Top 25 Most Popular Film Simulation Recipes of 2025

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

I get asked fairly regularly which Film Simulation Recipes are the most popular. For me, this is a fascinating topic, but it’s definitely hard to know definitively. While I get a glimpse on social media, my best gauge is the Fuji X Weekly website statistics; specifically, which Recipe articles are viewed the most. I don’t collect any data on the Fuji X Weekly App, so that’s no help—although, if I did, it would likely offer the most accurate picture; however, it would still be impossible to know which Recipes people programmed into their Fujifilm cameras, or how often they used each. Perhaps a survey would be particularly useful, yet even it has its limitations. While certainly a flawed method, page-view website statics offer the best glimpse at which Film Simulation Recipes are the most popular, so that’s what I’m using for this article. These are simply the Top 25 most-viewed Recipes on the Fuji X Weekly website in 2025.

It’s been awhile since I did one of these articles—the last time was sixth months ago. There’s always some movement from month-to-month, but overall it’s pretty predictable. Taking a six-month view offers more clear picture than a 30-day snapshot. That’s why I waited until the end of the year before doing another. Even though it’s not December 31st, there’s unlikely to be any movement over the next two weeks, so it’s safe to conclude the order.

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

Twenty four of the Recipes below were also in the Top 25 at the mid-point of 2025; twenty of them were in the Top 25 of 2024. The order did change a little, but otherwise it’s the usual suspects. Those Recipes with Kodak brand names in the title—Kodachrome, Portra, Gold, Tri-X, etc., etc.—are typically the most popular. Classic Chrome is the king of film simulations, as the majority of the most-viewed Recipes are based on that film simulation. Classic Negative and Reala Ace are battling for a distant second and third place. Acros, Eterna, and Nostalgic Neg. are neck-in-neck-in-neck for the fourth, fifth, and sixth positions.

Without any further delay, below are the most popular Recipes of 2025!

Top 25 Most Popular Film Simulation Recipes of 2025

#1:

Reggie’s Portra, which uses Classic Chrome, is now the number one top Film Simulation Recipe on Fuji X Weekly! It’s always been popular, but interest in this Recipe has soared this year. Last year it was in third place, pretty far behind first. In 2025, it edged out the long-time reigning champion. Reggie Ballesteros created it in 2022 by modifying my Kodak Portra 400 Recipe to better suit his style and needs. Of the various Portra Recipes, this is the most versatile, and the most popular for portrait photography. Reggie’s Portra is compatible with X-Trans IV and X-Trans V cameras.

#2:

A Classic Chrome based Recipe for X-Trans IV cameras that was the long-time most popular Film Simulation Recipe for Fujifilm cameras on this website. It’s one of my personal favorites, and, really, a lot of people’s favorites. It moved down one position since 2024.

#3:

A Wes Anderson inspired Recipe based on Classic Chrome for X-Trans IV and X-Trans V cameras. It moved up one position since last year.

#4:

This is the X-Trans V version of Kodak Gold 200; the X-Trans III/IV version is found later in the list. The Kodak Gold 200 Recipes uses Classic Chrome. Ranked #15 last year, it has moved up quite significantly.

#5:

This is the X-Trans V version of Kodak Portra 400 v2; the X-Trans IV version is found below. This is one of my personal favorites. It uses Classic Chrome. This Recipe climbed two positions since last year.

#6:

A Classic Chrome based Recipe for X-Trans IV cameras that was the long-time #2 most-popular Recipe on Fuji X Weekly, including in 2024.

#7:

The Kodak Tri-X 400 Recipe, created by Anders Lindborg, is the long-time most popular B&W Recipe on Fuji X Weekly. It’s based on the Acros film simulation, and has compatibility with X-Trans III, X-Trans IV, and X-Trans V models. This is one of my absolute top-favorite Recipes. In 2024 it was ranked 10th.

#8:

A Classic Chrome based Recipe for X-Trans IV and X-Trans V cameras. It climbed one position since last year.

#9:

This is the X-Trans V version of Kodachrome 64. I use this Recipe quite often. It moved up four positions since last year.

#10:

This is an Eterna-based Recipe for X-Trans V cameras; however, it’s simply an adaptation of the X-Trans IV version that has been around awhile. This is the first Recipe in this list that doesn’t use Classic Chrome. In 2024 it was ranked 24, so it’s moved up quite a bit.

#11:

Pacific Blues is currently the most popular Classic Negative Recipe. This particular version is compatible with X-Trans IV models, but there’s also an X-Trans V version a little further down the list. This is another of my personal favorite Recipes. It fell three positions since last year.

#12:

It’s probably unfair to include this Recipe in the list because it’s not one, but 14 Recipes. Its inclusion is a little unfair, but here it is. It’s intended to be used with the Film Dial, or with any X-Trans V camera by mapping Film Simulation to customizable button. I have no way of knowing which of the 14 are the most used. This Recipe was published in 2025.

#13:

This Recipe uses the Reala Ace film simulation, which means that it is compatible with X-Trans V cameras. It wasn’t in the Top 25 last year; it’s position remains unchanged since June.

#14:

This version of Kodak Portra 400, which uses Classic Chrome and is compatible with X-Trans IV cameras, was once commonly the third most popular Film Simulation Recipe on Fuji X Weekly. While it doesn’t rank nearly as high as it once did, it’s still quite popular. Last year it was ranked #6, so it has fallen quite significantly over the last year.

#15:

The Film Dial Recipe, which is for X-Trans V cameras with a Film Dial, is another one that’s a bit unfair to include since it is actually 14 Recipes. I have no idea which of them are the most used. This is another personal favorite. It climbed three spots since 2024.

#16:

Another Classic Chrome based Recipe, for use on X-Trans III models, plus the X-T3/X-T30. This one fell two positions since last year.

#17:

This is currently the highest-ranked Recipe that uses the Nostalgic Neg. film simulation (not including Universal Negative or the Film Dial Recipe sets). It’s compatible with X-Trans V cameras. It fell one spot since June; it was unranked in 2024.

#18:

Reala Ace, which is for X-Trans V cameras, predates the Reala Ace film simulation, and is based on Classic Negative. This is also a personal favorite Recipe. In 2024 it was ranked #5, so it has fallen a lot over the last year.

#19:

This Recipe is reminiscent of scanned Kodachrome 64 slides, and is compatible with X-Trans IV cameras. It’s another Recipe that uses the Classic Chrome film simulation. It fell five spots since 2024.

#20:

This Recipe, which was created by Nathalie Boucry, uses the Reala Ace film simulation, which means it is compatible with X-Trans V cameras. It didn’t crack the Top 25 in 2024; it’s position remains unchanged since June.

#21:

This is the X-Trans V version of the Pacific Blues Recipe. Last year it was unranked; it’s climbed four spots since the mid point of this year. This is another personal favorite Recipe.

#22:

This Recipe uses Classic Chrome and is compatible with both X-Trans IV and X-Trans V models. Interestingly enough, Fujifilm has displayed two of my images (one was displayed twice) at events, and both were created using this Classic Color Recipe. It’s position remains unchanged since last year.

#23:

Vintage Kodachrome, which is based on Classic Chrome, is one of the older Film Simulation Recipes on Fuji X Weekly (it was the fifth one published), and is compatible with X-Trans III cameras. It was ranked #11 in 2024, so it’s fallen quite significantly. Just a couple of months ago I stated that this was the most pivotal Recipe.

#24:

This was the first Recipe I published that uses the new Reala Ace film simulation. It’s fallen three spots since last year.

#25:

A Classic Negative based Recipe co-created by Thomas Schwab that’s compatible with X-Trans V cameras (there’s also an X-Trans IV version). It was ranked #18 last year.

Find these Film Simulation Recipes and many more on the Fuji X Weekly App!

Vanilla Ice Cream with Sprinkles — Pal2Tech Explains Film Sims & Recipes

Ice Cream Trailer – Farmington, UT – Fujifilm X-T30 – Kodak Vision3 250D

What a fun surprise to watch the latest Pal2Tech YouTube video! For those that don’t know, Pal2Tech is one of the top Fujifilm-centric YouTubers, and for a very good reason: he’s awesome at explaining complex things in an easy-to-understand way (and often in an entertaining way). His library of videos is a treasure trove of information. I always recommend his channel to those new to Fujifilm. Even if you are seasoned in the X-series system, there’s a lot that you can learn. And beyond that, some of his “other” content is really cool, like the OJ Simpson video. If you’ve never watched his stuff, be sure to visit his channel today.

In his most recent upload, Pal2Tech discusses Film Simulations and Recipes. I’m not going to spoil it, you’ll just have to watch the video, which I’ve included below. For those looking for the Film Simulation Recipe specifically mentioned in the video, click here. Dish yourself a bowl of vanilla ice cream, grab a spoon, and enjoy the video.

Fuji X Weekly App Update: Introducing Categories!!

There’s a brand-new Fuji X Weekly App update that I’m really excited to share with you. The main headline is a new feature called Categories, which can be interacted with in two different ways. The goal of Categories is to help you find Film Simulation Recipes for the specific situation that you are photographing in. This update is beneficial for both Patrons and non-Patrons.

