and Fujicolor NPH. I’ll discuss each briefly below, providing some thoughts on how well they did. One more note: I used a 5% CineBloom filter with all of these pictures.

For those who don’t know or remember, the way I’m currently using my X100V is the rear LCD is turned off, and the hybrid viewfinder is set to OVF. That means that I don’t know how the pictures turned out until later when I review them. This is intended to replicate a film-like experience, in a way. Since I don’t know what I’m getting, I try to take a little extra care to ensure that I get it right. Also, I really enjoy reviewing all of the photos at once, not knowing how exactly it all went; there’s a certain thrill when one is especially great or unexpectedly interesting. This process has been a good exercise for me.

Now, let’s take a look at the seven Film Simulation Recipes that I used to photograph fall colors on my Fujifilm X100V!

The Rockwell

Fujifilm X100V + The Rockwell

This Recipe produces bright and colorful pictures. If you want to really show off a vibrant scene, The Rockwell will do it! The flip side is that it can be over-the-top sometimes—too bold, too colorful, too crisp. I was confident that this would be a good option, and I was right. If you want to emphasize the vivid colors of autumn, The Rockwell will deliver just that. I used this Recipe more than any of the others.

Fujifilm X100V + The Rockwell
Fujifilm X100V + The Rockwell

Kodak Ektar 100

Fujifilm X100V + Kodak Ektar 100

I don’t shoot with the Kodak Ektar 100 Recipe all that often, so I thought this would be a good opportunity. It’s warm and vibrant, and seemingly a good match for autumn photography. After reviewing the pictures, my regret is not using this Recipe more! The image above, for example, is one of my favorites of the outing. I’m going to keep this one programmed into my camera for awhile longer.

Fujifilm X100V + Kodak Ektar 100
Fujifilm X100V + Kodak Ektar 100

Kodak Portra 400

Fujifilm X100V + Kodak Portra 400

Kodak Portra 400 v2 is one of the Recipes that I typically use the most—definitely Top 5, maybe Top 3—so I thought I’d try the “v1” Kodak Portra 400 Recipe instead on this trip. I just don’t shoot with it often enough. After reviewing the pictures, this is another one that I wish I had used more. While it doesn’t emphasize the colors like the two Recipes above, it does produce an analogue-like rendering that’s easy to appreciate.

Fujifilm X100V + Kodak Portra 400
Fujifilm X100V + Kodak Portra 400

Reggie’s Portra

Fujifilm X100V + Reggie’s Portra

Another Recipe that I didn’t use a lot was Reggie’s Portra, although it certainly did quite well. In retrospect, I probably didn’t need to have both Kodak Portra 400 and Reggie’s Portra programmed into the camera. Personally, I prefer the aesthetic of Kodak Portra 400 just slightly more (although, overall, they’re pretty similar), but Reggie’s Portra is more versatile, so it can be the better choice if the light might be something other than sunny daylight. If I were to do this again, I’d choose either Kodak Portra 400 or Reggie’s Portra and not both.

Fujifilm X100V + Reggie’s Portra
Fujifilm X100V + Reggie’s Portra

CineStill 400D v2

Fujifilm X100V + CineStill 400D v2

This is a Recipe that I suspected might be very good for fall foliage photography, but I wasn’t certain. I’m now convinced that it is! Upon reviewing the pictures, CineStill 400D v2 was one of my favorite Recipes that I used, and another that I wished that I used more. Very beautiful results, perhaps the best of these seven for the light and colors on this particular adventure. I really liked this one!

Fujifilm X100V + CineStill 400D v2
Fujifilm X100V + CineStill 400D v2

Fujicolor Superia 100

Fujifilm X100V + Fujicolor Superia 100

Fujicolor Superia 100 was my second-most used Recipe (only behind The Rockwell), and I chose it because I wanted a Fuji color-negative film look, plus I thought this might be a good option for autumn images (although I wasn’t sure). While the picture at the very top of this article, which was captured with this Recipe, was one of my top favorites of this trip, overall I was a tad disappointed with Fujiclor Superia 100. It wasn’t a bad choice for fall colors, but it wasn’t as good as some of the others that I used less often. So, basically, Fujicolor Superia 100 was great sometimes and mediocre at other times, depending on the exact light and colors.

Fujifilm X100V + Fujicolor Superia 100
Fujifilm X100V + Fujicolor Superia 100

Fujicolor NPH

Fujifilm X100V + Fujicolor NPH

I wondered how a Recipe with a bit more green in it might fare in the fall. I knew there’d be some pines, and figured that the Fujicolor NPH Recipe might render those well. I think the results were interesting—and definitely different than the others—but this was my least favorite of the seven. That’s not to say that it was bad, but only I preferred the other six more. It has some potential, though—for example, the very last picture has an obvious similarity to some prints I have in a photo box in the closet. But, overall, I think there are better Film Simulation Recipes for autumn photography.

