Victor Ha – VP, Electronic Imaging & Optical Devices Divisions, Fujifilm North America
Victor Ha is the Vice President of the Electronic Imaging and Optical Devices Divisions of Fujifilm North America. I met him twice while I was in New York City in May. The first time, I accidentally crashed a Fujifilm lunch meeting (funny story…). I got to introduce myself and not much else. The second time was at a loud and crowded bar. We had a short conversation, but it was a bit difficult due to the environment. Mostly we discussed art and photography in general, and not anything specific about cameras or even Fujifilm. I hope to one day talk about Fujifilm gear with him, as I have a lot of ideas and feedback that I’d love to share; who knows, maybe that opportunity will present itself someday. Anyway, Victor is a really nice guy, and it was a pleasure to speak with him in person.
Victor Ha was recently on a live Adorama YouTube broadcast (Episode 28 of Coffee with Creators) with Seth Miranda (a.k.a. LastXWitness). This is the video that Fujirumors shared indicating that the X-T5’s AF bug would be fixed and Reala Ace would be given to all the fifth-generation X-Trans cameras by the end of June (yea!). Unfortunately, I’ve been really busy over the last week, and I didn’t have a chance to watch it. Someone reached out to me to ask if I’d seen it, stating that I was given a shoutout. I hadn’t, so I watched it. I’ve included the video below, in case you want to view it, too.
If you don’t want to see the whole thing (it’s over an hour long), simply skip ahead to the 6:52 mark. Victor gives a very kind shoutout to Fuji X Weekly and briefly mentions Film Simulation Recipes. Specifically, he brought up the Reala Ace Film Simulation Recipe that I used while in New York City. Actually, I used two. For anyone wondering, I believe the one that he may have been talking about in the video was the Fujicolor PRO 160C Warm Recipe that is a part of my Fujifilm X-T50 Film Dial strategy. The other Recipe that he could have been referring to is PRO Negative 160C. They’re both fairly similar, and can be found in the Fuji X Weekly App (available for Apple and Android). Once the firmware updates are released, which could be any day between now and the end of the week, Reala Ace will be available for the Fujifilm X-H2s, X-H2, X-T5, and X-S20 cameras. If you have one of those cameras, soon you’ll be able to use those Recipes, too.
Ben Seligson, known as Selishots, has created a number of film box inspired Fujifilm Recipe cards that he has kindly made available to anyone who wishes to download them (click here). He created these cards to use within his YouTube videos, but if you’ like them for yourself, he has made them available to you. Thanks, Ben, for creating these and kindly sharing them with the community! They’re really cool.
I actually met Ben in person in New York City at the Fujifilm X-Summit Experience event back in May. He’s a very nice guy, and it was great to be able to talk with him a little. Hopefully I’ll be able to chat with Ben in person again someday. More opportunities to meet with you all might just present themselves in the near future—I’d love to chat with more people in the Fujifilm community, and get to know all of you.
I’ve included Ben’s latest YouTube video above. Please visit his YouTube channel, website, Instagram, TikTok, and/or Twitter and show him some love, especially if you appreciate the film box Recipe cards. Thanks again, Ben!
I’m in the process of moving across town, and need to pack away my cameras and office. Fuji X Weekly is going to be a little quiet for the next week to ten days or so, I think. Just wanted to give you a bit of a heads up on that.
There are many great and exciting things in the works that I should be able to share with you soon. Definitely stay tuned, as you won’t want to miss it. Hopefully by the time my office is set up in the new house, I’ll be able to share some of those things with you. I think July is going to be a pretty exciting month overall.
In the meantime, I didn’t want to leave you empty handed. The Fujifilm community, but especially the Fujifilm Film Simulation Recipe community, is the best anywhere. You all are kind, helpful, and encouraging. I appreciate it, and I know so many others appreciate it, too. So I want to leave you with a list of websites (sorry that it is not comprehensive) where you can find Recipes for your Fujifilm cameras. Of course, I have over 350 (plus more are in the works), which can be found here and in the Fuji X Weekly App, but in case you are looking for more (or something that’s different than what I’ve created), let me point you to a few places where you can find other options. There’s a good chance that the look you are after is out there somewhere.
I’m sure there are a lot more, and any exclusion is accidental. If there’s one that I should have included, please feel free to add it in the comments.
Anyway, I look forward to this move being finished, and getting back on track for the summer and beyond. Take care!
Captured with a Fujifilm X-T30 using the Kodacolor Recipe
I was asked how to get an ’80’s look from Fujifilm cameras, similar to my articles explaining how to get a ’90’s look (here and here). Well, it’s actually quite easy! I have several Film Simulation Recipes that mimic a 1980’s aesthetic. Simply program one (or more) of those Recipes into your Fujifilm camera, and you’re good to go.
First, I want to share with you some pictures that I recently captured on my Fujifilm X-T30 using the Kodacolor Recipe, which is my favorite for replicating an ’80’s vibe. Take a look!
Using vintage lenses from the 1980’s, or perhaps inexpensive third-party lenses with character, will help with the overall aesthetic. For the pictures above, I used a TTArtisan 27mm f/2.8, which has strong vignetting when used wide open. Basically, you don’t want a clean digital image; some technical flaws are preferred, I think.
Below are my Top 7 Film Simulation Recipe suggestions for a 1980’s look. I’m sure there are others that could suffice, too, but these are the ones that I recommend the most.
This Recipe produces a distinct 1980’s Kodak color negative film rendering. Great for sunny daylight photography. Compatible with X-Trans III cameras, plus the X-T3 and X-T30. Click here for X-Trans II. There are also a couple other versions (here and here). To use this Recipe on “newer” X-Trans IV cameras, simply set Grain size to Small, Color Chrome FX Blue to Off, and Clarity to 0. This is my top suggestion for a 1980’s look.
This Kodacolor VR Recipe is similar to the Kodacolor Recipe above, but a little different—it is more reminiscent of slightly expired Kodacolor VR film. It also has a distinct 1980’s vibe. Compatible with X-Trans III cameras, plus the X-T3 and X-T30. For use on “newer” X-Trans IV cameras, simply set Grain size to Small, Color Chrome FX Blue to Off, and Clarity to 0.
Reminiscent of the quintessential Kodak color negative film, which was first introduced in the late-1980’s. This Recipe is great for sunny daylight photography. Compatible with X-Trans V cameras; for X-Trans IV (except the X-T3/X-T30), set Color Chrome FX Blue to Weak. For X-Trans III cameras, plus the X-T3 and X-T30, click here.
