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Why I Don’t Like the New AI AWB on the Fujifilm X-T5

Posted on by Ritchie Roesch

Fujifilm used “deep-learning AI Technology” to improve Auto White Balance on the X-T5 (or, more accurately, on X-Trans V cameras—not just the X-T5). According to the promotional statement, the camera is able to more accurately identify warm tints, and adjust to compensate for that when using Auto White Balance. Sounds impressive, right?

When I first learned about this, I was a little concerned that the new Auto White Balance would affect Film Simulation Recipes that use AWB. So I took a few test shots with the X-T5 and an X-Trans IV model side-by-side to compare, and I didn’t notice any difference between the two regarding white balance. It looked the same to me. But now that I’ve used the X-T5 a little longer, I do, in fact, at times notice something that I initially overlooked.

In the banner above, which comes from Fujifilm’s promo materiel for the X-T5 (even though the X-H2 has this same feature, it wasn’t promoted with that camera), you can see the “conventional model” vs the X-T5 AWB rendering in identical light. I assume that the so-called conventional model wasn’t a Sony or Canon, but an X-T4 (or other X-Trans IV camera). I personally prefer the more golden rendering of the “conventional” AWB to the copper rendering of the AI AWB, but each has their own tastes, so there’s no right or wrong answer. Perhaps you prefer the image on the right over the one on the left. It’s definitely subjective.

Something I have noticed—and I don’t like—is that this new rendering is inconsistent. From one exposure to the next, with identical lighting and identical settings, you can get something more like the “conventional model” rendering or something more like the AI AWB rendering. I’ve noticed it in artificial light, and I’ve noticed it in golden-hour/sunset situations. Two exposures, one right after the other—nothing’s changed—but the camera produces two very different tints when using AWB. Take a look at the two pictures below for an example of this. They were captured under identical light with identical settings, but they clearly aren’t identical. This was in a set of 32 pictures (of my son opening birthday gifts); 19 had the golden-ish cast and 13 had the copper-ish cast (these are frames nine and ten, for those wondering).

Obviously if you are a wedding or event photographer, and you rely on Auto White Balance, this could be a big issue for you, because you want consistent results. You don’t want the white balance to be bouncing back-and-forth between two tints. I don’t even want it for my son’s birthday pictures! If the camera chose one rendering in the situation, and consistently applied that to each image, whether gold or copper or something else entirely, that’s fine—it’s what is expected to happen—but bouncing between renderings is bad and should not happen. If you can’t trust AWB, and if it’s a tool that you commonly use, the X-T5 (or any of the X-Trans V models) might not be the camera for you.

Of course, for many people this might not be an issue whatsoever. Maybe you don’t even use AWB. Perhaps you do but you don’t care if the results are different between exposures. It could be that you’re going to adjust white balance in software later anyway, so what the camera records makes no difference to you. If that’s you, and none of this matters to you, great! But I do want to point it out for those who it might matter for, because they should know. It’s better to find out now before dropping so much money on something that’s just going to frustrate you.

I imagine that this is something Fujifilm could fix fairly easily via a firmware update. A simple tweak to the code could possibly make this behavior happen much less frequently. Fujifilm should address this issue. I hope in a few months from now this will all be a past problem that was fixed and forgotten. Or it could be the expected behavior that all Fujifilm X-Trans V cameras will have, and it will only be fixed by an even more improved AI-AWB on X-Trans VI models. Time will tell.

See also: Five Fujifilm X-T5 AI AWB Workarounds

Fujifilm X-Pro1 (+ X-E1) Film Simulation Recipe: Color Analog

Posted on by Ritchie Roesch

109 – Farmington, UT – Fujifilm X-Pro1 – “Color Analog”

For this Film Simulation Recipe I didn’t attempt to model any specific film; instead, I wanted a low-saturation, low-to-mid contrast recipe that would remind me of color negative film. I wanted it to be warm, but not overly warm. After several tries, I landed on some settings that I liked. While I didn’t have any film in mind when I created this recipe, it is vaguely reminiscent of Kodak Portra 160 NC, which was a “neutral color” (low-saturation) version of Portra film that was around from 1998 to 2010, when it was discontinued. It’s not an exact match to that film, but is simply by chance in the neighborhood of it. As Lefty Gomez famously said, “I’d rather be lucky than good.”

This recipe is a good daylight and golden hour option, and does alright in overcast conditions, too. If I were to suggest C1-C7 Custom Presets for the X-Pro1, this is one that I would include. I would also consider Color Negative Film, either Kodachrome I or Kodachrome II, Vivid Color, Superia Xtra 400, and Monochrome. I know that’s only six (not seven), but you wouldn’t have to remember to change the White Balance Shift when switching presets because each of these calls for a different White Balance type—you could pick one other recipe (but you’ll just have to remember to switch the shift when changing presets) or leave the seventh spot empty.

Sunset Branch – Bountiful, UT – Fujifilm X-Pro1 – “Color Analog”

This Color Analog recipe was an Early-Access Recipe on the Fuji X Weekly App, and Patrons have had access to it since April. It’s been replaced by a different Early-Access Recipe (look for that one in the App!), so now this Color Analog recipe is available to everyone! It’s compatible the Fujifilm X-Pro1 and X-E1 cameras, but not the X-M1 because that camera doesn’t have PRO Neg. Std for some reason. Those with X-Trans II and Bayer cameras can also use it, although the results will be just a little different.

PRO Neg. Std
Dynamic Range: DR200
Highlight: -1 (Medium-Soft)
Shadow: +1 (Medium-Hard)
Color: -2 (Low)
Sharpness: -1 (Medium-Soft)
Noise Reduction: -2 (Low)
White Balance: Daylight/Fine, -1 Red & -4 Blue
ISO: Auto, up to ISO 3200
Exposure Compensation: +1/3 to +2/3 (typically)

Example photographs, all camera-made JPEGs captured using this “Color Analog” Film Simulation Recipe on my Fujifilm X-Pro1:

Daffodil Garden – Farmington, UT – Fujifilm X-Pro1
Daylight Pines – Bountiful, UT – Fujifilm X-Pro1
Pear Blossom Sky – Farmington, UT – Fujifilm X-Pro1
Creek Rocks – Bountiful, UT – Fujifilm X-Pro1
Newly Bloomed – Bountiful, UT – Fujifilm X-Pro1
White Fruit Tree Blossoms – Bountiful, UT – Fujifilm X-Pro1
Round & Red – Bountiful, UT – Fujifilm X-Pro1
Aperture Artifact Apparition – Bountiful, UT – Fujifilm X-Pro1
Sunlight Through Tree Branches – Bountiful, UT – Fujifilm X-Pro1
Suspended Sun – Bountiful, UT – Fujifilm X-Pro1
Reflection Structure – Farmington, UT – Fujifilm X-Pro1
Train 16 – Farmington, UT – Fujifilm X-Pro1

Find this Film Simulation Recipe and over 250 more on the Fuji X Weekly — Film Recipes App!

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Fujifilm X-M1 (X-Trans I) FXW App Patron Early-Access Film Simulation Recipe: Reminiscent Print

Posted on by Ritchie Roesch

Bougainvillea Day – Buckeye, AZ – Fujifilm X-M1 – “Reminiscent Print”

This Film Simulation Recipe came about as an experiment after reading that film photographers weren’t meant to like the Provia film simulation because they’d find it to be too hard. So, I thought, maybe that’s true, and perhaps I can make it less hard and more, something that film photographers might find to be “just right” (as Fujifilm put it). It took some trial-and-error, but I do believe that I have succeeded! This is a much, much better “standard” setting than default Provia, and, if you have a background in film photography, you’ll appreciate this recipe.

I find this new recipe to be reminiscent of cheap color negative film shot in point-‘n’-shoot cameras and printed at a one-hour lab, probably on Fujicolor Crystal Archive paper. It’s not intended to resemble that, but to me it does. I’m reminded of the 4″ x 6″ prints from 20+ years ago that are sitting in a box in the closet, or are carefully arranged in a photo album at my parent’s house. That’s why I call it Reminiscent Print.

Classic Car Denim – Goodyear, AZ – Fujifilm X-M1 – “Reminiscent Print”

This new Reminiscent Print Patron Early-Access recipe is compatible the Fujifilm X-Pro1, X-E1, and X-M1 cameras. Those with X-Trans II and Bayer cameras can also use it, although the results will be just a little different. If you are a Fuji X Weekly App Patron, it’s available to you right now on the App!

The Fuji X Weekly App is free, yet becoming a Fuji X Weekly Patron unlocks the best App experience! One benefit of being a Patron is you get early access to some new Film Simulation Recipes. These Early-Access Recipes will eventually become available free to everyone in time, including this new one. Patrons help support Fuji X Weekly and, really, without them there would be no App, so I want to give a special “thank you” to all of the Patrons!