The first way to interact with Categories is if you choose a Recipe—any Recipe, it doesn’t matter which one—and scroll towards the bottom just above Notes, you’ll find a Category Tag or maybe a handful of them (the amount varies from Recipe-to-Recipe). This tells you that the particular Recipe you selected has been identified as good for those specific situations and/or aesthetics. Now, tap on a Category Tag and it opens Discover Recipes, except instead of showing you all of the photos in the entire App to browse through, it shows only those that share that tag. This can help you to find Recipes based on image aesthetic. Each time you tap on a Category Tag, the order of the photos is reshuffled. For Patron subscribers, Category Tags can be used in conjunction with Filter by Sensor or Filter by Camera.

The second way to interact with Categories is only available to Patron subscribers. If you tap Filter, you’ll see By Category has been added to the list of options. You can choose one or more Categories—as many as you like, but the more you choose the fewer results you’ll get. You can Filter By Cameras (say X100VI), Film Simulation (say Classic Negative), White Balance (say Auto, Auto Ambience Priority and Auto White Priority), and Categories (say Film-Like and Street), and you’ll get a few results that match your request quite well. You can get real specific. If you are looking for (let’s say) a Film-Like Recipe that’s good for Portraits on Cloudy days for your X-Pro3, you can find that.

This is such a fun new way to interact with Film Simulation Recipes, and I anticipate that it will be extremely helpful to those who don’t know which Recipes to try. I’m really excited to introduce Categories to you because of all that, and also because so much work went into it. I didn’t keep careful tabs on the exact number of hours spent on this project, but it was a lot! The task of categorizing the various Recipes (over 400!) was pretty daunting on its own. I’m sure that it’s not perfect, and some might disagree with a certain Recipe’s inclusion or exclusion from a specific Category, but overall I think it turned out quite well. I really hope that some of you will find it to be a useful feature.

***Update: We were able to get the bug identified, fixed, and the app update submitted and approved by Apple in record time. On your iPhone, if the Fuji X Weekly App crashes immediately, make sure that you update to version 1.12.1 (and not 1.12.0) or update the iOS to the latest version (either option will fix it). I’m sorry for any trouble that this may have caused anyone.***

The Fuji X Weekly App is available to download for free from the Apple App Store and the Google Play Store! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly. If your device didn’t update automatically, be sure to update it now.

Why New Cameras Might Seem Boring

PetaPixel published an article entitled If You Think ‘Cameras Have Gotten Boring’ You’re Looking at Photography All Wrong, and I’m not so much interested in talking about that article in particular as I am of the idea of why new cameras might seem boring. There are probably a thousand different ways to look at it, and they’re likely all legitimate—I’m not suggesting that my explanation is better, it’s simply my thoughts and opinions. You might agree or disagree, and that’s perfectly ok. So, why do new cameras seem boring to some people?

I read a book last year, entitled David and Goliath: Underdogs, Misfits, and the Art of Battling Giants by Malcolm Gladwell, that was quite fascinating. I’m not a mathematician by any stretch, and I’m certainly not a statistician. For those who haven’t read the book, Malcolm talks a lot about the inverted-U curve (that is to say, an upside-down U). There’s a common pattern found everywhere (that’s often ignored) where something goes up a little, then up steeply before it begins to flattens out as it nears the peak, followed by a slow decline, then a steep decline. Can you picture the upside-down U?

Above: A short excerpt from Malcolm Gladwell’s David and Goliath from Amazon’s website. Seriously, read the book if you haven’t yet done so.

Let’s take a topic like autofocus, which a lot of people talk about in the Fujifilm world, but much less so outside of that. Photographers who use Sony cameras, for example, don’t discuss AF, except to occasionally remind everyone else just how good it is. In the PetaPixel article, the author states, “Sony managed to… improve processing for better autofocus….” Do Sony photographers care? If their AF is already super-duper awesome amazing, does it matter that it just got a hair better? I’m sure that 99%+ of Sony users wouldn’t be able to distinguish a difference, and only a tiny fraction of a percent of users would note that it makes a real, practical difference to their photography. While the improved processing for better autofocus may have been a substantial technical feat, for most people who use the gear, it’s inclusion or exclusion doesn’t matter in the least.

The reason why it doesn’t matter is that autofocus on Sony cameras (and some other brands) is near the peak of the inverted-U curve. Each improvement has less-and-less-and-less of a practical benefit to the users, who already find it more than good enough for each and every situation. In some circumstances, AF was prioritized to the detriment of image quality. If autofocus is already amazingly incredible beyond what you even need, any improvements will seem boring. They’re more gee-whiz than anything else. It’s like the famous line from The Incredibles, spoken by the villain: “And when everyone’s super, no one will be.”

Captured using a Fujifilm X-M1

With Fujifilm, there is some room for improvement. Fujifilm’s AF isn’t trash like some have hyperbolically said, but it isn’t peak like Sony’s. Fujifilm’s AF is more than good enough for most photographers; however, it is occasionally less than ideal for some situations. If Fujifilm “managed to improve processing for better autofocus” just like Sony did, it would not be perceived as boring because Fujifilm is not at the peak of the inverted-U. The improvements would make a real, practical difference to a larger percentage of the users. But, with each improvement, they inch closer to the peak, and eventually they’ll reach it (a bet some will still complain, though).

I think digital photography technology is near the peak of inverted-U curves in most categories. This means it’s an amazing time to be a photographer. We should have a deep appreciation for just how fortunate we are to have access to the gear we have. At the same time, camera advancements are easy to take for granted. An improvement that a team of experts worked tirelessly on for years might seem ho-hum, because the usefulness of it is minor for a small percentage of people, and is otherwise unnoticeable. That’s just the way it is at the peak.

Camera-made JPEG from Sony A7 IV

New cameras aren’t boring because they’re boring; they’re boring because they’re so good they do everything we need them to and more. They’re so good that our expectations have become incredibly high, making it more difficult to wow us. And, when you’re at the peak of an inverted-U, it’s easy to step a little beyond it. Take a step forward, and you take a step down. For instance, Sony’s new Dual Gain Output technology increases the dynamic range at low ISO when using the mechanical shutter, but can give a lower dynamic range when using the electronic shutter than cameras without this technology—a step forward, but also a small step down.

I’m not picking on Sony, they were just the primary subject of the PetaPixel article. Actually, I’m pointing out that they’ve managed to get to the peak of inverted-U curves almost across the board, which is an amazing feat. It puts them in a tough position where advancements seem boring to their customers. Some areas where they’re not at or near the peak of the curve are JPEG output, color science, and stylish camera body design. If they make improvements in those areas, they’re less likely to be perceived as boring. For Fujifilm, they’re near the peak in those areas, but not in some others. In my opinion, camera manufacturers should self-identify where they are on various inverted-U curves, and put more efforts where they’re not at or near the peak, and less effort where they’ve already achieved greatness.

Review: Viltrox Conversion Lenses for Fujifilm X100VI

Viltrox just released two conversion lenses for Fujifilm X100-series cameras: WCL-X100VI and TCL-X100VI. These lenses are very similar to Fujifilm’s own conversion lenses for the X100-series, the WCL-X100 II and TCL-X100 II, and if you don’t look closely, you might not notice the differences, as they seem nearly identical. How does the Viltrox version stack up? Should you even consider these for your Fujifilm X100VI? If so, which should you get, Viltrox or Fujinon?

I need to tell you upfront that Viltrox sent me the two lenses to try out. They didn’t give any expectations other than, “We look forward to your impression of the lenses.” This review serves as that. It’s my honest feedback to Viltrox, while also hopefully being helpful to those considering these lenses for their X100VI or other X100-series camera.

There are two conversion lenses—Viltrox WCL-X100VI and TCL-X100VI—and I want to talk about them individually, but also as a set. We’ll begin with the wide-converter, then the teleconverter, and finish up by discussing the two together. Let’s dive right in!

Viltrox WCL-X100VI

The Viltrox WCL-X100VI is a wide conversion lens that’s nearly identical to the Fujinon WCL-X100 II. It has an 0.8x magnification, which, when screwed onto the end of the X100VI’s lens, changes the focal-length from 35mm to 28mm (full-frame equivalents; 23mm to 19mm in APS-C terms). It makes the camera a little more wide-angle, which can be useful when the native focal-length is just a little too tight for the circumstance.

On X100-series cameras, there is a hidden thread for a filter/hood adapter, which reveals itself when a ring on the end of the lens is unscrewed. Both of the conversion lenses attach to this thread, simply by screwing onto it. The WCL-X100VI is threaded to accept 49mm filters. Oh, and the camera automatically recognizes that you attached the lens, just like the Fujinon WCL-X100 II.

