April | 2026 | FUJI X WEEKLY

Comparing 5 Velvia Recipes

*Flower Farm* – Buellton, CA – Fujifilm GFX100S II – Vivid Chrome

Among landscape photographers, Fujichrome Velvia is legendary. This line of color slide films was introduced by Fujifilm in 1990, and quickly became the gold standard for vibrant photography. The first iteration was called Velvia RVP, which had an ISO of 50, delivering ultra-fine grain, exceptional sharpness, and intensely saturated hues (especially in greens and reds). Now it’s called Velvia 50, which is nearly identical to the original emulsion (the largest difference is the clear plastic base). There have also been two ISO 100 versions: Velvia 100 and Velvia 100F. Velvia 100, which was initially only sold in Japan before later becoming available internationally, is very similar to Velvia 50, but slightly less vivid, making it better for portraits. Velvia 100F was the most different, with the lowest saturation and leaning less warm, and overall a little more Provia-ish than Velvia 50. Mostly, when people say “Velvia” they mean Velvia 50.

One of the architects of the Velvia Film Simulation also worked on the Velvia 100 and Velvia 100F emulsions. This Film Simulation was intended to closely mimic the aesthetic of the film; however, Fujifilm has stated that technology precluded them from initially achieving what they wanted, and so Velvia has had to evolved a bit over time. While some might prefer the Velvia Film Simulation from one sensor generation over another (which is great, as each has its own charm), the current output from fifth-generation cameras is probably the most refined, the most like how Fujifilm wanted it to be in the first place. Factory-default Velvia looks nice, and seems to aim in-between Velvia 100 and Velvia 100F. With some adjustments, one can tweak it to achieve a lot of various looks, many of them only subtly different.

*Factory-default Velvia Film Simulation (no Recipe)*

I’ve published 30 Recipes that use the Velvia Film Simulation. By utilizing the Filter By Simulation feature in the Fuji X Weekly App (available for both Apple and Android), you can quickly and easily find all of them. For the sake of this article, I wanted to compare some of the most recently published Velvia-based Recipes, specifically: Velvia Film, Vivid Velvia, Vivid Chrome, Velvia Slide, and Velvia 100F. The differences between these five Recipes might not be immediately obvious, so I wanted to compare them, to provide a better idea.

Velvia Film is a part of the Film Dial Recipe set. It’s unintentionally similar to Velvia 50 with a warming filter. Because it uses the Auto White Priority White Balance, it’s an extremely versatile Recipe, and is great for night photography. Vivid Velvia is intended to be similar to The Rockwell Recipe, just slightly less extreme. It’s also very versatile, and is also along the lines of Velvia 50 with a warming filter. Those two are the most similar among these five Recipes. Vivid Chrome is the newest Velvia Recipe. It was intended specifically for colorful travel photography, and is by chance in the general ballpark of Velvia 100. Velvia Slide was an attempt to replicate Velvia 100, and it seems to do so pretty well in some circumstances and less so in others. This is currently a Patron-only Early-Access Recipe available only to Fuji X Weekly App subscribers. Last but not least is Velvia 100F, which is a part of the Universal Negative Recipe set. It’s unintentionally in the general ballpark of Velvia 100F, although not a perfect match.

*Beach Chairs* – Folly Beach, SC – Fujifilm X-E4 – Velvia Film

*Roaring Fork* – Great Smoky Mountains NP, TN – Fujifilm X-E5 – Vivid Velvia

*Prickly Cactus* – Apache Junction, AZ – Fujifilm X-E5 – Vivid Chrome

*Mountain Grass & Flowers* – Boulder, CO – Fujifilm GFX100S II – Velvia Slide

*Small Flowing Creek* – Queen Creek, AZ – Fujifilm X100VI – Velvia 100F

These five Recipes have their strengths and weaknesses. They’re good for various subjects and scenarios, and less good for others. Velvia Film and Vivid Velvia are the most colorful and warm; Velvia Film leaning slightly warmer and Vivid Velvia leaning slightly more vibrant, but overall very similar. Both are quite versatile. Vivid Velvia is the sharpest. You might find these two Recipes to be just a bit too wild sometimes, but perfect for landscapes where you want the colors to pop. Vivid Chrome is just slightly more subdued, producing bold images without being over-the-top. In a lot of ways, this is a Goldilocks option. Velvia Slide and especially Velvia 100F are less warm, with cooler cast; the Velvia 100F Recipe leans a little green. These two also are less vibrant than the others, especially Velvia 100F, which is the least saturated of these five. In situations where the others are too warm and colorful, you might like these last two.

Below are each of these five Recipes in three different scenes (the third scene was captured by my wife, Amanda). When you compare the Recipes side-by-side, the differences stand out more. Maybe you’re drawn more to one, and maybe there’s one that you especially dislike. We all have our own tastes and styles. I do think that each of these five can be excellent for the right subject and lighting. Let’s take a look!

Scene 1

Scene 2

Scene 3

It’s your turn! Which of these five Fujifilm Recipes was your favorite in each scene above? Which was your least favorite? Which Velvia-based Recipe do you like that I didn’t include in this exercise? Let me know in the comments!

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Nostalgic Air — A Fujifilm Recipe for X-Trans V Cameras

Posted on 3 Days Ago by Ritchie Roesch

*Windmill* – Solvang, CA – Fujifilm X-E5 – Nostalgic Air

I first met Hayden Goldsworthy on a photowalk nearly two years ago. He is extraordinarily knowledgable about Fujifilm cameras (that’s a massive understatement), and is extremely well acquainted with Film Simulations, the various JPEG options, and Fujifilm Recipes. He has lead some Fujifilm events and workshops, and been to many others. Some of you may have met him. When I saw that he had created a Recipe, I knew it would be a good one. I immediately asked if I could share it with you all on Fuji X Weekly, and he happily agreed. Thank you, Hayden!