Example photographs, all camera-made JPEGs captured using this “Reminiscent Print” Film Simulation Recipe on my Fujifilm X-M1:

Pier Post – Litchfield Park, AZ – Fujifilm X-M1 – Photo by Jonathan Roesch
Light & Water – Litchfield Park, AZ – Fujifilm X-M1 – Photo by Jonathan Roesch
Fine Morning for Fishing – Litchfield Park, AZ – Fujifilm X-M1 – Photo by Jonathan Roesch
Line in the Lake – Litchfield Park, AZ – Fujifilm X-M1 – Photo by Jonathan Roesch
Pier Reflections – Litchfield Park, AZ – Fujifilm X-M1 – Photo by Jonathan Roesch
Better Days Behind – Litchfield Park, AZ – Fujifilm X-M1
Church Bells – Litchfield Park, AZ – Fujifilm X-M1
Unlit Canopy – Buckeye, AZ – Fujifilm X-M1
Red Bougainvillea Blossoms – Buckeye, AZ – Fujifilm X-M1
Backyard Bougainvillea – Buckeye, AZ – Fujifilm X-M1
Autumn Orange – Litchfield Park, AZ – Fujifilm X-M1
Oranges – Litchfield Park, AZ – Fujifilm X-M1
Bucket Blossom – Buckeye, AZ – Fujifilm X-M1
Pink Rose Bud – Buckeye, AZ – Fujifilm X-M1
Peace & Minecraft – Buckeye, AZ – Fujifilm X-M1
Ball Toss – Buckeye, AZ – Fujifilm X-M1
All the World’s a Stage – Buckeye, AZ – Fujifilm X-M1
Steps – Litchfield Park, AZ – Fujifilm X-M1
Outside Tables – Buckeye, AZ – Fujifilm X-M1
Made With Passion – Buckeye, AZ – Fujifilm X-M1
Duster Headlamp – Goodyear, AZ – Fujifilm X-M1
Radial G/T – Goodyear, AZ – Fujifilm X-M1
Rear Duster – Goodyear, AZ – Fujifilm X-M1

Find this Film Simulation Recipe and over 250 more on the Fuji X Weekly — Film Recipes App!

Help Fuji X Weekly

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A $400 Alternative to the Fujifilm X100V, X-E4, and X70

Posted on by Ritchie Roesch

Since the Fujifilm X100V is difficult to find and sometimes outrageously expensive, something that I inadvertently had a hand in, people have been asking for recommendations on alternatives. Of course, the X100F or any of the older X100-series versions would be a top substitute, but even those are going for a lot of money, more than they should be for how old they are. The Fujifilm X-E4 with a Fujinon 27mm f/2.8 could be a very nice consolation prize, but due to parts shortages, those can be difficult to find, too, but thankfully there doesn’t seem to be much price gouging on it (knock on wood). The Fujifilm X70 would be a solid alternative, but they are pretty pricy, often going for the same or more than the original MSRP, despite being almost seven-years-old. If you are really set on owning a Fujifilm X100V (as a proud X100V owner I can understand why), if you just exercise some patience and constantly stay on the lookout, you are sure to find one for a reasonable price. If you are not patient, a used X100F isn’t too difficult to get, or even consider an X-E3, which can still be found brand-new if you look hard enough.

I’ve had a few people ask me for a recommendation on an X100V-like alternative for under $500, and one even asked for under $400. At first I scoffed at the idea. Even the original 12-year-old X100 currently goes for more than that, as well as every iteration of that camera since. Fujifilm doesn’t make entry-level cameras anymore, but even when they did, they were more than $500. Then I looked at my camera case, and I noticed two things: a Fujifilm X-M1 and a TTArtisan 27mm f/2.8. Hmmm. Maybe it’s possible after all.

Fujifilm introduced the X-M1—the third and last X-Trans I model—nine years ago. It’s an unusual camera, because it has an X-Trans I sensor but the X-Trans II processor, and in the same body as the Bayer-sensor X-A1. I think Fujifilm had some spare X-Trans I sensors sitting around after moving onto X-Trans II, and this camera was their way to unload them. There was never a predecessor, so when the X-M1 was discontinued so was the line. I paid $210 for mine two years ago. More commonly they’re found for around $250, and I’ve seen them for under $200 a couple times.

I think the X-E1 is a better body than the X-M1, and you can find those sometimes for $250 or less, but more often they’re $300-$350. If you see a good deal on one, I’d choose that over the X-M1. The X-A1 is basically the same thing as the X-M1, but with a Bayer sensor instead of X-Trans, and those are often a little cheaper. It’s definitely easier to find one under $250, and it’s not uncommon to see one under $200; however, between the X-A1 and X-M1, I’d choose the X-M1, but the difference isn’t huge. The X-A2 often is found for $250, and is another option. Occasionally you might find a good deal on an X-A3 or X-E2 (or X-E2s), so it’s worth looking just to see if you can get lucky, because that would be even better. If your budget is $500, you certainly have more options, but if the ceiling is only $400, you are much more limited, and the X-M1 is probably your best bet.

Of course, there’s still the lens. Sometimes you can buy the body bundled with a kit lens for nearly the same price as body-only (my X-M1 was bundled with 16-50mm zoom, for example), but the cheap kit zoom isn’t going to give you an X100-like experience. You’ll need a prime, but it has to be compact and cheap. The options are pretty limited, and are even more limited if you expect an autofocus option—the TTArtisans 27mm f/2.8 pancake-ish autofocus lens is the only one I can think of that is both cheap and small. If you don’t mind manual-focus-only, there are a few other lenses that could work, but I think this TTArtisan option is your best bet, and it’s only $160.

So, yeah, add $210 and $160 and you’re under $400. Will the X-M1 with the TTArtisan 27mm really give an X100-like experience? No, not at all. But, for under $400, it’s surely as close as you’ll get. If your budget is $500, spring for an X-E1 instead of the X-M1 and you’ll be a little closer, but still not there. The X-M1 is not as good as any in the X100-series models (or X-E-series or the X70), but that doesn’t mean that it’s not a decent camera capable of capturing good photos, because it is!

So if you are looking for a low-budget alternative to the Fujifilm X100V, X-E4, or X70, I suggest to you the X-M1 with the TTArtisan 27mm lens attached to it. The X-M1 is smaller than the X100V and X-E4, and just a little bigger than the X70. Obviously the TTArtisan lens, despite being pancake-ish, is bigger than the lens attached to the X100V and is especially larger than the one on the X70. It’s also a little bigger than the Fujinon 27mm lens (a popular companion to the X-E4). The Fujifilm X-M1 with the TTArtisan lens is small enough to be in the same compact category as those cameras, but is much, much cheaper. If you can spend more, there are better options; however, if you don’t have much to spend or are looking for an inexpensive first-camera, this is my recommendation for under $400.

It would be easy for me to suggest this to you, and not use it myself. That would not be very genuine of me, so I did use the Fujifilm X-M1 with the TTArtisan 27mm f/2.8. I also let me 13-year-old son, Jonathan, use it a little, too. This combo is very capable of producing lovely pictures straight-out-of-camera that have character and some analog-like qualities. It’s also easy to use for those who want good results without much fuss.

The 15 pictures below are all unedited (aside from some cropping and straightening), captured with the Fujifilm X-M1 and TTArtisan 27mm f/2.8.

Fujifilm X-M1 + TTArtisan 27mm f/2.8 – Photo by Jonathan Roesch
Fujifilm X-M1 + TTArtisan 27mm f/2.8 – Photo by Jonathan Roesch
Fujifilm X-M1 + TTArtisan 27mm f/2.8 – Photo by Jonathan Roesch
Fujifilm X-M1 + TTArtisan 27mm f/2.8 – Photo by Jonathan Roesch
Fujifilm X-M1 + TTArtisan 27mm f/2.8 – Photo by Jonathan Roesch
Fujifilm X-M1 + TTArtisan 27mm f/2.8 – Photo by Ritchie Roesch
Fujifilm X-M1 + TTArtisan 27mm f/2.8 – Photo by Ritchie Roesch
Fujifilm X-M1 + TTArtisan 27mm f/2.8 – Photo by Ritchie Roesch
Fujifilm X-M1 + TTArtisan 27mm f/2.8 – Photo by Ritchie Roesch
Fujifilm X-M1 + TTArtisan 27mm f/2.8 – Photo by Ritchie Roesch
Fujifilm X-M1 + TTArtisan 27mm f/2.8 – Photo by Ritchie Roesch
Fujifilm X-M1 + TTArtisan 27mm f/2.8 – Photo by Ritchie Roesch
Fujifilm X-M1 + TTArtisan 27mm f/2.8 – Photo by Ritchie Roesch
Fujifilm X-M1 + TTArtisan 27mm f/2.8 – Photo by Ritchie Roesch
Fujifilm X-M1 + TTArtisan 27mm f/2.8 – Photo by Ritchie Roesch

Now, let me tell you about the Film Simulation Recipes, because otherwise I’ll get a whole bunch of inquiries—you all want to know, right?! The top picture (of the X-M1 by itself) was captured with a Fujifilm X-E4 and Fujinon 27mm using the Fujicolor Pro 400H recipe. The next four pictures (the X-M1 with other cameras) were captured with a Fujifilm X-T5 and Fujinon 90mm using an upcoming recipe that I’ll publish soon. The 15 pictures above were captured with a Fujifilm X-M1 and TTArtisan 27mm using an upcoming recipe that I’ll publish soon. So, for now, only the very top picture is a recipe that you can currently use—you’ll have to stay tuned for the others.

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

TTArtisan 27mm f/2.8  Amazon

Kodak Portra 400 v2 — Fujifilm X-T5 (X-Trans V) Film Simulation Recipe

Posted on by Ritchie Roesch

Swath of Red – Buckeye, AZ – Fujifilm X-T5 – “Kodak Portra 400 v2”

This is a simple update to the Kodak Portra 400 v2 Film Simulation Recipe, which was originally made for X-Trans IV cameras. I discovered that a slight tweak is needed for X-Trans V models, because the new sensor renders blues just a little deeper on some film simulations, including Classic Chrome. For this recipe, simply setting Color Chrome FX Blue from Weak to Off makes it compatible with (as of this writing) the Fujifilm X-T5, X-H2, and X-H2S.