Fujifilm X100V + Fujicolor NPH
Fujifilm X100V + Fujicolor NPH

See also: 10 Film Simulation Recipes for Fall

Find these Film Simulation Recipes and many more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Help Support Fuji X Weekly!

Nobody pays me to write the content found on the Fuji X Weekly blog. There’s a real cost to running this website. I also put a lot of my own time into writing the posts. If you’ve found something on Fuji X Weekly helpful to you and you’d like to give back, this is a good place to do it. You can donate to this blog using PayPal by clicking below. I appreciate it! Thank you for your support! Please do not feel obligated to give, but do so only if you want to.


Is the X-E Line Done? Fujifilm seems to think so….

“If we decided to stop entry-level products such as X-T200 or X-E4,” Franck Bernard, Fujifilm France Photo Division Director, stated in a recent Phototrend interview, “it is because it is not a promising market. Today, competitors are also deciding to abandon certain more accessible product lines.”

Wow. This seems to be confirmation that the X-E line is done. The X-T200 was discontinued back in 2020, and with that the X-T000 line was abandoned. The Fujifilm X-E4 was discontinued back in March. This appears to be an indication that, in 2023, the X-E series has succumbed to the same fate that the X-T000 line did three years ago.

Of course, in other interviews, Fujifilm has kind of tiptoed around this topic and even hinted that the X-E line hasn’t been axed. They never expressly communicated one way or the other with certainty, but now they have. Sort of. They used fuzzy language—“if we decided”—and Mr. Bernard isn’t a corporate manager (he’s regional), so perhaps he didn’t have the authority to state what he said and it might not be exactly what HQ wanted made public. In other words, this might not be the official position of Fujifilm.

I think that his comment is factual and simultaneously must be taken with a large grain of salt. He’s likely saying something that’s largely understood within the company, but also something that Fujifilm doesn’t want to outright state, because they want to reserve the right to change their mind in a quickly shifting market and with dynamic corporate directives. They don’t want to officially kill off the X-E line, only to discover that they should have made an X-E5; instead, if they quietly cancel it, then it’s a bit easier to bring back at a later date if market conditions allow.

Pacific Poppies – Montaña de Oro SP, CA – Fujifilm X-E4 – Pacific Blues Recipe

Franck Bernard goes on to provide a little context to his comment: “I believe that Fujifilm has made the industrial choice for more than 5 years now to turn to high-end products and we will not return to entry-level products.”

I’ve heard this said a few times from Fujifilm managers. They believe the future of the brand is not with low-end models, or even with what we once thought of as the mid-range bodies, but with the higher-tier cameras. The X-H line, the X-T0 line, the X100 series, X-S00 line (which was made slightly more higher-end with the X-S20), and X-Pro, along with GFX. That’s where Fujifilm wants to focus their efforts. That’s where Fujifilm sees the future of their digital camera brand. The X-E series just doesn’t fit in, no matter how in-demand the X-E4 was at the time of its discontinuance. Camera brands don’t axe a line that has a lot of demand and a waitlist to buy—unless it was simply impossible to secure the necessary parts to manufacture more, or the higher-ups shifted priorities to other things. I think the latter explains the X-E4’s sudden and inexplicable discontinuation. Fujifilm doesn’t want to offer models in the X-E class. It’s beneath them now. Or, perhaps, for whatever reason, they believe the market is about to dry up for it, despite the demand (which, by the way, still exists more than six months after its discontinuation).

“Logically,” Mr. Bernard continued, “there should be a successor to the X-T30. We would like to maintain older, affordable products that correspond to a certain purchasing power. But we have no visibility on future ranges.” This is a bit after he stated that, “…our flagship product remains the X-T5, the standard model of the range. Comes behind the X-T30 II, and then follows the X-S10/X-S20.”

I think he was saying that, in France, the X-T5 is Fujifilm’s top selling model, followed by the X-T30 II, then the X-S00 series. Because of the demand for the X-T30 II, there should logically be a successor. Fujifilm France wants to be able to offer products that those with a more limited budget can afford. But, Fujifilm Japan has not provided them with a timeline when such a camera will come, if at all. That’s my interpretation, but I don’t know if that’s what he really meant. It’s a bit confusing.

As best as I can tell from all of this, the X-E line is done (but Fujifilm wants to reserve the right to change their minds) and an X-T30 II successor is desired by certain people within Fujifilm (and they believe logically it should happen) but HQ hasn’t provided any information to them on when or if that will happen. This is because—beginning five years ago—Fujifilm began to shift away from lower-end gear and towards higher-end products. This is all a part of the long-term plan, more or less.

Evening Charge – Santa Rosa, NM – Fujifilm X-E4 – Kodak Portra 400 v2 Recipe

Will an X-T40 (perhaps it will be called X-T30 III or X-T50) happen? It sounds like eventually it will happen, but not necessarily soon. Don’t be surprised if it is given new features (IBIS? 40mp?) and a higher price tag. Will an X-E5 happen? Probably not. If a lot of people speak up and state that they’d buy one, maybe. But still probably not. There’s been a large vocal desire for an X80, but that hasn’t happened, nor will it—technically, though, it is still possible, just highly unlikely. I think that’s the unfortunate state of the X-E line.

