One item on my “bucket list” was to visit the Great Smoky Mountains in the fall. Two weeks ago I was able to check that one off; however, I was a little early for the peak autumn show. The trees were only just starting to show fall colors, with little pops here and there. I’ll have to try again sometime in the future, and hopefully time it just a little better. Even though I was a week or two early, it was still an amazing place to visit, and I’m so glad that I was able to go.
I created the Vivid Velvia Film Simulation Recipe in preparation for the trip, intending to use it on this adventure. My two favorite Velvia-based Recipes are The Rockwell and Velvia Film. The Rockwell Recipe, named after Ken Rockwell and designed to be similar to his aesthetic (he actually used it!), is very bold and a bit over-the-top, sometimes a smidge too much. The Velvia Film Recipe, which is a part of the Film Dial universal Recipe set, is very nice, but occasionally not bold enough. This Recipe is intended to bridge the gap between the two, sitting right in-between both of them. It’s a slightly less over-the-top alternative to The Rockwell, and a slightly more bold version of Velvia Film; overall, it’s similar to both.
After using this Vivid Velvia Recipe quite extensively on the trip, I’m very happy with the results. It does well in a variety of situations, including nighttime photography. Obviously, this is not a good choice for portraits, but it’s one of the best options for colorful landscape pictures. This Recipe is compatible with “newer” X-Trans IV cameras (Fujifilm X-T4, X-S10, X-E4, and X-T30 II), all fifth-generation X-Trans models (X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III), and “newer” GFX cameras (GFX100S, GFX100S II, GFX100 II, and GFX100RF).
Film Simulation: Velvia Dynamic Range: DR400 Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome FX Blue: Weak White Balance: Auto Ambience Priority, +1 Red & -3 Blue Highlight: -1 Shadow: -1 Color: +4 Sharpness: +1 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 captured using this Vivid Velvia Film Simulation Recipe on my Fujifilm X-E5:
Rotary Club – Gatlinburg, TN – Fujifilm X-E5
Lights Left On – Gatlinburg, TN – Fujifilm X-E5
Cold Drinks – Gatlinburg, TN – Fujifilm X-E5
White House – Canton, GA – Fujifilm X-E5
Abandoned Garage – Gatlinburg, TN – Fujifilm X-E5
Sky Tram – Gatlinburg, TN – Fujifilm X-E5
Compass Tower – Gatlinburg, TN – Fujifilm X-E5
Fall Colors – Gatlinburg, TN – Fujifilm X-E5
Fall Bridge – Gatlinburg, TN – Fujifilm X-E5
Fall Trees – Gatlinburg, TN – Fujifilm X-E5
Pine Trees – Canton, GA – Fujifilm X-E5
Sunlight through Tree Branches – Canton, GA – Fujifilm X-E5
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Last night Fujifilm announced the brand-new X-T30 III camera and Fujinon XC 13-33mm f/3.5-6.3 lens. That’s a lot of threes! I’m not going to spend much time talking about either of these products, but I did want to briefly mention their existence.
The X-T30 III is almost identical to the X-T30 II, which was pretty much identical to the X-T30, launched in early 2019. The big changes for the third iteration are: X-Processor 5 and Film Dial. All of the other changes are directly related to those two.
X-Processor 5 brings with it more computing power and more efficient processing, which allows for autofocus and video improvements (including 6K Open Gate), as well as the Nostalgic Neg. and Reala Ace Film Simulations. Probably better battery life, too. The Film Dial replaces the Drive Dial, which has now been relocated to a button on the back, similar to the Fujifilm X-E5, X100VI, and X-Pro3. Some people are greatly offended by this, but the Drive button has worked quite sufficiently on those popular models and has been a complete nonissue, so there’s no reason to believe it won’t be the same for the X-T30 III. Some people like to complain for the sake of complaining. The benefit of the Film Dial is that it can store up to three Film Simulation Recipes, bringing the total possible Recipes that can be programmed into the camera at any one time up to 11 (certainly Nigel Tufnel would buy this camera just for this). As of right now, the X-T30 III and X-E5 are the only two cameras capable of 11 Recipes; however, I hope that Fujifilm brings the FS1/FS2/FS3 Recipe option to the X-T50 and X-M5, and any future models with the Film Dial.
The one negative with the Film Dial on the X-T30 III is that—like the X-E5—it’s limited to only six hard-set Film Simulations. Unfortunately, Classic Negative and Nostalgic Neg. were both excluded. For Classic Negative, that’s inexplicable, as it’s one of the most popular and iconic options. I think if Fujifilm had used the same Film Dial found on the X-T50 and X-M5, that would have been better. While the Film Dial isn’t perfect and certainly can be improved, it’s still a feature that I love, and I’m happy to see it on this camera.
The lens? I personally don’t use zooms very often. I’m more of a prime guy myself. It seems like a budget-friendly alternative to the 10-24mm f/4. I’m sure it’s sufficiently good, and a decent starter kit lens. I have no intentions of owning it, personally. Sold with the X-T30 III, I’m sure it’s worthwhile for $150; I definitely wouldn’t spend $400 on one.
There are two (very annoying) complaints that I’ve seen regarding this announcement: Fujifilm should not release any camera until they have Sony-like AF, and where’s the X-Pro4? Let’s discuss both.
I’ve talked about autofocus at great lengths (just type “autofocus” in the search bar), so I won’t spend much energy on it. My basic argument, though, is that Fujifilm’s AF is pretty good, better than what’s existed for the vast majority of photography, and if you can’t make it work for you, it’s largely user error. Yes, your fault. People are offended by that, but sometimes the truth hurts. Once you accept that truth, it reveals a path forward so that you can move beyond your AF obstacles. It might take learning some new skills and/or learning some new things about your camera that you didn’t realize. Fujifilm’s AF is more than sufficient for 99%+ photographers and situations if you know what you’re doing. Those who constantly complain about it have 1) unrealistic expectations (Canikony brands have been making AF for much, much longer, have larger R&D budgets, and larger teams, so it stands to reason that theirs is and always will be better), 2) an unwillingness to accept that they are a part of the problem (more so than the gear), and 3) no motivation for self-improvement.
Can and will Fujifilm improve their AF? Absolutely. I have zero doubts that they’re working hard on that right now and have been for years. Will those improvements have a practical benefit for most of their customers? Probably not, because we’re nearing the peak of an inverted U curve, which means that each improvement will have a smaller and smaller and smaller impact (this is true for every brand, especially Sony and Canon, who might actually be nearing the back side of the curve). Also, realize that any obstacle—including AF woes—can be overcome if you are willing to self-reflect and put in the work. Those who constantly complain about this topic are unwilling on both accounts.
As for the X-Pro4, which I’m predicting will be called X-Pro5, I’m somewhat confident that it will arrive within the next six months, probably announced in January or February. It will likely kick off X-Trans VI, and the X-T30 III will mark the end of the fifth-generation. In other words, the next X-Pro is coming, just have a little more patience.
Anyway, the Fujifilm X-T30 III will hold the important role of budget-friendly non-PASM model with an EVF. The X-T30 II and the X-T30 before it served this purpose very well, and, despite less fanfare, sold a heck-of-a-lot of copies. The X-T30 III will quietly be a major success, too. At only $999, it’s probably the best value camera in the lineup. Yes, some models are cheaper. Yes, some are better. But none quite offer the bang-for-the-buck that the X-T30 III does.
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I’m not a concert photographer. I attend maybe one or two each year, and generally don’t have good seats; besides, the events often have a “no camera” policy. But I get asked quite frequently which Film Simulation Recipes are best for concert photography. I never have a good answer (only guesses), so when the opportunity came to try out various Recipes at a rock concert, I jumped at the chance. All of these pictures were captured from my seat at the back-right corner of the venue—not the best spot, but not terrible, either.
This will be a series of articles, with this post serving as Part 1. I loaded eight Recipes into my Fujifilm X-T5 (plus 11 in my X-E5), and reshuffled a bit at intermission. This was actually a three-day concert, so I did this multiple times. Later, I reprocessed some of the RAW files in-camera to see how some additional Recipes would do. For Part 1, the twelve Recipes are Superia Negative, Fujicolor PRO 160C Warm, Velvia Film, Cinematic Film (those four are all Film Dial Recipes), Reala Ace, Pacific Blues, Superia Xtra 400, Nostalgic Americana, Nostalgia Negative, Kodak Negative, Kodak Portra 400 v2, and Kodak Ektachrome E100VS v1. The one requirement that I gave myself is that the Recipes needed to use DR400 to help keep the highlights in check.
All of these 12 Recipes seemed to do well. None were busts. My favorites were the Classic Negative-based Recipes: Superia Negative, Pacific Blues, Reala Ace, and Superia Xtra 400. I can definitely recommend those, especially Superia Negative and Reala Ace. I also liked the Nostalgic Neg.-based Recipes: Nostalgic Americana, Nostalgia Negative, and Kodak Negative. My least favorite were the Velvia-based Recipes: Velvia Film and Kodak Ektachrome E100VS v1. That’s not to say those Recipes were bad, only that I liked the others better. I think any of these 12 would work, but, in the future, I’d probably choose a few Classic Negative options, plus one or two Nostalgic Neg., and call it good.
The band in top photo is We Came From Space, which you’ll see a little more of in the upcoming parts (I’m not sure yet just how many posts there will be in this series, but likely three). They’re a classic rock/synth rock/blues rock/prog rock/pop fusion with out-of-this-world talent (sorry for the pun). All the remaining photos are of Cosmic Cathedral, a groove-oriented progressive rock super group featuring Phil Keaggy on guitars/vocals, Neal Morse on keyboards/guitar/vocals, Bryon House on bass, and Chester Thompson on drums (if you’ve ever seen Genesis or Phil Collins live, you’ve likely heard Chester keeping time). A number of additional musicians joined the band to complete the sound. This was their first concert as a band, and it was such a great show!
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Fujifilm is about to announce the X-T30 III, the true successor to the X-T30 II. A lot of people assumed that the Fujifilm X-T50 was the X-T30 II’s successor, but it wasn’t—if you a Fuji X Weekly regular, you’ve known that for about a year-and-a-half now. Tomorrow at 10:00 PM Pacific Time, Fujifilm will unveil the new camera.
I don’t have any inside information, but I expect that the Fujifilm X-T30 III will be 95% the same as the X-T30 II, which was 98% the same as the X-T30. Fujifilm announced the original X-T30 in February of 2019. I remember it well because I preordered it, and later created many Film Simulation Recipes with that camera. The X-T30 II, which was basically a firmware update with a few minor changes, came in October of 2021. The ability to save WB Shift with each C1-C7 Custom Settings preset, as well as Classic Negative and other JPEG tools like Clarity, are the major improvements found on the Mark II version. Now, four years later, Fujifilm is about to release the latest iteration.
From all accounts, the X-T30 III will be the same as the X-T30 II, except with X-Processor 5 (which includes Nostalgic Neg. and Reala Ace), a Film Dial like what’s on the X-T50 and X-M5, and a Drive Button instead of a Drive Dial. Aside from that, it will be pretty much the same thing as the X-T30 II. I don’t expect any major changes. Overall, it will be a mild refresh.