Kodak Portra 400 is a popular professional-grade color negative film introduced in 1998. There’s been a number of revisions and improvements to the emulsion over the years, so the Portra that’s available today is slightly different than the original Portra from roughly 25 years ago. As the name suggests, it’s intended for portraitures, but is also a popular option for many other genres of photography. One film can have several different aesthetics depending on many factors, and this particular Film Simulation Recipe is modeled after the Kodak Portra 400 pictures from a specific photographer. It’s one of my absolute favorite recipes for daylight and especially golden hour photography, and it does pretty well in several other light conditions; however, it’s probably not the best option for indoor artificial light, unless you want especially warm pictures.

Succulent Stories – Buckeye, AZ – Fujifilm X-T5 – “Kodak Portra 400 v2”

This Kodak Portra 400 v2 Film Simulation Recipe is intended for Fujifilm X-Trans V models. It’s compatible with newer GFX cameras too, but will likely render slightly different. If you have an X-Pro3, X100V, X-T4, X-S10, X-E4, or X-T30 II, try the Kodak Portra 400 v2 recipe for those models (click here). If you have an X-T3 or X-T30, try the version for those cameras (click here). 

Film Simulation: Classic Chrome
Grain Effect: Strong, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Off
White Balance: 5200K, +1 Red & -6 Blue
Dynamic Range: DR400
Highlight: 0
Shadow: -2
Color: +2
Sharpness: -2
High ISO NR: -4
Clarity: -2
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs using this “Kodak Portra 400 v2” Film Simulation Recipe on my Fujifilm X-T5:

Christmas Angel – Buckeye, AZ – Fujifilm X-T5
Nativity – Buckeye, AZ – Fujifilm X-T5
Happy Holidays – Buckeye, AZ – Fujifilm X-T5
Lemons – Buckeye, AZ – Fujifilm X-T5
Changing Seasons – Buckeye, AZ – Fujifilm X-T5
Leaves on the Concrete – Buckeye, AZ – Fujifilm X-T5
GCR – Williams, AZ – Fujifilm X-T5
Lighted Cupola – Williams, AZ – Fujifilm X-T5
Sisters – Williams, AZ – Fujifilm X-T5
Brothers – Buckeye, AZ – Fujifilm X-T5
December Fog – Buckeye, AZ – Fujifilm X-T5
Multi-Arm Saguaro – Buckeye, AZ – Fujifilm X-T5
Saguaro Mist – Buckeye, AZ – Fujifilm X-T5
Wall Cage – Buckeye, AZ – Fujifilm X-T5
Super Star – Glendale. AZ – Fujifilm X-T5
I Believe – Avondale, AZ – Fujifilm X-T5
Standing in the Sun – Avondale, AZ – Fujifilm X-T5
Untidy Palm – Palo Verde, AZ – Fujifilm X-T5
Misty Desert Hills – Buckeye, AZ – Fujifilm X-T5
It Was All Yellow – Buckeye, AZ – Fujifilm X-T5
Small Pop of Color – Buckeye, AZ – Fujifilm X-T5
Clouds & Brown Trees – Buckeye, AZ – Fujifilm X-T5
Golden Neighborhood – Buckeye, AZ – Fujifilm X-T5

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

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

Find this Film Simulation Recipe and over 250 more on the Fuji X Weekly — Film Recipes App!

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Fujifilm X100V (X-Trans IV) Film Simulation Recipe: Timeless Negative

Posted on by Ritchie Roesch

Cold Morning Light – Buckeye, AZ – Fujifilm X100V – “Timeless Negative”

I purchased the Fujifilm X-T5 specifically to try the Nostalgic Neg. film simulation, then, after using it, I discovered Nostalgic Neg. has a lot in common with Eterna. I initially stated that the new film simulation is as if Classic Chrome and Eterna had a baby—it has some similarities to both—but it is more like Eterna than Classic Chrome. If a Nostalgic Neg. recipe calls for minus Color, it’s possible to fairly closely approximate it with Eterna. One difference is that Nostalgic Neg. has more warmth and vibrancy in the shadows, which is unique to the new film simulation, but otherwise you can get pretty close.

This Film Simulation Recipe is a facsimile of Timeless Negative for X-Trans V cameras, using Eterna instead of the Nostalgic Neg., as only the latest cameras have the new film simulation. I think many of you are going to like it because it produces very lovely images in a variety of situations. It’s great for daylight, nighttime, golden hour, overcast, indoor, portraits, landscapes, etc., etc.. Once you program this one into your camera, you might not ever replace it, since it does so well in a lot of scenarios.

Holiday Ball – Buckeye, AZ – Fujifilm X100V – “Timeless Negative”

This version of Timeless Negative is intended for the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras. You can use this on X-Trans V cameras, too, if you want (although I would suggest the recipe with Nostalgic Neg.) by setting Color Chrome FX Blue to Off. For the X-T3, X-T30, if you ignore Grain size, Color Chrome FX Blue, and Clarity (or, even better, use a 5% CineBloom diffusion filter in lieu of Clarity), you’ll still get similar results, but it will look slightly different (give it a try anyway). I am currently working on a Nostalgic Neg.-like recipe for the X-T3 and X-T30 (and possibly the X-H1, too); if you are a Fuji X Weekly App Patron, there is an Early-Access Recipe (actually, two) called Vintage Eterna that unintentionally has some similarities to Nostalgic Neg., and I invite you to give that a try, too.

Eterna
Dynamic Range: DR200
Highlight: +1
Shadow: -1
Color: +3
Noise Reduction: -4
Sharpness: 0
Clarity: -2
Grain Effect: Weak, Small
Color Chrome Effect: Strong
Color Chrome Effect Blue: Weak
White Balance: Auto, +4 Red & -5 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: -1/3 to +1/3 (typically)

Example photographs, all camera-made JPEGs using this “Timeless Negative” Film Simulation Recipe on my Fujifilm X100V:

Candle – Buckeye, AZ – Fujifilm X100V
Drab Pink Blossom – Buckeye, AZ – Fujifilm X100V
Rainy Day Lightbulb – Buckeye, AZ – Fujifilm X100V
Joyful Corridor – Buckeye, AZ – Fujifilm X100V
Coffee, Waiting – Buckeye, AZ – Fujifilm X100V
Dear Santa – Buckeye, AZ – Fujifilm X100V
Oh Christmas Tree – Buckeye, AZ – Fujifilm X100V
North Pole Post – Buckeye, AZ – Fujifilm X100V
Saint Nicholas – Buckeye, AZ – Fujifilm X100V
Metalic Pinecone – Buckeye, AZ – Fujifilm X100V
Oleander Evening – Buckeye, AZ – Fujifilm X100V
Downtown Dusk – Buckeye, AZ – Fujifilm X100V
Color Transparencies – Buckeye, AZ – Fujifilm X100V
Night Lights – Buckeye, AZ – Fujifilm X100V
O Tannenbaum – Buckeye, AZ – Fujifilm X100V
Fountain – Buckeye, AZ – Fujifilm X100V
Green Leaf – Buckeye, AZ – Fujifilm X100V
Aslan – Buckeye, AZ – Fujifilm X100V
Upward Abstract – Buckeye, AZ – Fujifilm X100V
Palm Sky Vapor – Buckeye, AZ – Fujifilm X100V
Autumn Gold – Buckeye, AZ – Fujifilm X100V
Transition – Buckeye, AZ – Fujifilm X100V
Bougainvillea & Changing Weather – Buckeye, AZ – Fujifilm X100V
Bougainvillea in Autumn – Buckeye, AZ – Fujifilm X100V

Find this Film Simulation Recipe and over 250 more on the Fuji X Weekly — Film Recipes App!

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5 Ways the Fujifilm X-T4 is Better Than the Fujifilm X-T5

Posted on by Ritchie Roesch

The Fujifilm X-T5 is better—at least slightly—than the X-T4 in a many ways, but not every way. Perhaps you have an X-T4 and are considering upgrading to the latest iteration, or maybe you cannot decide between the X-T4 or X-T5—this article will point out some reasons why you might consider the X-T4 over the new model. Don’t get me wrong, I’m not saying that the X-T4 is better, only that in some ways it is indeed better; however, overall, the X-T5 is, in my opinion, the superior camera, but only by a small margin (I’ll have a full review of the new camera soon, so keep an eye out for that). Below are five ways the Fujifilm X-T4 is actually better than the X-T5.

1. Heat Dispersion

There are a few true workhorses in the Fujifilm lineup. These cameras just go and go and go. They’re eager to work and don’t need a break. The X-H1 is probably the best. The X-T4 is not far behind.

I don’t usually have heat issues with Fujifilm cameras in my day-to-day photography, but when I do the monthly SOOC broadcast, I need a camera that will run 4K video for several hours. My X-H1 will do it. The X-T4 will do it, too. But, I found out that the X-T5 will only last for about 45 minutes before overheating. Interestingly enough, I accidentally forgot to turn off the X-T4, and it kept running for 24 hours straight, no overheating! Before you scoff, the camera was plugged into the wall with a faux battery power cord and it was tethered to my computer, so it is, in fact, possible for the camera to run 4K for hours and hours and hours, just so long as it doesn’t power down due to overheating.