In a seemingly-unrelated-but-at-closer-look-completely-related article, PetaPixel says that young people are finding digital cameras to be more difficult to use and more time-consuming than cellphone cameras (imagine that!). While it’s easy to dismiss this, I think there are a few points worth considering. First, it’s great that Fujifilm introduced the X App, which is better than their rather mediocre (being kind) Cam Remote App, but the new app is years late and not compatible with older models. If Fujifilm wants to sell cameras to younger folks (which, presumably, generally have a tighter budget and aren’t buying flagship models), having an intuitive and reliable way to transfer the images is a necessity. Unfortunately, Fujifilm has fantastically failed at this, which undoubtedly affects sales of lower-end models. Think about this: film simulations (and especially Film Simulation Recipes) are highly desirable among those who want great results without fuss and without spending a lot of time achieving it. But getting those pictures off the camera can be a pain.

What Fujifilm (and the other camera makers) should have done is create a way to upload directly from the camera to Instagram, X, Facebook, Flickr, text, email, cloud, etc.. Maybe have an Android-like operating system with apps. As it is now, the step in-between that’s time-consuming, frustrating, and unintuitive is one reason why the cellphone is constantly eating away the bottom end of the camera market. Instead of innovating, camera makers just throw their hands up and say “Oh, well.” They blame the cellphone, but really they just concede the fight without trying all that hard to compete with it. Oh, and why did Fujifilm abandon the concept of connecting the camera directly with their Instax printers? That’s another missed opportunity, in a similar vein.

So if Fujifilm were to release an X-E5, but with a whole new way to get the pictures off of the camera and shared wherever the photographer wishes—something that’s easy, fast, and intuitive—I have zero doubts that it would sell well. Yes, there’s the X App, which is a step in the right direction, but ideally there would be no need for an app. It should be a one-step process from the camera itself. As the PetaPixel article illustrates, the hassle of using a digital camera—hassles that don’t need to exist but do, and hassles that aren’t found on the cellphone—is notable enough to go viral. Don’t doubt that the opposite is also viral-worthy. For example, the reason why the X100V suddenly became popular is because it went viral on social media, and a big reason why it went viral is because it could produce analog-looking pictures that didn’t require editing (yes, Recipes!). It produced wonderful results easily, and that caught the attention of so many that the camera is historically long-backordered. Now imagine if those results could be more quickly and intuitively available for sharing. Yes, that’s notable enough to go viral.

SOOC Live Postponed Two Weeks

Red Cliffs – Sedona, AZ – Fujifilm X-T5 – Reala Ace Recipe

I know I just told you that the next SOOC Live broadcast will be this coming Thursday, but it’s now been delayed two more weeks, and will now be on Thursday, November 2nd. Sorry for any inconvenience this might cause you. I look forward to seeing you in a couple weeks!

While I have you here, I do have a request: keep Nathalie and Stanley in your thoughts and prayers. They had a loss in their family. It’s been a bit crazy for them, and tough emotionally. So if you can take a moment to lift up their family in whatever way that you do that, it would be really great. The Fujifilm and—more specifically—the Fuji X Weekly community is the best in all of photography, so that’s why I’m making this request to you.

Kodak Portra 160 — Fujifilm X100V (X-Trans IV) Film Simulation Recipe

Coastal Blossoms at Sunset – Laguna Beach, CA – Fujifilm X100V – Kodak Portra 160 Recipe

Kodak introduced the Portra line in 1998, with two ISO 160 versions, two ISO 400 versions, and an ISO 800 emulsion (plus a short-lived ISO 100 Tungsten film, for those keeping score). Portra saw a couple of updates by Kodak, and in late-2010 the two ISO 160 versions were merged into one, as well as the two ISO 400 versions. The film has become iconic, with its warm yet natural colors. As the name implies, it was meant for portrait photography, but is popular for many genres.

Originally, Kodak Portra 160 came in “NC” (neutral color) and “VC” (vivid color) versions; Portra 160 NC was more popular for portraits and Portra 160 VC was more popular for landscapes. When Kodak merged the two, it fell kind of in-between the two emulsions—more vibrant than NC but less than VC. This Film Simulation Recipe is intended to mimic the merged Portra 160 that Kodak introduced in 2010.

I already have a Kodak Portra 160 Recipe that is compatible with X-Trans III cameras plus the X-T3 and X-T30, but not one for newer models. This update is long overdue, and I’m thrilled to finally publish it. Instead of simply making a quick adjustment to the “old” Recipe, I started from scratch. While the results are still very similar, it’s a significant redesign, and (hopefully) it’s just a tad better. This Recipe pairs really well with diffusion filters; for the California pictures in this article I used a 10% CineBloom filter, and for the Arizona pictures I used a mix of a 5% CineBloom and no diffusion filter at all. I did not adjust Clarity when using the diffusion filters.