Fujicolor Super HG was a color negative film introduced by Fujifilm in the 1980’s. While it was never as popular as Kodak’s stocks, it still has a distinct ’80’s vibe. Best for sunny daylight conditions, although it can do well in other situations, too. This Recipe is compatible with X-Trans IV cameras (except the X-T3/X-T30); for use on X-Trans V, set Color Chrome FX Blue to Weak.
Similar to Fujicolor Super HG (“v1”), this version offers more versatility, and is great for nighttime and artificial light situations; however, I think v1 has a bit stronger ’80’s aesthetic. This is the X-Trans V version, for X-Trans IV (except the X-T3, X-T30, X100V & X-Pro3) click here.
This Easy Reala Ace Film Simulation Recipe comes from Nathalie Boucry, who shared it on her blog (click here — look at the very bottom, sample pictures within the article). Nathalie and I cohost a YouTube program called SOOC Live, which you should definitely check out if you haven’t yet. When Nathalie received her Fujifilm X100VI, there were not any Reala Ace Recipes for it yet. Now there are a few—PRO Negative 160C, Fujicolor 100 Industrial, Fujicolor PRO 160C Warm, and Kodak Gold 200 v3—but back then there weren’t any, so she made her own.
“I’m liking the new film simulation a lot,” Nathalie said. “I had to think out of the box when I first got the camera and was out in the bright South Africa sun. I enjoy the gentle, true color reproduction and the tonal contrast to make my images come alive.” I think that’s an excellent description of the Recipe: gentle yet true-to-life that makes images come alive. It’s also highly versatile, and can work well for many subjects, in many different conditions, and in a variety of light situations. It’s not a huge adjustment from factory-default Reala Ace, but it definitely does improve on it.
Waterfall over Tunnel – Anaheim, CA – Fujifilm X100VI – Easy Reala Ace
The Easy Reala Ace Film Simulation Recipe is currently only compatible with the Fujifilm X100VI and X-T50; however, once Fujifilm gives Reala Ace to the other fifth-generation X-Trans cameras—the X-H2s, X-H2, X-T5, and X-S20—later this year, it will be compatible with those models, too. I’m sure it can be used on the latest GFX cameras, but it will likely render slightly differently (try it anyway, though). Thank you, Nathalie, for creating and sharing this Recipe, and allowing me to publish it on Fuji X Weekly!
Film Simulation: Reala Ace Dynamic Range: DR400 Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome FX Blue: Weak White Balance: Auto, 0 Red & 0 Blue Highlight: -1 Shadow: 0 Color: 0 Sharpness: 0 High ISO NR: -4 Clarity: 0 ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs captured using this Easy Reala Ace Film Simulation Recipe on my Fujifilm X100VI:
The Power of Tree Leaves – Buckeye, AZ – Fujifilm X100VI
Abandoned Old Truck – Bisbee, AZ – Fujifilm X100VI
Find this Film Simulation Recipe and over 350 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
As you probably already know, Nikon announced a new camera a few days ago, and with it they also announced a new upcoming feature called Imaging Recipes. This will apparently be used in conjunction with their new camera-to-cloud feature, and allow users to upload their custom Imaging Recipes to the cloud and wirelessly transfer them to their camera, plus Nikon will have a curated list of Recipes that can be transferred wirelessly to the camera. I’m very happy to see the whole Recipe thing catching on with Nikon and across the camera industry, and I hope that it helps a lot of photographers.
I believe that Fujifilm should use their X-App to make it easier to store and transfer Film Simulation Recipes to their cameras. Honestly, this is something that Fujifilm should have done a long time ago, but now it should be fast tracked, in my opinion.
It’s been amazing to watch this whole Recipes thing grow and grow and grow. I don’t know if people really understand just how big it is right now, or how far it has all come. Some have been around for the journey, but most probably aren’t aware of the whole story. In any event, the reason why it’s grown so much is because of you, the Fujifilm Film Simulation Recipe community. You all are programming the Recipes into your cameras and capturing wonderful pictures, sharing them with friends and family and across social media. You are inspiring more people than maybe you realize. Really, it’s been largely organically that this whole thing has become what it is. Photographers helping fellow photographers. The key to it all is community; community is the recipe. Thank you for being such an amazing group of genuinely wonderful, kindhearted, encouraging, and inspiring people!
*This is not the original article. I wrote the original article with a tone that I regret, and I’m sorry for publishing it. This article is what the original should have said, and is what I really wanted to say, setting aside the emotions that I had on that day.
Pershing Square – Los Angeles, CA – Fujifilm X100VI – Appalachian Negative Recipe
This Appalachian Negative Film Simulation Recipe was sent to me by Logan Ballew. Like a lot of Fujifilm photographers, he really likes Classic Chrome Recipes, but one day he thought he’d like to try the Nostalgic Neg. film simulation. Instead of loading one of my Nostalgic Neg. Recipes into his camera, he simply used Nostalgic Neg. instead of Classic Chrome with my Kodak Portra 400 v2 Recipe; however, the results weren’t quite right, so he made a number of tweaks and adjustments until he got the look that he wanted. While this Recipe initially began as Kodak Portra 400 v2 but with Nostalgic Neg., it doesn’t much resemble that now, and produces a significantly divergent look.
Logan’s goal was an aesthetic reminiscent of home: the Appalachians near Asheville, North Carolina. “I spent most of my time as a kid hiking around the Blue Ridge Mountains or with my grandfather,” he told me. While his grandfather, Lanny Phillips, was an avid photographer (among other arts, including woodworking), it wasn’t until after college that he picked up a camera and began his own photographic journey; he’s been a hobbyist photographer for about five years now. This Recipe reminds him of his childhood memories in the Appalachians.
Breakfast Home – Anaheim, CA – Fujifilm X100VI – Appalachian Negative Recipe
“The foliage back home is super dense, and trying to capture that without blowing out the greens and messing up the saturation is somewhat of a task,” Logan said. “What’s nice about Nostalgic Negative is that it gives this amber color to your images.” While this Recipe is specifically intended for photography in the Appalachians, he found that it works well in many other environments, too. After using it in Los Angeles, California, I can attest that this one works quite well for urban scenes. I especially like the feelings of nostalgia that this Recipe infuses into the photographs.
Logan is enlisted in the U.S. Navy, and is currently stationed in Norfolk, Virginia. Joining the Navy allowed him to travel quite extensively—not just across the country, but internationally. However, he initially found Virginia to be photographically underwhelming; however, Logan says that Jason Hunter and other local photographers have been a huge help and inspiration, and now he spends a lot of time walking the boardwalks and driving around town capturing things that he would have overlooked before.