After I discovered the X-T4 had been inadvertently running for a whole day, I powered it off and let it rest for 15 minutes, then I used it for a three-and-a-half hour broadcast. It worked like a champ! The X-T5 overheats much too quickly to even be considered for this use. If you will be video broadcasting or recording long clips, the X-T4 is the clear winner. The almost-five-year-old X-H1 is better than the X-T5 in this regard, too. I’m not surprised, because Fujifilm stuffed a high-resolution sensor and quick processor into a small body, and the consequence of that is heat, and there’s just not enough heat dispersion. For most people, this is no big deal at all, but for those videographers who need to record extended-length clips, the X-T5 should be avoided, and the X-T4 is a much better option.

2. Rear Screen

I like the X-T5’s three-way tilt screen better than the flippy screen on the X-T4, but not everyone agrees with me on that. For some, the X-T4’s screen is superior. You can do a lot more with it, and being able to see yourself while recording video of yourself is big plus for some. Personally, what I like best about the X-T4’s screen is that you can close it backwards, and it is sort of like shooting with an X-Pro3 (kinda, but not really)—no other X-T series camera can do that, only the X-T4. You might actually prefer the X-T4’s rear screen over the X-T5. Different strokes for different folks, right?

3. Vertical Battery Grip

I’ve never used a vertical battery grip on any camera ever, but some do use it, either for the extra battery power, the extra grip, or both. Every single camera in this series—including the X-T1—has had an optional vertical battery grip accessory for those who want one, except for the X-T5. In this way, the X-T5 is more like the X-T00 series, and it cheapens the line (not in cost, but in perceived quality). Most people don’t use the vertical battery grip, so for the majority this is no big deal whatsoever, but for some this is a dealbreaker.

4. Body Size

A lot of people (myself included) have applauded the smaller size of the X-T5, but some prefer the bigger X-T4 body. Those with big hands might prefer the grip on the X-T4, and those who frequently shoot with large, heavy lenses might prefer using them attached to the bulkier frame. For me, just doing some testing in preparation for the upcoming X-T5 review, the larger X-T4 body felt better when using the Fujinon 100-400mm lens than the smaller X-T5, but that was simply my experience and my preference. I would suggest that the shooting experience of the X-T4 might be slightly superior if you do use large lenses a lot, but it is a personal preference.

5. Resolution

More is more, right? 40 is better than 26, right? If you crop deeply, print poster, or enjoy pixel-peeping, the higher resolution sensor of the X-T5 is probably for you. Otherwise, the X-T4 has more resolution than most people typically use or need. The disadvantage of more resolution is that it takes up more digital storage space (on your SD cards, phone, computer, external hard drive, and cloud storage), and it can take longer to process or upload files—an extra second here and there doesn’t seem like much, but if you add it up over ten thousand pictures (the course of a year for me), you’re talking about hours that the higher resolution sensor cost you. Sometimes less is more. Personally, I prefer the 26-megapixel resolution of the X-T4 over the X-T5’s 40-megapixels; some of you might even prefer the X-T1’s 16-megapixels.

But, but, but… the X-T5 has the new super-quick autofocus, that finally brings it up to par with Canikony! That alone makes it worthwhile, right? Outside of dim-light situations, I found the X-T1’s eight-year-old autofocus to be plenty quick for me, including for sports and wildlife photography. The X-T4’s autofocus, which is even better, is more than good enough for almost everyone.

It’s not the gear that’s incapable. People have been capturing amazing photographs for 150+ years, and whether for stills or motion pictures, the focus capability of the gear has never stood in the way. People have done so much more with so much less for so many decades. If you looked at photography forums and such lately, you’d wonder how anyone ever managed to capture an in-focus picture prior to the Sony A7 III. We must have imagined it all, because it’s just not possible without the quickest autofocus—and if you don’t have the quickest, you got nothing. That’s how it seems. The focus inability of camera gear is a very recent phenomena. With that said, if a camera offers a tool that makes photography a little easier for you, that’s a good thing. Certainly autofocus in general, and the gradual improvements in autofocus capabilities over the years, have opened up photography for people who don’t have the skill or experience or desire to get the shot otherwise—that’s not a dig, by the way, as I believe opening up photography to those who the door would otherwise be closed to is important. Film Simulation Recipes do that for those who don’t have the skill, time, desire, or access to computer/software to edit RAW files—for me, that’s time and desire; for you, it might be something else—and it has become an important tool for the visually impaired. So, yeah—bravo to better autofocus! But, if you do find the focus capabilities lacking on whatever gear you are using, know that you do have it within you to overcome that issue, and it doesn’t involve buying new gear.

Back to the cameras in question…. In AF-S, I didn’t hardly notice any difference between the X-T4 and the X-T5 (or even the X-T1 and X-T5 in normal light). I think the visual confirmation of focus is a hair quicker, but the actual focus isn’t (I hope that makes sense). The X-T5 recognizes faces a little further away, if that matters. In AF-C, I do think the X-T5 is just a tad better at finding and correctly focusing on the intended subject, but it’s not a night-and-day difference, only a small improvement (but an improvement nonetheless). Where I believe the X-T5 is indeed superior to the X-T4 with regard to autofocus is continuous subject-tracking. The X-T5 can recognize more various subjects to track (not just human face/eye), and does a better job of tracking. So if you do use continuous subject-tracking autofocus, you’ll find the X-T5 to be better than the X-T4; if you don’t, you’ll find the X-T5’s autofocus to be only marginally improved.

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

Fujifilm X-T4 in black:  Amazon  B&H
Fujifilm X-T4 in silver:  Amazon  B&H

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

What Film Simulation Recipe Was That?

Posted on by Ritchie Roesch

I get asked at least once per week which Film Simulation Recipe was used for a picture in the Fuji X Weekly homepage gallery. It’s my fault for not telling you. I should have made it much more obvious. Maybe I should make posts with galleries (but actually include the recipes used so that you don’t have to wonder)? If you see a particular picture you like, perhaps you’ll be inspired to try that recipe.

Anyway, this article is simply an explanation of which recipe was used for each picture in the homepage gallery. If you’ve ever wondered, now you know. I’ll probably change out some of the images within the next few weeks, so keep an eye out for that.

Vintage Color
Vintage Color
Positive Film
Vintage Vibes
Golden Negative
Kodachrome 64
Xpro ’62
Faded Negative
Fujicolor Pro 400H
Fujicolor Superia 800
Kodak Portra 400 v2
Kodachrome II

For those keeping score, seven of the pictures were captured with a Fujifilm X100V, two were captured with a Fujifilm X-E4, and one each were captured with an X-T30, X-Pro2, and X-T200,

Find these Film Simulation Recipes and over 250 more on the Fuji X Weekly — Film Recipes App!

Creative Collective 036: Film Simulation Bracket, Part 2

Posted on by Ritchie Roesch

Classic Chrome
Eterna
Astia

There’s a feature on Fujifilm cameras that I don’t utilize often enough: Film Simulation Bracket. This processes one exposure as three different images, each with a different film simulation applied. You cannot change any other parameters—only the film sim—so you cannot use three different Film Simulation Recipes, only one recipe, but with three film simulations. It would be great if Fujifilm made a Custom Preset Bracket where you could choose three C1-C7 presets to process the exposure with, but that unfortunately doesn’t exist. Another limitation worth noting is that on newer cameras, Film Simulation Bracket disables Clarity, which is a shame.

I already discussed Film Simulation Bracket in a previous Creative Collective article, so I’ll try to take a slightly different approach with this one, and not rehash everything that’s already been said. When is Film Simulation Bracket a useful tool? Read on to find out!

Kodak Vericolor Warm — Fujifilm X-T5 (X-Trans V) Film Simulation Recipe

Posted on by Ritchie Roesch

Right Around the Bend – Arlington, AZ – Fujifilm X-T5 – “Kodak Vericolor Warm”

I wasn’t sure if I should publish this Film Simulation Recipe, but then I thought, why not? Initially, the intention was simply to see how the Nostalgic Neg. film simulation looks with Dynamic Range set to DR100, and how the X-T5 images look at ISO 125, which is the base-ISO of X-Trans V cameras. I didn’t model these settings after any specific film aesthetic; instead, I borrowed the GAF 500 Film Simulation Recipe‘s white balance (modified just a little after a couple test shots), and was also inspired by Kodak Portra 400 and Reggie’s Portra recipes. I wasn’t sure what to expect from this, but I ended up really liking it!

So what does this Film Simulation Recipe most closely resemble? Unintentionally, I think it has some similarities to Kodak Vericolor film. What’s Kodak Vericolor? Originally introduced in 1971 as an ISO 100 professional color negative film, Kodak made two version of Vericolor: NPS (also known as S-Type) for short exposures (Daylight balanced) and NPL (also known as L-Type) for long exposures (Tungsten balanced). Just a few years later Kodak improved the emulsions and in 1974 introduced Vericolor II NPS and NPL, which was also ISO 100. In 1983 Kodak improved the emulsion once again and introduced Vericolor III, which was ISO 160 for NPS and ISO 100 for NPL; however, the NPL version was later spun off as Ektacolor Pro Gold 100T and later Portra 100T, while Vericolor III NPS was renamed Vericolor III 160. Later (sometime in the late-1980’s, although I couldn’t pinpoint a specific year), Kodak introduced a new high-ISO version called Vericolor III 400. Vericolor III 160 and 400 were replaced by Portra 160 and 400 in 1998. This recipe by chance shares a resemblance to Vericolor III 160 or perhaps Vericolor II NPS, but I think it is more warm, and perhaps more like if an 81A Color Correction Filter was used in conjunction with the film, a common technique in the film era, and maybe a CPL filter, too.