Glass View – Laguna Beach, CA – Fujifilm X100V – Kodak Portra 160 Recipe

This Kodak Portra 160 Film Simulation Recipe is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras. For fifth generation X-Trans models, which are the X-H2s, X-H2, X-T5, and X-S20, set Color Chrome FX Blue to Weak instead of Strong. This Recipe will also work on newer GFX cameras, but the results will likely be slightly different.

Film Simulation: Classic Chrome
Dynamic Range: DR400
Grain Effect: Weak, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Strong
White Balance: 4900K, +4 Red & -6 Blue
Highlight: -1
Shadow: -2
Color: 0
Sharpness: -2

High ISO NR: -4
Clarity: -3
ISO: Auto, up to ISO 6400
Exposure Compensation: 0 to +1 (typically)

Example photographs, all camera-made JPEGs captured using this Kodak Portra 160 Film Simulation Recipe on my Fujifilm X100V:

Golden Coast – Laguna Beach, CA – Fujifilm X100V
Pacific Gold – Laguna Beach, CA – Fujifilm X100V
Bluff Above the Golden Coast – Laguna Beach, CA – Fujifilm X100V
Blooms Above the Pacific Ocean – Laguna Beach, CA – Fujifilm X100V
Gold Coast Blooms – Laguna Beach, CA – Fujifilm X100V
Sunset Selfie – Laguna Beach, CA – Fujifilm X100V
Blooming Bush on Pacific Bluff – Laguna Beach, CA – Fujifilm X100V
Pacific Overlook – Laguna Beach, CA – Fujifilm X100V
Red Coastal Flowers – Laguna Beach, CA – Fujifilm X100V
Aliso Beach – Laguna Beach, CA – Fujifilm X100V
Hotel – Laguna Beach, CA – Fujifilm X100V
Floral Arch – Laguna Beach, CA – Fujifilm X100V
Flowers & Palms – Laguna Beach, CA – Fujifilm X100V
Bunch of Blossomed Flowers – Laguna Beach, CA – Fujifilm X100V
Flowers & Water – Laguna Beach, CA – Fujifilm X100V
Coastal Peek – Laguna Beach, CA – Fujifilm X100V
Wedding Guests – Laguna Beach, CA – Fujifilm X100V
Flower Petals – Laguna Beach, CA – Fujifilm X100V
Book & Mirror – Laguna Beach, CA – Fujifilm X100V
Gifts & Snacks – Laguna Beach, CA – Fujifilm X100V
Mirror – Laguna Beach, CA – Fujifilm X100V
You Like Jazz? – Laguna Beach, CA – Fujifilm X100V
Twin Palms & Concrete – Surprise, AZ – Fujifilm X100V
Empty Cage – Buckeye, AZ – Fujifilm X100V
Trumpet Haze – Buckeye, AZ – Fujifilm X100V
Streaking Light over Tree Leaves – Buckeye, AZ – Fujifilm X100V
Spiderweb in the Shrub – Buckeye, AZ – Fujifilm X100V
LavAzza Cactus – Scottsdale, AZ – Fujifilm X100V
Trash Moon – Buckeye, AZ – Fujifilm X100V
Orange Leaf – Buckeye, AZ – Fujifilm X100V
Apartment – Buckeye, AZ – Fujifilm X100V
Top of the Playground – Buckeye, AZ – Fujifilm X100V
Playground Canopy – Buckeye, AZ – Fujifilm X100V
Palm in the Sky – Buckeye, AZ – Fujifilm X100V
Tree-Lined Path – Buckeye, AZ – Fujifilm X100V
Bougainvillea Warm – Buckeye, AZ – Fujifilm X100V
Arizona Jon – Buckeye, AZ – Fujifilm X100V
Waterless Lions – Buckeye, AZ – Fujifilm X100V
Evening Light Bougainvillea – Buckeye, AZ – Fujifilm X100V
Oleander Wall – Buckeye, AZ – Fujifilm X100V
Bougainvillea Blossom – Buckeye, AZ – Fujifilm X100V

Find this Film Simulation Recipe and over 300 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Help Support Fuji X Weekly!

Nobody pays me to write the content found on the Fuji X Weekly blog. There’s a real cost to running this website. I also put a lot of my own time into writing the posts. If you’ve found something on Fuji X Weekly helpful to you and you’d like to give back, this is a good place to do it. You can donate to this blog using PayPal by clicking below. I appreciate it! Thank you for your support! Please do not feel obligated to give, but do so only if you want to.


SOOC Live THIS Thursday!