Beware my Fuji X-Pro3 – Los Angeles, CA – Fujifilm X100VI – Appalachian Negative Recipe
Thank you, Logan Ballew, for sharing this Recipe with me, and allowing me to share it with the community! This Appalachian Negative Film Simulation Recipe is compatible with all fifth-generation X-Trans cameras, which (as of this writing) are the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50. I’m sure it can be used on newer GFX models, too, but will likely render slightly different (try it anyway, though). Logan encourages the use of a diffusion filter, such as a 5% or 10% CineBloom, with this Recipe. I used a 5% CineBloom for all of the photographs captured in Los Angeles.
Film Simulation: Nostalgic Neg. Dynamic Range: DR400 Grain Effect: Weak, Large Color Chrome Effect: Strong Color Chrome FX Blue: Weak White Balance: 5200K, +2 Red & -2 Blue Highlight: -1.5 Shadow: 0 Color: +4 Sharpness: +2 High ISO NR: -4 Clarity: 0 ISO: Auto, up to ISO 6400 Exposure Compensation: +2/3 to +1 1/3 (typically)
Example photographs, all camera-made JPEGs captured using this Appalachian Negative Film Simulation Recipe on my Fujifilm X100VI:
Yellow Pants, Blue Cart – Los Angeles, CA – Fujifilm X100VI
Urban Photographer – Los Angeles, CA – Fujifilm X100VI
Urban Flowerbed – Los Angeles, CA – Fujifilm X100VI
City Tree – Los Angeles, CA – Fujifilm X100VI
Urban Bougainvillea – Los Angeles, CA – Fujifilm X100VI
The Skateboarding Photographer – Los Angeles, CA – Fujifilm X100VI
Midair – Los Angeles, CA – Fujifilm X100VI
Push Cart – Los Angeles, CA – Fujifilm X100VI
Left Circles – Los Angeles, CA – Fujifilm X100VI
Local Metro – Los Angeles, CA – Fujifilm X100VI
Crossing – Los Angeles, CA – Fujifilm X100VI
Parking – Los Angeles, CA – Fujifilm X100VI
No Stopping Any Time – Los Angeles, CA – Fujifilm X100VI
Palms & Blue – Anaheim, CA – Fujifilm X100VI
Quintessential California – Los Angeles, CA – Fujifilm X100VI
Joe’s – Los Angeles, CA – Fujifilm X100VI
City Smoke – Los Angeles, CA – Fujifilm X100VI
Street Level View – Los Angeles, CA – Fujifilm X100VI
Hope the Light Changes – Los Angeles, CA – Fujifilm X100VI
Yellow Car – Los Angeles, CA – Fujifilm X100VI
Red Car – Los Angeles, CA – Fujifilm X100VI
Classic Chrysler – Los Angeles, CA – Fujifilm X100VI
Vehicle Exit – Los Angeles, CA – Fujifilm X100VI
Red Box – Anaheim, CA – Fujifilm X100VI
Careful Which Way You Go – Los Angeles, CA – Fujifilm X100VI
Bokeh Tree Lights – Anaheim, CA – Fujifilm X100VI
Fire Fountain – Anaheim, CA – Fujifilm X100VI
Jon in Golden Light – Anaheim, CA – Fujifilm X100VI
Paseo – Anaheim, CA – Fujifilm X100VI
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
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The last time that I used my Fujifilm X-T30 was in early December. Yesterday was the first instance I had made any pictures with it in over six months, the longest time in-between use. Once it was my most-used camera; there was a time when I really, really liked the X-T30.
I purchased my Fujifilm X-T30 brand-new in 2019, right when it was announced in February. I used it extensively for about 15 months, until my wife gave me an X100V for my birthday. I still regularly photographed with it for awhile (although not nearly as much as before the X100V), until I purchased a Fujifilm X-E4 in March of 2021. Ever since then, my X-T30 has mostly sat on the shelf collecting dust. Every now-and-then I still capture some images with it. At first it was once every few weeks, then once every couple of months—the time gap has been growing longer and longer. Finally, it surpassed six months.
You might think that it’s time to sell it. If I’m not using the camera, perhaps someone else could. I’m sure there are people contemplating a used X-T30 right now. But I kind of want to hold onto it awhile longer. I have a lot of memories with the camera. In fact, just today my wife was showing me some family pictures from 2019 and early 2020, and in a number of them I have an X-T30 in my hands or around my neck. Maybe I should consider parting ways with it, but I’m not ready to do so just yet.
Especially after yesterday. I dusted the camera off, attached a TTArtisan 27mm f/2.8 lens, loaded it with my Kodacolor Recipe, and captured a bunch of pictures—I’ve included four of those images above. It was so much fun! My kids enjoyed being photographed, too. I’m not a portrait photographer, but I sometimes pretend to be one. The X-T30 is a great little camera, and I particularly appreciate the diminutive size and weight of it. The Kodacolor Recipe is one of my favorites, especially for a 1980’s vibe.
While I’d prefer a Fujifilm X-T30 II or especially a Fujifilm X-T50, the X-T30—the original one from 2019—is still very good. Just because some new camera comes along that’s “better” doesn’t mean that the camera you own and use is somehow not good. The Fujifilm X-T30 is still worth owning and using in 2024, and will be for awhile to come. I definitely need to use it more often than I have recently, and not allow so much time to go by in-between picking it up.
I Spy with my Little Eye – Laguna Beach, CA – Fujifilm X-T5 – Fujicolor Reala 100
There’s an Adobe controversy that seemingly everyone’s talking about. I have probably a unique take on it, and I want to share that with you in this article. If you’re interested, read on; otherwise, this is probably a post that’s ok to skip.
I don’t want to spend too much time rehashing what has already been said about it, but for those who don’t know… Adobe—the makers of Photoshop, Lightroom, and a number of other software programs—has been ticking off their customers for some time now. They’re constantly doing something that makes their customers unhappy—but, apparently, not unhappy enough to actually matter. Adobe is the long-time reigning king of photo and video editing software (at least by subscription sales…), and their closest competitors are pretty far in the distance. Adobe is not worried in the slightest about any controversy they’ve stepped into. They can be brazen in their controversies and it doesn’t bother them even a little. They have a lot to gain and very little to lose (or so they think). They can even spy on your pictures, and you’re not going to do a darn thing about it.
That’s the current controversy. Adobe has updated their terms of service, which allows them to potentially look at your pictures—presumably only if you are utilizing their cloud service and/or AI technologies; however, they haven’t fully clarified that, which certainly casts some doubt to a limited use scenario. If you’re not being forthcoming, people are going to assume all sorts of things, especially if you have a history of deception. For example, nobody had a clue that Adobe was using their pictures (via Adobe Stock) to train their AI; when it came out, Adobe pointed out it was in the terms of service, and everyone was like, “I don’t remember agreeing to that, and I wouldn’t have if I had known.” But how can you argue? You agreed. Is it Adobe’s fault that you didn’t read the lengthy terms of service written in a legal language that only an attorney could fully understand? No, it’s your fault, because you agreed, even though you had no idea what you were agreeing to. It was buried in there somewhere, apparently, that Adobe could legally use your pictures to eventually put you out of business.