“Ever since Nostalgic Negative was introduced in 2022,” Hayden told me, “I’ve been drawn to it. It really lives up to Fujifilm’s description—warm, amber, and nostalgic—but what stood out to me the most was how flexible it felt as a base for creating something unique. One of the first NN Recipes that really clicked for me was 1976 Kodak. I used it extensively, including on multiple paid wedding shoots, and I never felt the need to adjust it. That Recipe has a consistent everyday look that works in a wide range of situations, and it’s a big part of why I developed a soft spot for Nostalgic Negative in the first place.”

*Sunset Saguaro* – Apache Junction, AZ – Fujifilm X-E5 – Nostalgic Air

“Since then,” he continued, “I’ve spent a lot of time experimenting and gradually refining my own take on it. Nostalgic Air is the result of that process—something that’s been slowly shaped over time rather than built all at once. It really came together during a trip to Destin, Florida. The bright blue skies, warm sand, and sunlit buildings made the strengths of the Recipe stand out. The colors felt light and pastel without losing their vibrancy, and the overall rendering had a soft, open quality that matched the environment perfectly. That was the moment it clicked as something worth keeping.”

“From there,” Hayden stated, “I made a few final adjustments to improve its consistency across different lighting conditions. While it naturally shines in sunny environments, I’ve found it to be just as reliable outside of golden and blue hour, which made it feel like a strong everyday option. My goal was to create something soft, airy, and natural—leaning into peachy highlights and calm blues—while still maintaining flexibility. Despite looking great straight out of camera, I intentionally built this Recipe to leave room for subtle curve adjustments when needed. At times I like to gently crush the shadows, and more often I’ll shape the highlights to add a bit more pop. That flexibility is a big part of why I named it Nostalgic Air. “

*Small Boat Dock* – Avalon, CA – Fujifilm X-E5 – Nostalgic Air

“Nostalgic Negative can sometimes introduce greens and yellows that feel a bit off to me,” he said, “so the White Balance Shift helps push warmer peach-like tones while keeping a subtle teal balance. I tend to slightly overexpose when using this Recipe, using +2/3 to +1 exposure compensation; in higher-contrast scenes, like golden hour or harsh light, I’ll expose for the highlights to keep things under control. I also love pairing this with a Tiffen Glimmerglass 1 diffusion filter.” Nostalgic Air is compatible with all fifth-generation Fujifilm cameras: X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, X-T30 III, GFX100 II, GFX100S II, and GFX100RF. Thanks again, Hayden! It’s an honor to use your Recipe, and host it on Fuji X Weekly.

Film Simulation: Nostalgic Neg.
Grain Effect: Strong, Small
Color Chrome Effect: Off
Color Chrome FX Blue: Off
White Balance: Auto, +5 Red & -1 Blue
Dynamic Range: DR-Auto
Highlight: -1
Shadow: 0
Color: +4
Sharpness: -2
High ISO NR: -4
Clarity: -3
ISO: Auto, up to ISO 6400
Exposure Compensation: +2/3 to +1 (typically)

Example photographs, all unedited camera-made JPEGs using this Nostalgic Air Film Simulation Recipe on my Fujifilm X-E5:

*Fog in Avalon Bay* – Avalon, CA – Fujifilm X-E5

*Welcome to Avalon* – Avalon, CA – Fujifilm X-E5

*Onboard Docked Boat* – Avalon, CA – Fujifilm X-E5

*Empty Cafe Table* – Avalon, CA – Fujifilm X-E5

*Thank You* – Rialto, CA – Fujifilm X-E5

*Rural Flowers* – Buellton, CA – Fujifilm X-E5

*Western Wear* – Weatherford, TX – Fujifilm X-E5

*Rocks Framed by Cactus* – Apache Junction, AZ – Fujifilm X-E5

*Flash Flood Area* – Apache Junction, AZ – Fujifilm X-E5

*Golden Light on Hidden Saguaro* – Apache Junction, AZ – Fujifilm X-E5

*Tall Cholla* – Apache Junction, AZ – Fujifilm X-E5

*Sunset Cholla* – Apache Junction, AZ – Fujifilm X-E5

*Aquila* – Apache Junction, AZ – Fujifilm X-E5

*Aquila Place Hotel* – Apache Junction, AZ – Fujifilm X-E5

*Nighttime Windmill* – Solvang, CA – Fujifilm X-E5

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Fujifilm X-E5 in black:
Amazon, B&H, Moment, Nuzira
Fujifilm X-E5 in silver:
Amazon, B&H, Moment, Nuzira

What Should the Next Film Simulation Be? 5 Ideas for Fujifilm to Consider

Posted on 5 Days Ago by Ritchie Roesch

*Empty Diner* – Reno, NV – Fujifilm X100V – Xpro ’62 Recipe

Assuming that Fujifilm’s sixth-generation cameras are right around the corner—probably five or six months out—what should be different about it? I don’t want to answer that question in this article, but it is what made me think of today’s topic: which Film Simulation should come next? Looking back, Classic Chrome was introduced with X-Trans II, Eterna with X-Trans III (sort of), Classic Negative and Eterna Bleach Bypass with X-Trans IV, and Nostalgic Neg. and Reala Ace with X-Trans V. There’s a significant chance that a new Film Simulation or two will arrive during the next generation. What should they be?

I don’t think that Fujifilm should concentrate solely on introducing new Film Simulations. There are plenty of opportunities for improvements and advancements throughout the cameras, and I’m sure they are working on all of that. Within the Recipe realm, there are a number of potential options, including split-toning (for both color and B&W), faded blacks, vignetting, halation, and light-leaks. Since there is a good likelihood that a new Film Sim is coming, let’s briefly discuss some options that Fujifilm could possibly choose from.