Why, then, do I think this camera is genius? Because Fujifilm will quietly sell a whole lot of these. It’s not going to go viral like the X100VI. It’s not going to make major headlines. It’s not going to be a hot topic on Reddit or Facebook groups. But Fujifilm will sell a bunch of X-T30 III cameras, more than most other models offered by the brand.
Just four days ago, New York Magazine published in The Strategist section This Fujifilm Camera Gives Me Film Photos Without the Processing by Katherine Gillespie. It’s essentially a review of the Fujifilm X-T30 II. In that article, Katherine states, “Even just using the cheapest 15-45mm kit lens, the camera creates beautiful JPEG photos that require little to no editing to make the colors pop and can be wirelessly transferred to my phone via Fujifilm’s XApp. For me, this is a big sell. While some people seem to enjoy playing around with presets on Lightroom, as a procrastinator who also sort of hates computers, I can’t think of anything worse than shooting in RAW then having to go through and edit hundreds of photos after every social event or vacation. Especially as doing so would also require purchasing a pricey Adobe subscription.”
The article included a small and subtle shoutout to Fuji X Weekly, which was mind-blowing. This follows the New York Times mention in July. I never imagined getting noticed by such large and prestigious publications. But I digress; however, it is a good read, should you want to.
Statements like Katherine’s are why the X-T30 and X-T30 II sold so well, and why soon the X-T30 III will, too. It’s easy to get great-looking photos without the fuss. The cameras are small, lightweight, inexpensive, and straightforward-enough that they’re accessible to anyone and everyone. Even a child can use it and get great results. Robust enough that professionals can use it for serious work, but not so much that first-time hobbyists are in over their heads. That’s indeed a big sell.
No other Fujifilm camera has been given a Mark III iteration. The X-E2 had a second version called X-E2s. There’s the X-H2 and X-H2s, but that’s a slightly different story. There was an X-T3 WW, which was an X-T3 without an external battery charger included in the box. The X-T4 ES is an infrared version of the X-T4. Most models have their time, followed by a successor; the few with a second variation were not given a third. The X-T30 is unique, with a third iteration about to crest the horizon. That elevates the camera to legendary status in my books. There is no doubt in my mind that the X-T30 III will be a great success for Fujifilm, albeit without the fanfare that other models in the X-series often get.
I just got back into town from an epic 10-day trip. I’ve been up since 1:30 AM, so I apologize for the typos that will inevitably be found in this article. This is a followup to my last post, which I wanted to write while traveling, but it just didn’t work out. The basic premise of this is simple: if I were to design the ultimate Film Dial for Fujifilm, what would that look like?
Fujifilm introduced the Film Dial on the X-T50 about a year-and-a-half ago. They included one on the X-M5. The upcoming X-T30 III will apparently have one, too. The Fujifilm X-E5 also has one, although implemented slightly differently. It’s safe to say that the Film Dial is sticking around for awhile, and for good reason: it places one of Fujifilm’s most important and beloved features in a highly visible and easily accessible position on the camera. The initial implementation of it is good, but certainly not perfect. There’s room for improvement, and I believe Fujifilm is working towards that. As they make it better, don’t be surprised to find it on more and more models in the future.
Going forward, I believe there will be two variations of the Film Dial: knob and wheel. The knob version is found on the X-T50, X-M5, and the upcoming X-T30 III; the wheel version is currently only on the X-E5, but it could be included on the eventual X-Pro3 successor, as well as the someday X100VII. They’re similar, but not identical—the knob version has eight Film Simulations (plus three custom slots, as well as “C” which is Off), while the wheel version has only six Film Sims. The wheel Film Dial has the ability to save Recipes into FS1/FS2/FS3, and hopefully that functionality comes to the knob version at some point.
Fujifilm X-E5 & 23mm f/2.8 – Great Smoky Mountains NP, TN – Velvia Film (Film Dial Recipe)
Whether we’re talking about the knob or wheel Film Dial, very simply it could be made much better. Perhaps this is something Fujifilm will consider for X-Trans VI, which will likely debut next year. The Film Dial should have the ability to save Film Simulation Recipes for each Film Simulation, and not just FS1/FS2/FS3. Undoubtedly, it can be done. It could even be done retroactively for the X-T50, X-M5, X-E5, and X-T30 III via a firmware update, probably somewhat easily.
For the most ideal setup, though, I would take it a step further. Each Film Simulation should have the ability to store up to three Recipes. You could program three different Velvia Recipes into the Velvia slot, for example. To select which one of the three you want would be via a switch, maybe around the knob (for the knob version) or on the back of the camera (for the wheel version). It would have Recipe 1, 2, 3, Off as the options. Recipe Off would simply mean that the Film Dial would function as it does now, where it changes the Film Simulation and nothing else. Whatever JPEG parameters are programmed into the IQ Menu set is what it would default to, aside from (of course) the Film Simulation. Recipe 1, 2, 3 would be which of the three Recipes you want to use. If a Recipe hasn’t been programmed into that slot, the camera would prompt you to add one. These Recipes should have the ability of a custom name, so you can remember which is which.
FS1/FS2/FS3 would no longer need to take up three positions on the Film Dial; instead, you’d have FS-C, and the Recipe 1, 2, 3 switch would determine which FS1/FS2/FS3 you have selected (Recipe Off with FS-C selected would default to whichever Film Simulation you have set it to be within the camera’s menu). Also, the C position would no longer be necessary, opening up three Film Dial positions for Film Simulations that were previously left out. For the knob version, that might be PRO Neg (selecting either Hi or Std from within the menu), Eterna Bleach Bypass, and Monochrome; for the wheel version, it would likely be PRO Neg (again, selecting either Hi or Std from within the menu), Classic Negative, and Nostalgic Neg..
Fujifilm X-E5 & 23mm f/2.8 – Great Smoky Mountains NP, TN – Kodak Pro 400
Since this setup would allow users to program up to 30 Recipes on the wheel Film Dial, and up to 36 Recipes on the knob Film Dial, Custom Settings presets (C1-C7 on most cameras, C1-C6 on some, and C1-C4 on others) would no longer be necessary for Recipes. In other words, Fujifilm should not include the IQ Menu options within Custom Settings presets. You’d still have C1-C7, for example, but it would be focus settings and sound settings and things like that, and not Recipe settings. This would solve an issue that a lot of people have vocalized about how Custom Presets currently work, while also greatly increasing the number of Recipes that can be programmed into the camera at any one time. It’s a big win-win.
There are a few other things that Fujifilm should do. First, when it comes to Acros and Monochrome, there needs to be a way to switch between the +Ye, +R, and +G filter options quickly and easily when using the Film Dial. Maybe a customizable Fn button? Second, the camera should come factory-default with Recipes programmed into the Recipe 1 position for all of the Film Simulations (except, perhaps, for FS1). It could be Recipes that Fujifilm themselves have created, or they could tap into the community for this (I’d be happy to help). Lastly, there should be a way to transfer Recipes directly from your phone to the camera (again, I’d be happy to help).
That’s how I believe the Film Dial should most ideally be implemented. It would greatly increase the number of potential Recipes available in-camera, and it would solve a menu problem that many have complained about. Not everyone will love it (particularly the anti-Film Sim, RAW-only, JPEG-never types), but I’m confident that most people will appreciate it, and it would certainly be a major selling point for whichever cameras have the Film Dial.
Fujifilm’s Film Dial is probably the third most controversial design decision from the brand. First is the entirety of the X half camera, which has a vertically orientated sensor and frame advance lever. Second is the backwards-mounted rear LCD on the X-Pro3. Unlike the other controversies, the Film Dial is not just found on one model, but three (soon to be four) with certainly more to come in the future. With these contentious features, it’s understandable that people have mixed reactions.
Some people love the Film Dial. Some people could take-it-or-leave-it and its inclusion or exclusion is unimportant. Some people don’t mind it, but would prefer a different dial instead. And some people just loathe it.
Fujifilm had sent me an X-T50 to try out prior to its announcement. I didn’t know what the Film Dial was—it looked cool, but how do you use it? Initially, I didn’t really like it. I shoot with Film Simulation Recipes, and most Recipes work well with one specific Film Simulation and not nearly as well with others. Since the Film Dial (except on the X-E5… we’ll get to that later) only changes the Film Simulation and nothing else, it seemed like a useless feature to my photography. But then I had an epiphany: what if there was a “universal” Recipeor two, which was specifically designed for use with any and all Film Simulations? The Film Dial would become an important tool for maximizing in-camera picture aesthetics. So I went from disliking it to loving it rather quickly.
I think some of the criticisms are valid. Is a Film Dial more useful than a Drive Dial or ISO Dial? Fujifilm has never replaced an ISO Dial with a Film Dial, and I hope they never do. Complaining that a Film Dial was implemented instead of an ISO Dial is a little silly since the camera lines in question never had an ISO Dial in the first place. Still, of the two potential knobs, many people would prefer ISO over Film Simulation, and perhaps that is something Fujifilm should take into consideration. Fujifilm has replaced the Drive Dial with the Film Dial, and, for those who commonly use the Drive Dial, I can see how that might be annoying. Instead of a knob on top, Drive is now a button like on the X-E, X100, and X-Pro series. Most ideal might be to use a dual knob like the ISO/Drive dial on the X-T series (except Film Simulations instead of ISO), but Fujifilm hasn’t tried that yet—who knows, they might at some point. I don’t think this is a big deal for most people, but it is understandable. There was a similar sentiment when the four-way D-Pad was removed on most models, and it turned out that the majority acclimated without much heartache. My guess is that the lack of a Drive Knob on certain models will prove to be rather trivial in the long run.
The majority of complaints are from the loathers. They really hate the Film Dial and don’t even want to see it when they look at their camera. It bothers them deeply. Some even claim that they’ll leave the brand over its inclusion. It’s like kryptonite or something. I find this very, very strange. It’s weird. The main issue seems to be that the Film Dial is something they’d never, ever use. They dislike Film Simulations so much that they don’t want anyone to even think that they might (gasp!) use one. Of course the irony is that, outside of some drastic measures, they’re using one: Provia. That’s how their camera sees the world, and where their RAW edits begin. Yes, they can manipulate the files any which way and make any number of unique adjustments, but you have to admit that using Provia has at least a small influence over the final edited photo. Almost all of the Film Simulation haters are using a Film Simulation if they shoot a Fujifilm camera, but they’re either ignorant to that fact or they’re fully aware and are just being dishonest.
For (nearly) the last 15 years, many people have been buying and using Fujifilm cameras without digging into the menus, and as such never ventured beyond the Provia/STD Film Simulation. I’ve had a number of people tell me this. They’ve owned many Fujifilm cameras over the years, and never bothered to change the various IQ Menu items like Film Simulation, Dynamic Range, Color, etc., etc., until recently. When people say that they don’t use Film Simulations, what they often mean is that they’ve never tried anything other than Provia. They don’t know what they’re missing, and perhaps they don’t realize that it can be beneficial to their photography.