A photo from 2015, back when I still post-processed RAW files. A little over-edited; nevertheless, this picture hangs on a wall in my house.
If you want to learn more about the controversy, PetaPixel has a few articles (here, here, and here). Tony Northrup has a video. Even Fujirumors has a post. There are a thousand more, I’m sure, that you can find and read. It’s a big story, but it won’t make any difference, unless this is the straw that breaks the camel’s back. Unless their customers have finally had enough and have a mass exodus. Otherwise, we’ll all forget about this rather quickly, and (as usual) it will be a complete nonissue.
The fact is that most apps are spying on you. Data is money right now. Big money. It’s a multi-billion-dollar-a-year industry. The more that is known about you, the easier it is to control how you think and behave and (most important to companies) to sell you crap that you probably don’t need and otherwise wouldn’t have purchased. Adobe is spying on you for the same reasons why Google, Apple, Meta, Yahoo, etc., etc., etc., etc., etc., are spying on you. There’s a lot of money to be made from knowing more about you, and there’s a lot of money for that data. They will tell you that it’s innocent: to improve customer service or improve their products or for legal or training purposes— something like that—but in reality it’s about the money that they can make from doing it. Your money, btw—it’s about how they can get their hands on your money more easily. And it’s not just your money; they don’t actually care where the cash comes from—for example, Adobe’s AI ultimately isn’t about getting more money from photographers, but eventually the money that might otherwise go to photographers; they’re going to cut out the middleman (that’s you).
I know all of this because, technically speaking, I’m an app developer, and I’ve learned this stuff while developing apps and researching topics related to it. My apps don’t spy on anyone for any reason. I collect zero data with my apps, not even user names or email addresses. There are plenty of people who would say it’s not smart to do that—everyone else is doing it, and making a lot of money in the process. Why shouldn’t I? But I value your privacy, because I value my own privacy. Treat others how you wish to be treated, right? That’s the Golden Rule, which used to mean something. Maybe I’m naive, but I think the world would be better if more people followed that principal. Unfortunately, most apps don’t follow that rule, and you’re being spied on a lot more than you likely realize.
Going back to Adobe, I haven’t used their products for a long time now. A lot of Fujifilm photographers use Capture One instead of Lightroom because of how it handles X-Trans files. Nowadays—and for a handful of years now—I shoot JPEGs, and don’t edit, other than cropping/straightening and maybe a minor adjustment occasionally. I use Film Simulation Recipes, and get the look I want straight-out-of-camera, unedited. I have no need for Photoshop or Lightroom or even a competitor’s version of those programs. Personally, I don’t really care what Adobe does or doesn’t do, because I have no skin in the game, so to speak. Every person’s needs are different, but I bet that a lot of you reading this probably don’t need Adobe’s software, either, and could cancel your subscription (if you have one) without any negative impact whatsoever on your photography. If you’ve been on the fence about cancelling your Adobe subscription, perhaps now is a good time.
Even though Adobe owns the primary programs that many photographers use, if you are not happy with them, why continually give them your money? There are alternative software options, and alternative approaches, that make Adobe unnecessary for almost everyone. For me, it’s Film Simulation Recipes and JPEGs. For you, maybe it’s Capture One or some other program. I don’t want to suggest what might be the best choice for you, as we’re all different. Maybe you actually really do need Adobe; if that’s you, I hope you don’t mind being spied on by them, because they might just be doing that.
Anyway, this will all blow over really quickly, and two weeks from now probably no one will even be talking about it or concerned in the least about Adobe possibly spying on their pictures. So none of this actually matters. But if it does matter to you, just know there are indeed other options, and some might even be closer to you and easier for you than you realize.
I really like Godox flashes. They’re good quality, easy to use, oftentimes retro styled, reasonably priced, and fun to use. The Godox Lux Junior is my personal favorite mainly because it is compact and lightweight. I also like the Godox Lux Cadet; it’s also fairly small and light. Either one of those are fun to use, but I’m not really a flash-photography guy, so I only occasionally utilize them.
I paid for my Lux Junior out of my own pocket, and wrote briefly about that flash in Getting that ’90’s Film Look with Fujifilm Cameras. Perhaps because of that, Godox sent me a Lux Cadet, which I discussed at length in Using a Godox Lux Cadet for a ’90’s Film Look. More recently, Godox asked if I’d be interested in trying the Lux Master. I said sure; however, I probably should have researched a little before agreeing. Anyway, the flash arrived, and I was a little surprised by the size of the box. The Lux Master is neither compact nor lightweight!
Of course, that doesn’t mean it’s not good, because the Lux Master is definitely a pro-level flash (and only $250, which seems like a bargain for what it is). If you are an event, wedding, or portrait photographer and do flash photography, the Lux Master is one to strongly consider. Or, put on a fedora hat with a paper containing the word PRESS on it, and you could be an old-fashioned photo journalist. I don’t have anything negative to say about the Lux Master, other than it’s a little too much for my photography. I’d use a Lux Junior or Lux Cadet over the Lux Master any day of the week, personally, just because those suit me better (mainly, the size and weight). But, there are some people who need a bit more, and that’s where the bigger flash comes into play. If you need a pro-level flash that is retro cool and affordable, the Lux Master should be high on your list.
There are two main ways that I use an external flash with my photography. With the X100-series I sometimes use the built-in flash for daylight fill, but for the Godox flashes I use them either to get a retro ’90’s look (for lack of a better description… essentially, Film Simulation Recipes combined with flash) and/or creatively use shutter drag (slow shutter speed with intentional movement combined with flash). That’s how I typically use the Lux Junior and Lux Cadet, and how I initially was using the Lux Master.
But then I decided I’ve probably covered that topic enough, and maybe you’d like to see something else. So I waited until sunset, grabbed my Fujifilm X-T5 with the Godox Lux Master attached, and headed out into the desert. How about some cacti photographi? (BTW, that spelling error was intentional). I live in the desert and photograph cactus regularly, but not often when combined with a flash. I did this after-sunset desert trek a few different times, and came away with a few good pictures.