PRO Neg 400H

*Neighborhood* – Farmington, UT – Fujifilm X-T30 – Fujicolor Pro 400H Overexposed Recipe

I know that there’s already PRO Neg. Hi and PRO Neg. Std, both of which are reminiscent of the Fujicolor PRO line of films. While Fujifilm has claimed that Reala Ace is modeled after the film of the same name, it really isn’t; it’s much more similar to Fujicolor PRO 160C and not Reala Ace, which is in the Superia line. Classic Negative is a much closer match to actual Reala Ace film. The Reala Ace Film Simulation is essentially a third PRO Neg., and it probably should have been called PRO Neg. C (although Reala Ace is a much better name for marketing purposes). Since there’s already three PRO Neg. Film Simulations, why do we need another? The answer is simple: none of them are quite like Fujicolor PRO 400H. That film stock is legendary, especially among wedding photographers. It famously turns pastel with overexposure. If Fujifilm can make a Film Simulation that closely resembles PRO 400H film and behaves similarly with overexposure, that would be an instant hit. Of course making a Film Simulation that can withstand a stop or two of overexposure without blowing out the highlights would be a challenge, but I have faith that Fujifilm could pull it off.

Fortia

*Rose in Frame 7* – Buckeye, AZ – Fujifilm X100V – Pop Color Advanced Filter

Urban legend says that Fortia was an accident, a botched batch of Velvia 50 that was wildly vivid. Instead of trashing it, they sold it as a special run in Japan during the cherry blossoms. It was such a hit that they recreated it and sold it (only in Japan and now under the name Fortia SP) from 2005 to 2007 around the time of the cherry blossoms. Interestingly, Pop Color in Advanced Filters is surprisingly similar to Fortia. I think it’s time for it to graduate from an Advanced Filter to Film Simulation, so that we can add Grain, Color Chrome Effect, etc., to it. While the Velvia Film Simulation is indeed vivid, I think some nature and landscape photographers would welcome one that’s beyond Velvia.

Velvia XPRO

*Red Caboose* – Boron, CA – FED 5c – Fujichrome Velvia 50 cross processed

Back in the day, cross processing was a fun experiment. Cross processing, also sometimes called xpro, was simply developing film in chemistry that was not intended for that film. It could mean a lot of things, but most commonly it was developing slide film in C41 chemistry. My personal favorite film for this was Velvia 50. It would be really cool if Fujifilm made a Film Simulation that replicated cross processed Velvia. Or maybe this is something that could be added to Advanced Filters should Pop Color become a Film Simulation.

Infrared Chrome

*Red Yucca in the White Sand* – White Sands NP, NM – Fujifilm X-T4 ES – Aerochrome v2 Recipe

I love infrared photography with my full-spectrum Fujifilm X-T4 ES. RNI has an app that replicates Aerochrome on any digital photo. I don’t see why Fujifilm couldn’t make a Film Simulation that resembles Aerochorme, but obviously they’d need to change the name. I think a lot of people are interested in IR photography, but full-spectrum cameras aren’t particularly common and the cost to convert a camera is expensive. This would give a faux-IR experience in a non-IR camera, and without the need of various filters.

Expired Film

Expired Film is a really cool Filter on the Fujifilm X half. It’s definitely not for every subject or situation, but it can be great occasionally. If they don’t make it a Film Simulation, at the very least it should be added to Advanced Filters on other X-series cameras.

Now it’s your turn! In your opinion, what Film Simulation should Fujifilm make next? Let me know in the comments, I’d love to hear your ideas.

The Best Fujifilm Recipe for Each Film Simulation

Posted on 6 Days Ago by Ritchie Roesch

*White Bridge across Pond* – Charleston, SC – Fujifilm X-E4 – Pacific Blues

I’ve been asked a couple of times lately which Fujifilm Recipes are the best. Someone also asked which Recipes are my favorite for each Film Simulation. Of course “best” is a subjective term, making it impossible to answer; however, if you consider “best” as a synonym to “my personal favorite” then we can move forward answering these questions. Instead of compiling a list of (say) the Top 10 Best Recipes, I decided to tackle this by sharing my favorite Recipe for each Film Simulation.

Some of these were difficult decisions because I have so many favorite Recipes for Classic Chrome, Classic Negative, Reala Ace, Nostalgic Neg. and Eterna. I’m not 100% sure that I actually chose the best, and it probably depends on what day of the week you ask me. If I had written this yesterday or if I procrastinated until tomorrow, some of the selections might be different. I guess take this list with a small grain of salt.

I also included a “runners up” selection for each Film Simulation. Those Recipes were in the running as possible picks for the best, but didn’t quite make the cut. For Classic Chrome and Classic Negative, I could have made the runners up list much longer, and I still would have felt like I left some worthy contenders out. And I know that I did leave a large number of excellent Recipes out of this list, but that’s just the way it goes. So feel free to tell me in the comments what you agree with, what you disagree with, and which Recipes should have been mentioned but weren’t.

Let’s dive in!

Provia/STD — Provia Slide

*Spring Wildflowers & Dead Wood* – Buckeye, AZ – Fujifilm X-Pro2 – Provia Slide

Provia Slide is a Recipe for X-Trans III cameras, plus the X-T3 and X-T30 by setting Color Chrome Effect to Off. It’s probably the most ideal Provia Recipe, just really lovely. Generally speaking, I’m not a big fan of the Provia film sim, but this Recipe forces me to like it.