Sun Peek, Bougainvillea Peak – Buckeye, AZ – Fujifilm X100VI + Viltrox WCL – Pacific Blues

From my measurements, the Viltrox version is just a hair smaller than the Fujinon, and weighs just slightly less (very minimally on both accounts). Using the TCL adds some size and weight to the camera, but, for the WCL-X100VI, this isn’t a major deal, because the lens is pretty small. The added bulk and heft is a small price for the extra versatility.

As for both the build and image quality, the lens seems to be on par with the Fujinon option. There’s a little difference in how the lens flares, but otherwise it seems to render images pretty much identically. A lot of times when you buy a third-party version of a lens, it’s less expensive, but it’s pretty obvious why, as it feels cheaper and/or has image quality flaws. With the Viltrox conversion lenses, there does not seem to be any reduction in quality. You’re not giving up anything to save a little money. In the case of the WCL-X100VI, it’s not a little money, but a significant chunk of change! The Viltrox WCL-X100VI has an MSRP of $159; the Fujinon WCL-X100 II is a lot more expensive at $399. For a lot less than half the cost, you basically get the same exact thing.

Viltox TCL-X100VI

The Viltrox TCL-X100VI is a tele conversion lens that’s nearly identical to the Fujinon TCL-X100 II. It has a 1.4x magnification, which, when screwed onto the end of the X100VI’s lens, changes the focal-length from 35mm to 50mm (full-frame equivalents; 23mm to 33mm in APS-C terms). It makes the camera a “standard” focal-length, which can be useful when the native focal-length is just a little too wide for the circumstance.

Like the WCL, the TCL-X100VI attaches to the camera by screwing onto the hidden filter/hood adapter thread. It accepts 67mm filters. Also like the WCL, the camera recognizes when you attach the lens, just like it does for the Fujinon TCL-X100 II.

Sun-Kissed Bougainvillea – Buckeye, AZ – Fujifilm X100VI + Viltrox TCL – Pacific Blues

From my measurements, the Viltrox version is just barely a hair smaller than the Fujinon; however, the weight difference is notable, with the Viltrox coming in at about 25% heavier, or 0.1 pounds more, than the Fujinon. For both brands, the TCL is larger and heavier than the WCL, which makes it a little less practical for carrying around. Even so, I really like 50mm (full-frame equivalent), so I tend to use the TCL more than the WCL, personally.

Just like the WCL-X100VI, for both the build and image quality, the TCL-X100VI seems to be right on par with the Fujinon option. There’s a little difference in how the lens flares, but otherwise it seems to render images pretty much identically. You’re not giving up anything to save a little money. The Viltrox TCL-X100VI has an MSRP of $189; the Fujinon TCL-X100 II is a lot more expensive at $399. For less than half the cost, you basically get the same exact thing.

Both Lenses

Last year, I travelled to Austin, Texas, and the only camera I took was a Fujifilm X100VI with the Fujinon WCL-X100 II and TCL-X100 II conversion lenses. It allowed me to travel light but still have some focal-length versatility. An X100-series camera with the two conversion lenses is a compact and powerful three-lens kit. But, for the Fujinon, those two additional lenses will run you $798, which is a lot of money; however, with Viltrox, you can do it for only $348, which is a bargain. If you own an X100-series camera, you should buy these two lenses. Despite having “X100VI” in the name, the conversion lenses will work on any X100-series model, not just the latest iteration.

When you combine the conversion lenses with the built-in digital teleconverter, you get even more focal-length versatility: 28mm, 35mm, 50mm, 70mm, and 100mm (full-frame equivalents). On the X100VI, to get 70mm requires both the TCL and the digital teleconverter, and you go from 40mp to 20mp (which is still plenty of resolution); to get to 100mm, you’ll get a 10mp file, which is fine for social media use, but it’s not ideal for photos you intend to print much larger than 8″x12″. You can also skip the digital teleconverter and simply crop after-the-fact and accomplish the same thing.

Fujifilm X100VI + Viltrox WCL-X100VI – 28mm
Fujifilm X100VI – 35mm
Fujifilm X100VI + Viltrox TCL-X100VI – 50mm
Fujifilm X100VI + Viltrox TCL-X100VI + Digital Teleconverter (1.4x) – 70mm
Fujifilm X100VI + Viltrox TCL-X100VI + Digital Teleconverter (2x) – 100mm

A three lens kit for your X100VI, which requires only two additional lenses, is nice to have, but it does kind of defeat the purpose of the camera, which is a compact one-camera-one-lens philosophy. I wish that Fujifilm made a wide-angle and nifty-fifty alternative versions of the X100VI (like Sigma did with the DP camera series), so that you could choose the focal length that fits you best. Since they don’t, if you want to adjust the focal length yourself, it does require adding some extra bulk.

What works for me is to keep the conversion lenses in my pockets, and simply screw one onto the camera whenever I need it. With two front pockets in my jeans or shorts, I can have the WCL in one pocket and the TCL in the other. Viltrox includes a little bag in the box that helps to protect the lens when doing this. I’m able to use the X100VI as a fixed-lens 35mm (full-frame equivalent) camera most of the time, but go wider or more telephoto whenever I need to. When you want to travel light, this is quite ideal.

Fountain at Dusk – Buckeye, AZ – Fujifilm X100VI + Viltrox TCL-X100VI – Summer of ’59

To save a little weight, choose the Fujinon TCL over the Viltrox TCL. The Fujinon TCL-X100 II is large and already heavy enough; the Viltrox TCL-X100VI adds a noticeable amount of additional weight. Unfortunately, a second-hand Fujinon TCL-X100 II costs more than the Viltrox version brand-new. If you don’t mind spending an extra $50 or so and getting a used model, the most ideal scenario is to purchase the Viltrox WCL-X100VI and the Fujinon TCL-X100 II. Or, just save a few bucks and don’t worry about 0.1 pounds, and get both Viltrox options.

Both lenses come in silver and black. If you have a silver X100-series camera, you’ll probably want the silver lenses; if you have a black X100-series camera, you’ll probably want the black lenses. I definitely do recommend the Viltrox conversion lenses. I was quite surprised at both the build and image quality, especially considering the price. You won’t break the bank, so get one. Or get both.

Above, clockwise from top-left: Fujifilm X100VI + Viltrox WCL-X100VI + Kodachrome 64; Fujifilm X100VI + Viltrox TCL-X100VI + Classic Amber; Fujifilm X100VI + Viltrox TCL-X100VI + Summer of ’59; Fujifilm X100VI + Viltrox WCL-X100VI + FRGMT B&W; Fujifilm X100VI + Viltrox WCL-X100VI + FRGMT B&W; Fujifilm X100VI + Viltrox WCL-X100VI + Superia Negative; Fujifilm X100VI + Viltrox TCL-X100VI + Summer of ’59; Fujifilm X100VI + Viltrox TCL-X100VI + Summer of ’59; Fujifilm X100VI + Viltrox TCL-X100VI + Superia Negative.

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

Fujifilm X100VI in black:
AmazonB&HMomentNuzira
Fujifilm X100VI in silver:
AmazonB&HMomentNuzira
Viltrox WCL-X100VI in black:
Amazon, B&H
Viltrox WCL-X100VI in silver:
Amazon, B&H
Viltrox TCL-X100VI in black:
Amazon, B&H
Viltrox TCL-X100VI in silver:
Amazon, B&H

Kodak Farbwelt 200 Expired — A Fujifilm Film Simulation Recipe for X-Trans V Cameras

Orange Rocks – Sedona, AZ – Fujifilm GFX100S II – Kodak Farbwelt 200 Expired

This Kodak Farbwelt 200 Expired Film Simulation Recipe comes courtesy of Thomas Schwab, who has created or co-created a number of excellent Film Simulation Recipes. Thomas told me that he loaded a roll of Kodak Farbwelt 200 that expired in 2004 into his Olympus Mju. After finishing the roll, he took it to a local lab, where he had it developed and printed (not scanned). He then developed this Recipe using X RAW Studio, comparing the results to the prints. “Some are very close,” he said, “others are a little off.” Either way, the results are excellent. Personally, I really love the aesthetic. Thank you, Thomas, for creating and sharing this Recipe!

I didn’t know what Kodak Farbwelt 200 was, I had to research it. Unfortunately, there’s not a lot of concrete information. Farbwelt apparently means color world, so a film like ColorPlus might seem like an obvious answer, but from what I could find, it seems that the answer is no, Farbwelt 200 is not ColorPlus 200. It likely is Gold 200, rebranded for the German market, sold mostly (but not exclusively) in Germany. It might be a slightly retooled version of Gold 200 specifically for that region, or it might be straight-up Gold 200, simply rebranded. Kodak released Farbwelt 200 in 2000 and discontinued it in 2012 or 2013. There was also an ISO 100, 400, and even 800 version of Kodak Farbwelt.

Autumn Trail – Sedona, AZ – Fujifilm X-E5 – Kodak Farbwelt 200 Expired

The Kodak Farbwelt 200 Expired Recipe looks lovely, with soft warm tones. It’s like a memory of summertime. It reminds me a little of the 1970’s Summer Recipe, which is one of my favorites. It’s compatible with fifth-generation models, which are the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III. It’s also compatible with the latest GFX cameras: GFX100 II, GFX100S II, and GFX100RF. For fourth-generation cameras, you can use this Recipe, but it will render slightly different (just a little), which you might like, so don’t be afraid to give it a try. One note I want to highlight: a little underexposure will help to keep the highlights in check.