Obviously there’s a pretty significant difference between after-sunset photography with and without a flash. How bright the flash is set, how close the subject is to the camera, and the exact light situation will all affect the outcome. I don’t know if I came away with any good tips to pass along, other than try and try again. For a lot of images, finding the right flash and camera settings often took three or four or five tries, sometimes more. It was a fun little project to do, and I think the experimental nature of it (for me, anyway, since it’s not something that I normally do) was somehow both therapeutic and thrilling. Even if you don’t do much flash photography, something like the Lux Master could be a good training tool to help improve your photography. Or it could be just for fun.
The photographs below are all camera-made JPEGs captured with a Fujifilm X-T5 + Fujinon 56mm f/1.2 lens + Nostalgic Americana Film Simulation Recipe + Godox Lux Master flash:
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
Flowers & Field – Buckeye, AZ – Fujifilm X100VI – Kodak Gold 200 v3
I ran across an image in a (pretty interesting) PetaPixel article, and was inspired to create a Film Simulation Recipe. The picture itself sent me down a long rabbit hole; while the photograph in the article served as one of the reference photos, it was far from the only. Actually, I couldn’t closely match that particle picture, but it served as inspiration nonetheless. After sleuthing, I discovered that the image was captured on Kodak Gold 200. But why was it so green? That question is what opened up the rabbit hole.
Kodak Gold 200 is particularly prone to a green cast, and there are a whole bunch of things that can cause it. Underexposure. Heat (such as left in a hot car). Expired. Waiting too long to develop after exposure. Fluorescent lights. Airport scanners. Improper development. Improper storage of negatives prior to scanning. Poor color correction of the scan. Those are the main reasons. That lead me to a trove of Kodak Gold 200 examples that had various levels of green casts.
Clearance Parking – Los Angeles, CA – Fujifilm X100VI – Kodak Gold 200 v3
This Kodak Gold 200 v3 Film Simulation Recipe is modeled after some of those Kodak Gold 200 photographs that have a green cast. Quite obviously I couldn’t match all of them, because there was so much variance. For most of the references pictures I’m not sure what exactly caused the cast. This definitely isn’t a “normal” Kodak Gold 200 Recipe; for that, I recommend this, this, or this. But, if you’d like an alternative aesthetic that is perhaps a bit more lomo, this is a fun Recipe to try.
Kodak Gold 200 v3 is an App Patron Early-Access Recipe. If you are a Fuji X Weekly App Patron, you have access to it right now. If not, no worries, as it will eventually be made available to everyone, once it is replaced by a new Early-Access Recipe. As of this writing, it is only compatible with the Fujifilm X100VI and X-T50; however, once Fujifilm brings Reala Ace to the other fifth generation cameras (supposedly this summer), it will be compatible with the X-H2s, X-H2, X-T5, and X-S20, too.
Example photographs, all camera-made JPEGs using this Kodak Gold 200 v3 Film Simulation Recipe on my Fujifilm X100VI:
Green Girl – Buckeye, AZ – Fujifilm X100VI
Yellow-Orange Flowers on a Green Bush – Buckeye, AZ – Fujifilm X100VI
Spring Trumpets – Buckeye, AZ – Fujifilm X100VI
Village Green Fountain – Buckeye, AZ – Fujifilm X100VI
Spitting Lion – Buckeye, AZ – Fujifilm X100VI
Lion Spewing Water – Buckeye, AZ – Fujifilm X100VI
Lion Fountain – Buckeye, AZ – Fujifilm X100VI
No, No – Scottsdale, AZ – Fujifilm X100VI
Oleander Parking – Buckeye, AZ – Fujifilm X100VI
Small Palm Frond – Buckeye, AZ – Fujifilm X100VI
Red Mustang – Buckeye, AZ – Fujifilm X100VI
Bumper Stickers – Surprise, AZ – Fujifilm X100VI
Red Chair with Flowers – El Segundo, CA – Fujifilm X100VI
Yellow Flower & Tree Trunk – Buckeye, AZ – Fujifilm X100VI
Tree Trunk at a Park – Buckeye, AZ – Fujifilm X100VI
Neighborhood Trees & Partly Cloudy Sky – Buckeye, AZ – Fujifilm X100VI
Parking Garage Reflected – Los Angeles, CA – Fujifilm X100VI
Photo Potential – Los Angeles, CA – Fujifilm X100VI
Paleta Cart – Los Angeles, CA – Fujifilm X100VI
Toyota – Los Angeles, CA – Fujifilm X100VI
First Order TIE Echelon – Anaheim, CA – Fujifilm X100VI
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Glimpse of a Fleeting Memory – Gilbert, AZ – Fujifilm X-T5 – “Vintage Cinema”
Awhile back I binge-watched a number of classic movies from the 1950’s, and I was really inspired by their picture aesthetics. After some research, I discovered that Kodak ECN 5248 25T motion picture film was used in several of these flicks. The problem, of course, with trying to replicate the look of a motion picture film stock is that not only is the aesthetic dependent on the usual factors of how shot and developed, but also on the lighting and filters used, which can be different movie-to-movie and even scene-to-scene. Instead of attempting to mimic the look of any particular movie or cinema film stock, I wanted to create a certain feel or mood—a “memory color” reminiscent of color movies from the 1950’s.
This Vintage Cinema Film Simulation Recipe was a Fuji X Weekly App Patron Early-Access Recipe, but now it’s been replaced by a different Early-Access Recipe, making this one available to everyone. Those who are App Patrons have had access to it for some time now.
Ball on a Wall – Buckeye, AZ – Fujifilm X-T5 – “Vintage Cinema”
The Vintage Cinema Film Simulation Recipe is compatible with the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50. I assume that those with the latest GFX cameras can also use this Recipe, but that it will render slightly different—I have not tested it to know for certain. This Recipe is best for sunny daylight conditions, and seems especially well-suited for golden hour photography, but can sometimes produce interesting results in cloudy, shade, and indoor situations, too. I believe this Recipe would pair especially well with vintage lenses and probably diffusion filters, but for these pictures I used Fujinon lenses, including the 27mm f/2.8, 35mm f/2, 90mm f/2, and 100-400mm, without any filters.