For example, a strictly RAW photographer might dismiss Film Simulations (and only use Provia), but not realize that a different Film Simulation might help them to better pre-visualize the shot. Perhaps a different Film Simulation is a closer aesthetic match to their style, and seeing the scene in those colors might help them, and maybe even improve their photography. I know of several photographers—some fairly well known—that use Recipes for this purpose. They’re not JPEG photographers—they RAW edit, and a couple even sell Lightroom presets—but the Recipes help them to visualize the finished photo while in the field, which helps them produce better pictures. Those who dismiss Film Simulations forfeit this great tool.
There’s no right or wrong way to do photography. There’s no right or wrong way to use Film Simulations or Recipes (I’m surprised sometimes how people use Recipes, occasionally in very unexpected ways). Do what works best for you, whatever that is. If you only ever want to use Provia and factory-default IQ settings, that’s cool. I just don’t understand the disdain that some have for the other Film Sims, and (more importantly) for those who appreciate them. There shouldn’t be such hate. There are some buttons that I never use on some of my cameras, and I don’t look at those buttons with disgust or think less than of people who do use them—it would be ridiculous of me to do so. How silly and strange would that be! Yet there are people who do just that when it comes to the Film Dial, and are very open about it, plastering it across the internet.
A long-time Fujifilm photographer told me recently that he never bothered with the various Film Simulations because he shoots RAW and didn’t see the point in trying them. Then he purchased a Fujifilm X-T50. Seeing the Film Dial on the top of the camera made him curious, so he began to try the different Film Sims, and he realized that he likes some more than Provia, especially Classic Negative. Eventually this led him to find Film Simulation Recipes, and he begun shooting JPEGs for the first time. He told me that none of this would have happened if the camera had a Drive Dial instead of a Film Dial. That’s why Fujifilm is putting one of their greatest assets—their amazing in-camera profiles—right on top of their cameras for all to see, and super convenient to use. It was such a great move by the brand.
The Film Dial isn’t perfect, though. First, the X-T50 and X-M5 (along with the upcoming X-T30 III) should have the ability to save Recipes into FS1, FS2, and FS3, just like the Fujifilm X-E5. I really hope Fujifilm does that. Second, why can’t all of the Film Simulations on the Film Dial have the ability to save Recipes? I should be able to program a Provia Recipe, a Velvia Recipe, an Astia Recipe, a Classic Chrome Recipe, etc., etc., into the various slots on the dial. That would be strongly welcomed by a large portion of Fujifilm’s customers. Third, Classic Negative was inexplicably left off the X-E5 Film Dial; I know that not every Film Simulation can make the cut, but Classic Negative should have been included. There’s room for improvement, and I think Fujifilm is working towards making it better.
Personally, I like the Film Dial and appreciate seeing it on more and more cameras. It can be quite useful, especially when paired with a “universal” Recipe. And it will only improve with time. Those who complain about the Film Dial, there’s validity to some of the criticisms and Fujifilm should ponder those; however, some criticisms are just plain silly. Those who say that it’s dumb or garbage or makes them feel sick or want to change brands—I just don’t get it. Nobody said that you have to use the Film Dial (simply keep it set to C), or even that you have to buy a camera with a Film Dial. Nobody is forcing you to do it. And the world doesn’t revolve around you, anyway. People use cameras in all sorts of ways, and all of those ways are valid. Fujifilm has no obligation to make a camera for your preferences and your preferences alone. To think otherwise is strange and narcissistic. The Film Dial is not kryptonite, and you’re not Superman. It can be a useful tool if you take a moment to figure out how to best utilize it for your photographic circumstances—even if you’re a strictly RAW shooter who dislikes Film Simulations, it can be used to your advantage. For the JPEG photographer, it adds significant straight-out-of-camera aesthetic versatility. In other words, the Film Dial is awesome! I think it’s quite smart for Fujifilm to prominently place it on particular cameras, like the X-T50, X-M5, and X-E5.
The sun is beginning to set on Fujifilm’s fifth-generation of X-series cameras. Soon, dawn will break on X-Trans VI. This is a much-too-early speculation on what that might look like. In other words, take all of this with a massive grain of salt, because these are merely guesses. I don’t have any inside information. Many of my prior guesses were completely wrong, but a few were spot on—I anticipate that many of these will prove to be incorrect, too, but that some will turn out to be right.
I don’t know with certainty that the upcoming Fujifilm X-T30 III will be the final fifth-generation camera. The X-T30 II was the last fourth-generation model. The X-E series has often marked the end of a generation by being the second-to-last model. So with the recent release of the Fujifilm X-E5, and the upcoming announcement of the X-T30 III, I think it’s a pretty safe bet that the fifth-generation is coming to a close, and that the sixth-generation is right around the corner.
To start with, let’s talk about a potential timeline. I think the first sixth-generation camera will be the X-Pro5 (maybe they’ll call it X-Pro4), and it will be announced in January or February, and ship in February or March. After that will be the X-H3 and X-H3s, which will come in late-spring and/or summer. I’m going to go way out on a limb, and say that an X80 (followup to the X70) will come in fall of 2026. If this all happens, next year will be a busy year for the X-series.
In 2027, I see the X-T6 arriving in late-winter or early-spring. The X-S30 will likely follow in the summer or fall. I suspect there will be a GFX release or two, but that’s it for the X-series for that year. In 2028, I anticipate the X100VII in late-winter or early-spring, followed by the X-T60 in late-spring or early-summer, and the X-M5 in the fall. 2029 will wind down the sixth-generation, with an X-HF2 (not X-Trans, but technically X-series) early in the year and an X-E6 later in the year. There will not be a followup to the X-T30 III. It’s possible that the seventh-generation of X-Trans kicks off towards the end of 2029, possibly with an Eterna 28 (APS-C version of the GFX Eterna 55) cinema camera.
A lot will look the same between X-Trans V and X-Trans VI, as it will be mainly under-the-hood changes. I don’t anticipate any major resolution bump with X-Trans VI; I think it will be more about speed and efficiency. Will Fujifilm continue to use the same sensors? They might. I can see a partially stacked 40mp sensor in the X-Pro3, X-H2, X-T6, and maybe X100VII. I can see them using the 40mp X-Trans V sensor (but paired with a new processor) in the X-T60, X-E6, and maybe X100VII (the X100VII could go either way between non-stacked and partially stacked). I don’t think that the 26mp X-Trans IV sensor will be used any longer, but a new sensor (maybe 30mp) will be added to the lineup, found in the X80, X-S30, and X-M5. The X-H3s might continue to use the same 26mp stacked X-Trans V sensor, or it might have a new-and-improved stacked sensor.
My guess is that the X-Pro5 will have an aspect ratio dial like the GFX100RF, and will be the first X-series model with the XPan aspect ratio. It will probably have the classic EVF feature like the X-E5. It might even have a Film Dial like the X-E5. I really don’t know what else will be different, but I suspect there will be a few surprises. The X-H3s will be a lot like the X-H2s, but with some speed/efficiency improvements plus the ability to use video LUTs like the Eterna 55. The X-H3 will be a lot like the X-H2, but mainly just speed/efficiency improvements. The X80—if Fujifilm decides to make it—will be a massive success, and will serve as Fujifilm’s closest competitor to the Ricoh GR IV.
The X-T6 will be a lot like the X-T5, with mainly just speed and efficiency upgrades. The X-S30 will have a new sensor, I believe, that will boost the resolution a smidge; overall, I don’t think it will be much different than the X-S20. The X100VII will have a new-and-improved lens that can better take full advantage of the 40mp sensor, but otherwise will be quite similar to the X100VII. It could have an X-E5-like Film Dial, too. The X-T60 won’t be a whole lot different than the X-T50, just small improvements. The X-M6 will likely have a new sensor, but otherwise won’t be much different than the X-M5. The X-HF2 will have a hotshoe and/or better flash, but will still be pretty much the same. The X-E6, which might just be called the X-E5s, will just see some small improvements, like Classic Negative added to the Film Dial, and other minor refreshes.
There will probably be two new Film Simulations added: one beginning with the X-Pro5, and another with the X100VII. Some potential Film Sim ideas are Fujicolor PRO 400H emulation that turns pastel with overexposure, Natura (modeled after Natura 1600), Fortia (more vibrant than Velvia), Cross Process (modeled after Velvia 50 that’s been cross processed), Instax, and a more contrasty B&W option. I think they will add a couple more JPEG options, too. I’d like to see Halation Effect (with the options of Off, Weak, Strong) and Light Leak (Off, Intermittent, On), which Fujifilm has already invented, they just need to incorporate. Faded black and vignetting are a couple other options worth considering. They should revamp the Advanced Filters, adding Retro and Expired Film from the X half, and allow Dynamic Range, White Balance, and Grain to be selected. There’s a lot that Fujifilm could do, but a suspect it will be limited to a couple of new Film Simulations, a couple of new JPEG options, and maybe some long-overdue improvements to the Advanced Filters.
Essentially, I think the sixth-generation will look a lot like the fifth, with mostly under-the-hood improvements. If Fujifilm has ever considered releasing an X80, they should probably do so sooner than later; if they do, that camera will be the X-Trans VI headliner. The X-Pro5 will probably be the most different compared to its predecessor. My guess is that there will not be an X-T30 IV or X-T40—the X-T30 III will be the final iteration of that camera; however, they will continue to sell it well into the sixth-generation lifecycle, quietly discontinuing it 2028. Of course, all of this is speculation. Fujifilm could certainly surprise us with all sorts of things—they’ve done it before, and they’ll do it again. A lot seems pretty predictable, though; however, we should expect the unexpected, at least here and there.
Backlit Lupine – Sun City, AZ – Fujifilm X-T5 – Thommy’s Ektachrome
I get feedback sometimes that many of the Fuji X Weekly Film Simulation Recipes produce too strong of a warm, yellowish cast. Often this feedback is specific to artificial light photography. The majority of Recipes, like film, are intended for sunny daylight conditions, and when you use them in a different light scenario the results can be a mixed bag. My best suggestion is to—again, like film—use the most appropriate Recipe for the specific situation. Other feedback I get is that some Recipes are too warm even in the most ideal daylight situations. Of course, this is a personal taste situation—what one person might love, another might hate. We each have our own preferences and styles. With over 400 Recipes on this website and the Fuji X Weekly App, there’s bound to be at least one that fits your photography well.
This article is for those who are in search of cooler Recipes—ones that are less warm, and with a blueish cast and not yellow. Of course, it should be noted that Recipes which utilize Auto White Balance are much less prone to being too warm. That might be your best option, and if you are a Fuji X Weekly App Patron, you can find those really easily using the Filter by White Balance feature in the App. For this article, I wasn’t specifically considering AWB, and only one in this list uses it. These Recipes are specifically intended to produce (to varying degrees) a cool, blueish cast in sunny daylight conditions—some much more so than others. If you are trying to avoid yellowish results, the 15 Film Simulation Recipes below are ones to consider. This is not an exhaustive list, and there are many others worth trying that are not mentioned here.