Film Simulation: Classic Chrome
Dynamic Range: DR100
Grain Effect: Strong, Large
Color Chrome Effect: Weak
Color Chrome FX Blue: Strong
White Balance: 7500K, +1 Red & -4 Blue
Highlight: -2
Shadow: -2
Color: -3
Sharpness: -4

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

Example photographs, all camera-made JPEGs using this Kodak Farbwelt 200 Expired Film Simulation Recipe on a Fujifilm X-E5, X-T5, X100VI, X-S20, and GFX100S II:

Chainlink Gate – San Francisco, CA – Fujifilm X-S20 – Photo by Jon Roesch
Golden Gate – San Francisco, CA – Fujifilm X-S20 – Photo by Jon Roesch
Evening along the California Coast – Elk, CA – Fujifilm GFX100S II
Rocks over Sedona – Sedona, AZ – Fujifilm GFX100S II
Sedona Panoramic – Sedona, AZ – Fujifilm GFX100S II
Yellow Tree in Oak Creek Canyon – Sedona, AZ – Fujifilm X-E5
Flower, Fence – Sedona, AZ – Fujifilm X-E5
Dressed Western – Buckeye, AZ – Fujifilm X-T5 – Photo by Amanda Roesch
Saguaro in the Desert – Buckeye, AZ – Fujifilm X100VI
Rural Irrigation – Buckeye, AZ – Fujifilm GFX100S II
Sunlit Fountain – Buckeye, AZ – Fujifilm X100VI
Stand In – Phoenix, AZ – Fujifilm X-T5 – Photo by Amanda Roesch
Sunset over Canon Photographer – Buckeye, AZ – Fujifilm X100VI
Meeting Santa – Buckeye, AZ – Fujifilm X100VI
Suburban Sunset – Buckeye, AZ – Fujifilm GFX100S II
Christmas Train – Scottsdale, AZ – Fujifilm X-E5

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

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:
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Fujifilm X-T5 in silver:
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Fujifilm X100VI in black:
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Fujifilm X100VI in silver:
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Fujifilm X-E5 in black:
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Fujifilm X-E5 in silver:
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Fujifilm X-S20:
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Fujifilm GFX100S II:
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Report: Film Era Dial not coming to the X-Series (at least not yet)

Two or three weeks ago, Fujirumors reported that Fujifilm is working on a Film Era Dial that will be found on some upcoming camera. I made the false assumption that it must be the upcoming X-Pro, which is most likely the next X-series camera to be released (although it might not be), possibly early next year. I’m glad that I used words like “guess” and “suspect” and clarified that “I have absolutely zero inside information” because apparently my guess and suspicions were completely wrong. The camera that Fujifilm is going to put this new feature on, according to Fujirumors, is not an X-series model, but an Instax Evo camera.

Some of you just sighed with relief. You don’t want a Film Era Dial or even a Film Dial. Personally, I like the Film Dial. It’s not perfect, but Fujifilm has been working to improve it (and hopefully will continue to do so). I think the Film Era Dial could be a really cool concept if it’s done right. They could screw it all up and make it really cheesy, or they could do a great job with it and it becomes a beloved feature (or anything in-between). For now, it’s apparently not coming to the X-series, only to an Instax Evo model. Maybe it will be on the next X half, which is kind of a cross between Instax Evo and the X-series. It could someday find its way to the X-series, but apparently not yet. I’m probably in the minority of people who are a bit disappointed to hear this news.

The Best Fujifilm Camera to Gift this Year

At this time of year, I typically get asked which Fujifilm cameras are the best to gift to someone. It’s usually like, “I want to give my spouse a new camera, but I don’t know which one.” Or, “This will be my kid’s first real camera.” Or, “He has everything, so I’m really unsure.” The future recipient of the gift is usually a spouse, child, parent, or close friend. Sometimes they’re very experienced photographers, sometimes they’re complete novices. Budgets can also vary wildly.

It’s difficult to give good advice, since every situation is different, but I do make an attempt to give what I hope is helpful suggestions. For example, last year I published Your Gift Guide for Affordable Fujifilm Gear, which was intended to help those looking for secondhand options that are fairly affordable but still excellent. That article is just as valid this year as last, so you might still find it useful.

For 2025, I have one suggestion that I think will apply to almost everyone. No matter if you are buying for your spouse, child, parent, or friend. No matter if they are a seasoned photographer or brand-new. No matter if they have everything already or no camera equipment at all. This is something that I know most would love to receive. And it’s on sale right now.

Above: Various pictures captured with the Fujifilm X half

The gear that I recommend as a gift is the Fujifilm X half. This is a super fun pocket point-and-shoot that makes unique photos instantly. It’s easy enough that anyone—even a young child—can use it, so no worries if the recipient is a novice; it’s enjoyable enough that even those with high-end expensive gear will choose to use it occasionally. I own this camera, and both my wife and I appreciate it. No matter who you are, this is a camera that people will love to find underneath the Christmas tree.

The Fujifilm X half is perfect for travel snapshots, family events, and documenting everyday moments. It’s small and lightweight, so it’s easy to have with you. It’s simply to use. It delivers film-like results, and can even give a film-like shooting experience. It’s a very unique camera that’s so much fun to use. Last summer the X half was my most-used camera while on a long RV roadtrip up the east coast.

The primary criticism of the camera has been the price, which is a bit high for what it is. I said in my review that the camera should be $650-$700, and not $850. Well, right now and until December 28th, the Fujifilm X half is $200 off in America, which places it at a more affordable and reasonable $650. That’s almost 25% off! So, if you’re seeking out a Fujifilm camera to gift someone, the X half is my top recommendation for 2025.

Above: Various pictures captured with the Fujifilm X half

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 half in black:
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Fujifilm X half in silver:
AmazonB&HNuzira
Fujifilm X half in charcoal:
AmazonB&H

FRGMT B&W — A Fujifilm Film Simulation Recipe by Hiroshi Fujiwara

Oak Creek in Monochrome – Sedona, AZ – Fujifilm X-E5 – FRGMT B&W

A couple of weeks ago Fujifilm announced the GFX100RF Fragment Edition, a limited-edition version of the GFX100RF, which will only be available in Japan. The camera was modified by fashion designer, producer, and artist Hiroshi Fujiwara, the founder of Fragment. Interestingly, it comes preloaded with a Film Simulation Recipe by Hiroshi called FRGMT B&W, which is in the Film Simulation menu in lieu of the Monochrome Film Simulation. This is the first official Fujifilm Recipe, and the first (as far as I’m aware) by Hiroshi Fujiwara. Fujifilm published the details of this Recipe within the GFX100RF Fragment Edition announcement, which means that anyone can use it, and not just those in Japan who purchase the limited-edition camera.

When I saw this, I knew that some of you would want to try the FRGMT B&W Recipe, so I shared it. I wasn’t going to make it an “official” Fuji X Weekly Recipe or include it in the Fuji X Weekly App unless I had permission to do so from those involved. I reached out to Fujifilm and asked for permission, but I knew it was a long shot. My request was forwarded up the chain all the way to Japan. I didn’t think the odds were very good, but, perhaps as a Christmas miracle, the answer came back pretty quickly. To my shock, yes, I do have permission, both from Fujifilm and from Fragment, to publish this Recipe. Wow!

Cheers – Scottsdale, AZ – Fujifilm X-E5 – FRGMT B&W

It’s such an honor to get this permission, not only because it’s the first Recipe included in any of Fujifilm’s cameras, but also because it was created by Hiroshi Fujiwara. For those unaware, that’s a really big deal. Hiroshi has collaborated with Eric Clapton twice. He appeared on the big screen in Lost in Translation. If someone like Pharrell Williams created a Film Simulation Recipe and then gave me permission to include it on this website and in the Fuji X Weekly App, that would be fairly equivalent to this (obviously, there is only one Hiroshi Fujiwara).

The FRGMT B&W Recipe produces a contrasty and grainy black-and-white aesthetic. It reminds me of Ilford Delta 400 pushed one stop. I didn’t study or research that; it’s more of a “memory color” (as Fujifilm puts it) of using Ilford Delta 400 and push-processing it 25 years ago or so. I don’t believe this Recipe was intended to resemble any specific film or process, but if you were to ask me what film this Recipe most closely mimics, it’s Ilford Delta 400 pushed one stop. Again, that’s not based on research, but just what I remember from way back in my film days.

Shadow Shapes – Sedona, AZ – Fujifilm GFX100S II – FRGMT B&W

With the exception of the X-T3 and X-T30, this FRGMT B&W Recipe is compatible with all of the fourth and fifth generation models: 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, and X-T30 III. It’s also compatible with the GFX100S, GFX100 II, GFX100S II, and GFX100RF. Because this Recipe uses Clarity set to something other than 0, there is a short storing pause after capturing a photo, with a similar delay as advancing to the next frame on a film camera. I want to give a big shoutout to both Fujifilm and Fragment for allowing me to publish this, and also to Hiroshi Fujiwara for creating it. Thank you!