Runners up:
Fujichrome Sensia 100
Standard Provia
Provia 400
Provia Summer
Cross Process

Velvia/Vivid — Aerochrome v2

*Red Yucca in the White Sand* – White Sands NP, NM – Fujifilm X-T4 ES – Aerochrome v2

I love Velvia for colorful landscape photography, and there are a number of excellent options. Being pressed to choose my favorite, the obvious answer is Aerochrome v2, a Recipe for full-spectrum infrared cameras, like the X-T4 ES. This Recipe is an absolute thrill; unfortunately, most can’t use it.

Runners up:
Velvia Film
Vivid Chrome
Vivid Velvia
The Rockwell
BewareMyVelvia

Astia/Soft — CineStill 400D v2

*Aspen Gold* – Flagstaff, AZ – Fujifilm X100V – CineStill 400D v2

Astia is a Film Simulation that I have to warm up to, it’s not one that I typically choose. But there are a number of good Recipes that use Astia as the base, and my favorite is CineStill 400D v2, which was collaboratively created by Nestor Pool and myself.

Runners up:
Everyday Astia
Astia Negative
Astia Azure
Indoor Astia
Kodak Ektar 100

Classic Chrome — Kodachrome 64

*Red Barn* – Ronks, PA – Fujifilm GFX100S II – Kodachrome 64

Classic Chrome is the king of Film Simulations. There are probably 25 or more Recipes that could have been chosen to represent the “best” but Kodachrome 64 jumped out to me as the one I should pick. There are so many excellent ones, and I feel like the five “runners up” below is a significantly insufficient selection—lots of great Recipes were unfortunately excluded.

Runners up:
Kodak Portra 160 v2
Kodak Portra 400
Kodak Portra 400 v2
Kodak Gold 200
Vibrant Arizona

Reala Ace — Fujicolor PRO 160C Warm

*Service* – Bisbee, AZ – Fujifilm X-T5 – Fujicolor PRO 160C Warm

Even though this is the newest Film Simulation, there are a lot of excellent Reala Ace Recipes. I went back-and-forth a bit, but decided on Fujicolor PRO 160C Warm, which is a part of the Film Dial set. The Reala Ace film sim is essentially a “better” PRO Neg.—as Fujifilm put it, a negative for the new era.

Runners up:
Avalon Ace
Kodak Pro 400
Fujifilm Negative
Pushed Analog
PRO Negative 160C

PRO Neg. Hi — PRO Negative 160C

*Spiky Arms* – Saguaro National Park, AZ – Fujifilm X-T5 – PRO Negative 160C

Between PRO Neg. Hi and PRO Neg. Std, I tend to choose the latter much more often than the former. Now that we have Reala Ace, I don’t go for either very often anymore. But there are some good Recipes to choose from, and for PRO Neg. Hi, PRO Negative 160C is my favorite.

Runners up:
Pro Film
PRO Neg. Hi
Fujicolor Pro 400H
Fujicolor Pro 160NS
Jeff Davenport Night

PRO Neg. Std — Fujicolor 100 Industrial

*Urban Binding* – Salt Lake City, UT – Fujifilm X-T30 – Fujicolor 100 Industrial

I have several favorite Recipes for PRO Neg. Std, but Fujicolor 100 Industrial, which is for X-Trans III cameras (plus the X-T3/X-T30), is something special.

Runners up:
CineStill 800T (X-Trans II)
CineStill 800T (X-Trans III + X-T3/X-T30)
Nostalgic Print
Fujicolor Superia 800
Analog Color

Classic Negative — Pacific Blues

*Misty Saguaro* – Buckeye, AZ – Fujifilm X-T5 – Pacific Blues

Classic Negative is one of my top favorite Film Simulations. Like Classic Chrome, choosing a top favorite and narrowing to just five “runners up” was difficult, and I’m certain I left a number of excellent ones off the list. With that said, Pacific Blues seemed like a good choice to represent this film sim as the best Recipe.

Runners up:
1-Hour Photo
Reggie’s Superia
Superia Negative
Reala Ace
Fujicolor NPS 160 Pulled

Nostalgic Neg. — 1970’s Summer

*Fire, Truck* – Lordsburg, NM – Fujifilm GFX100S II – 1970’s Summer

The Nostalgic Neg. film sim is one that seems to work very well or only so-so, just depending on the subject and lighting. Of the various color Film Simulations, I would probably rank this one fifth best. There are a number of excellent Recipes that use Nostalgic Neg. as the base, and 1970’s Summer is probably my top favorite.

Runners up:
Nostalgic Americana
Kodak Vericolor III 160
Kodak Vericolor VPS
Kodak Vision3 250D v2
1976 Kodak

Eterna/Cinema — Kodak Vision3 250D

*Working* – Salt Lake City, UT – Fujifilm X-E4 – Kodak Vision3 250D

The Eterna Film Simulation is probably most often used for video, but it is excellent for stills, too. It has a unique tonality that can be fun to experiment with. While I chose Kodak Vision3 250D as my favorite, it was a difficult decision, and any of the five below could have just as easily been chosen instead.

Runners up:
Eterna Summer
Summer of ’59
Timeless Negative
SantaColor
Vintage Color

Eterna Bleach Bypass — Ferrania Solaris FG 400

*Low Sun over Tetons* – Grand Teton NP, WY – Fujifilm X-E4 – Ferrania Solaris FG 400

I feel like Eterna Bleach Bypass is one of the least used color film simulations, maybe even the least used. But that doesn’t mean it’s not good, because it certainly can be great. My favorite Recipe that uses Eterna Bleach Bypass is Ferrania Solaris FG 400, but the runners up below are good, too.