Hanging Garden Light – Buckeye, AZ – Fujifilm X-T5 – “Kodak Vericolor Warm”

This Kodak Vericolor Warm Film Simulation Recipe is only compatible with (as of this writing) the Fujifilm X-T5, X-H2, and X-H2S. I assume that the GFX100S and GFX50S II can also use this recipe, but that it will render slightly different—I don’t have either of those cameras to test it to know for certain. Unless Fujifilm gives X-Trans IV cameras the Nostalgic Neg. film simulation, which I doubt they will do, this recipe is only for X-Trans V cameras, and maybe the latest GFX, too; however, consider the Kodak Portra 160, Kodak Portra 400, and Reggie’s Portra as alternatives for those with X-Trans IV models. This Kodak Vericolor Warm recipe is especially well-suited for daylight photography, but can also be used during “blue hour” and overcast situations.

Film Simulation: Nostalgic Neg.
Grain Effect: Weak, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Strong
White Balance: 3000K, +8 Red & -9 Blue
Dynamic Range: DR100
Highlight: -2
Shadow: -1
Color: +2
Sharpness: -2
High ISO NR: -4
Clarity: -2
ISO: Auto, up to ISO 6400
Exposure Compensation: 0 to +2/3 (typically)

Example photographs, all camera-made JPEGs using this “Kodak Vericolor Warm” Film Simulation Recipe on my Fujifilm X-T5:

Blue Sky Bougainvillea Blossom – Buckeye, AZ – Fujifilm X-T5
Rose in the Garden – Buckeye, AZ – Fujifilm X-T5
Triple Leaves – Buckeye, AZ – Fujifilm X-T5
Water Pipe – Arlington, AZ – Fujifilm X-T5
Trioliet – Arlington, AZ – Fujifilm X-T5
Tired Old Bus – Arlington, AZ – Fujifilm X-T5
Four Lights – Arlington, AZ – Fujifilm X-T5
Tractor Pipe – Arlington, AZ – Fujifilm X-T5
Cattle Co – Arlington, AZ – Fujifilm X-T5
Industrial Water – Arlington, AZ – Fujifilm X-T5
Tree on the Bank – Arlington, AZ – Fujifilm X-T5
Fujifilm Photographer – Arlington, AZ – Fujifilm X-T5
Roadside Memorial – Arlington, AZ – Fujifilm X-T5
Feed Barn – Palo Verde, AZ – Fujifilm X-T5
Metal Garage – Arlington, AZ – Fujifilm X-T5
Rust & Lock – Arlington, AZ – Fujifilm X-T5
Ome – Arlington, AZ – Fujifilm X-T5
No Loitering on Bridge – Arlington, AZ – Fujifilm X-T5
Love the Bridge – Arlington, AZ – Fujifilm X-T5
Goat Man – Arlington, AZ – Fujifilm X-T5

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

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

Find this Film Simulation Recipe and over 250 more on the Fuji X Weekly — Film Recipes App!

Help Fuji X Weekly

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Superia Xtra 400 — Fujifilm X-T5 (X-Trans V) Film Simulation Recipe

Posted on by Ritchie Roesch

Red & Green Bush – Buckeye, AZ – Fujifilm X-T5 – “Superia Xtra 400”

This is a simple update to the Superia Xtra 400 Film Simulation Recipe, which was originally made for X-Trans IV cameras. I discovered that a slight tweak is needed for X-Trans V models, because the new sensor renders blues just a little deeper on some film simulations, including Classic Negative. For this recipe, simply setting Color Chrome FX Blue from Strong to Weak makes it compatible with (as of this writing) the Fujifilm X-T5, X-H2, and X-H2S.

Thomas Schwab created the Superia Xtra 400 recipe by capturing a roll of actual Superia Xtra 400 film while also capturing identical exposures with his Fujifilm cameras, then, using X RAW Studio, he worked on the settings until he found a match. As you can imagine, he put a lot of time and effort into creating it! He shared with me some of his side-by-side pictures—comparing the film with his recipe—and it was tough to figure out which was which—they looked so close! Also, just recently another photographer shot a roll of Superia Xtra 400 film and used the Superia Xtra 400 recipe on his Fujifilm camera, and he shared with me the similar results he got between the two. Amazing! Of course, with film, so much depends on how it’s shot, developed, and scanned or printed, and the aesthetic of one emulsion can vary significantly.

Lemon Bowl – Buckeye, AZ – Fujifilm X-T5 – “Superia Xtra 400”

Fujifilm introduced Superia Xtra 400, a consumer-grade color negative film, in 1998, replacing Super G Plus 400. This film has been updated a couple of times, first in 2003 and again in 2006. It’s been widely used, thanks to its low cost and versatility. I’ve shot several rolls of this film over the years. This recipe is for Fujifilm X-Trans V cameras. Those with newer GFX models can use it, too, although it will likely render slightly differently.

Film Simulation: Classic Negative
Grain Effect: Strong, Small
Color Chrome Effect: Off
Color Chrome FX Blue: Weak
White Balance: Auto, +3 Red & -5 Blue
Dynamic Range: DR400
Highlight: 0
Shadow: -1
Color: +4
Sharpness: -1
High ISO NR: -4
Clarity: -2
ISO: Auto, up to ISO 6400
Exposure Compensation: 0 to +1 (typically)

Example photographs, all camera-made JPEGs using this “Superia Xtra 400” Film Simulation Recipe on my Fujifilm X-T5:

Forwards or Backwards – Buckeye, AZ – Fujifilm X-T5
Standing Tall – Buckeye, AZ – Fujifilm X-T5
Hiding Saguaro – Buckeye, AZ – Fujifilm X-T5
Don’t Touch – Buckeye, AZ – Fujifilm X-T5
Neighborhood Fog – Buckeye, AZ – Fujifilm X-T5
Dark Desert – Buckeye, AZ – Fujifilm X-T5
Misty Desert – Buckeye, AZ – Fujifilm X-T5
Clearing Clouds & Desert Mountain – Buckeye, AZ – Fujifilm X-T5
Ground Fall – Buckeye, AZ – Fujifilm X-T5
Wet Blossom – Buckeye, AZ – Fujifilm X-T5
Wet Rosebud – Buckeye, AZ – Fujifilm X-T5
Early Morning Lamp – Buckeye, AZ – Fujifilm X-T5
Night Blossoms – Buckeye, AZ – Fujifilm X-T5
Western Boots – Buckeye, AZ – Fujifilm X-T5

See also:
Fujifilm X-Trans V Film Simulation Recipes
Fujifilm X-Trans IV Film Simulation Recipes

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

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

Find this Film Simulation Recipe and over 250 more on the Fuji X Weekly — Film Recipes App!

Help Fuji X Weekly

Nobody pays me to write the content found on fujixweekly.com. There’s a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!

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Fujifilm X-Trans III + X-T3 & X-T30 Film Simulation Recipe: Mystery Chrome

Posted on by Ritchie Roesch

Backlit Lightbulbs – Buckeye, AZ – Fujifilm X-H1 – “Mystery Chrome”

During this last SOOC broadcast, we attempted something never done before by anyone ever: create a new Film Simulation Recipe live on YouTube (which you can find at the 2:09:19 mark, if you missed the show). It was all done randomly. We spun wheels, used random number apps and programs, picked paper out of a hat, conducted a couple polls, and even had a kid pick a number—this recipe was a group effort created by you using chance. A special Thank You to everyone who participated! This was, of course, for fun. I would say that this is the least serious recipe ever to be published on this website, but that doesn’t mean you can’t use it for serious photography, because you absolutely can!

After completing the recipe, we took up name suggestions from the audience, and then ran a poll to decide which to go with, and “Mystery Chrome” won by a significant margin. The mystery is, perhaps, whether or not this is any good, or if anyone will actually use it—or maybe because it was all a mystery as it was being formed, parameter-by-parameter. We (as in the hosts, the guests, and those in the audience) also programmed this recipe into our cameras right away, and while still broadcasting live, we captured a picture, uploaded it, and shared them in the show (my picture is below). That’s the power of Fujifilm cameras and Film Simulation Recipes: within minutes of creating a recipe, people can program it into their cameras, capture an image, and share it across the globe—it can be that quick. Amazing!

Slides – Buckeye, AZ – Fujifilm X-H1 – “Mystery Chrome”

Interestingly, this recipe—completely by luck—has a Kodak-like reversal film look, thanks to Classic Chrome, the white balance, and Highlight/Shadow settings. I think it’s somewhat similar to Kodachrome 200—it’s not quite right for that, but certainly in the ballpark, and probably the closest recipe on this website for that film. This is a high-contrast recipe, and is best for use in low-contrast situations or to achieve bold results in mid or high contrast scenarios. It certainly has the potential to be well-liked, but I don’t suspect it will be anyone’s go-to recipe for everyday photography.

If it were up to me, I would make one modifications to Mystery Chrome: Noise Reduction to -4 instead of +4. I’m not a big fan of the in-camera Noise Reduction, and I like to take it all the way down. For internet viewing, and even 8″ x 12″ prints, you’ll have a hard time even noticing the difference between +4 and -4, but if you zoom in or print larger, it becomes more obvious. Maybe you prefer the increased Noise Reduction; personally, I do not. All of the photos in this article were captured with Noise Reduction set to +4.