Film Simulation: Acros (including +Ye, +R, or +G)
Monochromatic Color (Toning): WC 0 & MG 0 (Off)
Dynamic Range: DR-Auto
Grain Effect: Strong, Large
Color Chrome Effect: Off
Color Chrome FX Blue: Off
White Balance: Auto, 0 Red & 0 Blue
Highlight: +4
Shadow: +2
Sharpness: -4

High ISO NR: -4
Clarity: +5
ISO: Auto, up to ISO 12800
Exposure Compensation: 0 to +2/3 (typically) — Hiroshi says +1/3

Example photographs, all camera-made JPEGs captured using this FRGMT B&W Film Simulation Recipe on a Fujifilm X-E5, X-T5 and GFX100S II:

Notice – Gatlinburg, TN – Fujifilm X-E5
Regular – Gatlinburg, TN – Fujifilm X-E5
Abandoned Gas Pumps – Gatlinburg, TN – Fujifilm X-E5
Mercedes-Benz – Sedona, AZ – Fujifilm X-E5
Broken Shelving – Sedona, AZ – Fujifilm X-E5
West Fork – Sedona, AZ – Fujifilm X-E5
Fujifilm Photographer – Sedona, AZ – Fujifilm X-E5
Monochrome Leaves – Sedona, AZ – Fujifilm X-E5
Flowing Creek – Sedona, AZ – Fujifilm X-E5
Lost Creek, Found – Buckeye, AZ – Fujifilm GFX100S II
Creek in the Desert – Buckeye, AZ – Fujifilm GFX100S II
Rural Water – Buckeye, AZ – Fujifilm GFX100S II
Supai – Sedona, AZ – Fujifilm GFX100S II
Rocks in the Sky – Sedona, AZ – Fujifilm GFX100S II
Pirate – Sedona, AZ – Fujifilm GFX100S II
Classic Design – Buckeye, AZ – Fujifilm GFX100S II
The Man in Black & White – Phoenix, AZ – Fujifilm X-T5 – by Amanda Roesch
Tall Bank, Empty Lot – Phoenix, AZ – Fujifilm X-T5

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

Reggie’s Portra in X-Trans V Cameras

A Girl and Her Horse – Litchfield Park, AZ – Fujifilm X-T4 – Reggie’s Portra

It’s been interesting to watch Reggie’s Portra Recipe grow in popularity over the years. It was created by Reggie Ballesteros (websiteYouTubeInstagram), and I published it in the summer of 2022 with his permission. I’m not sure where it ranked in 2022, but it didn’t crack the Top 10. In 2023 it was the 9th most popular. It climbed to #3 in 2024. This year, Reggie’s Portra is the number one most popular Film Simulation Recipe on Fuji X Weekly, just edging out Kodachrome 64, which was the long-time reigning champion.

A few days ago, Reggie posted a video on YouTube explaining what changes, if any, he has made to the Recipe for use in 2025. When it was made, Reggie’s Portra was for X-Trans IV cameras, but now we’re well into the fifth-generation. So what adjustments did he make? I’ve included the video below, so that you can watch it for yourself.

Not trying to give away the answer, but the short of it is that Reggie doesn’t adjust anything. He uses the same exact Reggie’s Portra settings on fifth-generation models as he did on fourth-generation X-series cameras. He doesn’t make any adjustments whatsoever. The only change is the diffusion filter that he often uses.

On the Fuji X Weekly App, I’ve only included Reggie’s Portra as compatible with X-Trans IV models, specifically the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II (as well as the GFX100S). I didn’t include fifth-generation cameras (X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III, as well as GFX100 II, GFX100S II, and GFX100RF) because, on those cameras, there are some aesthetic differences—the largest being how deeply the color blue is rendered on certain film simulations, including Classic Chrome. It’s quite similar, but not identical; however, there is a simple fix to get them to be more similar: reduce Color Chrome FX Blue by one.

Jon Dressed Up – Buckeye, AZ – Fujifilm X-T4 – Reggie’s Portra – by Amanda Roesch

The difference between Color Chrome FX Blue Weak and Off is pretty subtle. If you’re not comparing photos side-by-side, you probably won’t even notice (even when directly comparing, you still might not see the difference immediately). It’s honestly not a big deal, but, if you’re trying to get Reggie’s Portra to most closely match the X-Trans IV results on a fifth-generation camera, then adjusting Color Chrome FX Blue from Weak to Off will do that. This is an adjustment that I make personally, and one that I recommend; however, there’s nothing wrong with not making that small change. Feel free to set Color Chrome FX Blue to Weak (as called for in the Recipe and as Reggie himself does it) or Off (as I do) on the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III cameras, as well as the GFX100 II, GFX100S II, and GFX100RF. Either way works.

People have asked me why I haven’t updated Reggie’s Portra in the App for X-Trans V cameras, and the answer is simple: it’s not my Recipe to make a change to. It belongs to Reggie Ballesteros, and I certainly didn’t want to step on his toes by modifying it. Now that he has clarified how he uses it on fifth-generation cameras, I have updated the App to reflect that. It now shows in the Fuji X Weekly App as compatible with the latest cameras. It won’t render exactly the same as on X-Trans IV, but pretty similar—not enough of a difference to be concerned about (only very subtly divergent). I want to close this out by giving a shoutout to Reggie. His Recipe is great—both my wife and I use it ourselves. It’s a real honor to have it available to you on Fuji X Weekly. If you’ve never tried it, well, it’s almost a right of passage at this point, so be sure to program it into your camera today.

Dodge – Boulder, CO – Fujifilm X100VI – Reggie’s Portra

Fujifilm Photographers are the Best

Fujifilm Photowalk – Ann Arbor, MI – Fujifilm X-T50 – Fujicolor PRO 160C Warm – by Dave Geffin

There’s a temptation in the photography world to paint Fujifilm photographers as a single, uniform type—a caricature built from assumptions about retro dials, film simulations, or a supposed obsession with nostalgia. They’ll say that Fujifilm photographers dress a certain way, with a particular look or style. Even though they’re not “real photographers” (they are only pretending for TikTok or Instagram fame), they’re a pretentious bunch, with a subtle smugness—an air of superiority simply from the gear they own. But anyone who has spent even a moment around the Fujifilm community knows how wildly inaccurate that is. Fujifilm photographers aren’t a stereotype—they’re a vibrant, diverse group of caring creatives who share a love of making meaningful images, each in their own unique way. Anyone who perpetuates the obviously false caricature has never spent any amount of time around Fujifilm photographers. Most likely, they’ve never met one in real life.

One beautiful thing about the Fujifilm community is how kind and helpful its members tend to be. Whether you’re new to photography or a seasoned professional, there’s always someone willing to share a tip, explain a setting, or offer thoughtful encouragement. Spend even just a few minutes with these photographers, and you’ll see it: generosity, enthusiasm, and a genuine desire to lift one another up. There’s a shared excitement about creating something special.

Above: Photographs from various Fujifilm photowalks and events across America.

No two Fujifilm photographers look alike—not in personality, style, workflow, or creative goals. Some are brand-new to photography with their first “real” camera; some are seasoned and successful professionals. Some are street photographers, some are portrait photographers, some are landscape photographers, etc., etc.. Some shoot straight-out-of-camera JPEGs using Film Simulation Recipes; others shoot RAW. Some do both, depending on the circumstance. Some use Recipes even though they are strictly RAW photographers because they found one similar to their own style, which helps them to pre-visualize the final result while in the field. Some only use Fujifilm gear; some use many different brands. Some are strictly digital; some mostly use film, and only occasionally digital. There’s no right or wrong way to do photography, only what works best for each individual person. Fujifilm photographers are united by their passion for photography, not by any single behavior, camera setting, style, or picture aesthetic.

That diversity is one of Fujifilm’s greatest strengths. Their cameras invite experimentation—color, tone, mood—and they meet people where they are. They don’t demand a specific style; they encourage discovery. The Film Dial, for example, encourages you to try something other than Provia/STD. One person might like a particular Film Simulation Recipe for cityscape photography, while another might find it perfect for snapshots of their kids. The same settings can lead to completely different results because the photographer matters more than the settings. The tool supports the artist’s vision. Fujifilm cameras are artist tools, and there are a variety of options for diverse customers.

Above: Photographs from various Fujifilm photowalks across America using my Fujifilm X-T4 ES infrared camera.

When people try to reduce Fujifilm photographers to a single stereotype, it misses the real heart of the community. Fujifilm users aren’t defined by any cartoonish characterizations. They’re defined by curiosity, creativity, and kindness, which is what makes them special. It’s what some other brands are trying hard to corporately foster within their own communities; with Fujifilm, it’s just natural, it’s organic. The Fujifilm community cannot be summarized by a caricature because it’s too broad, too generous, and too diverse. That’s something to celebrate. Photography is richer when everyone is welcomed, and when every photographer feels free to create in the way that’s most meaningful to them. If anything, the Fujifilm community has been shunning the pesky gatekeepers—those who say that “real photographers” must do photography a certain way, and other paths are less legitimate—and are more open to new ideas or unorthodox methods. That’s a good thing.