Runners up:
1960 Chrome
Chrome City
Kodachrome Blue
Analog Gold
LomoChrome Metropolis

Acros (+Ye, +R, +G) — Kodak Tri-X 400

*Pool Remnant* – Rodanthe, NC – Fujifilm GFX100S II – Kodak Tri-X 400

When people ask what my favorite Recipe is, I often tell them Kodak Tri-X 400, which was created by Anders Lindborg. This is my favorite B&W Recipe, and one of my top Recipes, period. Acros is such a great Film Simulation, and this Recipe really makes the most of it.

Runners up:
Agfa Scala
Classic B&W
FRGMT B&W
Kodak T-Max P3200
Kentmere Pan 400

Monochrome (+Ye, +R, +G) — Ilford HP5 Plus 400

*Horsetail Falls From Bridge* – Columbia River Gorge, OR – Fujifilm X100V – Ilford HP5 Plus 400

I don’t like the Monochrome Film Simulation (which is simply Provia without color) nearly as much as Acros, but it can still be a good base for black-and-white Recipes. Ilford HP5 Plus 400, which was also created by Anders Lindborg, is my favorite that uses the Monochrome Film Simulation.

Runners up:
Kodak T-Max 100 Soft Tone
Kodak T-Max 100 Hard Tone
Kodak T-Max 400
Ilford FP4 Plus 125
Dramatic Monochrome

Sepia — B&W Sepia

*Dodge* – Boulder, CO – Fujifilm X100VI – B&W Sepia

Last and least is Sepia. After Fujifilm introduced Monochromatic Color on X-Trans IV, which allows custom toning of B&W photos, the Sepia Film Simulation seemed obsolete. Still, it’s found on every Fujifilm camera. I haven’t created very many Sepia-based Recipes, but there are a few. B&W Sepia, which is a part of the Universal Negative set, is my personal favorite.

Runners up:
Sepia Print
Sepia

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Vivid Chrome — A Fujifilm Recipe for X and GFX Cameras

Posted on 9 Days Ago by Ritchie Roesch

Fujifilm Nordic asked if I’d be interested in making a Film Simulation Recipe specifically designed for Denmark that would be unveiled at the upcoming Fujikina event in Copenhagen next month. Of course I said yes! I made three Recipes, and then traveled to Solvang and Catalina Island in California to test them out. Solvang is probably the most Danish town in America, so that was an obvious choice. Catalina Island has more of a Mediterranean vibe than Baltic Sea, but it’s colorful and leans slightly European, making it another good option. After photographing with each of the three Recipes at those two locations, the winner was obvious to me. That Recipe will be unveiled in Copenhagen in a little less than a month, and published on Fuji X Weekly a short time later. Second place was Avalon Ace, which is currently available in the Fuji X Weekly App. This Recipe, called Vivid Chrome, came in last; however, it’s very nice, and I’m sure many of you will appreciate it. Even though it didn’t win, it’s still a winner.

Vivid Chrome is probably most reminiscent of Fujichrome Velvia 100, but it’s not intended to be a replication of that or any other specific film. The idea was more to produce good results for colorful scenes. This Recipe produces punchy, vibrant colors; however, it’s also slightly restrained, and avoids being too over-the-top. This is a great option for landscape photography, and also for travel if you’ll be someplace colorful. This Recipe works best in sunny daylight, and can be ok for nighttime photography in the right lighting situations.

*Crescent Ave Morning* – Avalon, CA – Fujifilm X- E5 – Vivid Chrome

The Vivid Chrome Recipe is compatible with all fifth-generation Fujifilm X-series cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III. It’s also compatible with “newer” fourth-generation models: X-T4, X-S10, X-E4, and X-T30 II. Additionally, it works well on the latest GFX cameras, like the GFX100S, GFX100 II, GFX100S II, and GFX100RF.

Film Simulation: Velvia
Grain Effect: Weak, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Off
White Balance: Daylight, +2 Red & -2 Blue
Dynamic Range: DR400
Highlight: -1
Shadow: -0.5
Color: +2
Sharpness: -2
High ISO NR: -4
Clarity: +3
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs using this Vivid Chrome Film Simulation Recipe on a Fujifilm X-E5, GFX100RF, and GFX100S II:

*Green Pleasure Pier & Boats in the Bay* – Avalon, CA – Fujifilm GFX100RF

*Shoreboat* – Avalon, CA – Fujifilm X-E5

*Nautical Preparations* – Catalina, CA – Fujifilm X-E5

*Docked Boats in Avalon Bay* – Avalon, CA – Fujifilm X-E5

*Green Rope on a Dock* – Avalon, CA – Fujifilm X-E5

*Yellow Rope in the Water* – Avalon, CA – Fujifilm GFX100RF

*Ready for a Ride* – Avalon, CA – Fujifilm GFX100S II

*Avalon Morning* – Avalon, CA – Fujifilm GFX100S II

*Hotel St. Lauren* – Avalon, CA – Fujifilm GFX100RF

*Atwater Hotel at Dusk* – Avalon, CA – Fujifilm GFX100RF

*Christmas Window* – Solvang, CA – Fujifilm X-E5

*Patina Rooftop* – Solvang, CA – Fujifilm X-E5

*Office* – Solvang, CA – Fujifilm GFX100S II

*Windmill Morning* – Solvang, CA – Fujifilm GFX100S II

*Hamlet Square Ice Cream* – Solvang, CA – Fujifilm GFX100RF

*Golden Light on Windmill* – Solvang, CA – Fujifilm GFX100RF

*Last Light on Solvang* – Solvang, CA – Fujifilm GFX100S II

*Windmill Closeup* – Solvang, CA – Fujifilm X-E5

*Danish Design* – Solvang, CA – Fujifilm X-E5

*Hotel* – Solvang, CA – Fujifilm GFX100S II

*Green Apex* – Solvang, CA – Fujifilm GFX100S II

*Pinnacle* – Solvang, CA – Fujifilm GFX100S II

*Flower Bed* – Solvang, CA – Fujifilm GFX100RF

*Field of Flowers* – Buellton, CA – Fujifilm GFX100RF

*Flower Field* – Buellton, CA – Fujifilm X-E5

*Prickly Cactus* – Apache Junction, AZ – Fujifilm X-E5

*Superstition Mountains* – Apache Junction, AZ – Fujifilm X-E5

*Western Desert Girl* – Apache Junction, AZ – Fujifilm X-E5

Find this Film Simulation Recipe and over 400 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