Illuminated Houses – Farmington, UT – Fujifilm X-T30 – Jeff Davenport Night
The Jeff Davenport Night Recipe, as the name implies, is for nighttime photography. When used during daylight, you get a strong blue cast. For sunny situations, I find that it works best during overly warm golden hour light, and especially when you want to convey that it’s literally cold outside. It should come as no surprise that it works especially well in artificial light conditions. This Recipe is compatible with the Fujifilm X-T3, X-T30, and GFX100.
Lake Grass – Buckeye, AZ – Fujifilm X100VI – CineStill 800T
Like the film of the same name, this Recipe is intended for nighttime and artificial light scenarios. It’s not nearly as blue during sunny daylight as Jeff Davenport Night, but it still has a strong cool cast. This Recipe is for the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF; there’s also a version for the X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, and GFX100S, a version for X-Trans III cameras plus the X-T3 and X-T30, and a version for X-Trans II.
Toyota – Buckeye, AZ – Fujifilm GFX100S II – Kodacolor VR 200
This Recipe, which was made by Thomas Schwab, resembles a version of Kodacolor film from the early 1980’s, especially prints that have begun to color-fade. This one still has a touch of warmth, but is cooler than a lot of daylight-balanced Recipes. Kodacolor VR 200 is for the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF; for the X-T4, X-S10, X-E4, X-T30 II, and GFX100S, set Color Chrome FX Blue to Strong.
Old Man at the Vista – Tucson, AZ – Fujifilm X-T5 – Thommy’s Ektachrome
Another Recipe created by Thomas Schwab, this one is similar to Kodak Ektachrome images printed in classic magazines like National Geographic and Arizona Highways. It’s intended for daylight photography, and still has a touch of warmth, but has a cooler rendering than a lot of other Recipes. This is compatible with the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF.
This Recipe also mimics Kodak Ektachrome film, but more specifically the new version of the emulsion. It was made with a little assistance from Dan Allen, and is currently an App Patron Early-Access Recipe (only available to FXW App subscribers, currently). Like the two previous Recipes, this one is also intended for sunny daylight situations, and it, too, has a touch of warmth, but less so than a lot of the other options. This Recipe is for the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF.
Elephant Seal Along Rocky Shore – San Simeon, CA – Fujifilm X-E4 – Chrome Slide
This is yet another Recipe that’s intended for sunny daylight situations, but will often produce a cool cast, with a bit of an Ektachrome-like quality to it. This Recipe is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, and GFX100S; for the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF, set Color Chrome FX Blue to Weak.
Bougainvillea Blue – Buckeye, AZ – Fujifilm X-E4 – Kodachrome Blue
The Kodachrome Blue Recipe mimics improperly scanned Kodachrome slides. Due to its unique design, Kodachrome is the most difficult slide film to accurately scan, and therefor there are a lot of examples of the film with a blue cast, including some of my own that the lab did a poor job scanning. This Recipe is daylight-balanced, but often produces a somewhat cool cast. The Kodachrome Blue Recipe is compatible with the Fujifilm X-T4, X-S10, X-E4, X-T30 II, and GFX100S; for the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF, set Color Chrome FX Blue to Weak.
Yellow Beanie – New York City, NY – Fujifilm X100VI – Fujicolor Blue
This Recipe is also intended for sunny daylight, but has a slight blue cast caused simply from removing some red that’s naturally in the Classic Negative film simulation. Fujicolor Blue is currently an App Patron Early-Access Recipe (only available to FXW App subscribers, currently). It’s compatible with the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF.
A Sub Above the Dumpster – Pasadena, CA – Fujifilm X-E4 – Nostalgic Print
This Recipe mimics the aesthetic of prints from one-hour labs on Crystal Archive paper (at least one specific print). Like a lot of the Recipes in this list, it’s intended for sunny daylight photography, and can have a touch of warmth, but overall the photos have a slight cool cast. This Recipe is for the Fujifilm X-T4, X-S10, X-E4, X-T30 II, GFX100S, X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF.
Winter Reeds – Farmington, UT – Fujifilm X-T30 – Classic Slide
Kind of roughly a Kodak Elite Chrome aesthetic, this is yet another daylight-balanced Recipe with a slightly cool cast. Classic Slide is compatible with the Fujifilm X-Pro2, X100F, X-T2, X-T20, X-E3, X-H1, X-T3, X-T30, and GFX100.
Clearing Clouds Over Winter Ridge– Farmington, UT – Fujifilm X-Pro3 – Standard Provia
A slightly cooler, more contrasty, and more vibrant rendering than the Provia film simulation with everything set to factory defaults. This Recipe is for the Fujifilm X-T4, X-S10, X-E4, X-T30 II, GFX100S, X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF.
Mushos for 5$ – Buckeye, AZ – Fujifilm X-E4 – Fujichrome Provia 100F
This Recipe mimics a popular Fujichrome slide film, and as such has a cooler cast than many that replicate Kodak emulsions. It’s compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, and GFX100S; for the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF, set Color Chrome FX Blue to Weak.
Park City Downtown – Park City, UT – Fujifilm X-E4 – AgfaChrome RS 100
More of a European color aesthetic, this Recipe is daylight-balanced, but isn’t nearly as warm as a lot of the other options. This is for the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, and GFX100S; for the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF, set Color Chrome FX Blue to Weak.
Please Don’t – Salt Lake City, UT – Fujifilm X-Pro3 – Agfa Ultra 100
This Recipe is not too dissimilar from the one above. It’s for the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, and GFX100S; for the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF, set Color Chrome FX Blue to Weak.
Refine – North Salt Lake, UT – Fujifilm X-T30 – Urban Vintage Chrome
This Recipe was also created by Thomas Schwab, and it has kind of a bleach bypass aesthetic. It has a tinge of warmth, but overall is not nearly as yellow as a lot of other Recipes, and the colors quite muted. This one is like a more contrasty version of the Nostalgic Print Recipe. It’s compatible with the Fujifilm X-Pro2, X100F, X-T2, X-T20, X-E3, X-H1, X-T3, X-T30, and GFX100.
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A Kodak Moment – Antelope Island SP, UT – Fujifilm X-T20
Three months ago, the New York Times published a story entitled The Kodak Brand Gets a Second Life. In South Korea, there are over 120 Kodak Apparel stores that sell shirts, hats, sunglasses, handbags, luggage, and more with the Kodak logo on them. Kodak Apparel isn’t a part of Eastman Kodak, but a different company called Highlight Brands that simply licenses the name from Kodak. While Kodak Apparel is currently huge in South Korea, it hasn’t quite caught on worldwide… yet. But that’s about to change.
Just today I saw that Reebok collaborated with Kodak, and has released some cool shoes and clothes with vintage Kodak branding. “The resurgence of film is here as Gen Z continues to lean into the ’90s for inspiration and trends,” Carmen Hardaway, director of Reebok Classics and Energy collaborations, told PetaPixel. “Kodak is being rediscovered by a whole new generation inspired by the endless possibilities of film and print colliding with today’s technologies.”
The New York Times suggests that this is a part of an international trend being dubbed newtro, a combination of new and retro. Newtro describes something that is brand-new but seems to be or nods to something that’s vintage. Many Fujifilm cameras, like the X-E5, X100VI, X-T5, X-T50, X-M5, and X half, fall into this category. The X-Pro would, too, if they were currently making one.
What’s old is cool again. While antiques and vintage things are “in” right now, so are things that just seem to be retro or pay homage to that. It shouldn’t be surprising that Kodak clothes are extremely trendy in South Korea. What is surprising is that companies like Kodak and especially Fujifilm aren’t doing more to capitalize on the newtro movement. Yes, Fujifilm is certainly benefiting from it when it comes to camera sales, but they could be doing so much more.
Fujifilm Drip – NYC, NY – Fujifilm X-T50 – Pacific Blues
People want to sport their favorite brands. As my kids would say, they want their fit to be fire. I would wear a Kodak Film shirt, and carry Kodachrome duffle bag. These things need to become available everywhere, and not just in South Korea. The Reebok collaboration is a significant step in that direction. While Fujifilm does have a merch store, it’s pretty small with only a handful of options, and most if it isn’t newtro. Even if they have no interest in becoming an apparel brand, Fujifilm should license out their logo—especially their old emblems and trademarks—for other companies to use. I don’t know if they realize just how big this could be. It’s not just about getting a little extra revenue from apparel, but more about increasing brand recognition and affinity.
Shirts, sweaters, jackets, and things like that are obvious options that both Kodak and Fujifilm should sell (or license to a third-party). Camera accessories—straps, bags, etc.—should not be overlooked. For Kodak, why not license to a camera brand? There could be a Leica M11 Kodak collectors edition, with some red and yellow trim, for example. Or—shockingly—a Kodak edition of a Fujifilm camera, something like my faux Kodak Retina.
The benefit of Fujifilm putting their name and logos on clothes, hats, bags, etc., (which would likely be licensed products sold via a third party, like Kodak is doing with Highlight Brands and Reebok) is that the brand is carried into everyday life. Fujifilm has already cultivated a lifestyle around creativity, nostalgia, and artistry, and apparel makes that identity wearable. Every hoodie, hat, or jacket becomes a walking billboard. It can spark conversations like, “Oh, you shoot Fujifilm too?” That organic visibility extends recognition far beyond traditional advertising. And it can serve as an entry point into the brand, reaching people who may later buy a Fujifilm camera and not just a shirt.
Fujifilm’s recommitment to retro-styled bodies comes at an opportune time. With the historic demand of the X100VI, which has already outsold any previous X100-series camera, Fujifilm is working overtime on production—this camera has been a massive hit. Just this year Fujifilm released the GFX100RF, X half, and X-E5. Newtro doesn’t just apply to physical products, though. Fujifilm’s Film Simulations (and, of course, Film Simulation Recipes) are a big part of the appeal. Think of them as newtro aesthetics. They’re not quite film but a big nod to the retro look that film has produced for a very long time. Fujifilm has a massive leg-up on this compared to their competition, and it is an under appreciated aspect of their success. I think, though, that we’re seeing just the tip of the iceberg, and there’s a huge untapped potential. Kodak and Fujifilm both have big opportunities, and they could learn from each other how to fully capitalize on it.
While at Create With Us in Minneapolis last weekend, I struck up a conversation with a photographer who had a Fujifilm X half (also called X-HF1). My wife, Amanda, was there, and she made an interesting point about the camera. “With the X half, you get pictures that no other camera can make,” she said, “and you get them instantly.”
Now, technically speaking, you can achieve similar aesthetics without the Fujifilm X-HF1, whether it’s a 110 film camera, a half-frame film camera, or editing digital files to resemble X half images. On other X-series models, you can get pretty close because you have access to the various Film Simulations and some of the Filters (an Instax Evo is necessary for the Filters you don’t have—I hope Fujifilm brings these to the other X-series cameras in the future). The larger point is: these looks are easily and instantaneously achieved on the X half, and they’re at least a little more difficult to get—if not much more difficult—with other gear.
Now you might not like the look of X half images. While the colors are often quite similar to other X-series models, there’s an obvious quality difference. Photos from the X-HF1 are more lofi—more lomography-like—than those from (say) the Fujifilm X-E5. You might consider Fujifilm’s APS-C line to have a 35mm film quality, while the X half is more like 110 film. If you wince at X half pictures, that’s a big sign that you won’t like the camera, and it’s not for you—no single model is for everyone. Personally, I really like the photos.