Film Simulation: Nostalgic Neg. Dynamic Range: DR400 Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome FX Blue: Off White Balance: 4900K, +3 Red & +3 Blue Highlight: +3 Shadow: -2 Color: -1 Sharpness: -2 High ISO NR: -4 Clarity: -4 ISO: Auto, up to ISO 6400 Exposure Compensation: -1/3 to -2 (typically)
Example photographs, all camera-made JPEGs using this Vintage Cinema Film Simulation Recipe on my Fujifilm X-T5 and X100VI:
Birds of a Feather – Gilbert, AZ – Fujifilm X-T5
Flipped Reflection – Gilbert, AZ – Fujifilm X-T5
Three Ducks in a Lake – Gilbert, AZ – Fujifilm X-T5
We All Live There – Anaheim, CA – Fujifilm X100VI
It’s Corn – Anaheim, CA – Fujifilm X100VI
Up – Anaheim, CA – Fujifilm X100VI
Bougainvillea Blooms & Blue – Buckeye, AZ – Fujifilm X-T5
Bougainvillea Beams – Buckeye, AZ – Fujifilm X-T5 – Photo by Jonathan Roesch
Side Gate Cracked Open – Buckeye, AZ – Fujifilm X-T5
Bougainvillea Bush in Bloom – Buckeye, AZ – Fujifilm X-T5
Hanging Bougainvillea Blossom – Buckeye, AZ – Fujifilm X-T5
Desert Bunny – Gilbert, AZ – Fujifilm X-T5
Jo on a Dirt Path – Gilbert, AZ – Fujifilm X-T5
Jo on the Patio – Buckeye, AZ – Fujifilm X-T5
Late Autumn Yellow – Buckeye, AZ – Fujifilm X-T5
Leafless Tree – Buckeye, AZ – Fujifilm X-T5 – Photo by Jonathan Roesch
Do Not Enter When Flooded – Buckeye, AZ – Fujifilm X-T5 – Photo by Jonathan Roesch
Dry Leaves on a Patio Chair – Buckeye, AZ – Fujifilm X-T5
Pruner & Gloves – Buckeye, AZ – Fujifilm X-T5
Fruit – Buckeye, 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.
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There’s a digital camera that Fujifilm should absolutely be making right now, and it’s not the X-Pro4, or X-E5, or a full-frame model (although those would be great, too). There’s a specific camera that would fly off the shelves—the X100VI’s historic demand would pale in comparison. What is this camera?
The digital QuickSnap.
The Fujifilm QuickSnap is a disposable 35mm film camera that is beloved for its nostalgic lo-fidelity aesthetic, simplicity, and price. Fujifilm introduced the QuickSnap camera in 1986, with the slogan, “Everybody should enjoy photography with ease.” The QuickSnap was an immediate success, and was immensely popular for a very long time—it was even successful enough to survive the film crash of the 2000’s. People still buy and use QuickSnap cameras; they’re particularly popular for weddings, kids, and lomographers. Many people love the nostalgic experience of one-time-use cameras.
Interestingly, the most sold digital camera right now in Japan is a cheap Kodak digicam. Third and fifth places are also cheap Kodak digicams. Digicams are a dime a dozen (perhaps literally, if you win a collection on an auction site, or rummage through your parents or grandparents house). What’s missing in the photo world is a digital version of the QuickSnap, a film camera that partially inspired the digicam. I have zero doubts that it would be a massive success for Fujifilm, and would probably leave all digicams in the dust.
This is how I envision the digital QuickSnap:
First, it would need a digital sensor that obviously won’t be anywhere close to full-frame, since that would be both ridiculous and expensive. The Fujifilm Mini Evo has a tiny 5mp sensor; it would likely be a mistake to use that one, but they certainly could. I think that a 12mp or 16mp 1/2.3″ would be the most obvious choice, since those can be obtained by Fujifilm rather easily and cheaply. The sensor itself doesn’t matter all that much; however, cost and quality must be balanced extremely carefully. Too poor of image quality will hurt sales, while a too expensive price-tag will also hurt sales.
More important, though, is the picture aesthetic. Fujifilm should program it with their Classic Negative film simulation, including faux grain—something similar to my Fujicolor Superia 800 Recipe. The pictures created by the digital QuickSnap camera should look similar to the pictures that come out of an analog QuickSnap. As much as practical, the pictures need to look alike from the film and digital versions.
Next, it needs to function nearly the same as the analog QuickSnap. It should be super simple: a switch to activate the built-in flash, a wheel to cock the shutter and “advance” to the next frame, a shutter release button, a battery-level indicator, and maybe a one-press picture-transfer to an app. There should not be any LCD or electronic viewfinder to review the pictures.
The very basic optical viewfinder from the film camera should be carried over—the user experience should be as similar to the analog version as possible. Due to the crop factor of the sensor, a new lens will be necessary. The exact sensor size will determine what the lens should be, perhaps something like a 5mm or 6mm f/5.6 plastic lens that’s close to 30mm full-frame equivalent. What is important is that it is focus-free (fixed focus) and produces a similar aesthetic to the film camera.
A critical factor of one-time-use cameras is the film itself; namely, the tolerance for under and over exposure. Since the sensor won’t have this same tolerance, it’s necessary for the digital QuickSnap to have some amount of exposure control. It must have a light meter, as well as some (auto) control over the ISO and shutter speed. For the sake of image quality, the ISO should be capped as low as practical. If Fujifilm could utilize the D-Range Priority technology, I think that would help, too.
The digital QuickSnap should have internal storage that saves only 27 JPEG images. It could count the exposures mechanically exactly like the film camera does, providing an identical experience. Once the 27th picture has been captured, it won’t let you capture anymore until the memory has been cleared, either by wirelessly transferring the images to a mobile app, or via USB. The QuickSnap App should be super simple (and actually work), with an option within the app to auto-connect and transfer once 27 pictures have been recorded, or manually connect and transfer if preferable. The camera should also be able to connect to the Instax app, and transfer (and print) directly from there. The camera should charge via USB, and could also transfer the images using a USB cable. Once the pictures have been removed from the camera, it would then allow the user to capture the next 27 frames.
The QuickSnap App, aside from photo transfers, should have a few simple options, for those who wish to do a little more with their pictures. A retro-styled date stamp. Maybe a few filter overlays that don’t radically change the picture aesthetic (examples: high contrast, low contrast, warm, cool, color boost, reduce color, etc.), and maybe a handful of light-leak affects. The more simple the better. Maybe Fujifilm can even offer a service where 4″ x 6″ prints can be made and mailed out to customers who wish for an even more authentic experience.
While the size and design should still closely resemble the film version, I think the digital QuickSnap must feel a little more sturdy, and not so cheap that it would easily break if dropped. If Fujifilm could offer it for less than $100, that would be most ideal. A camera like that would be a huge hit, thanks to its nostalgic charm, ease of use, straight-out-of-camera aesthetic, and affordability.
I’ve seen a number of reviewers state that the new Fujifilm X-T50 is essentially an X100VI, but with interchangeable lenses—especially when combined with the Fujinon XF 23mm F/2 R WR. But is that really true? Is this camera and lens actually a good alternative to the Fujifilm X100VI? Let’s talk about it, and find out.