5 Tips for Better Landscape Photography

Posted on 12 Days Ago by Ritchie Roesch

*Avalon Bay* – Avalon, CA – Fujifilm GFX100RF – Avalon Ace

There was a social media post today from an account that’s not mine, that purported to be my advice for better landscape photography. It included five tips, but I never said those things, and some of them were quite antithetical to what I believe, pretty much the opposite of what I would say. I would not have given much of the advice that the post claimed came from me. When I brought it to the attention of the account holder, they were very apologetic, and rectified the situation. Most of you probably never saw it, but a few of you might have.

But that made me think: what advice would I give? What are my five tips for better landscape photography? I contemplated that question this afternoon, and the answer might surprise some of you. At least a couple of the suggestions below are probably a bit unorthodox, and not the normal advice that you’re likely to find on the internet. Let’s dive right in!

1. Carefully Choose Your Fujifilm Recipes

Not every Fujifilm Recipe is ideal for every subject or situation. Just like film, you should carefully consider which one(s) are best for your specific subject, light situation, and desired aesthetic. For vivid landscapes, a Velvia-based Recipe is probably what you want; however, other Film Simulations can be good, too, infusing a different feel or emotion into the image. The new Filter By Categories feature is a helpful tool if you are unsure which Recipes are especially well suited for landscape photography. Using Recipes on your Fujifilm camera will save you time, allowing you to be more productive and efficient.

2. Look for Quality Light

*Golden Appalachian Light* – Gatlinburg, TN – Fujifilm X-T5 – Classic Amber

Great photographs often require great light, and great light is most obvious and prevalent during Golden Hour, which is the first hour after sunrise and the last hour prior to sunset. If you look hard enough, you can find great light anytime of the day or night, or you can even add it yourself with a flash or other lighting equipment. Pay close attention to light, and recognize when it is especially good for photography. With that said, the easiest way to improve your pictures is to be out with your camera during Golden Hour.

3. Photography Rules Are Meant to be Broken

*Dark Cloud Over The Dark Mountain* – South Weber, UT – Fujifilm X-T30 – Ilford HP5 Plus 400 Push-Process

There are a lot of “rules” in photography. A lot of people will tell you what you should or must do. You need specific cameras. You need to use certain settings. You need a particular lens. You should compose your pictures this way or that way. You should only do this and never do that. The rules are there to ensure consistently good photos; however, great photos sometimes happen when you break the rules. Carefully following the rules might prevent you from creating better images. Do photography however you want to do it, and ignore all of the gatekeepers.

4. Invest in Experiences (rather than new gear)

Depending on where you live, there might be plentiful photographic opportunities close by, or you may need to travel someplace a good distance away. Beautiful photos are much more easy to create in beautiful locations. So, my advice is to spend less on new gear and more on going to interesting places with the cameras and lenses you already own. Invest more in experiences rather than gear.

5. You’ve Got to Go Back

*Cold Rim, Warm Light* – Grand Canyon NP, AZ – Fujifilm X-T5 – Kodak Vision3 250D v2

In the September 1955 issue of Arizona Highways magazine, photographer Chuck Abbott addressed the question: how does one become a better photographer? His answer was to return to the same subject or location over and over again. Try it on a different day, at a different time, in a different season, and in a different light. Come back to it again and again, even after you create a photo that you’re satisfied with. As Chuck stated, you’ve got to go back to get the good ones.

10 Grainy Fujifilm Recipes

Posted on 14 Days Ago by Ritchie Roesch

Some people like grainy photos, and some people don’t. Back in the film days, there were photographers who chose their film based on the grain. Kodachrome 25 was a one of the finest-grained color films, and some liked it for the near lack of grain. Kodak Tri-X 400 had a strong grain structure, and some preferred the character of it over options with finer grain. Personally, I like grain in my photos, because it adds texture and feels more organic. Digital photography can be super clean, essentially “grain-free” (noise free, really), but to me that’s a bit clinical or sterile. With your Fujifilm camera, you can choose to keep the ISO low and Grain set to Off for a clean image, or you can bump up the ISO and select Strong/Large Grain for texture and character, or anything in-between. There’s no right or wrong approach, only what each photographer wants for their pictures.

For those who desire a lot of grain and not just a little, below are 10 Fujifilm Recipes that will produce grainy pictures. These aren’t the only ones (this is not an exhaustive list by any means), just some that I think you might like. For more, use the Filter By Categories feature in the Fuji X Weekly App, and select Grain. If grainy photos are something you’re after, take a look at these Recipes.

Ilford HP5 Plus 400 Push-Process

The Ilford HP5 Plus 400 Push-Process Recipe is super grainy not only because Grain is set to Strong, but also because it requires ISO 25600 or 51200. It’s a combination of the Grain setting, the built-in Grain that the Acros Film Simulation has (which increases as the ISO increases), and the digital noise from the ultra-high ISO that makes it especially grainy, the most of any Recipe. It’s not the easiest to use in sunny daylight (an ND filter helps), but it produces a lot of texture, if that’s something you want. Besides, it can come in handy in low-light situations. This Recipe is specifically for the X-T3 and X-T30; to make it compatible with newer cameras, set Grain size to Large, Color Chrome Effect and Color Chrome FX Blue to Off, and Clarity to 0.