Twin Flags – Buckeye, AZ – Fujifilm X-H1 – “Mystery Chrome”

This Mystery Chrome Film Simulation Recipe is compatible with all Fujifilm X-Trans III cameras—X-Pro2, X100F, X-E3, X-T2, X-T20, and X-H1—plus the X-T3 and X-T30 by simply setting Color Chrome Effect to Off. For newer X-Trans IV cameras, additionally set Color Chrome FX Blue to Off, Clarity to 0, and choose a Grain size (either Small or Large)—if you use it on X-Trans V cameras, blues will render slightly more deeply. For GFX, shadows will render slightly less dark, which you might actually prefer.

Classic Chrome
Dynamic Range: DR400
Highlight: +3
Shadow: +4
Color: 0
Color Chrome Effect: N/A (X-Trans III) or Off (X-T3/X-T30)
Sharpness: -4
Noise Reduction: +4
Grain: Strong
White Balance: Daylight, +3 Red & -5 Blue
ISO: Auto up to ISO 6400
Exposure Compensation: +1/3 to +2/3 (typically)

Example photographs, all camera-made JPEGs captured using this “Mystery Chrome” Film Simulation Recipe on my Fujifilm X-H1:

Slides Plus Canisters – Buckeye, AZ – Fujifilm X-H1
Corvette Abstract – Buckeye, AZ – Fujifilm X-H1
Taco Lamp – Buckeye, AZ – Fujifilm X-H1
Happy Girl – Buckeye, AZ – Fujifilm X-H1
Late Bloomer – Buckeye, AZ – Fujifilm X-H1
Rainbow Trumpets – Buckeye, AZ – Fujifilm X-H1
Wren in Rome – Buckeye, AZ – Fujifilm X-H1
Traffic Flag – Buckeye, AZ – Fujifilm X-H1
Pergola Lights – Buckeye, AZ – Fujifilm X-H1
Autumn Rainbow – Buckeye, AZ – Fujifilm X-H1
Amber Autumn – Buckeye, AZ – Fujifilm X-H1
Brilliant Leaf – Buckeye, AZ – Fujifilm X-H1
Yellow Tree – Buckeye, AZ – Fujifilm X-H1
Bougainvillea & Palm Fronds – Buckeye, AZ – Fujifilm X-H1
Contrasty Tree – Buckeye, AZ – Fujifilm X-H1
Saguaro Brothers – Buckeye, AZ – Fujifilm X-H1
Tall Saguaro – Buckeye, AZ – Fujifilm X-H1
Little Cactus – Buckeye, AZ – Fujifilm X-H1
Brixton Boy – Buckeye, AZ – Fujifilm X-H1
Out of the Shadows – Buckeye, AZ – Fujifilm X-H1
Blending In – Buckeye, AZ – Fujifilm X-H1

Find this Film Simulation Recipe and over 250 more on the Fuji X Weekly — Film Recipes App!

Help Fuji X Weekly

Nobody pays me to write the content found on fujixweekly.com. There’s a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!

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Pacific Blues — Fujifilm X-T5 (X-Trans V) Film Simulation Recipe

Posted on by Ritchie Roesch

Up or Down – Buckeye, AZ – Fujifilm X-T5 – “Pacific Blues”

I published the Pacific Blues Film Simulation Recipe just four months ago, and it has already become one of the most popular on Fuji X Weekly. The aesthetic is intended to emulate Lucy Laucht‘s Spirit of Summer series, particularly the Positano Blues photographs. While it is intended for a summer day at the beach, the recipe works great for many different subjects and situations. Foggy mornings? Yes! Dreary overcast? Yep! Desert landscapes? Sure! Garden flowers? Autumn leaves? Dramatic portraits? Absolutely. And lots, lots more. I’ve even seen some really interesting night photographs with it. Try this recipe for many different light scenarios and different subjects—you’re bound to love it!

Pacific Blues was made for X-Trans IV cameras, and I discovered that a slight tweak is needed for X-Trans V models, because the new sensor renders blues just a little deeper on some film simulations. For X-Trans IV recipes that use Classic Negative, Classic Chrome, Eterna, or Eterna Bleach Bypass and calls for Color Chrome FX Blue Strong, you’ll need to adjust it to Weak on X-Trans V; if it calls for Color Chrome FX Blue Weak, you need to adjust it to Off. If it calls for Color Chrome FX Blue Off, well, you just have to know it will render differently on X-Trans V and there’s nothing you can do about it. For Pacific Blues, setting it to Weak instead of Strong makes it compatible with X-Trans V.

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

If you have an X-Pro3, X100V, X-T4, X-S10, X-E4, or X-T30 II, you’ll want to use the original Pacific Blues Film Simulation Recipe. For those with an X-T3 or X-T30, unfortunately Fujifilm never gave your camera the Classic Negative film simulation, so you cannot use Pacific Blues. For those with GFX, if it’s an older model, I think the X-Trans IV version is likely most compatible, and for newer models, this version is likely most compatible; however, I have not tested either version on any GFX model to know for sure. If you have an X-H2, X-H2S, or X-T5 (or any other X-Trans V camera that is released after publication), this is the Pacific Blues recipe that you want to use.

Film Simulation: Classic Negative
Grain Effect: Strong, Large
Color Chrome Effect: Strong
Color Chrome FX Blue: Weak
White Balance: 5800K, +1 Red & -3 Blue
Dynamic Range: DR400
Highlight: -2
Shadow: +3
Color: +4
Sharpness: -2
High ISO NR: -4
Clarity: -3
ISO: Auto, up to ISO 6400
Exposure Compensation: +2/3 to +1 (typically)

Example photographs, all camera-made JPEGs using this “Pacific Blues” Film Simulation Recipe on my Fujifilm X-T5:

Minolta Garden – Buckeye, AZ – Fujifilm X-T5
Ground Leaves – Buckeye, AZ – Fujifilm X-T5
Wet Lightbulb – Buckeye, AZ – Fujifilm X-T5
Flower in the Rain – Buckeye, AZ – Fujifilm X-T5
Wet Red Rosebud – Buckeye, AZ – Fujifilm X-T5
Wet Red Bougainvillea – Buckeye, AZ – Fujifilm X-T5
Afternoon Bougainvillea – Bcukeye, AZ – Fujifilm X-T5
Illuminated Branch – Buckeye, AZ Fujifilm X-T5
Spiderwebs – Buckeye, AZ – Fujifilm X-T5
Desert Cactus – Buckeye, AZ – Fujifilm X-T5
Misty Morning Desert – Buckeye, AZ – Fujifilm X-T5
Foggy Tree – Buckeye, AZ – Fujifilm X-T5
Neighborhood Fog – Buckeye, AZ – Fujifilm X-T5
Autumn Walkway – Buckeye, AZ – Fujifilm X-T5
Lifting Clouds Over Veiled Ridge – Buckeye, AZ – Fujifilm X-T5

See also:
Fujifilm X-Trans V Film Simulation Recipes
Fujifilm X-Trans IV Film Simulation Recipes

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

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

Find this Film Simulation Recipe and over 250 more on the Fuji X Weekly — Film Recipes App!

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I Was Never Meant to Like the Provia Film Simulation + Other Fun Film Sim Facts

Posted on by Ritchie Roesch

Oak Autumn – Pine, AZ – Fujifilm X-E4 – Provia film sim – “KodaNeg VC” recipe

I’ve never really cared for Fujifilm’s Provia film simulation. I mean, it’s alright, but I like most of the other options better, and I wondered why they made it the “standard” film simulation. It doesn’t much resemble real Provia film—why even call it Provia?—yet it is front-and-center on all Fujifilm models.

I Recently stumbled across a fascinating article that helped me better understand why I don’t like Provia, and why the other film sims look the way they do. Exibartstreet.com translated and summarized an interview of two Fujifilm managers who discussed at length the different film simulations found on Fujifilm cameras (the original interview articles can be found here and here, and is two years old). I now have a little better understanding of Fujifilm’s philosophy behind the creation of their profiles.

Truck Stop Cross Process – Bowie, TX – Fujifilm X100F – Provia film sim – “Cross Process” recipe

Specifically to Provia, I discovered that I was never supposed to like it. It wasn’t designed for me. “When it comes to Provia,” one of the Fujifilm managers stated, “photographers that started with film find it hard, but photographers that only shoot digitally find it just right.” Well, I started with film; I don’t know if I’d describe it as “hard” but it is far from “just right” for me personally. “Provia aims at the greatest common denominator that makes you feel ‘beautiful’ at a glance.” In other words, they weren’t trying to mimic any emulsions, but create a profile that looks nice to those who have only ever shot with digital cameras. “In my personal opinion, I would like to change the name ‘film simulation,'” the Fujifilm manager said. “Film simulation is not film imitation.”

Diving into the interview, we discover that Velvia was, in fact, modeled after the film of the same name, but digital sensor and processor limitations have made it difficult to reproduce the film’s aesthetic; however, beginning with X-Trans III, Fujifilm has been able to get closer. Enabling Color Chrome Effect allows you to achieve the appropriate color depth.

Wind from the West – Hammond, OR – Fujifilm X-E4 – Astia film sim – “CineStill 50D” recipe

The Astia film simulation looks so much different than real Astia film. “We often receive comments that ‘reproducibility is different from Astia of silver salt,'” the manager explained. “The reason for this is that ‘the image quality design is not aimed at silver salt Astia.’ You may wonder what it means to bear the name of Astia even though it is different, but it is not completely unrelated. In fact, both film and digital are aiming at the same place. In other words, the film simulation ‘Astia’ was developed to bring it closer to the ‘ideal Astia’ that the development team aimed for when developing the silver salt film Astia.” Put more simply, the film simulation is the aesthetic that Fujifilm would have produced with the film if they could have.