Over the last two years I’ve met hundreds and hundreds of you—probably thousands—at various photowalks and Fujifilm events across the country, from San Diego to New York City and many places in-between. I wanted to include in this article a lot of pictures from those events (captured by my wife, Amanda, and I), to demonstrate who the community is (hint: it’s you!). Do these photos resemble the caricature that is too often portrayed across the internet? I’m sure that most stereotypes have an once of truth to them, but they’re broad strokes that are often misrepresentations of the broader group. In the case of the Fujifilm community, it’s easy to see just from these photographs that anyone and everyone is welcomed, and broad strokes don’t come anywhere close to telling the real story of who these people are. The one broad stroke that seems to apply is this: the Fujifilm community is the best in all of photography. And it’s a real honor to be a part of it with you.

Above: Photographs from various Fujifilm photowalks and events across America.

The most stolen from photographer in history?

I might be the most stolen from photographer in the history of the world. This might seem like a strange claim, but it’s potentially true. It might not be true, but it certainly could be, so let’s dig into it. To clarify, I’m not claiming to be the victim of the most egregious thefts. I’m not claiming that the monetary value is anywhere near the most. Specifically, what I’m wondering is if I’ve had more photographs stolen than anyone else. In other words, am I the most stolen from photographer by total number of photographs stolen? I think it’s also important to clarify what “stolen” means: unauthorized use or reproduction of my pictures that violate my copyright. As the photographer, I own the rights to my pictures, and if someone uses them without permission outside of “fair use” circumstances, that’s theft. Maybe they’re attempting to earn money, or maybe they’re attempting to gain notoriety, but they’re doing it with my photos and not their own.

I think there are a couple of unique circumstances that make this claim possibly plausible. First, I publish more pictures than most photographers. Because I make hundreds of Film Simulation Recipes, and those Recipes require a lot of sample images (at least 15, and up to 50, per Recipe), I share far more than most. That might be to my disadvantage, because, while the majority of photographers only post their best work, I show you a lot of mediocre pictures along with the good ones; if I only showed my portfolio-quality images, you might think that I’m more talented than my so-so pictures seem to indicate. Second, one theft can be many photos—not just tens of photos, not just hundreds of photos, but thousands of them.

The most egregious example is when someone hacked the Fuji X Weekly App and made a clone of it, which they uploaded to the app store, and made money on until it was (thankfully) removed for copyright violations. I sure hope none of you fell victim to that, and I’m really sorry if you did. The Fuji X Weekly App had about 350 Recipes on it at that time (now there are over 400), and with five pictures per Recipe, that’s about 1,750 copyright violations just in that one circumstance alone. But that’s not the only circumstance, not even close.

Above left: My photo, entitled Morning Mist, captured using my Fujicolor 100 Gold Recipe; Above right: that same photo and Recipe in an app that isn’t mine used without permission.

Aside from some other apps that have my photos in them without permission, there are tons and tons of websites. Today, I did a reverse Google search on 30 of my photos, and 16 of them had at least one circumstance of theft. I don’t know how many pictures are on fujixweekly.com—I estimate that it’s over 10,000—if half of those have been stolen somewhere and are being used illegally across the internet, that’s a massive amount. Some photos have multiple examples of theft just from one image (I counted eight on one of those 16 pictures).

This isn’t anything new. I remember about 12 years ago reading my small town local newspaper, and being shocked to find one of my pictures being used in an advertisement. Over the years I’ve seen several of my photos on the front banner of corporate websites. I’ve tracked down hundreds of thefts and requested they take down my photos, but it’s only a tiny dent in the overall problem. This could be a full-time job, except that it doesn’t earn any money—in fact, it can be quite expensive, especially if attorneys have to get involved. I would quickly go broke if I pursued all the theft.

I think some of it is innocent enough. For example, someone is excited to share their favorite Film Simulation Recipe, so they do—only, instead of using their own photos captured with the Recipe, they use mine, and perhaps “forget” to even give me credit (which wouldn’t make it any less illegal, but perhaps more understandable). Some circumstances are fair use, especially if it’s only one or two picture and I’m given credit and linked back to. There’s definitely instances where the unauthorized use of my picture isn’t theft, and there are examples of it being grey areas, where it could be argued either way. But I’m not talking about that, I’m specifically talking about indisputable examples of blatant theft. Like right now, a large number of my pictures can be printed on t-shirts; I didn’t give permission for that, and I won’t receive a penny of profit should someone order one of those shirts.

Above left: My photo captured about 25 years ago on Kodachrome 64 film; Above right: that same photo can be printed on a t-shirt, without permission or compensation.

Unfortunately, some people think that if they can download a picture from the internet, it’s theirs to freely use. If it’s on the internet, it’s finder’s keeper. Legally that’s not true, but it is true in a practical sense. Who’s going to stop them? I would like to, but that’s a really tough hill to climb. It’s rare that they’re caught, and even if they are, it can very difficult to do anything about it, especially depending on the country where the theft happens in. It’s very easy for them to get away with it.

I posted a video to YouTube once, and it recognized a song in the background that was playing on the radio. I was flagged with a copyright violation, and I had to either silence that section of the video, or else I couldn’t monetize it (this is back when I was monetized on YouTube). Why can’t something like that exist for other art mediums? The technology obviously exists… I was able to reverse-search my photos, but that’s a slow and tedious manual process. Why can’t it be continuously running in the background, with copyright violation notices sent to the offending website owners automatically? I understand that such a service does exist for a fee, but it requires you to manually identify which photos are yours so that it can search for them, and it isn’t always accurate. It would take a long time for me show them all of my pictures, because there are so many. Again, this would be a full time job that doesn’t pay anything.

So far we’re just talking about my pictures. I’ve had entire articles ripped off many times. I’ve seen people post a Recipe that they “created” (sometimes claiming to have spent hours making it), and gladly accepting the praise for how good it is, except that all they did was copy-and-paste it from my website. The argument will be: “Well, sometimes great minds think alike, and it’s only by happenstance that they’re identical.” This ignores that there are 1,418,895,421,643,700 possible JPEG setting combinations (Recipes) on the latest Fujifilm models. That means every person in the world who owns a Fujifilm camera can have their own unique Recipes in each of their C1-C7 Custom Settings presets, and it would still not come anywhere close to exhausting all of the potential Recipes for Fujifilm cameras. ChatGPT says that the odds of two people independently creating the same exact Recipe are about 1-in-4-billion (that’s accounting for how common and uncommon certain settings are). If I were to make four billion Recipes and someone else were to make four billion, one would likely be identical (I’ve only made a little more than 400, not 4 billion). That’s not to say it’s impossible; however, it is extraordinarily unlikely (to put it mildly)—yet I’ve seen it probably close to a hundred times now, which is mathematically impossible. This is plagiarism, which is a type of theft: intellectual theft. We can go back to the guy who hacked my app and created a clone app with over 300 of my Recipes. Or we can look at other apps that use my Recipes without permission or even give credit. That’s a lot of theft, although plagiarism and not pictures.

Above left: My photo, entitled Evening at a Pond, captured using my Kodachrome 64 Recipe; Above right: that same photo and many more of my pictures posted by someone without permission or credit.

For this article, though, I mostly want to focus on the theft of my photos. If only 2,000 of my pictures have ever been stolen (which is the base minimum, it’s probably a lot more), AI says, “That is a huge number, far beyond what most photographers ever experience. For most photographers, the number of confirmed stolen photos is usually single digits to low dozens over a career. Photographers with big online presences sometimes report dozens, maybe a few hundred images, being misused. But that’s typically the ceiling—and even those numbers are considered very high. From a copyright-lawyer perspective, for 2,000+ confirmed infringements, that volume of theft would be considered: ‘Severe, widespread infringement.’ Most photographers will go their entire lives without reaching even 20 verified infringements, let alone 200… let alone 2,000.”

It could certainly be a lot more than 2,000—it could be as high as 10,000! I would have to dig deeply and spend probably months and months tracking it all down, while ignoring everything else in life. When I asked ChatGPT about that amount of image theft, it replied, “It’s extreme, near-unprecedented, and would put that photographer in the top fraction of a fraction of a percent of most-stolen photographers on Earth. Most photographers with decades of work will never have 10,000 confirmed distinct images stolen—even if they are famous.” I don’t know if it has reached that “extreme, near-unprecedented” level yet, but it’s got to be somewhat close, especially if the “grey area” instances are included, where it may or may not be a copyright infringement, just depending on who you ask.