The problem in my house is that we only have one X half; however, both my wife and I like it and use it. All four of my kids have been eyeing it, too. I think we’re going to need at least one more. It’s such a fun camera, especially for vacation snapshots and things like that. It won’t replace our other models, like the X-T5 or X-S20 (what Amanda is using now), and it certainly won’t replace my X100VI, but it is a pocketable tagalong that’s quite enjoyable and gives instant results that you just can’t get (at least not as easily) with anything else.
Above: Various pictures captured with the Fujifilm X half
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The Early Photographers – South Weber, UT – Fujifilm X-T30 – Vintage Kodachrome
After publishing yesterday’s article Camera Makers are Joining the Recipe Fun, I took a moment to consider what was the most pivotal Film Simulation Recipe that ultimately kicked off the Recipe revolution. What one Recipe deserves the most credit? There are definitely a few worth considering, but one stands out to me as the most crucial, and without it, we might not be talking about Recipes today.
I considered the original Classic Chrome Recipe from August 2017 (it was the sixth article published on Fuji X Weekly). It actually predates this website (it was originally published on a now long-defunct blog), so it’s been around a long time. It was one of the very first Recipes for Fujifilm cameras—heck, maybe the first, I’m not certain (and probably depending on how strictly you define it). Right now it’s the sixth most popular Recipe of all time (based on page-view statistics). I think it would be easy to pick the original Classic Chrome Recipe as the most important; while it is clearly a crucial Recipe, I don’t think it is quite the most pivotal.
Next up I considered the X-T3/X-T30 version of Kodachrome 64. There was a big leap in growth for this website in 2020, unlike anything before or since. While each year has seen some growth, the jump from 860,000 page-views in 2019 to 3.7 million in 2020 was incredibly massive—over 400% increase! (For those wondering, we’ve had over 10 million page-views for the last two years in a row, and we’re on track to top it again this year). By far, the most popular Recipe of 2020 was Kodachrome 64, so it obviously played a big role in the popularity of Recipes in-general.
Another one that certainly deserves some credit is the followup version of Kodachrome 64 for X-Trans IV (except the X-T3/X-T30), which is the all-time number one most popular Recipe on Fuji X Weekly, viewed well over 600,000 times on this website. This has been the long-time most popular Fuji X Weekly Recipe, until very recently when it was overtaken in 2025 by Reggie’s Portra.
Above: Vintage Kodachrome Recipe
There are a number of Recipes that played a critical role in perpetuating straight-out-of-camera photography, but one stands out to me as the most important: Vintage Kodachrome. Published on October 21, 2017, it’s one of the oldest Fuji X Weekly Recipes—the fifth oldest, in fact. It’s a long-time fan favorite—the fourth most-viewed of all time—and obviously its popularity was particularly paramount in the growth of this website and Recipes in-general. What makes it the most crucial, though, are two things: it was the first Recipe that required more radical adjustments (such as maximum Highlight and minimum Shadow combined with underexposure), and the first to mimic a specific film stock from a specific era. This particular Recipe opened my eyes to what might be possible on Fujifilm cameras. I realized that I could do so much more; a lot of future Recipes would never have happened without this one first. So, yes, it’s one of the all-time most popular, but it also set the stage for future Recipes like Kodachrome 64 and many, many others. I can’t think of another Recipe that was more important than this one.
If not for Vintage Kodachrome, Fujifilm might not have given the X-E5 the ability to save three Film Simulation Recipes on the Film Dial (including using the word “Recipe” within the camera’s menu). There likely wouldn’t be a Fuji X Weekly App. I probably would never have made Ricoh Recipes. Nikon might not have Imaging Recipes. OM Systems likely would not have just announced Creative Recipes. Vintage Kodachrome was a critical step in the advancement of Fujifilm Recipes, and without it things probably would look just a little different today—not just within Fujifilm, but across the photo world.
I was quite surprised this morning to see OM Systems (formally Olympus) using the Recipe concept and name for their OM-3 cameras. Instead of calling it Film Simulation Recipes, they named it Creative Recipes. Last year, Nikon also began using the Recipe concept, with the title Imaging Recipes. There are other similar concepts, like Panasonic LUTs, that have recently emerged.
When I published my firsttwo Film Simulation Recipes—which were originally shared on my previous (and now long-defunct) website before they were posted to Fuji X Weekly when I began this blog in 2017—the whole Recipe concept was brand-new. The straight-out-of-camera JPEG community was much, much smaller back then, and often this community existed in the shadows because not shooting RAW was heavily stigmatized. Some photographers were shooting JPEGs, and a few shared their settings, which typically more simply looked like: Classic Chrome, Color +1, Highlight -1, Sharpness -1. In 2017, almost nobody had heard the term Film Simulation Recipe, and for those who had, most—if not all—were visitors to this website.
The word “recipe” has existed within the photo community for a long time now—I certainly didn’t invent it. Film photographers would create and share darkroom recipes, which were the specific chemicals and times to achieve certain results with specific films. I learned fairly recently that both Capture One and VSCO call their custom-built presets “recipes” and have done so for many years. Five or six years ago someone asked me why I used the word Recipe for JPEG camera settings, and my answer was: they remind me of cookbook recipes. When my wife learned that I was calling them Recipes, she told me it was cringe, and I probably should have thought of a different word.
But here we are eight years later, and Recipe has solidified itself within the lexicon. Fujifilm is officially using it, as are Nikon and OM Systems. It’s becoming increasingly common terminology across the photography continuum. Perhaps more important than that, the acceptance of straight-out-of-camera JPEG photography as a legitimate path has increased by leaps and bounds. There are still some gatekeepers who insist that all serious photographers must shoot RAW, and JPEG photography is only for amateurs, but that ideology has significantly decreased over the last few years. There’s no right or wrong way to do photography—do what works best for you, whatever that is.
I’ve published over 400 Film Simulation Recipes for Fujifilm cameras since 2017. In August 2021, I began publishing Recipes for Ricoh GR cameras. I published some Nikon Z Recipes in 2022. This helped spread the concept across brands, reaching new communities. This whole thing has grown rapidly, and I’ve had a front-row seat to it all. I’m amazed to see how far it’s come, and honored to have played a major role in it.
One difference between Fujifilm and Ricoh Recipes vs. Nikon and OM Systems Recipes is that the former is largely community driven and the latter is largely corporately driven. In other words, what exists for Fujifilm—the whole community—is almost entirely an organic movement, which started with regular customers—people who weren’t well-known—who spread it across the brand by word-of-mouth. It was a bottom-up initiative, and not top-down. Same for Ricoh. It came very naturally from the enthusiasm of the customers. Nikon and OM Systems (and I’ll throw Panasonic into this, too) are attempting to jumpstart the movement from HQ. I don’t blame them for doing so—if I were a camera maker, I’d want to do everything possible to foster such a community for my brand. If it’s not happening organically quickly enough, why not build it yourself? Other camera makers will inevitably join in. By the way, this isn’t my observation; an industry insider pointed it out to me, with the prediction that the corporately-driven communities are less likely to be as strong as the organic communities. Time will tell, I guess. I sincerely wish them all great success, and I truly hope that it does catch on for every brand, and isn’t just a passing fad. I’d like to see this continue to grow and grow and grow across all of photography.
Something that I’d like for Fujifilm to help implement—something that some of these other companies are doing better—is an easier process to add Recipes to the camera. Right now it’s pretty much an all-manual process. You should be able to transfer Recipes directly from your phone to the camera; preferably, you shouldn’t have to manually input them or even connect your camera to a computer. Best case scenario is that it’s done wirelessly right from your phone. I’d love to help Fujifilm create such a process, if they’re willing.
If you are unsure why JPEG Recipes—whether they’re Film Simulation Recipes, Ricoh Recipes, Creative Recipes, or Imaging Recipes—are popular right now, it’s because they’re so transformative. As I’ve said in the past: shoot more, edit less, and let your camera be your darkroom. In other words, Recipes make photography easier, more authentic, and more enjoyable. Film Simulation Recipes changed my life, no hyperbole. I became a more productive photographer while simultaneously improving my home life, while not sacrificing image quality. The journey has been incredible. The community that has sprung from Recipes is nothing short of fantastic—you all are truly the best. The community is the recipe.
Clearing Clouds Over Winter Ridge– Farmington, UT – Fujifilm X-Pro3 – Standard Provia
Someone asked me an intriguing question at Fujifilm’s Create With Us event in Minneapolis this last weekend. “How did Fujifilm come up with their film names,” he wondered, “like Provia, Velvia, and Astia? I know they were slide films, but what do those names mean?” I didn’t have an answer, so I spent some time researching, hoping to find something concrete.
The short answer is that Fujifilm never said what those name mean, or how they originated. The etymology is unknown. If Fujifilm ever did say—perhaps way back in the past—it never made it onto the internet. All we can do now is guess, so let’s do just that.
Beach Chairs – Folly Beach, SC – Fujifilm X-E4 – Velvia Film
Fujifilm had four lines of Fujichrome color reversal (slide) film that were given brand names: Velvia, Provia, Astia, and Sensia. The other slide films that they produced over the years weren’t given fancy names, only more utilitarian designations like 100D or 64T. I always thought that the “Pro” in Provia was short for “Professional” and “via” meant route. In this assumption, Provia simply means the path that professional photographers should take, which seems logical. After digging deeper, I don’t think that’s correct (although, since Fujifilm never said, it certainly could be—who knows?).
The commonality between the four slide film names is the “ia” ending, which (very likely) is Latin. In Latin, ia can be a feminine or abstract noun ending. It can be used to say the quality or condition of something, related to whatever is in front of the ia. So we have Velv -ia, Prov -ia, Ast -ia, and Sens -ia. Whatever the beginning is, the ia ending indicates that the film is the quality or condition of that.
Coastal Mist – Elk, CA – Fujifilm X-T5 – Velvia Film
Velvia has the most concrete information on the etymology. While Fujifilm never stated it, there are numerous sources (perhaps we’re in urban legend territory) that claim “Velv” is short for Velvet. The name Velvia is implying that the film has a velvety quality, which is to say that it is “richly colored with lush blacks.” The name seems to match the film fairly well.
Provia is another story. I couldn’t find anything to suggest what exactly “Prov” could be short for. Some possible options are Providential, Proven, Proverbial, Provide or Provision. None of those seem like strong candidates. I suppose Provia could mean the condition of being proven, although that would be an odd description for a brand-new film (when it was first released). Perhaps the purchase of a roll of Provia was a providential choice by the photographer—that’s definitely plausible. I think my original idea for the name meaning (Pro -via not Prov -ia) is also a possibility, but it doesn’t fit the pattern. This one is quite murky.
Astia has three likely options: Aesthetic, Astute, or Astral. The first one—Aesthetic—seems like the obvious answer; perhaps the original working name for the film was actually Aestia, but later shortened to Astia for marketing purposes. Astia would mean that the quality of the film is its aesthetic. Astute could imply a nuanced, perceptive rendering. Astral could be a reference to the sun. Those last two seem weaker than the first, but it could be anything, so who knows?