Dodge Van Steering Wheel – Buena Park, CA – Fujifilm X-T5 – Reala Ace Recipe

Mark your calendar! After a two week delay, the next SOOC Live broadcast will now be this coming Thursday, October 19th. Originally, we were going to discuss double-exposure photography (as was advertised at the end of our last show), but we decided to change the topic to Reala Ace.

Why? First, life events happened, and we just didn’t have the time needed for such a big topic, as there are a whole lot of considerations and approaches to multiple-exposures worth addressing. We hope to still tackle this at some point, but understand that it’s a big undertaking, and we can only do it if we have the time to prepare everything. It just didn’t work out this time like we had hoped it would. Second, Reala Ace, which is the name of Fujifilm’s latest film simulation, is a trending subject, and my new Reala Ace Film Simulation Recipe has quickly caught on. So Nathalie Boucry and I thought that we should discuss this instead, diving more deeply into it, while also providing some alternatives.

I hope that you can join us this Thursday! It’s an interactive program, and your participation makes the show better. I’ve included the video below so that you can easily find it, but please follow the SOOC Live YouTube channel so that you don’t miss any upcoming episodes. See you soon!

Creative Collective 057: Film Simulation Recipes for Emotions

Paid For – Goodyear, AZ – Fujifilm X-E4 – Purple Color Cast – Upcoming Recipe

Colors are closely tied to mood and emotion. One picture can produce various reactions simply by changing the color cast. Since Film Simulation Recipes have various color casts, you can use them to make your pictures convey certain feelings. Let’s take a closer look at what exactly that means.

Subscribe to get access

Read more of this content when you join the Fuji X Weekly Creative Collective today. Click here to learn more!

The Current Fujifilm X-Series Lineup

According to Fujirumors, there will not be another X-series camera announced in 2023. Apparently, whatever camera was thought to be coming is not… at least not until sometime after New Years. The next Fujifilm camera to be released will, then, be the X100V successor, which will likely be announced in late-January or early-February.

The name most thrown around for the X100V successor is X100R, where “R” stands for Roku, which is six in Japan; however, I’d be surprised if Fujifilm did this just because Roku is such a recognizable brand name. Can you imagine the fun, though, that someone like Omar Gonzalez or Kai Wong could have with this? I can already see the gags about the X100Roku… plug it into your TV for streaming made easy! Catch the latest videos from your favorite YouTubers right on the X100Roku! I don’t know what Fujifilm will name it, but I propose X100Z, which makes the most sense to me.

Other than a new lens, not much is known about the X100V successor. I think it will have the 40mp X-Trans V sensor. Nothing else has leaked, as far as I’ve seen. We’ll just have to wait and see.

A lot of Fujifilm models have been discontinued, and we’re now in the last quarter of 2023, so I thought I would take this opportunity to briefly discuss what the X-series lineup currently looks like.

Fujifilm X100V

This, of course, is the one model that everyone wants but nobody can get. It’s the most in-demand camera that Fujifilm has ever made. With a backorder list that’s months-long, new orders are being placed for the X100V faster than Fujifilm can manufacture new copies. Hopefully, the X100Z (or whatever Fujifilm will call it) will help alleviate this issue, but it might just exacerbate it. I wonder if those who have been on backorder lists for months will be made first in line for the new model, or if they’ll have to jump into a whole new line? Fujifilm will have to be careful with how they handle the transition. The X100V is currently the only rangefinder-style model being offered by Fujifilm. Oh, and good luck finding one!

Fujifilm X-T5

The latest in the often-celebrated X-T line is the X-T5, which is truly a photographer’s camera. It is one of four fifth-generation X-series models, and one of only two with the 40mp X-Trans V sensor. It’s also the only SLR-styled camera with the traditional tactile controls being offered by Fujifilm at this time.

Fujifilm X-H2 / X-H2s

These two cameras are Fujifilm’s flagship models designed to competitively contend with some full-frame offerings by Canikony brands. They’re the most expensive in the lineup, offering the best-of-the-best features, but in a body dissimilar from most that Fujifilm has previously released for X cameras. They’re largely intended to bring photographers into the Fujifilm fold from other brands, and not necessarily satisfy the desires of those who have been with the brand for many years. The X-H2 is the 40mp high-resolution version, while the X-H2s is the 26mp performance option.

Fujifilm X-S20

The X-S20 is the more budget-friendly and compact version of the X-H2/X-H2s. It’s like their little brother. It’s also more intended to bring in folks from Canikony brands than to sell to long-time Fujifilm users. Despite having the old sensor, it’s Fujifilm’s newest X-series model.

Fujifilm X-S10

The X-S10 is the predecessor to the X-S20. Even though the new iteration has been out for several months, Fujifilm hasn’t discontinued the X-S10. I’m not sure if it’s because they still have a lot of copies sitting around, or if it’s just selling so well that they’ll keep it around awhile longer. Fujifilm did something similar with the X-T3—continued to manufacture it well after the X-T4 was released—because it was still doing well for them. The X-S10 is Fujifilm’s cheapest offering, and currently the best value in my opinion.