Potentially being the most stolen from photographer in the world means something. If my photos weren’t worth stealing, they wouldn’t be stolen. Same for the Recipes. I never expected this website to grow as large as it has. I never thought I’d be asked to lead photowalks across the country, or give presentations on photography, or be a speaker at camera events. Just recently a Japanese camera company (who wishes to remain anonymous) asked what my most ideal compact camera would be like, and even paid me for my opinions. If having the “most stolen from” trophy is the price to pay for that, it was worth that price. Obviously, most ideally, I would like the thefts to stop. It does real harm. Some people are making money off of my photos right now, which I’ll never see. We are all people, and we need to act kindly to each other. The “golden rule” that I tell my children constantly is to treat others as you want to be treated. If you don’t want people to steal your work, don’t steal theirs. The truth is that most of the theft happens because some people can’t or won’t create their own stuff, so instead they take it from those who can and do. Sadly, this is just a reality of our current world, and there’s not much anyone can do about it.

10 Fujifilm Recipes for a 1980’s Aesthetic

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

Last week I published 10 Fujifilm Recipes for a 1970’s Aesthetic, which I think a number of you appreciated. It seemed to be an especially well-liked article. Thomas H commented, “This theme of a collection using the look of films from a certain era or decade is very inspirational. Somehow for me this approach unlocks the mood of film looks in a more ‘accessible’ way by showing the style of a decade rather than as before showing lots of different looks that are possible with a particular sensor generation.” Well, let’s do it again!

This time we’re going to look at the 1980’s. It will require as to hop into our DeLorean, put Huey Lewis in the tape deck, and hit 88 miles per hour. I was born in 1980—great Scott!—so I have a lot of memories of the decade, especially the latter half, but I was not a photographer yet—not for awhile. I only have family photo albums, vintage magazines, and internet archives to guide the way.

Outatime – Buckeye, AZ – Fujifilm X-T5 – Kodak Royal Gold 400

You’ll notice that the majority of the Recipes below use Classic Chrome, and that’s because Classic Chrome is intended to replicate documentary photography found in photojournalism publications in the ’80’s and ’90’s. Fujifilm looked very closely at Kodachrome and Ektachrome photographs. Because of this, Classic Chrome has a distinct Kodak palette. Kodak dominated film sales during the 1980’s, so it makes sense that this film simulation would dominate Recipes intended to mimic the look of that era.

There’s a lot of Film Simulation Recipes that could potentially give an ’80’s look. The list below is not intended to be comprehensive, nor is it intended to be the “best 10” or a ranking of Recipes. It’s simply 10 that I believe will give you a 1980’s aesthetic, if that’s something you’re looking for.

Kodachrome 64

Across the Grand Expanse – Grand Canyon, AZ – Fujifilm X-T5 – Kodachrome 64

Kodachrome 64 was the iconic film of the 1980’s. It’s the third (and final) era of Kodachrome, introduced in the mid-1970’s and discontinued in 2009. That means it’s just as much a 1970’s, 1990’s, and 2000’s look as it is a 1980’s; however, it would be wrong to exclude it from this era, in my opinion, so that’s why it’s here. I shot many rolls of Kodachrome 64 in the late-1990’s and early-2000’s. It was a very sad day when Kodak announced its discontinuation. The Recipe linked above is specifically for fifth-generation X-Trans and the latest GFX, there’s also a version for X-Trans IV, the X-T3/X-T30, and X-Trans II.

Urban Dreams

Protect our Wildlife – San Simeon, CA – Fujifilm X100V – Urban Dreams

This one might initially seem odd because 1) the Recipe has a weird name and 2) it’s not specifically intended as a 1980’s look. So why is it here? Urban Dreams produces a look somewhat similar to Kodachrome 200, a high-ISO version of Kodachrome introduced in 1986 and discontinued in 2006. It was never as popular as Kodachrome 64 or even Kodachrome 25, but it was certainly a well-used film during the latter half of the 1980’s.

Kodacolor

Jon’s ’80’s Era – Buckeye, AZ – Fujifilm X-T30 – Kodacolor

Probably the most obvious 1980’s Film Simulation Recipe is Kodacolor. Kodak used the Kodacolor name for many different emulsions beginning in 1942 and continuing to today. While not nearly as recognizable as Kodachrome or Tri-X, it’s just as historic, if not more so. In the 1970’s and 1980’s, Kodacolor was the most popular line of color films in the world. Kodacolor II (early in the decade) and Kodacolor VR (beginning in 1982) were common in the 1980’s. This Recipe is reminiscent of Kodacolor VR. The Kodacolor Recipe is for X-Trans III cameras plus the X-T3 and X-T30, but there’s also a version for X-Trans II.

Kodacolor VR

Ken Rockwell at the Coast – Morro Bay, CA – Fujifilm X-E4 – Kodacolor VR

This is similar to the Kodacolor Recipe above, but more resembles Kodacolor VR that’s expired or has been improperly handled.

Kodacolor VR 200

Toyota – Buckeye, AZ – Fujifilm GFX100S II – Kodacolor VR 200

This Recipe, which was created by Thomas Schwab, resembles faded prints captured with Kodacolor VR 200 film. Kodak introduced Kodacolor VR 200 in 1982 and discontinued it in 1986, when it was replaced by Kodacolor VR Plus 200, which was only slightly different.

Kodak Gold 200

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

Kodak introduced Gold in 1986 as Kodacolor VR-G. They changed the name to Kodacolor Gold in 1988, and it wasn’t until the 1990’s that they dropped the “Kodacolor” name from the packaging. Kodak still makes Gold 200, but the emulsion has been updated many times since 1986. While this Recipe isn’t intended to replicate “Kodacolor VR-G” or “Kodacolor Gold” specifically, it nonetheless produces an aesthetic that can be convincing as a late-1980’s look.

1981 Kodak

Founders – Buckeye, AZ – Fujifilm X-T5 – 1981 Kodak

The 1981 Kodak Recipe was modeled after some old family pictures found in a photo box. These prints were made in July of 1981—a date stamped on the back—and printed on Kodak paper. The other technical details are unknown, but most likely they were captured with a cheap point-and-shoot of some sort with Kodacolor II film. Due to age and improper storage, the prints are faded, with a pronounced warm cast, and colors overall less vibrant than they once were.

Emulsion ’86

Don’t Climb on the Bikes – Oceanside, CA – Fujifilm X-T5 – Emulsion ’86

This Recipe produces a picture aesthetic that is reminiscent of photos of Expo ’86, a World’s Fair that was in Vancouver, Canada (interestingly, that was the last World’s Fair in North America). I actually went to it, but only remember a little because I was six-years-old. For some reason, the floating McDonald’s is what I remember the most.

Fujicolor Super HG

Beached Ship – Fort Stevens SP, OR – Fujifilm X-E4 – Fujicolor Super HG

Fujifilm introduced Fujicolor Super HG in 1986, and discontinued the film in the 1990’s. This Recipe was invented by Thomas Schwab, and it does an excellent job at replicating the look of Fujicolor film from that era.

Kodak T-Max 100

Power, Lines – Nashville, TN – Fujifilm X100VI – Kodak T-Max 100 Hard Tone – Photo by Jon Roesch

I didn’t include any B&W films in the 1970’s article, which was a massive oversight on my part. Not wanting to make that same mistake, I made sure to include one in this list. Actually this is two Recipes, both made by Dan Allen: Kodak T-Max 100 Hard Tone and Kodak T-Max 100 Soft Tone. Kodak introduced T-Max in 1986, and it was immediately a huge hit. The film is still manufactured today, so it could just as easily be a 1990’s, 2000’s, 2010’s or 2020’s aesthetic.

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

SOOC Live Update: new time tomorrow

Just a quick update about tomorrow’s show: it will now be at 9:00 AM Pacific Time, 12:00 noon Eastern. This is one hour earlier (or 13 hours, if you count my mistake of using PM instead of AM… what an error!). So just to clarify, it will be 9:00 AM Pacific, 10:00 AM Mountain, 11:00 AM Central, and 12:00 noon Eastern. You can find the show on the SOOC Live YouTube channel, or by clicking here. I’ve also included it below. I hope that you can join us! And I apologize for the time mixups and changes.

There’s a Built-In FRGMT B&W Recipe on the Fujifilm GFX100RF??!!

A couple of days ago I saw that Fujifilm is releasing a limited run special-edition of the GFX100RF, designed by fashion designer, producer, and artist Hiroshi Fujiwara, called the GFX100RF Fragment Edition. It looks pretty much the same as a regular GFX100RF, except with smoother leather and a different engraving on the top plate. There’s also a few accessories, including a strap, lens hood, and more. The GFX100RF Fragment Edition will only be available in Japan. It’s pretty cool, I guess.

I didn’t think much of it until yesterday, when a reader emailed me to take a closer look. Aside from a couple of physical changes, there is one internal change to the camera. The Monochrome Film Simulation was removed, and in its place is a custom black-and-white Recipe called FRGMT BW created by Hiroshi. It’s Acros with “stronger grain, tweaked highlight and shadow tone curves, reduced sharpness, less noise reduction, more clarity, and a bit of positive exposure compensation.” This Recipe, instead of being found in C1-C7, is in the Film Simulation Menu.