For Sensia, it obviously has something to do with Sense: Sensible, Sensitive, Sensory, Sensation, etc.. Since Sensia was a consumer film, Sensible seems like a solid answer—Sensia is a sensible choice, after all—but it could be any of them. To sense is to feel (emotion), so Sense could certainly be the word that the film was named after.
I said there were four Fujichrome films, but actually there was a fifth: Fortia. This was a limited edition emulsion sold only in Japan, and only in the spring. It was more vibrant and bold than Velvia. The “Fort” in Fortia is likely from the Latin word Fortis, which is where we get the English word Fort, and it means strong or brave. That seems to fit the film well: you have to be brave to use it due to its strong colors.
For Velvia and Fortia, I think we have the answer: Velvet and Fortis, respectively. Fujichrome Velvia gives a velvety picture quality; Fujichrome Fortia has strong colors that only the bravest photographers will appreciate. For Provia, Astia, and Sensia, there’s a bit less clarity, as there are a number of potential options. Despite Fujifilm naming their “standard” Film Simulation after Fujichrome Provia, the etymology of Provia is the most murky. Astia is likely a reference to Aesthetic, and Sensia is likely a reference to either Sense or Sensible, but neither is certain. Since Fujifilm has never said, we only have our imaginations, and perhaps that is what they intended for their customers from the beginning—the names mean whatever we want them to.
Me, at Create With Us, During Setup – Minneapolis, MN – Fujifilm X-E5 – 1970’s Summer
I returned home late last night from Fujifilm’s Create With Us event in Minneapolis, Minnesota. This was their third annual Create With Us—I was fortunate to be at the last one, too, which was in Austin, Texas. It was a very quick trip: I flew out Saturday evening, and the returning flight landed just before midnight on Sunday. It was a whirlwind, but I’m so glad that I got to be a part of it.
Fujifilm assigned me three jobs: assist with a Fujifilm X-E5 and X-T50 touch-and-try station, cohost a Tech Talk with Christopher Gilbert, and lead a photowalk. The topic of the Tech Talk was straight-out-of-camera photography. Christopher and I discussed the various Film Simulations, how to set up a Film Simulation Recipe in the camera, and how to reprocess a RAW file using the in-camera RAW converter. It was a fun experience, and hopefully educational for those in the audience (the next Tech Talk is on Wednesday, October 1st).
The photowalk was great. It was supposed to be limited to 15 attendees, plus myself and two assistants (someone from Fujifilm, and a local photographer), and two models. We ended up with over 25 people in total (including myself, the two assistants, and the two models). The new Fujifilm North America CEO Ryuichi “Richie” Matoba (forgive me if his official title is not exactly that) also attended. He was the CEO of Fujifilm Australia, but as of a month ago Richie was given the reins of the North America office. It was an incredible honor to have him join the photowalk! I didn’t get a chance to talk much with him, but I would love an opportunity for a longer conversation (I have a lot of feedback and ideas), should he happen to read this.
It was an honor to photograph with and meet in-person all those who attended the photowalk. The two models were great, too. I’m grateful for those who stopped by the touch-and-try booth to say hello. It was a really good event, and I’m sure all who attended can attest to that. If there’s ever a Create With Us event near you in the future, be sure to attend—it’s well worth whatever effort it takes to get there.
The only camera I brought with me was my Fujifilm X-E5. This is such a great travel camera, and for a quick there-and-back adventure, I really didn’t need anything else. I especially appreciate that you can program up to 11 Recipes into the X-E5. I attached the new Fujinon 23mm f/2.8 pancake lens to the camera, and also brought along a Pentax-110 50mm f/2.8 lens and adapter for a second option. One spare battery, which I didn’t even use, rounded out the kit.
Probably the most interesting thing that I learned at Create With Us was from a somewhat off-handed comment from a Fujifilm employee. It would have been really easy to overlook what was said. I don’t think it was intended to be interpreted as an official statement, but I was fascinated by it, so I want to share it with you: “Each sensor generation has its own unique charm. Some people like the Provia rendering of X-Trans I, some people like the Velvia rendering of X-Trans II—each one is different.” I might not have the quote 100% correct, but that’s the gist of it.
The insinuation was (at least as I understood it when it was said) is that the small differences in image rendering between sensor generations, and even the much more subtle differences camera-to-camera within the same sensor generation, is intentional and even a feature. It’s kind of like when an emulsion is updated, it looks slightly different than it used to; one person might prefer the “old” version of the film, while another might prefer the updated iteration. For example, when Kodak went from the second to third generation of Kodachome in 1974, some photographers liked the change, and some (like William Eggleston) didn’t. If you preferred the old version of Kodachrome, you were soon out of luck once it sold out. Fujifilm cameras are a different story because you can still buy the old models on the second-hand market. You can find and use the one with the charm that you most prefer. Maybe that’s the X-Pro1. Perhaps it’s the X-T1. It could be the X100F. Possibly it’s the X-E4. Maybe it’s the X-T50. Or some other camera. It’s up to you to find the one that you especially love, and the intention is that you’ll continue making photographs with it for a long time, and not just for a couple of years until the next iteration is released.
The specific hardware and software in the camera plays a role in the image rendering. It would be extraordinarily difficult to 100% match the output of various sensors and processors. You can get very, very close, though; however, 100% exactly matching is not quite possible. That’s certainly a part of it. Maybe you don’t want to perfectly match the output anyway, if it would require ignoring a benefit of the updated technology. It could be that the new technology allows the programmers to better achieve the intended results, which were less possible with the older technology. Perhaps the vision of what those results should be has been tweaked a little over time. All of that is a factor. But that’s not the point that was made: each Fujifilm camera generation has its own unique quality, which was purposefully crafted, and you might especially like the particular charm of one more than the others. Since they’re not all perfectly identical, you get to decide which is your favorite.
My personal favorite is the fourth generation. I think the JPEG output of the X100V, X-T4, and X-E4 (I own those specific models) is special. The fifth generation, which has the advantage of Nostalgic Neg. and Reala Ace, is a very close second-favorite for me. There’s an obvious difference in output between those two generations, most notable (but not limited to) how deeply blue is rendered on some film simulations. Whether you prefer either of those two generations—or a different one entirely—is up to you; I really like the output from the Fujifilm X-Pro2, for example.
We’re all unique. Each of us have our own unique styles. We all have our own tastes. As the saying goes: Different strokes for different folks. The beauty of Fujifilm’s approach is that no X-series camera generation is objectively better than another. Each one might be considered subjectively better, just depending on who you ask, but they each have their own charm. You might even prefer certain aspects of one and certain aspects of another, and use both.
When it comes to other brands, for the most part you really don’t hear people talk about the picture charm of various models. People don’t discuss the image quality magic of (say) the Canon Rebel T7i or debate which Sony A6000 series model has the best picture profile rendering. This seems more exclusive to Fujifilm, and it’s because Fujifilm intended each iteration to have a unique allure, which sparks the discussions and debates, but more importantly it provides an avenue to connect with and really love the gear you use.
Below are the photographs that I captured on the Create With Us photowalk in Minneapolis with my Fujifilm X-E5.
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Buckeye Motor Hotel– Buckeye, AZ – Fujifilm X-E5 – Summer Sun
So far in 2025, I have published 29 Film Simulation Recipes; however, 14 of those were a part of the Universal Negative Recipe set, which if you only counted that as one Recipe (and not 14), that means I’ve published 16. For the purpose of this article I’m counting all 14, so 29 total. Of those, I wanted to share which 10 are my personal favorites and why you might want to try them yourself. The list below are not in any particular order. Let’s dive in!
Mission San Xavier del Bac – Tucson, AZ – Fujifilm X-E5 – Kodak Vericolor VPS
I published the Kodak Vericolor VPS Recipe on July 7th. It uses the Nostalgic Neg. film simulation, and has a retro negative film aesthetic. It’s surprisingly versatile—I’ve had good results in sunny daylight, overcast, indoor, and even at night. This Recipe is compatible with the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF.
99 – San Francisco, CA – Fujifilm X100VI – Kodak Pro 400
This is the second most recent Recipe, published earlier this month on September 5th. It’s an alternative Kodak Portra 400 aesthetic, using the Reala Ace film simulation. Like the first Recipe, this one is surprisingly versatile—I’ve had good results in sunny daylight, overcast, indoor, and even at night. This Recipe is compatible with the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF.
Harkins at Night – Goodyear, AZ – Fujifilm X-E4 – Kodak Portra do Sol
The Kodak Portra do Sol Recipe, which was created by Gilson Teixeira, was published back on April 23rd. It’s a modification of my Bright Kodak Recipe, and uses Classic Chrome film simulation. This is excellent in sunny daylight conditions, and works pretty well in blue hour, as well. It’s intended for the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, and GFX100S.
Summer Joy – Buckeye, AZ – Fujifilm X-E5 – Summer Sun
I published this Summer Sun Recipe, which uses the Reala Ace film simulation, on June 26th. It’s along the lines of Bright Summer, Eterna Summer, Summer of ’59, 1970’s Summer, California Summer, Texas Sun, Kodak Portra 800 v3, and others. Summer Sun works best in sunny daylight conditions, and is compatible with the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF.
Golden CVS – Buckeye, AZ – Fujifilm X-S20 – Provia Summer – Photo by Jonathan Roesch
The Provia Summer Recipe is a Fuji X Weekly App Patron Early-Access Recipe, published way back on January 22nd. Unsurprisingly, it uses the Provia film simulation. Like Summer Sun, it is also along the lines of those same “Summer” Recipes, and it works best in sunny daylight situation (I did have some good luck at night with this). Provia Summer is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100S, GFX100 II, GFX100S II, and GFX100RF.
Mountain Grass & Flowers – Boulder, CO – Fujifilm GFX100S II – Velvia Slide
This is another Fuji X Weekly App Patron Early-Access Recipe, published on May 19th. It has a Fujichrome aesthetic similar to Velvia 100, and works best in sunny daylight, but can be good in some other light situations sometimes. This Recipe, which uses the Velvia film simulation, is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100S, GFX100 II, GFX100S II, and GFX100RF.
Cactus in Early Spring – Buckeye, AZ – Fujifilm X100VI – Retro Negative
This is a Universal Negative Recipe, which was published back on March 28th. It uses the Reala Ace film simulation, and is roughly reminiscent of photo prints from the 1990’s. It’s surprisingly versatile—I’ve had good results in sunny daylight, overcast, indoor, and even at night. This Recipe is compatible with the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF.
Don’t be Shamed – Boulder, CO – Fujifilm X100VI – Fujicolor Superia 200
Another Universal Negative Recipe that was published back on March 28th, the Fujicolor Superia 200 Recipe, which uses the Classic Negative film simulation, is reminiscent of the film of the same name. Like Retro Negative, this is surprisingly versatile—I’ve had good results in sunny daylight, overcast, indoor, and even at night. This Recipe is intended for the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF.
The Classic B&W Recipe was invented on a photowalk in Colorado. It uses the Acros+G film simulation, and was published on August 2nd. It’s already one of my personal favorite B&W Recipes. It’s compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100S, GFX100 II, GFX100S II, and GFX100RF.