MPB is the sponsor of this article. They loaned me a Fujinon XF 23mm F/2 R WR to try out for a few weeks; however, they had no idea that I’d be using it with a Fujifilm X-T50. For those who don’t know, MPB is an online platform where you can buy, sell, or trade used photo and video gear. “At MPB, there’s something for everyone who wants to try something new, hone their skills, or pursue their passion—and it won’t cost the earth.” If you’re in the market for used camera gear, be sure to check out their platform—you can learn more about MPB here. Thank you, MPB, for making this article possible!
The premise is simple: the Fujifilm X-T50 and Fujifilm X100VI share a heck-of-a-lot of technical specs, they’re similarly sized, and, when you use the Fujinon 23mm f/2 lens on the X-T50, they have seemingly identical glass. The comparison is natural. But, if we dig deeper, it’s easy to spot some differences, too. In other words, there’s enough in common to consider them quite similar, but enough divergent that they shouldn’t be thought of as alike.
First, the similarities. Both Fujifilm cameras share the same 40mp X-Trans V sensor and processor. They both have IBIS. They use the same (old) NP-W126S batteries. They have the same film simulations. Video specs are identical. The tilting rear LCD is similar. On paper, the lenses are seemingly identical when the Fujinon 23mm f/2 is paired with the X-T50. At first glance you might think that the X-T50 is indeed an interchangeable-lens X100VI.
But there are some significant differences. Most obviously, the X100VI is rangefinder-styled, while the X-T50 is SLR-styled. The X100VI has a hybrid optical/electronic viewfinder, while the X-T50 has an EVF (not optical), and with a little less resolution. The X100VI has a (nearly) silent leaf shutter and built-in ND filter. The X100VI is weather-sealed (as long as you attach a filter to the lens), while the X-T50 isn’t (note: the Fujinon XF 23mm f/2 R WR lens is, in fact, weather-resistant). The X100VI has an ISO ring around the shutter knob; the X-T50 has a Film Dial. The X-T50 with the Fujinon 23mm f/2 is slightly larger than the X100VI. The X100VI is roughly $165 cheaper than the X-T50 with the Fujinon 23mm f/2 when you buy the lens used.
While the lens permanently attached to the X100VI is seemingly identical to the Fujinon XF 23mm f/2 R WR, they are actually not the same. Quite similar? Yes. Identical? No. They each have their own character. Things like lens flare, sunstars, micro-contrast, and bokeh are slightly divergent. I cannot say which is better, especially since that is subjective; personally, I like both lenses. If I didn’t own an X100VI, the Fujinon XF 23mm f/2 R WR is one that I would definitely have. Even though the characteristic of the two lenses are different, I feel like owning both is perhaps a bit redundant, unless you just really love the 35mm full-frame-equivalent focal length.
The Fujifilm X-T50 with the 23mm lens offers a similar yet divergent experience than the X100VI, but are they “close enough” for most people? Probably, especially if you cannot find an X100VI because the demand is so high currently. Overall, the X100VI is a more premium camera, and there’s a reason why it’s historically desirable. For the Fujifilm faithful, the X-T50 combined with the Fujinon XF 23mm f/2 R WR lens is not likely a sufficient-enough substitute for the X100VI; however, for the casual buyer, it probably is, and it might even make more sense, since you can interchange the lenses.
For those on a budget, you may want to consider the Fujifilm X-T30 II, which is similar to the X-T50 (however, without IBIS, fewer megapixels, and two less film simulations), but is less expensive. The Fujifilm X-T30 II combined with a used Fujinon 23mm f/2 lens will run you roughly $350 less than an X100VI, making it an excellent bargain. Yes, the X-T50 is the “better” camera, but the X-T30 II is nearly as good for significantly less money. The X-T30 II combined with the 23mm lens is more similar to the X100V than the X100VI, but most of the comparisons still apply.
I had a lot of fun photographing with the Fujinon XF 23mm f/2 R WR lens attached to a Fujifilm X-T50. It’s fantastic, a very useful focal length, and a compact size. Because I own a Fujifilm X100VI, I don’t anticipate buying the lens; however, if I didn’t have an X100-series camera, the 23mm f/2 would be essential to have in my kit. Thank you, MPB, for letting me use one for awhile!
Example pictures, captured with a Fujifilm X-T50 + Fujinon XF 23mm f/2 R WR lens on a recent trip to New York City:
Up next in this series: Leica Q2 from the perspective of a Fujifilm fanatic
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Orange Twist – Buena Park, CA – Fujifilm X100VI – California Summer
This California Summer Film Simulation Recipe was so much fun to create! I’m a big fan of Preet (Instagram), a photographer from Dubai. I really like his photographic style and picture aesthetics. If you’ve never seen his images, definitely check out his work—you’re in for a treat! This Recipe was modeled after some of his recent photographs.
Nearly four years ago I created a Recipe called Bright Summer that was inspired by Preet. That Recipe was the sixth most used last month (May 2024), so it’s quite popular. Funny enough, Preet himself called it Preetra 400, and I see that nickname used from time-to-time on social media. Preet doesn’t utilize camera-made JPEGs (as far as I’m aware, anyway), but prefers to edit RAW files; he even offers Lightroom Presets, should you wish to RAW-edit your pictures similarly to his (or just to support him as an artist).
Original Chop Shop – Scottsdale, AZ – Fujifilm X100VI – California Summer
The specific photographs that inspired this California Summer Recipe were from Preet’s recent trip to America—specifically, Texas. You can find these pictures on his Instagram. Obviously this Recipe doesn’t resemble all of his pictures, just certain ones; however, I think you can spot those pretty easily, because this Recipe is a pretty good match. Not 100%, but definitely very close. It would be a great honor if he ever tried this one someday.
I wasn’t sure what to name this Recipe. I called it “Preet Texas” in my camera, and initially “Texas Summer” for the article title. After carefully reviewing the pictures that I captured with this Recipe, I really felt that it produces a quintessential California summertime vibe. So at the last moment I renamed it to California Summer. I think that name matches the picture aesthetic well.
Colorful Shell – Anaheim, CA – Fujifilm X100VI – California Summer
For best results, use this Recipe in sunny daylight situations. It does well in harsh midday light and especially golden hour. It can be alright in shade. I would avoid it for indoor artificial light and nighttime photography, although under the right conditions I’m sure it can be ok for that, too. This California Summer Recipe is compatible with fifth-generation X-series cameras, which (as of this writing) are the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50 cameras. You can probably use this with newer GFX models, but I’ve not tested it for that, and it will likely render slightly different (don’t be afraid to try, though).