That’s it! That’s the full X-series lineup currently. It looks a lot different than it used to—boy, have times changed!

Cameras that have been discontinued that still might see a successor are the X-T30 II, X-E4, and X-Pro3. My guess is that an X-Pro4 will be announced in late-spring or early-summer, and will be the first to follow the upcoming X100-series model. I’m not certain if we’ll get an X-T40 (maybe they’ll call it X-T30 III or X-T50), but it would make a lot of sense to offer it, as that line has always done well for Fujifilm, and a budget-friendly camera with the traditional tactile controls is curiously and sadly missing. If Fujifilm does eventually make an X-E5, if past releases are any indication, it will be sometime in late-2024 or even in 2025, I think, just before X-Trans VI; however, the X-E4 had a lot of demand and a long backorder list before being suddenly discontinued, so it would make a lot of sense to release an X-E5 before then. I’m not convinced that Fujifilm will offer both an X-T00 and X-E model simultaneously, and it’s possible that one of those two lines is gone for good. We’ll see.

My guess is that we’ll see three X-series cameras in 2024. The first will be the X100Z, then the X-Pro4, then either the X-T40 or X-E5 later in the year. The X100V successor is the only one that’s for certain, the rest is speculation.

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

Fujifilm X100VAmazon   B&H  Moment
Fujifilm X-T5:  Amazon  B&H  Moment
Fujifilm X-H2:  Amazon  B&H  Moment
Fujifilm X-H2S:  Amazon  B&H  Moment
Fujifilm X-S20:  Amazon  B&H  Moment
Fujifilm X-S10:  Amazon  B&H  Moment

Fujifilm Related Deals at Amazon

I guess it’s “Prime Day” at Amazon, and they have some deals on Fujifilm and Fujifilm related gear that I thought worth pointing out, just in case you needed an excuse to spend money. I don’t know how long these deals will last—they might be over quick. So let’s get right to it!

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

TTArtisan 27mm f/2.8 AF  Amazon 20% off
TTartisan 50mm F1.4 Tilt Amazon 20% off
Samyang 75mm f/1.8 AF Amazon 24% off
Fujifilm Instax Square SQ6 Amazon 31% off
K&F Concept NP-W235 Battery and Charger Amazon 20% off
SmallRig X-T5 Retro Cage Amazon 20% off
SmallRig X-H2/X-H2S Cage Amazon 20% off
SmallRig X-S20 Cage Amazon 20% off

Not a lot to get excited about, but the lenses are pretty decent deals. I have the K&F Concept NP-W235 battery charger, and it works well; the batteries themselves I guess are good for spares.

Using Fujifilm Film Simulation Recipes for Wedding Photography

Fujifilm X100V — Kodak Portra 400 v2 Recipe

I’m not a wedding photographer, although I have photographed a few weddings in the past as a favor to family and friends. Since I’m always carrying a camera around, I’m occasionally asked to capture someone’s wedding, but it’s not my thing. While I have a lot of photography experience, I have limited experience as a wedding photographer.

I don’t envy those in this genre, because it’s a lot of work. The wedding photographer is often one of the first to arrive at the venue, and one of the last to leave, because every moment—from setup to reception’s end, and especially every instance in-between—is worth recording. There are so many memorable moments throughout the day, and the photographer’s job is to capture as many as possible, including every single of the big ones. Then there’s all the culling and editing. I would estimate that for every hour spent capturing pictures, I’d need two to three hours at the computer to edit the images. If I photographed for 12 hours, that would mean 24 to 36 hours of post-processing. Yikes!

Because Film Simulation Recipes can save you a whole bunch of time, it’s not surprising that I’ve been asked a number of times which ones might be good for wedding photography. Whether you’re a professional, or just doing it as a favor, or as a guest, Recipes are much more efficient, and cutting the culling and editing down to a reasonable time is highly appealing. I haven’t photographed a wedding since I began using Recipes, so it’s been difficult to recommend specific ones. Without personal experience, I’ve only been able to guess which ones might do well.

Last month I was invited to Marisa and Sahand Nayebaziz‘s wedding in Laguna Beach, California. Sahand is an app developer—if you’ve ever used the Fuji X Weekly App, Ricoh Recipes App, or RitchieCam App, you’ve seen his handiwork. His own app is called Details Pro, and if you are familiar with SwiftUI, you’ve probably heard of and maybe even used his app. Anyway, I’ve worked with Sahand for three years now, and he has been a significant part of the Fuji X Weekly story. He shoots with Fujifilm cameras and uses Film Simulation Recipes, so naturally we have developed a friendship. It was a real honor to be invited to Marisa and Sahand’s marriage ceremony.

Fujifilm X100V — Kodak Portra 400 v2 Recipe

The wedding was incredibly beautiful! Aside from the breathtaking location and the perfect weather, the event was decorated so well. It was literally like nothing I’d ever seen before. It was like a movie, except it was real!