Classic Chrome was modeled after an unmentioned slide film… they can’t say Kodak.

Pilot – Cordes Lakes, AZ – Fujifilm X-T5 – Classic Chrome film sim – “Kodachrome 64” recipe

PRO Neg. Std and PRO Neg. Hi were not modeled after any specific emulsions, but are for faithful color reproduction. “The main difference is the tone curve. PRO Neg. Hi is adjusted to tighten the shadows and tighten the highlights. On the other hand, the color design is the same.”

The Eterna film simulation was modeled after Eterna motion picture film. Regarding Eterna Bleach Bypass, “This setting is equivalent to ‘half of the silver remaining’ on film….”

Coastal Blooms – San Simeon, CA – Fujifilm X-E4 – Classic Negative film sim – “Pacific Blues” recipe

“Classic Negative is a very special kind of film simulation, designed so that the appearance of colors changes depending on the brightness. Therefore, I make adjustments so that dark tones are cyan, and bright tones are magenta. Classic Negative… was originally ‘Superia.'” It’s clear that this film simulation was carefully crafted to closely mimic Superia film. “To tell you the truth, I feel that Classic Negative was a little too bold.” I think Fujifilm should consider going “too bold” more often!

There’s a heck-of-a-lot more said in the interview that’s quite fascinating. I think Fujifilm doesn’t want its users to interpret “film simulation” as “film imitation” because not all of their film sims are intended to mimic film. Some are, and some are not. But, even the ones that are not, the digital side teamed up with the film side to assist in designing all of the film simulations—including Provia/Std—and I think their careful attention to detail and vast film experience translates into profiles that can be made to resemble film, even if the film sim was never intended to. Still, the film simulations that are, in fact, modeled after film are my favorites.

Which Film Simulation Recipes, When? — Part 4 (X-Trans II)

Posted on by Ritchie Roesch

Hummingbird Feeder Along a Wall – Buckeye, AZ – Fujifilm X-T1 – “Classic Kodak Chrome”

Part 1 – Part 2 – Part 3 – Part 5

When should you use which Film Simulation Recipes on your Fujifilm X-Trans II camera? With so many recipes to choose from, it can be difficult to know what recipe you should select in a given situation, and this article is intended to help you with that. If you haven’t read Part 1, it’s important to do so because it explains what exactly we’re doing—the backstory—which is imperative to understand. There’s a video to watch in that article, too. Take a moment right now to hop on over to Part 1 (click here) before continuing on with this post, if you haven’t viewed it already.

One thing to note about X-Trans II cameras is that not all of them have the Classic Chrome film simulation, including the X100S, X20, and XQ1. Unfortunately, if you have one of those models, this list is slightly less useful to you, although I hope you still find it helpful. For those with an X100T, X-E2, X-E2S, X-T1, X-T10, X30, X70, or XQ2, this list is fully compatible with your camera.

Like Parts 2 & 3, I set out to recommend seven recipes, one for each C1-C7 Custom Preset, that don’t share the same white balance type or, if they do, they also share the same shift, because X-Trans II cameras cannot remember a White Balance Shift within the C1-C7 Custom Presets. If two recipes share the same white balance type but not the same shift, then when you switch presets you must remember to adjust the shift, too. That can be inconvenient and frustrating, so my best solution is to program recipes that use different white balance types and/or share the same white balance type and shift. The user experience is much improved, but you might not be able to program all of your favorite recipes at the same time, which is the one downside to doing this. It was a difficult task, but I think I came up with a good set for you.

Let’s take a look!

C1 — Classic Kodak Chrome — Golden Hour

Purple Mountains – Buckeye, AZ – Fujifilm X-T1 – “Classic Kodak Chrome”

The Classic Kodak Chrome Film Simulation Recipe is a great option for sunrise or sunset photography, or pretty much anytime of the day or night. This is my current favorite recipe for X-Trans II cameras—I shoot with it often, more than all of the other X-Trans II recipes combined. This is my top allrounder choice! Almost no matter the subject, situation, or light, this is the recipe that I go with. Classic Kodak Chrome uses the Auto white balance type; if I wasn’t concerned about white balance type, I’d go with this recipe or Ektachrome 100SW whenever the sun is low to the horizon.

Alternatives for “golden hour” photography:

Ektachrome 100SW
Kodacolor
Velvia
Eterna

C2 — Kodak Portra 160 — Midday

An Arizona Autumn – Buckeye, AZ – Fujifilm X-T1 – “Kodak Portra 160”

Whenever the sun is not low to the horizon, my top-choice for daylight photography is the Kodak Portra 160 recipe, although it is good for “golden hour” too, and can be used anytime the sun is out. This is one of my favorite X-Trans II recipes, and is especially good for portrait photography, or whenever you want warm Kodak-like negative film colors. Kodak Portra 160 uses the Daylight white balance type; if I wasn’t concerned about white balance type, this or any in the “alternatives” list would be good options.

Alternatives for “midday” photography:

Kodachrome II
Kodachrome 64
Portra v2
Color Negative Film
Astia

C3 — Fujichrome Slide — Overcast

A Yellow Trumpet Blossom – Buckeye, AZ – Fujifilm X70 – “Fujichrome Slide”

I really like the Fujichrome Slide recipe, but it’s not my first option for overcast conditions. It does well enough, but I’d go with Classic Kodak Chrome instead (which is already in the C1 custom preset slot). Unfortunately, there aren’t a lot of good options for dreary days that don’t use a white balance type that’s already taken for another category. Fujichrome Slide uses the Fluorescent 1 white balance type; if I wasn’t concerned about white balance type, I would consider Winter Slide or Porto 200 as better alternatives.

Alternatives for “overcast” photography:

Winter Slide
Porto 200
Kodacolor 200
Jon’s Classic Chrome

C4 — Kodak Color Negative — Indoor

Morning Coffee – Glendale, AZ – Fujifilm X70 – “Kodak Color Negative”

The Kodak Color Negative Film Simulation Recipe is pretty versatile and does well in a number of situations—indoor is just one of them. It uses the Incandescent white balance type; if I wasn’t concerned about white balance type, I’d still choose it, but Agfa Optima would be a good alternative.

Alternatives for “indoor” photography:

Agfa Optima
Classic Chrome

C5 — CineStill 800T — Nighttime

Night Synergy – Centerville, UT – Fujifilm X-T1 – “CineStill 800T”

The CineStill 800T recipe for X-Trans II cameras is my absolute favorite nighttime option, period. If it’s after dark and I’m photographing artificial lights, this is the recipe I’m using. CineStill 800T uses the Kelvin white balance type; if I wasn’t concerned about white balance type I’d still use this one.

Alternatives for “nighttime” photography:

Scanned Negative

C6 — Lomography Color 100 — Wildcard

Freedom – Buckeye, AZ – Fujifilm X70 – “Lomography Color 100”

In Parts 1-3, this category is called Alternative Process; however, for X-Trans II there’s only one recipe for that category—Cross Process—and it uses a white balance type that’s already taken. So I changed the rules a little, and called this category Wildcard instead, which is simply a recipe that’s included just because. Lomography Color 100 can produce good results in a number of situations, including golden hour, midday, shade, and indoors. It’s good for landscapes, street, and portrait photography. However, it has a little different aesthetic than the other recipes in this list. Lomography Color 100 uses the Shade white balance type; if I wasn’t concerned about white balance type, I’d choose Cross Process instead.

Alternatives for “wildcard” photography:

Cross Process
Yosemite Velvia
Kodak Platinum 200

C7 — Monochrome Red — B&W

Jonathan with a Smile – Buckeye, AZ – Fujifilm X70 – “Monochrome Red”

The Monochrome Red Film Simulation Recipe is an excellent option for black-and-white photography. It’s especially well suited for blue-sky landscapes, but it does pretty well in other situations, too. It uses the Fluorescent 1 white balance type and shares the same shift as Fujichrome Slide, so both can occupy a slot in the C1-C7 custom presets simultaneously; if I wasn’t concerned about white balance type, the Monochrome recipe is a pretty good alternative—you really can’t go wrong with either.

Alternatives for “B&W” photography:

Monochrome
Faded Monochrome

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Review: TTArtisan 27mm F/2.8 — A Cheap Fujinon Alternative

Posted on by Ritchie Roesch

TTArtisan 27mm f/2.8 on a Fujifilm X-T5

The Fujinon XF 27mm f/2.8 R WR is my favorite lens for Fujifilm cameras. The problem is that it’s also my wife’s favorite lens, and between the two of us we only have one copy. When she’s using it, I typically go with the Fujinon 35mm f/2 instead, which is a really good lens, too, but I like the 27mm just a bit better. The other problem is that the 35mm lens, while small, is bigger than my 27mm pancake, and it doesn’t fit into my travel camera bag (I have it set up where my Fujifilm X100V and Fujifilm X-E4 with the 27mm fit really nicely into a little camera bag—the 35mm lens is just a tad too big). When TTArtisan recently announced their inexpensive 27mm f/2.8 autofocus pancake lens, I thought maybe this could be a good solution to my problem.