This is the latest Recipe, published just a few days ago on September 20th. It uses the Acros film simulation, and was invented by Dylan Van Matre with some help from Anders Linborg. It’s going to be a fan favorite, I already know it. I don’t think it will overtake the Kodak Tri-X 400 Recipe as the most popular B&W Recipe, but it might become the second most popular—we’ll see. This Recipe is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100S, GFX100 II, GFX100S II, and GFX100RF.
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If you live in or near Minneapolis, Minnesota, please join me at Fujifilm’s Create With Us event on Sunday, September 28th. This is going to be super fun, with a lot of different things going on. Bring your camera—have a spare SD Card just in case—and wear some comfortable walking shoes.
I’ll be cohosting a Live Fujifilm Tech Talk with Christopher Gilbert from 12:30 to 1:15. I’ll also be leading a photowalk from 2:00 to 4:00. At other times, I’ll be at the Fujifilm X-E5 touch-and-try station. If you go, be sure to find me at one of those spots, and say hello. Also, my friend Tom Baumgaertel (bewaremyfuji) will be leading a photowalk from 4:00 to 6:00, and you won’t want to miss it. There are other photowalks, too, that will also be excellent, so be sure to join at least one of them.
You have to register to attend, which costs $5. There are also some workshops on the 27th that cost extra. Hope to see you in Minneapolis!
Field of Gold – Flagstaff, AZ – Fujifilm X-T5 – Kodak Gold 200
It’s officially fall! The leaves on the trees will soon change colors, putting on a vibrant show before they drop off completely in time for winter. Autumn is such a great time for landscape photography. The season goes by quickly, and it’s easy to miss out if you procrastinate. That means the time is now to prepare your gear.
One aspect of getting your cameras ready is choosing the Film Simulation Recipes that you may want to use. A common question that I get at this time of the year is: Which Recipes are good for fall foliage photography? There are over 400 to choose from, and they all might be at least ok for this purpose situationally speaking, but there are some that are certainly better than others.
The fifteen Recipes below are all good for autumn pictures. I have used each of them, and can attest that these are excellent options. This is not intended to be a comprehensive list by any means, and some that might be quite good for fall photos aren’t included—if one of your favorites isn’t found below, feel free to mention it in the comments. Also, what one might like another might not; everyone has their own tastes and styles. Perhaps only a few of these 15 are a good match for your personal taste, style, and situation—there’s bound to be at least one that you’ll appreciate.
Without any further delay, here are 15 Film Simulation Recipes for Fall Foliage Photography!
Autumn on Kodachrome – Layton, UT – Fujifilm X-E4 – Kodachrome 25
Sharp, clean, and classic. This version of the Recipe is for the Fujifilm X-T4, X-S10, X-E4, X-T30 II, and GFX100S, and there’s another version for the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF.
Friendly Pumpkin – Fruit Heights, UT – Fujifilm X-E4 – Elite Chrome 200
Consumer-grade Kodak slide film aesthetic. Compatible with all X-Trans IV cameras except the X-T3 and X-T30, as well as the GFX100S; for fifth-generation X-Trans and newer GFX, set Color Chrome FX Blue to Off instead of Weak.
Golden Aspen – Flagstaff, AZ – Fujifilm X-T5 – Kodak Gold 200
Warm negative film look. This version is for the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF, and there is another version that is compatible with the X-Pro2, X100F, X-E3, X-T2, X-T20, X-H1, X-T3, X-T30, and GFX100.
Golden Autumn Trees – Flagstaff, AZ – Fujifilm X100V – Kodak Ektar 100
Warm, colorful, and clean. Compatible with all X-Trans IV cameras except the X-T3 and X-T30, as well as the GFX100S; for fifth-generation X-Trans and newer GFX, set Color Chrome FX Blue to Off instead of Weak.
Soft and warm negative film aesthetic. Compatible with the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF; for the X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, and GFX100S, set Color Chrome FX Blue to Strong instead of Weak.
Warm negative film look. This version is for the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF, there’s another version for the X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, and GFX100S, and another version for the X-T3 and X-T30.
Bow Bridge – New York City, NY – Fujifilm X100VI – PRO Negative 160C
Fujicolor negative film look. This Recipe is compatible with the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF.
Warm and cinematic. Compatible with all X-Trans IV cameras except the X-T3 and X-T30, all fifth-generation X-Trans models, as well as the GFX100S, GFX100 II, GFX100S II, and GFX100RF.
Autumn in a Mountain Meadow – Flagstaff, AZ – Fujifilm X100V – Fujicolor Superia 100
Soft Fujicolor Superia aesthetic. This version of the Recipe is for the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, and GFX100S, and there’s another version for the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF.
Red Leaf – Fruit Heights, UT – Fujifilm X100V – Superia Xtra 400
Warmer and more colorful—yet more versatile—Superia aesthetic. This version of the Recipe is for the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, and GFX100S, and there’s another version for the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF.
Autumn Walkway – Buckeye, AZ – Fujifilm X-T5 – Pacific Blues
Moody and bold. This version of the Recipe is for the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF, and there’s another version for the X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, and GFX100S.
Retro aesthetic. Compatible with all X-Trans IV cameras except the X-T3 and X-T30, as well as the GFX100S; for fifth-generation X-Trans and newer GFX, set Color Chrome FX Blue to Off instead of Weak.
Boulder Lake in Autumn – Clinton, CT – Fujifilm X-T5 – Velvia Film
Colorful, warm, and versatile. This Recipe is compatible with the Fujifilm X-T4, X-S10, X-E4, X-T30 II, X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100S, GFX100 II, GFX100S II, and GFX100RF.
Arizona Aspens – Flagstaff, AZ – Fujifilm X100V – The Rockwell
Vibrant, sharp, and bold. Compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100S, GFX100 II, GFX100S II, and GFX100RF.
Red Barn – Ronks, PA – Fujifilm GFX100S II – Kodachrome 64
Sometimes I like to go back through the archives of this website, just to see what I wrote years ago. For example, on this day in 2018, I published My Fujifilm Post-Processing Workflow, which, looking back, wasn’t my best work. I had to reread one of the paragraphs twice just to understand what I meant—and I was the one who write it! That’s embarrassing. So I decided to rewrite the article, and make it relevant to 2025.
The question is: What is my post-processing workflow? In other words, what do I do with my photographs after they’ve been recorded to the SD Card? The answer is very simple: Download, crop/straighten, and upload. Of course, that’s the short, simplified answer. Let’s get right into a longer explanation.
Horsetail Falls from Bridge – Columbia River Gorge, OR – Fujifilm X100V – Improved Velvia
I’m a straight-out-of-camera photographer. I use Film Simulation Recipes to get the looks that I want in-camera, and avoid editing. This isn’t how I always did it. I used to shoot RAW and post-process my photographs in software on a computer. Once I realized that I could achieve my desired aesthetics in-camera without editing, I abandoned post-processing. This was immensely freeing, and it quite literally changed my life (no hyperbole). I became more productive, photography became more enjoyable, and my at-home life benefitted significantly, too.
When I wrote the original version of this in 2018, I was strictly JPEG-only at that time. I stopped shooting RAW altogether for awhile; however, RAW+JPEG has significant benefits, and for years now I’ve been shooting RAW+JPEG. One benefit of having the RAW file is that it can be reprocessed in-camera or with X RAW Studio (which, essentially, are the same thing—I don’t use X RAW Studio personally; I reprocess in-camera). First, it makes creating new Recipes much, much simpler (not simple, just simpler than doing so in a strict JPEG-only process). Second, I’m able to correct small exposure mistakes by reprocessing in-camera using the Push/Pull Processing feature (which is an exposure adjustment, and does not mimic push or pull processing in a darkroom). Third, I can change to a different Recipe altogether if I decide that I used the wrong one—this is something I try to avoid (it’s better to select the right one in-the-field), but it is sometimes worthwhile when the picture would have been better with a different Recipe. To reprocess a RAW file in-camera, simply push the Q-button while in playback mode.
The RAW files never leave my SD Card. Some people will keep them just incase they may wish to edit them in the future. It gives them a backup. I will keep the RAW file on the SD Card for awhile, but when the card fills up, I erase it. I don’t keep the RAW files. I see the JPEG as the finished photo, so I don’t desire to fill up an external hard drive or cloud storage with RAW files that I’m unlikely to ever have any use for.
Once I’m done photographing and ready to do something with my photos, I will cull through the images on my camera. Which ones do I want to keep? I select the frames I want, and transfer those JPEGs from my camera to my phone using the Cam Remote App or X App. I have both apps on my phone, and much prefer the old Cam Remote App, because 1) I’ve been able to get it to work for me consistently and flawlessly and 2) it is compatible with all of my cameras, and not just some (although the latest firmware updates for the newer cameras remove compatibility with the old app). The main point here is that I use one of Fujifilm’s apps to transfer the photos to my phone.
Pool Remnant – Rodanthe, NC – Fujifilm GFX100S II – Kodak Tri-X 400
After that, I use the Photos app on my iPhone to crop and/or straighten the pictures that need it. Even with the electronic level, I am so bad at getting a straight picture. For Recipes that use Strong/Large Grain, the Photos app will sometimes put a weird grid pattern on the picture (mainly with the Kodak Tri-X 400 Recipe), so for those I will use the Snapseed app for cropping/straightening. Most of my post-processing edits are complete at this point. For the majority of pictures, that’s it; however, some picture do require a minor exposure/brightness adjustment, and I also use the Photos app for that. For 99%+ of my photographs, that is the full extent of the editing. On a rare occasion, I will use Snapseed or the RNI app to apply further edits, but that’s pretty unusual nowadays, especially for pictures from my Fujifilm cameras.
Once I’m done with the editing stage, I upload the pictures to cloud storage. That’s it! I’m done, and ready for more photography. Downloading the pictures from the camera and uploading them to the cloud is probably the most time-consuming part of the process. The edit stage is pretty quick because not every picture needs an edit, and for those that do, it’s mostly just a quick tilt or a crop to remove a small distraction from the edge of the frame. I can have a whole vacation completely finished within a couple of hours.
A question that I often get is: If you print those pictures do they look good? Absolutely, they look great! I recently did some 2′ x 3′ prints from straight-out-of-camera JPEGs that look amazing. I’ve had great results with 16″ x 24″ prints from the 24mp and 26mp sensor cameras, and 12″ x 18″ prints from the 16mp sensor cameras. I think you can go larger than those sizes, but for sure you can go that large. I don’t do anything to prepare the images for print, I just have them printed at a quality lab, who I know will do a good job.
Post-processing can be as complicated or as simple as you’d like it to be. I much prefer a simple workflow, which has made a world of difference for me personally. I avoid editing, and mostly just crop and/or straighten, and sometimes make minor exposure adjustments. I can get through a whole day’s worth of pictures pretty quickly, which allows me to move onto other things, like more photography or spending time with my family.