My wife and I were guests. I brought my Fujifilm X100V—with a 10% CineBloom filter on the front—and did my best to stay out of the way. I wanted to photograph the wedding, but there’s nothing more annoying to the wedding photographer—and perhaps also the bride and groom—than to get in the way by being pushy with the camera. It’s much better to just blend into the crowd. I wasn’t the wedding photographer, and was quite satisfied with that arrangement; however, I still wanted to capture some images. Funny story, the wedding photographer, who was using a couple of Leica models, asked me several questions about my X100V; apparently he’s interested in buying one for his personal photography. Although I tried to blend in, my camera caught his attention, but I think in a good way.

My approach was to focus on things that I thought the wedding photographer might overlook. Of course, I had no idea what the photographer would or wouldn’t capture, but I know how easy it is to miss small things when your attention is on big things. I did my best to photograph those potentially missed pictures, while drawing as little attention to myself as practical. Also, I think the perspective of the guests can be a little different than that of the wedding crew, so I approached it as such.

The Fujifilm X100V is a great camera, but the fixed-focal-length lens is limiting. That’s not always a bad thing, but it did make it challenging in this case because I was sometimes further away than I needed to be to get the shots that I wanted. The digital teleconverter was utilized more often than usual—in a pinch it works well, but I avoid it when I can.

Fujifilm X100V — Fujicolor NPS 160 Pulled

I had two Film Simulation Recipes in mind for the wedding, but I wasn’t sure until I got there if they would be good choices. It was a daylight outdoor wedding, and for those pictures I used my Kodak Portra 400 v2 Recipe, which is a favorite of both Sahand and myself, so it made a lot of sense to try it. That Recipe worked excellent, and I couldn’t be happier with the results. For the indoor reception pictures, I used the Fujicolor NPS 160 Pulled, which is soft and versatile—perfect for the situation.

Kodak Portra 400 v2 is a Film Simulation Recipe that I’m now happy to recommend for outdoor daylight wedding photography. Some others to consider are Kodak Portra 400, Reggie’s Portra, Timeless Negative, Reala Ace, Fujicolor Reala 100, Fujicolor Superia 100, Fujicolor C200, Fujicolor Pro 400H, and Fujicolor Natura 1600. I’m sure many others could work, too. Of course, which one you should choose will depend on the exact light condition and the aesthetic you desire. Fujicolor NPS 160 Pulled is a Recipe that I’m happy to recommend for indoor wedding photography. Fujicolor Super HG v2, Eterna v2, Reggie’s Portra, Reala Ace, and Timeless Negative are some others to consider. You might notice that a few Recipes are in both categories, and that’s because they’re more versatile. In fact, Fujicolor NPS 160 Pulled could also be a good option for sunny daylight situations. Kodak Tri-X 400 would be my top choice for black-and-white.

I just picked two Recipes, but if I was the photographer (and not a guest), I would have seven options ready to go in my C1-C7. I would select two for sunny outdoors, two for indoor, two for versatility, and one B&W. Something like Kodak Portra 400 v2 and Fujicolor Superia 100 for outdoors, Fujicolor NPS 160 Pulled and Fujicolor Super HG v2 for indoors, Reggie’s Portra and Reala Ace for versatility, and Kodak Tri-X 400 for monochrome. Then, I’d test each one at the venue, and decide at that point which ones I want to use—perhaps just three or maybe four of them—and stick with those few, unless the light changed and an adjustment was needed.

The photographs in this article are about 1/3 of the total that I gave to the bride and groom. Because I used Film Simulation Recipes and didn’t edit (aside from some cropping), the culling and post-processing took minutes, and not hours and hours. These were bonus pictures for them, hopefully complimenting the wonderful photographs that the actual wedding photographer captured. Marisa and Sahand seemed to like them. If you are considering using Film Simulation Recipes at an upcoming wedding, I hope that this article provides you with some direction. If you’ve used Recipes at a wedding, let me know in the comments which ones you used and how they worked out.

Kodak Portra 400 v2

Fujifilm X100V — Kodak Portra 400 v2 Recipe
Fujifilm X100V — Kodak Portra 400 v2 Recipe
Fujifilm X100V — Kodak Portra 400 v2 Recipe
Fujifilm X100V — Kodak Portra 400 v2 Recipe
Fujifilm X100V — Kodak Portra 400 v2 Recipe
Fujifilm X100V — Kodak Portra 400 v2 Recipe
Fujifilm X100V — Kodak Portra 400 v2 Recipe
Fujifilm X100V — Kodak Portra 400 v2 Recipe
Fujifilm X100V — Kodak Portra 400 v2 Recipe
Fujifilm X100V — Kodak Portra 400 v2 Recipe
Fujifilm X100V — Kodak Portra 400 v2 Recipe
Fujifilm X100V — Kodak Portra 400 v2 Recipe
Fujifilm X100V — Kodak Portra 400 v2 Recipe
Fujifilm X100V — Kodak Portra 400 v2 Recipe
Fujifilm X100V — Kodak Portra 400 v2 Recipe
Fujifilm X100V — Kodak Portra 400 v2 Recipe
Fujifilm X100V — Kodak Portra 400 v2 Recipe
Fujifilm X100V — Kodak Portra 400 v2 Recipe
Fujifilm X100V — Kodak Portra 400 v2 Recipe
Fujifilm X100V — Kodak Portra 400 v2 Recipe