FRGMT B&W

Fujifilm’s first official Recipe, FRGMT B&W—created by fashion designer, producer, and artist Hiroshi Fujiwara—was included in a limited edition of the GFX100RF. I asked for and received permission to publish it on Fuji X Weekly. This is a contrasty and grainy black-and-white Recipe that produces dramatic results. It’s compatible with fourth and fifth-generation X-series cameras, as well as newer GFX models.

Kodak T-Max P3200

The Kodak T-Max P3200 Recipe was a collaborative effort between Anders Lindborg and the late John Sevigny. This is one of the best black-and-white Recipes, producing dramatic and grainy images. For more grain, use ISO 3200 and higher. It’s compatible with fourth and fifth-generation X-series cameras, as well as newer GFX models.

Kodak Tri-X 400

My personal favorite B&W Recipe is Kodak Tri-X 400, which was created by Anders Lindborg. This Recipe requires a minimum ISO of 1600, and the higher you go the grainier it gets. It has compatibility with X-Trans III, X-Trans IV, and X-Trans V cameras, as well as GFX. It can be modified a few different ways, which is discussed in the Recipe article.

Classic B&W

Classic B&W is a newer monochromatic Recipe that I really like. For grainer photos, increase the ISO (all the way to 12800 if you’d like). It’s compatible with fourth and fifth-generation X-series cameras, as well as newer GFX models.

GAF 500

Mimicking the aesthetic of the highest ISO color slide film of the ’60’s and ’70’s, the GAF 500 Recipe requires using an ultra-high ISO: 12800! This Recipe is compatible with fourth-generation X-series cameras; for fifth-generation, simply reduce Color Chrome FX Blue to Weak (instead of Strong). You can use it on newer GFX cameras, too.

Urban Dreams

Urban Dreams produces a look somewhat similar to Kodachrome 200, a high-ISO version of Kodachrome introduced in 1986 and discontinued in 2006. It was never as popular as Kodachrome 64 or even Kodachrome 25 due to its pronounced grain. This Recipe is not an exact match for that film, but not terribly far off, either. It’s for fourth-generation models; while it can be used on fifth-generation cameras, the results will be just slightly different.

Fujicolor Natura 1600

Fujicolor Natura 1600 is a Recipe that mimics one of the highest ISO color films. I really like this one, personally. The Recipe linked above is for fourth-generation cameras; however, there is a version for fifth-generation models.

1970’s Summer

One of my personal favorite Recipes is 1970’s Summer. It seems to either work really well or only ok, but when it works really well it is absolutely fantastic! It’s compatible with fifth-generation cameras and the latest GFX models.

Pacific Blues

Last but certainly not least is Pacific Blues, another personal favorite Recipe. While intended for a sunny day at the beach, this one delivers dramatic photos in a variety of situations. The Recipe linked above is for fourth-generation cameras; however, there is a version for fifth-generation models.

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

What Does Clarity Actually Do?

Posted on 17 Days Ago by Ritchie Roesch

*Roaring Fork* – Great Smoky Mountains NP, TN – Fujifilm X-E5 – Vivid Velvia (+3 Clarity)

Pal2Tech posted a video entitled Fujifilm Settings That Work Against You, and one of the settings he mentioned is Clarity. Specifically, he notes that Clarity set to anything other than 0 causes a short “Storing” pause. His recommendation is to keep it at 0 so as to avoid the delay. When Fujifilm debuted Clarity on the X-Pro3, their official recommendation was (likewise) to keep Clarity at 0, and if you really want Clarity, add it after-the-fact by reprocessing the RAW file in-camera or with X RAW Studio.

My take is a lot different than Pal2Tech and Fujifilm. While I would like Fujifilm to address and improve the Clarity pause on future models, things that slow me down help me to better anticipate the decisive moment and be better prepared for when it comes. In other words, if I slow down a little, I’m a better photographer, and I create stronger images. The Clarity pause, which is about the same amount of time as advancing to the next frame on a film camera, forces me slow down. It doesn’t have to be viewed negatively. Still, Fujifilm should work on shortening or eliminating it, because sometimes you do need to be quick. In the meantime, switching the camera to either CL or CH burst modes disables Clarity (sets it to 0), and when you do need speed, that’s an easy way to get it; switch back to S when it’s time to slow back down.

*Misty Saguaro* – Buckeye, AZ – Fujifilm X-T5 – Pacific Blues (-3 Clarity)

I published an article six years ago explaining Clarity, but I think a lot of people don’t know what it is, and why you might want to use it. Most of my Recipes have Clarity set to either a positive or negative value, and only a small number have it off (set to 0). I thought I would briefly go over it again, for those who are unaware. So let’s dive into what Clarity is and why you should use it in your photography.

Clarity is a micro-contrast adjustment that concentrates on the mid-tones. It affects highlights and shadows, but it primarily affects the various zones in-between, with only small changes to highlights and shadows. Increasing this micro-contrast (positive Clarity value) makes the image appear more crisp; decreasing this micro-contrast (negative Clarity value) makes an image appear more soft. Most simply, it either increases or decreases the contrast; however, it’s very sophisticated, changing how neighboring tones separate from one another within the photo rather than the global tonal map, which is largely—but not completely—untouched. Let’s take a look at some examples:

I’m sure you were able to spot the differences in the above images, especially +5 Clarity compared to -5 Clarity. You might think of positive Clarity as similar to a dehaze tool in software. Or you could consider it like using a lens with strong micro-contrast, such as Leica Summicrons. I’m reminded of sharp slide films like Kodachrome 25. Whichever way you want to think of it, the important thing to know is that using a plus-Clarity setting will produce more definition, providing a “pop” or crispness to your pictures.