Coastal Photographer – San Francisco, CA – Fujifilm X100VI – Kodak Plus-X 125
This new Kodak Plus-X 125 Film Simulation Recipes comes to us curtesy of Dylan Van Matre. “The short story is that I’ve been a film shooter for a long time,” Dylan told me, “and one of my favorite films during that time has been Kodak Plus-X 125. When I moved to Fuji and discovered Film Simulation Recipes, one of the films I looked for was Kodak Plus-X 125. It was a favorite of mine during the early 90’s. I couldn’t find one published by someone else, so I endeavored to make my own. I enlisted the help of Anders Linborg to learn about Recipes and how to create them.”
“When I decided to try and create this Recipe,” Dylan continued, “I thought that I should try and learn from someone who has created ones that I enjoyed and felt were accurate. Anders with his Kodak Tri-X 400 Recipe (and others) immediately came to mind. I emailed him inquiring about his creation process. Anders was kind enough to respond, and he gave me a great check list on how to go about creating a Recipes. I download the specification sheet for Plus-X 125 film and found the spectrum analysis chart. I found the most prominent peak on the chart and made a note on the frequency that it’s located. That’s how I decide upon my white balance.”
Irrigation Pipe – Buckeye, AZ – Fujifilm GFX100S II – Kodak Plus-X 125
“From there I picked the response curve that I felt was most appropriate,” Dylan said, “which led me to the Acros film simulation. After that I used the reference images I had, which were a bunch of Plus-X scans from the early 90’s, and I starting shooting with my Fujifilm camera. I’ve shot in all kinds of lighting conditions over the last couple years, making tweaks here and there. After some fine-tuning, I had created a Recipe that I feel most represents Plus-X 125 film. I want to thank Andors Linborg for his amazing advise, and I want to thank Ritchie for his amazing website.”
Included in the email was a private link to some of Dylan’s photos captured with this Kodak Plus-X 125 Film Simulation Recipe, as well as some of his scans of actual Kodak Plus-X 125 film. It was quite obvious to me comparing the two that this Recipe is a good match, and Dylan did an excellent job creating it. He certainly put in a lot of research and effort to get this right. Thank you, Dylan Van Matre, for creating and sharing this Recipe!
Cactus & Barbed Wire Fence – Rock Springs, AZ – Fujifilm X-E4 – Kodak Plus-X 125
Plus-X was a long-running classic B&W negative film by Kodak, known for its fine grain, sharpness, and moderate contrast that made it popular for both professional and amateur photographers. Originally introduced in 1938 as a motion picture film, it evolved over the decades. The ISO 125 version was released in 1954. After more than 70 years in production, Kodak discontinued Plus-X in 2010, with the last batch shipping in 2011, marking the end of an era for one of the company’s longest-running emulsions. This Recipe is compatible with X-Trans IV (except the X-T3/X-T30) and X-Trans V cameras, as well as newer GFX models.
Film Simulation: Acros (including +Ye, +R, or +G) Monochromatic Color (Toning): WC 0 & MG 0 (Off) Dynamic Range: DR200 Grain Effect: Weak, Large Color Chrome Effect: Strong Color Chrome FX Blue: Off White Balance: Daylight, +9 Red & +9 Blue Highlight: -1 Shadow: +1 Sharpness: -1 High ISO NR: -4 Clarity: +2 ISO: Auto, up to ISO 6400 Exposure Compensation: -1/3 to -2/3 (typically)
Example photographs, all camera-made JPEGs captured using this Kodak Plus-X 125 Film Simulation Recipe on a Fujifilm X-T5, X100VI, X-E4 & GFX100S II:
Distant Dust Storm – Buckeye, AZ – Fujifilm X-T5
Estrella Mountains from White Tank Foothills – Buckeye, AZ – Fujifilm X-T5
Spewing Water – Buckeye, AZ – Fujifilm GFX100S II
Truck Junk Yard – Buckeye, AZ – Fujifilm GFX100S II
Table 18 – Avondale, AZ – Fujifilm X100VI
Sunlit Banister – Buckeye, AZ – Fujifilm X-T5
Saguaro & Dark Storm – Buckeye, AZ – Fujifim X-E4
Closed for Storm Damage – Navarro, CA – Fujifilm X100VI
Post in the Water – Bodega Bay, CA – Fujifilm X-T5
Coastal Cove – Elk, CA – Fujifilm X-T5
Desert Saguaro – Buckeye, AZ – Fujifilm X100VI
Wild at Heart – Buckeye, AZ – Fujifilm X-T5 – Photo by Amanda Roesch
Angled Doorway – Elk, CA – Fujifilm X-T5
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St. Anthony’s Feast – Boston, MA – Fujifilm X-T50 – Superia Negative
A common question that I get asked is which Film Simulation Recipes are best for street photography. It’s a popular genre that a lot of people enjoy. I wouldn’t call myself a street photographer per se, but I’ve definitely done it. I dabble in it from time-to-time, but it’s not my primary photographic interest; however, I do believe I have enough experience to give some good suggestions.
With over 400 Fujifilm Recipes on this website and in the Fuji X Weekly App, there are tons of choices. Situationally specific, each one of those 400+ Recipes could be good options for street photography. I want to narrow it down a bit for you, though, by suggesting ten to consider trying. Probably all ten won’t be good options for your style, but perhaps one or maybe a few will be. I’m also skipping over some of the most obvious: Kodachrome 64, Reggie’s Portra, Kodak Portra 400, Kodak Portra 400 v2, and Kodak Gold 200. My assumption is that you have already tried those, or are already aware that those are good options for street photography. Actually, I didn’t choose any Recipes that use Classic Chrome, even though that particular film simulation is by far the most popular by those who use Recipes. This article highlights some Recipes that you might not otherwise consider.
The ten Recipes below are not a comprehensive list, and just because I didn’t include one doesn’t mean it’s not good for street photography. In fact, some that I didn’t list might be better than the ones that I did. Each person has different tastes and styles, so what I suggest might not be the best options for you personally. Feel free to comment below which Film Simulation Recipe—whether in this list or not—is your favorite for street photography. I do think, if you are unsure which to try, at least one of the ten Recipes below will be a good choice for you, and worth trying the next time you are out with your camera in an urban environment.
Yellow Pants, Blue Cart – Los Angeles, CA – Fujifilm X100VI – Appalachian Negative
The Appalachian Negative Film Simulation Recipe is compatible with fifth-generation X-Trans cameras and the newer GFX models. Built on top of the Nostalgic Neg. film simulation, it’s produces a warm, amber-washed aesthetic with a distinct retro quality. It has an ability to transform the ordinary into something emotive. It’s good for retaining shadow detail, holding back blown highlights, and infusing everyday moments with a sense of timelessness. This Recipe works best in sunny daylight situations.
The 1976 Kodak Film Simulation Recipe is compatible with fifth-generation X-Trans cameras, and the newer GFX models. It was inspired by the work of Joel Meyerowitz, particularly his mid-1970s street, coastal, small town, and landscape photography. This Recipe uses the Nostalgic Neg. film simulation, and combines richly warm colors with strong contrast, producing a vintage analog aesthetic. It’s great for street photography because it brings warmth and depth to mundane moments. Since this Recipe uses Auto White Balance, it works well across a variety of lighting conditions.
Working – Salt Lake City, UT – Fujifilm X-E4 – Kodak Vision3 250D
The Kodak Vision3 250D Film Simulation Recipe is made for X-Trans IV cameras (except the X-T3 and X-T30, which has its own version; there’s also a v2 version for fifth-generation models). It aims to evoke the look of the Kodak Vision3 250D motion picture film as used for still photography. The Eterna film simulation, which has a soft cinematic tonality, is the base; however, this Recipe adds significant contrast, producing a more dramatic aesthetic that still feels film-like. It works best in sunny daylight situations, but can sometimes be good in various light scenarios.
Doggles – Philadelphia, PA – Fujifilm X-T50 – Nostalgic Americana
The Nostalgic Americana Film Simulation Recipe is compatible with fifth-generation X-Trans cameras and newer GFX models. It draws its inspiration from vintage issues of Arizona Highways magazine from the ’60’s and ’70’s during the American New Color era. This Recipe uses Nostalgic Neg. as its base, and produces a warm yet slightly muted color rendering combined with softened tonality. The result is a distinctly retro rendering that feels sun-warmed and aged. It works especially well for sunny daylight scenes, but can also be good in overcast conditions.
The Eterna Summer Film Simulation Recipe is compatible with “newer” X-Trans IV and all X-Trans V models, plus newer GFX cameras. Specifically, this Recipe, which uses the Eterna film sim., is intended to fit well in a photo series that also contains Classic Chrome-based Recipes. It produces a cinematic aesthetic with warm summertime vibes, and works best in sunny daylight situations.
Dumbo Crowd – New York City, NY – Fujifilm X-T50 – Reala Ace
The Reala Ace Film Simulation Recipe is intended for fifth-generation X-Trans cameras, and can also be used on newer GFX models. It mimics Fujicolor Reala Ace film, but uses Auto White Balance for maximum versatility. Despite the name, it uses Classic Negative and not the new Reala Ace film simulation. It has a 4th-layer Fujicolor negative film aesthetic, and offers a lot of versatility for various light conditions.
Pouring Rain – Philadelphia, PA – Fujifilm X-T50 – Pacific Blues
The Pacific Blues Film Simulation Recipe is for fifth-generation X-Trans cameras, plus newer GFX models; there’s also a version for X-Trans IV cameras. It uses the Classic Negative film simulation, and was inspired by Lucy Laucht’s Spirit of Summer series, and especially the Positano Blues images. It’s specifically intended for a sunny day at the beach, but it can work well in many other scenarios, including dreary overcast and fog. It’s great for street photography because it can turn everyday scenes into something dramatic without being over-the-top.
Art Mart – Boulder, CO – Fujifilm X100VI – Superia Negative
The Superia Negative Film Simulation Recipe is for fifth-generation X-Trans cameras, plus newer GFX models. It uses the Classic Negative film simulation, and has a similar aesthetic to Fujicolor Superia film. It belongs to the Film Dial Recipe set, which means that the underlying settings work well with all of the different film simulations. This Recipe uses the Auto White Priority White Balance, and is especially versatile.
Friendly Conversation – Philadelphia, PA – Fujifilm X-T5 – Fujifilm Negative – by Amanda Roesch
The Fujifilm Negative Film Simulation Recipe is compatible with Fujifilm’s fifth-generation X-Trans cameras, plus newer GFX models. It uses the new Reala Ace film sim., and draws inspiration from Fujicolor PRO 160NS film. It feels restrained and natural, but with a distinct analog aesthetic. Because it does so well with skin tone rendering, this Recipe might be the best of these ten options for street portraits. It’s best for sunny daylight situations, but can also do well in a variety of light situations.
Sailer on Sumter – Fort Sumter, SC – Fujifilm GFX100S II – Kodak Tri-X 400
The Kodak Tri-X 400 Film Simulation Recipe has compatibility with X-Trans III, IV, and V cameras, plus all GFX models. It uses the Acros film simulation, and is the most popular B&W Recipe on Fuji X Weekly. For some reason, B&W Recipes are not nearly as popular as color. If you have not tried this one, whether for street photography or other situations, now is the time. It’s my personal favorite monochromatic Recipe, and one of my favorites out of all the Recipes.
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