Fujicolor NPS 160 Pulled

Fujifilm X100V — Fujicolor NPS 160 Pulled
Fujifilm X100V — Fujicolor NPS 160 Pulled
Fujifilm X100V — Fujicolor NPS 160 Pulled
Fujifilm X100V — Fujicolor NPS 160 Pulled
Fujifilm X100V — Fujicolor NPS 160 Pulled
Fujifilm X100V — Fujicolor NPS 160 Pulled
Fujifilm X100V — Fujicolor NPS 160 Pulled

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

Fujifilm X100V in black:  Amazon   B&H  Moment
Fujifilm X100V in silver: Amazon   B&H  Moment
CineBloom Filters: Moment

Find these Film Simulation Recipes and many more on the Fuji X Weekly — Film Recipes App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

SOOC Live Postponed

This Thursday’s SOOC Live broadcast will be postponed. It might be for just one week, or it might be longer. I’ll let you know as soon as I know for certain.

Life happens. Sometimes unexpected situations arise. Unfortunately, things have to be shuffled around, and this upcoming broadcast was what had to give. I apologize for any inconvenience, and I appreciate your understanding. Hopefully you won’t have to wait too much longer for the next episode.

Choose Your Journey & Don’t Care What Others Think

Bench with a View – Prefumo Canyon, CA – Fujifilm X-E4 & Pentax-110 24mmPacific Blues Recipe

“If you want that look, you’ve got to shoot RAW. JPEG Recipes are for amateurs, and nobody serious would ever use them. RAW editing gives you complete control.” —Anonymous person on the web trying to be a gatekeeper

I get tired of being told that if you’re serious about photography, you must shoot RAW and not JPEG. It’s such a worn-out argument that keeps getting repeated. I discussed it at length last year in The RAW vs JPEG Debate Needs to End… Again.

Simply: do whatever you want, and don’t worry about what other people think. There are a lot of people who play gatekeeper, but they shouldn’t have any say in your photography. They have a way that works for them—which is great—but it’s wrong to suggest that their way is the “best” or “only” way, and that you must approach your photography the same as they do. My personal approach works best for me, their way works best for them, and what works best for you might not look anything like either. You have to decide for yourself what works best for you. There’s no right or wrong way to do photography, only what does or doesn’t work well for you.

Reflection of a Broken Door – Litchfield Park, AZ – Fujifilm X-E4 & Fujinon 27mmFujicolor 100 Gold Recipe

If you’re interested in learning more about my approach, I’ve discussed it extensively in various articles on this blog for years and years. It’s been a journey, and I invite you to travel along with me if you’re interested; otherwise, I published an article on Moment’s website earlier this year where I typed out my approach and why it might be preferable (click here). I don’t expect that everyone should approach photography this way—it’s simply what works for me, and it might or might not be what works for you. If you think it might work for you, too, that’s awesome, and I hope you’ll follow this website.

I just don’t appreciate when people tell me that my way is the wrong way. I’ve actually been told that I’m doing great harm to photography by suggesting that RAW editing isn’t a requirement. Or, more condescendingly, if I just learned to use RAW software, I’d realize why it’s superior (which ignores the years and years and years of experience I have RAW editing…). If you have a way that works for you that’s different than mine, that’s wonderful! Different strokes for different folks. But please don’t go around telling people that your way is the only way or the best way or the way that all serious photographers must use, because that’s nonsense and factually untrue. It’s simply the approach that you prefer, and that’s it. Nothing more, nothing less. It may or may not be what works best for another person.

One day the argument that you must shoot RAW will end. Shoot RAW if you want to and if it works for you, or shoot JPEG if you want to and if it works for you. Or shoot film. Or whatever other technique you like. Or do one approach sometimes and another approach at other times. There is no single path, and you get to choose your journey. Whatever anyone else thinks about it doesn’t matter at all.

Creative Collective 056: FXW Zine — Issue 23 — October 2023

The October issue of FXW Zine is out now! Creative Collective subscribers can download it today. Not a Creative Collective subscriber? Join to gain access to this issue plus all pervious issues of FXW Zine and the many bonus articles. 

Issue 23 explores the unexpected diversity of Arizona’s landscapes. There are 31 pictures (including the cover) over 24 pages. Enjoy!

Subscribe to get access

Read more of this content when you join the Fuji X Weekly Creative Collective today! Click here to learn more.