You might think of minus Clarity as similar to a diffusion filter (like CineBloom or Pro Mist). It’s also along the lines of using a vintage lens. Some might describe it as taking the digital edge off your pictures. However you want to think of it, the important thing to know is that using a minus-Clarity setting will produce less definition, providing a softer picture aesthetic. A 5% CineBloom or 1/8 Pro Mist diffusion filter is roughly similar to -1 or -2 Clarity, a 10% CineBloom or 1/4 Pro Mist is roughly similar to -3 or -4 Clarity, and a 20% CineBloom or 1/2 Pro Mist is roughly similar to -5 Clarity. It is certainly ok to use a diffusion filter in lieu of minus Clarity, or even in conjunction with it for a more pronounced effect.

*Pool Remnant* – Rodanthe, NC – Fujifilm GFX100S II – Kodak Tri-X 400 (+4 Clarity)

There are times when adding Clarity is most appropriate. There are times when reducing Clarity is most appropriate. It all depends on the feeling you want: hard or soft, gritty or dreamy, punchy or smooth. And, of course, Clarity set to 0 is right in the middle. There’s no right or wrong answer, but Clarity does have a notable effect on the image, so it does matter what you choose. The majority of Fuji X Weekly Recipes use minus Clarity, to add a little retro analog softness. There are some that use plus Clarity, either to replicate sharp slide film or gritty black-and-white. A smaller number use Clarity set to 0, which some prefer because there is no processing delay.

I’m not sure exactly what causes Clarity to take so long to process. Fujifilm has kept it all quite secret. Obviously it takes a lot of processing power, and is (by far) the most taxing of all the JPEG options. It’s clearly a complex application, whatever the camera is doing. Anything that Fujifilm can do to speed it up will be seen as positive, so I hope that is something they’re addressing for the next generation of X and GFX cameras. Clarity is one of my favorite JPEG tools; however, the Storing pause catches a lot of people by surprise. You can do what Pal2Tech and Fujifilm recommend (set it to 0), or you can accept it and use it to slow yourself down, which is what I do. There’s no right or wrong approach, only what works best for you and your photography.

Three Quick Hits: Sony’s Vertical Sensor, X-Pro3 Doesn’t “Stink” & Two Upcoming Fujikina Events

Posted on 18 Days Ago by Ritchie Roesch

*Fooz Fighters* – Fujifilm X-T5 & Fujinon 33mm f/1.4 – Buckeye, AZ – 1-Hour Photo

I just moved into a new house. My office is full of unopened boxes with vague labels like Office and Books. I did manage to get the computer unpacked last night, so hopefully I can keep up with Fuji X Weekly while also unpacking the office and the rest of the house, too. Thankfully we’re still in the same neighborhood, so the kids aren’t losing any of their friends. I want to apologize for any delays responding to your comments and emails—I’ll do my best to catch up on everything over the coming week or so.

Did you know that the Fujifilm X half isn’t the first to feature a tall-oriented sensor? I didn’t. I researched it when the camera was released, and didn’t find anything. Still, I’m glad that I typed the phrase “as far as I know” when stating that the X half was the first with a vertical sensor, because there’s one that predates it: Sony C200X, a digicam from 2003. Never heard of the C200X? That’s because it was specifically intended for passport and ID photos, and not sold to the general public. It’s a surprisingly massive camera for only having a 1/1.8″ 4mp sensor. It also has a 36-95mm (full-frame equivalent) f/2.8-4.8 zoom lens. Anyway, if you are looking for something to do this weekend, check out a video about the Sony C200X on the snappiness YouTube channel.

*Tom’s Famous X-Pro3* – Avondale, AZ – Fujifilm X-E5 & Fujinon 23mm f/2.8 – 1-Hour Photo

PetaPixel published These Are the Worst Designed Cameras We’ve Ever Used, and I was surprised to see that the Fujifilm X-Pro3 made the list. Essentially, Chris and Jordon are not big fans of the hybrid OVF/EVF, they think the X-Pro series is too big and bulky, and in particular they don’t like the backwards-mounted rear LCD, which is prone to break due to a faulty cable. I agree that the cable itself was a poor design choice (something more robust was needed), and the rear screen is unusual and thus polarizing (some love it, some hate it). But the X-Pro3 is beloved by a lot of photographers. I know several who use it daily and you couldn’t pry it out of their hands. The X-Pro series, which includes the X-Pro3, is one of the most beautiful series in all of digital photography—it’s iconic. By including the X-Pro3, I have to wonder about their other selections. Perhaps none of them “stink” (as they put it). Maybe they’re all great cameras with a quirk that some people love and some just don’t get. That’s ok, because no camera is perfect, and we’re all different anyway.

My two photowalks next month in Copenhagen are already sold out, but you can still attend the Fujikina event on May 9th and 10th. I’ll be hanging around both days, and even doing a short talk on Film Simulations and Fujifilm Recipes in Studio 4 at 11:30 AM on May 9th and 11:00 AM on May 10th. Stop by and say hi! I would love to meet you and chat cameras, Recipes, or whatever you’d like. Also, Fujifilm just announced Fujikina Warsaw on June 12th and 13th. I won’t be able to make that one, but if you live in or near Poland, I’m certain that it will be well worthwhile to attend.

That’s all I have for now. Because of the move, it might take me a little while to catch up, but hopefully by the end of next week things will be back to normal. I appreciate your patience. I hope you all have an excellent Easter weekend!