Film Simulation: Nostalgic Neg. Dynamic Range: DR400 Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome FX Blue: Weak White Balance: 6700K, -1 Red & -6 Blue Highlight: -2 Shadow: -1 Color: +4 Sharpness: -2 High ISO NR: -4 Clarity: -4 ISO: Auto, up to ISO 6400 Exposure Compensation: +2/3 to +1 1/3 (typically)
Example photographs, all camera-made JPEGs captured using this California Summer Film Simulation Recipe on a Fujifilm X100VI & X-T50:
Palm Tops – Scottsdale, AZ – Fujifilm X100VI
Information – Buena Park, CA – Fujifilm X100VI
A Sign to Drink Coffee – Buena Park, CA – Fujifilm X100VI
Four Carts – Buena Park, CA – Fujifilm X100VI
Squares & Fronds – Anaheim, CA – Fujifilm X100VI
Food Mart – Anaheim, CA – Fujifilm X100VI
Yellow Apartments – Scottsdale, AZ – Fujifilm X100VI
STK – Scottsdale, AZ – Fujifilm X100VI
Yellow Wall – Anaheim, CA – Fujifilm X100VI
Rooftop – Anaheim, CA – Fujifilm X100VI
Pacific Coast – Buena Park, CA – Fujifilm X100VI
Fiesta Flags – Buena Park, CA – Fujifilm X100VI
Flying Ace – Buena Park, CA – Fujifilm X100VI
Loop – Buena Park, CA – Fujifilm X100VI
Xcelerator – Buena Park, CA – Fujifilm X100VI
Pines – Buena Park, CA – Fujifilm X100VI
Wood – Buena Park, CA – Fujifilm X100VI
Coaster Tracks – Buena Park, CA – Fujifilm X100VI
Spinning Dog – Buena Park, CA – Fujifilm X100VI
Wheel Through Glass – Buena Park, CA – Fujifilm X100VI
Rock Wall – Sedona, AZ – Fujifilm X-T50
Tree in a Meadow – Sedona, AZ – Fujifilm X-T50
Forest Sunstar – Sedona, AZ – Fujifilm X-T50
Colorful Rock – Sedona, AZ – Fujifilm X-T50
Last Light on Tall Rocks – Sedona, AZ – Fujifilm X-T50
Fast Car – Scottsdale, AZ – Fujifilm X100VI
Horse Fountain – Scottsdale, AZ – Fujifilm X100VI
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Manhattan from Pulaski Bridge – New York City, NY – Fujifilm X-T50 – PRO Negative 160C
I get asked fairly regularly which Film Simulation Recipes are the most popular. For me, this is a fascinating topic, but it’s definitely hard to know definitively. While I get a glimpse on social media, my best gauge is the Fuji X Weekly website statistics; specifically, which Recipe articles are viewed the most. I don’t collect any data on the Fuji X Weekly App, so that’s no help—although, if I did, it would likely offer the most accurate picture; however, it would still be impossible to know which Recipes people programmed into their Fujifilm cameras, or how often they used each. Perhaps a survey would be particularly useful, yet even it has its limitations. While certainly a flawed method, page-view website statics offer the best glimpse at which Film Simulation Recipes are the most popular, so that’s what I’m using for this article. These are simply the Top 25 most-viewed Recipes on the Fuji X Weekly website last month (May 2024).
There was a lot of movement for May, especially in the bottom 80% of this list—the top five Recipes are pretty predictable. Those with Kodak brand names in the title—Kodachrome, Portra, Gold, Tri-X, etc., etc.—are usually the most popular. Classic Chrome is the king of film simulations, as the majority of the most-viewed Recipes are based on that film simulation.
Bright Summer has been on a rollercoaster lately, and its jump to number six is quite surprising. A lot of upward and downward movements overall. A couple Recipes that usually rank in the Top 25 didn’t make the cut. There are three Nostalgic Negative Recipes in this list, which is a bit unusual, two Classic Negative Recipes, one each of Eterna, Reala Ace, and Acros; otherwise, all the rest are Classic Chrome.
Without any further delay, below are the most popular Recipes of last month!
Top 25 Most Popular Film Simulation Recipes of May 2024
A Classic Chrome based Recipe for X-Trans IV cameras that is the long-time most popular Film Simulation Recipe for Fujifilm cameras. This is the king of Recipes!
Bright Summer—another Classic Chrome based Recipe for X-Trans IV—is sometimes called Preetra 400, because it is modeled after Preet’s aesthetic (Preet himself is the one who gave it that nickname, btw). It doesn’t usually crack the Top 25, but in March it suddenly jumped to #9, for April it fell to #23, and now in May it up all the way to #6!
This is a recently published Recipe that uses Classic Chrome, and has similarities to Kodak Portra. It’s compatible with both X-Trans IV and X-Trans V. This Recipe moved up one position from April.
This version of Kodak Portra 400 was commonly the third most popular Film Simulation Recipe on Fuji X Weekly for a long time. It fell one spot compared to last month.
Pacific Blues used to be the highest-ranked Classic Negative based Recipe, but Reala Ace has left it in the dust. This particular one is compatible with X-Trans IV models, but there is also an X-Trans V version. In April it was ranked #16, so it is definitely on the rise.
By far the most popular B&W Recipe, Kodak Tri-X 400 is based on the Acros film simulation, and has compatibility X-Trans III, X-Trans IV, and X-Trans V models. It was ranked #17 last month.
Vintage Kodachrome, which is based on Classic Chrome, is one of the older Film Simulation Recipes on Fuji X Weekly, and is compatible with X-Trans III cameras. It was ranked #11 last month.
This is a fairly recently Recipe, and the very first to use the new Reala Ace film simulation. At the moment, it is only compatible with the Fujifilm X100VI and X-T50. In April it ranked #12.
This is a newly published Recipe that uses Nostalgic Negative as the base, which means that it is for X-Trans V cameras. This Recipe is what I used for my two pictures that are found on Fujifilm’s new film simulation page.
1976 Kodak doesn’t typically crack these lists, but it is a very good Recipe that I’m happy to see being used by more people. The base film simulation is Nostalgic Negative, so it is only compatible with X-Trans V cameras.
This is a recently published Eterna-based X-Trans V CineStill 800T Recipe; however, it’s simply an adaptation of the X-Trans IV version that has been around awhile. This is the highest ranking Eterna-based Recipe; however, it fell significantly, from #10 in April.
This is a Recipe that I’m surprised doesn’t rank higher; typically, it’s not even in the Top 25. This version is for X-Trans IV cameras, but there are also versions for X-Trans II, X-Trans III + X-T3/X-T30, and X-Trans V.
Kodachrome II is an older Recipe made for X-Trans III cameras. It used to often be in the Top 10, but has been falling for awhile. Last month it ranked the same.
The weather is getting hotter, so it’s not a huge surprise that 1970’s Summer is on the rise. This is a Nostalgic Negative Recipe for X-Trans V cameras.