The TTArtisan 27mm f/2.8 feels well built. There’s mostly metal in the construction, and at 0.2 pounds, it’s definitely lightweight. It has an aperture ring, with f-stops from f/2.8 to f/16, and third-stop clicks in-between. It has 6 elements in 5 groups, and 7 diaphragm blades. 27mm is full-frame equivalent to 40.5mm, and is pretty close to what they eyes see. The minimum focus distance is about 13.5 inches. It accepts 39mm threaded filters—the lens came with a tiny hood that screws into the threads. The rear cap has a USB dock for firmware updates. Overall, the lens looks and feels pretty good.

TTArtisan 27mm f/2.8 on a Fujifilm X-T5

I really like the manual focus ring. It has the right amount of give, and the amount of focus change per turn is great. I like this lens better as manual-focus than autofocus. Why? Autofocus is loud and slow. Fujifilm’s 27mm isn’t their quickest or quietest, but the TTArtisan is noticeably noisier and slower (I tried it on an X-T5 and X-E4 with the same result on both). It reminds me a lot of Fujifilm’s 18mm f/2 pancake. I said of that lens, “Autofocus is the slowest I’ve experienced in a Fujinon model, outside of macro lenses that have a long range to cycle through. It’s also the loudest.” The TTArtisan’s autofocus performs very similarly. My wife has been around cameras and lenses nearly as much as I have—she shoots with a Fujifilm X-T4. A couple days ago I was playing around with the TTArtisan 27mm and she happened to be nearby, and she asked, “What’s that noise?” I answered, “This new lens, it’s trying to focus.” Her response was, “I’m sorry.” Maybe I just got a bum copy, or maybe they’re all that way—either way, it was a bit disappointing, but not completely unexpected for cheap gear.

The other aspect of the TTArtisan 27mm that’s similar to the Fujinon 18mm is size, as they’re pretty close to the same dimensions—the TTArtisan is just barely smaller. I said in my review of the 18mm, “Whereas the 27mm is a true pancake, the 18mm f/2 is only sort-of one, as it’s a little on the large size for this category. Think of it more of a Japanese pancake than an American flapjack, or maybe it’s a short stack.” It’s definitely smaller than the 35mm f/2, though, and it passed the fit-test in my travel bag. So when my wife is using the Fujinon 27mm, I can choose to attach the TTArtisan 27mm or the Fujinon 18mm to my X-E4, and it will still fit alongside my X100V.

What about image quality? There’s some strong vignetting that never fully goes away—by f/8 it’s extraordinarily minimal, but at f/2.8 it’s very pronounced. You can use the vignetting creatively, or stop down… it’s not too bad at f/4, and definitely not a big deal by f/5.6. It’s pretty sharp in the center at all apertures, but a little soft in the corners wide-open. I think the lens is optically best at around f/8, but certainly acceptably good at all apertures—even f/2.8. Bokeh (which is the quality of the out-of-focus areas of an image and an overrated aspect of image quality) is alright—not bad, but not my favorite, either; can be slightly “swirly” at f/2.8 when close-focusing. I didn’t notice chromatic aberrations or anything like that, but it might be because the camera is fixing it automatically. There is some noticeable barrel distortion. Lens flare is mostly well controlled, and sometimes kind of interesting (I’ve yet to decide if I like it or not). Overall, image quality from the TTArtisans 27mm isn’t as good as the Fujinon 27mm, but still pretty good.

Hanging Garden Light – Buckeye, AZ – Fujifilm X-T5 + TTArtisan 27mm @f/3.2 – Upcoming recipe

The TTArtisan 27mm f/2.8 is only $160, which is an extremely good price. If the Fujinon 27mm f/2.8 is out of your budget or you’re having a difficult time finding a copy, this is a pretty good alternative. If you can afford the Fujinon model, I recommend that instead because it’s better; however, the TTArtisan is pretty good yet very affordable. For those on a tight budget, I don’t think you’ll find a better pancake lens for your Fujifilm camera.

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

TTArtisan 27mm f/2.8 Autofocus  Amazon

Fujinon XF 27mm f/2.8 R WR   Amazon   B&H

Example photos, captured with the TTArtisan 27mm f/2.8 lens, all straight-out-of-camera JPEGs:

Early Morning Lamp – Buckeye, AZ – Fujifilm X-T5 + TTArtisan 27mm @ f/2.8 – “Superia Xtra 400“
Night Blossoms – Buckeye, AZ – Fujifilm X-T5 + TTArtisan 27mm @f/2.8 – “Superia Xtra 400”
Autumn Leaves on a Green Bush – Buckeye, AZ – Fujifilm X-T5 + TTArtisan 27mm @f/4 – “Nostalgia Negative“
Lemon Bowl – Buckeye, AZ – Fujifilm X-T5 + TTArtisan 27mm @f/4 – “Superia Xtra 400”
Dark Coffee – Buckeye, AZ – Fujifilm X-T5 + TTArtisan 27mm @f/2.8 – “Timeless Negative“
Western Boots – Buckeye, AZ – Fujifilm X-T5 + TTArtisan 27mm @f/2.8 – “Superia Xtra 400”
Cowgirl Boots – Buckeye, AZ – Fujifilm X-T5 + TTArtisan 27mm @f/2.8 – “Kodak Tri-X 400“
Illuminated Branch – Buckeye, AZ Fujifilm X-T5 + TTArtisan 27mm @f/5.6 – “Pacific Blues“
Rose in the Garden – Buckeye, AZ – Fujifilm X-T5 + TTArtisan 27mm @f/5.6 – Upcoming Recipe
Afternoon Bougainvillea – Bcukeye, AZ – Fujifilm X-T5 + TTArtisan 27mm @f/4 – “Pacific Blues”
Blue Sky Bougainvillea Blossom – Buckeye, AZ – Fujifilm X-T5 + TTArtisan 27mm @f/6.4 – Upcoming recipe

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Nostalgic Neg. Is Basically Eterna (Sort of…)

Posted on by Ritchie Roesch

One of the two images above is Nostalgic Neg. and the other is Eterna. Can you guess which is which?

The Nostalgic Neg. image is made using the Timeless Negative Film Simulation Recipe. The Eterna image is modified to resemble the Timeless Negative recipe.

Let’s look at another set.

I bet you’ve figured out which is which, but if you haven’t, in the train picture at top the left is Nostalgic Neg. and the right is Eterna. For the set above, the Eterna picture is left and the Nostalgic Neg. is right.

What’s different between the two? There’s quite a bit different between out-of-the-box default Nostalgic Neg. and Eterna, but Eterna can be made to look quite similar to Nostalgic Neg.—this was just a quick experiment, and with some more time and work, I could probably get it even closer. Nostalgic Neg. has a little more contrast, a lot more vibrant colors, and is slightly warmer than Eterna. With some modifications to make the two appear similar, though, it seems that the biggest difference is that Nostalgic Neg. is slightly warmer and more vibrant in the shadows, and yellow is rendered a little more deeply; otherwise, you can almost match them identically.

So what does it take to create faux Nostalgic Neg. with Eterna? I’m still fine-tuning it, but I believe that, using Eterna, reducing Highlight by -1, increasing Shadow by +1.5, reducing Dynamic Range by one or maybe two spots, adjusting White Balance Shift by +2 Red and -1 (or maybe -2) Blue, increasing Color by +6… this obviously means that Color has to be a negative value (at least -2) on Nostalgic Neg. in order to match it. This is all still a work-in-progress, but it does mean that a fairly close faux Nostalgic Neg. recipe for X-Trans IV is possible, and in the process of being created. If you feel as though you’re missing out on Nostalgic Neg.—don’t fret!—if your camera has Eterna, it can, to an extent, mimic it—stay tuned for a Film Simulation Recipe!

Let’s Get Festive — The SOOC Holiday Special!

Posted on by Ritchie Roesch

Join me next week for a very special SOOC broadcast! On Thursday, December 8, at 8:30 AM Pacific Time, 11:30 AM Eastern, Fujifilm X-Photographer Nathalie Boucry and I, plus a number of guests, will get festive live on YouTube, as we finish our discussion of the Kodak Ektachrome 100SW Film Simulation Recipe (don’t forget to upload your pictures by December 6th—click here). We have several fun surprises planned, so this is an episode that you won’t want to miss! I hope to see you then!

For those who don’t know, SOOC is a monthly live video series, with each episode focused on a different Film Simulation Recipe. It is a collaboration between Tame Your Fujifilm (Fujifilm X-Photographer Nathalie Boucry) and Fuji X Weekly (Ritchie Roesch). SOOC is a fun and educational experience where we not only talk about Fujifilm camera settings, but also answer your questions and give tips and tricks. Basically, we’re trying to help you master your Fujifilm camera, with a focus on simplifying your photographic workflow.

If you missed the last broadcast… due to technical difficulties, it’s been divided into Part 1 and Part 2, which you can find below. Also, I’ve included the last Viewers’ Images slideshow (your pictures!) at the bottom, in case you missed that, too.

Creative Collective 035: FXW Zine — Issue 13 — December 2022

Posted on by Ritchie Roesch

The 13th issue of FXW Zine is out, and if you are a Fuji X Weekly Creative Collective subscriber, you can download it now!

What’s in the December issue? The cover story is about nighttime street and urban photography in Phoenix, Arizona, with a Fujifilm X100V. There are 29 pictures, including the cover, across 20 page.

If you haven’t joined the Creative Collective, consider subscribing today to get access to bonus articles and the FXW Zine—not just this issue, but the first twelve issues, too!