This is quite interesting. First, before we let this fact slip by, the Recipe includes an exposure compensation boost, which currently isn’t possible to program. You have to adjust the exposure manually, which makes sense, but Fujifilm just demonstrated that they have the ability to include an exposure adjustment within a Recipe. Is this something we’ll see in the future? Perhaps so. Fujifilm also demonstrated that it’s possible to replace a Film Simulation with a Recipe. Maybe you don’t use PRO Neg. Std or Eterna Bleach Bypass or Sepia—wouldn’t it be nice to replace the ones that you don’t use with a Recipe? Or maybe you replace all of the Film Simulations in the Film Simulation Menu with Recipes? There’s a lot of room for customization, and Fujifilm just showed us that it’s possible for them to do it.

I think this is also an indication of what’s to come regarding the future of the Film Dial or Film Era Dial. I suspect that Fujifilm will open up the Film Dial to allow Recipes for all of the positions, and not just FS1/FS2/FS3 (on the X-E5 and X-T30 III, anyway). I suspect that the Film Era Dial will be hard-set Recipes designed by Fujifilm (or photographers they have partnered with), similar to FRGMT B&W. This is speculation, of course.

FRGMT BW Recipe — Fujifilm GFX100RF — Photo by Manabu Nakanishi via Fujifilm

I don’t want to read too much into this. It could be a one-time thing, and we’ll never see anything like this again. Nothing may come of it, other than this one special-edition model sold only in Japan. But it is intriguing to consider what it could possibly mean for future models.

So for those wondering what the FRGMT B&W Recipe is, well, here you go! It’s found on Fujifilm’s webpage for the GFX100RF Fragment Edition.

Film Simulation: Acros
Grain: Strong / Large
Highlight: +4
Shadow: +2
Sharpness: -4
High ISO NR: -4
Clarity: +5
Exposure Compensation: +1/3

Obviously not every setting is included, so let’s take a guess on the blanks. Most likely it is Dynamic Range Auto, White Balance Auto (0R & 0B for the WB Shift), Color Chrome Effect and Color Chrome FX Blue Off, Toning Off (WC 0 MG 0), and ISO up to 12800 (based on one of the sample pictures). So if you’re interested in trying it yourself, you absolutely can. In fact, here are a few of my photos, which look pretty good, reprocessed on my Fujifilm X-E5 using the FRGMT B&W Recipe (choosing DR200 in lieu of DR-Auto).

FRGMT BW Recipe — Fujifilm X-E5 — Photo by Ritchie Roesch
FRGMT BW Recipe — Fujifilm X-E5 — Photo by Ritchie Roesch
FRGMT BW Recipe — Fujifilm X-E5 — Photo by Ritchie Roesch

Is the X Half the Worst Fujifilm-Related Product of 2025?

Fujirumors recently conducted a survey of the “best” and “worst” Fujifilm-related gear released in 2025. This included Fujifilm cameras—specifically, the X-E5, X-T30 III, X half, GFX100RF, and GFX Eterna 55—as well as lenses, including third-party lenses. Instax was in the list, too. The survey had two questions: which was the best, and which was the worst. The insinuation in the body of the article was that whatever product was chosen as the “worst” would be considered a flop.

No surprise to me, the Fujifilm X-E5 was ranked as the “best” Fujifilm-related product of 2025, receiving nearly 40% of the votes. It’s an excellent camera that’s been pretty well received. A strong argument can be made that the GFX100RF or Eterna 55 are technically the best, but the majority of those voting are likely not in the GFX system. The X-T30 III will probably end up selling more copies than any of the other cameras, which doesn’t necessarily make it the “best” only the best selling due to having the best value. It’s all subjective.

Above: Various pictures captured with the Fujifilm X half

The Fujifilm X half far and away received the most votes for “worst” Fujifilm-related product, receiving 50% of the responses. I’m not surprised because the survey was on Fujirumors, and the X half is largely not intended for the market that audience generally is. Just like I’d be shocked if the Instax Mini LiPlay won best product on that site, while it wouldn’t be shocking at all if it did so on an Instax-centric website.

The primary customers of the X half are not those in X-series; it’s those with an Instax camera, those who shoot film on a retro point-and-shoot, those who like digicams, and those who have an interest in photography but have no interest in using a mirrorless or DSLR model. They want film-like results without fuss. I would bet that two-thirds of those who have bought an X half don’t own and have never owned an X-series camera, aside from their new X half. If we were to revisit this in a couple of years, I would wager that the X half was the gateway into the X-series for thousands of people, which is exactly what the purpose of that camera is. Someone buys the X half today, next year they buy an X-T30 III or X100VI or something like that.

Above: Various pictures captured with the Fujifilm X half

The question, of course, is this: does that make the X half the worst Fujifilm-related product of 2025? If it’s successful at bringing in new customers, particularly an often overlook subset of potential customers, isn’t that good? I don’t know exactly how well the X half is or isn’t selling, especially since those statistics are hard to come by. Apparently, it was the number one selling camera in Japan over the summer, significantly outselling the second most popular. After talking with a few different camera stores, it seems to be doing well, but the camera is not nearly as hot as the X100VI or even the X-E5. I hear that it’s more popular in Asian markets than in Europe or America, so maybe that explains it.

I can tell you this: I have an X half, and it was my most-used camera on an RV roadtrip up the Atlantic coast over the summer. It’s fun for casual snapshots, and was perfect for documenting our journey. My wife and I both use it, and sometimes we fight over it. With that said, it will never replace my X-T5 or X-E5 or X100VI or any other model. It’s not that type of camera. It’s going to give you the “worst” image quality of any current X-series model, but in the best way possible. So maybe it is the worst Fujifilm-related product, but that’s what makes it great. And it’s definitely not a flop, it’s just intended for a different group of people than the usual suspects, which certainly can be a great way to expand market share.

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 half in black:
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Fujifilm X half in silver:
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Fujifilm X half in charcoal:
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10 Fujifilm Recipes for a 1970’s Aesthetic

Corndog – San Francisco, CA – Fujifilm X100VI – 1970’s Summer

After yesterday’s post about a potential “Film Era Dial” coming to a future Fujifilm camera (probably the next X-Pro), I thought I’d showcase some Film Simulation Recipes that produce a look from a specific era: the 1970’s. I might make similar articles for other decades, probably the 1980’s and 1990’s. Today, though, we’re heading back in time to bellbottoms, tie-dye, and disco—a time when color photography was gaining popularity, largely thanks to New American Color photographers like Eggleston, Shore, Meyerowitz, Sternfeld, Misrach, Haas and others.

Most likely, a 1970’s aesthetic on a “Film Era Dial” will be based on the Nostalgic Neg. film simulation, which is specifically intended to look like prints from the 1970’s. But, there were a variety of “looks” from that period. Many different Recipes can emulate a ’70’s aesthetic, and not just those that use Nostalgic Neg.. For this article, I’ve handpicked 10 Recipes, which you’ll find below, that produce pictures with similarities to images from that era.

Kodachrome II

San Geronimo de Taos – Taos, NM – Fujifilm X-Pro2 – Kodachrome II

There are three distinct eras of Kodachrome, the most iconic film of all time. This Recipe is a facsimile of the second era, which was from 1961 to 1974. In other words, this could also be a 1960’s era aesthetic. The third era, which my Kodachrome 64 Recipe mimics, also could be a 1970’s look, although it’s just as much a 1980’s and 1990’s aesthetic. The Kodachrome II Recipe is more of an early-to-mid ’70’s look. The specific version above is for X-Trans III models; for X-Trans IV click here, and for X-Trans II click here.

Vintage Kodacolor

Don’t Approach the Great Blue Heron – Farmington, UT – Fujifilm X-H1 – Vintage Kodacolor

While not specifically intended as a 1970’s aesthetic, the Vintage Kodacolor Recipe does produce photos that have a similarity to some prints from that era. The Kodacolor II 126 is another to consider for a similar aesthetic.

Old Kodak

Holland Deere – Farmington, UT – Fujifilm X-E4 – Old Kodak

Old Kodak is another Recipe that’s not necessarily intended to specifically produce a 1970’s aesthetic, but it’s easy to see that it does. It’s also the most “Nostalgic Neg.”-like of the Recipes in this list that don’t use that film simulation.

Old Ektachrome

Desert Snow – Canyonlands NP, UT – Fujifilm X-Pro3 – Old Ektachrome

This Recipe produces an Ektachrome aesthetic that’s reminiscent of magazine photos from the ’60’s and ’70’s. It’s more of a pre-E6 look, maybe more like E3 or E4, which (like Kodachrome II) makes it an early-to-mid ’70’s aesthetic.

GAF 500

Garden Spiderweb – Buckeye, AZ – Fujifilm X-E4 – GAF 500

GAF 500 (also sold as Anscochrome 500) was an ultra-high ISO (for the time) slide film introduced in 1967 and discontinued in 1977. While it was never as popular as Kodak films (not even close), it’s still one emulsion that the 1970’s were captured on.

Nostalgic Americana

Doggles – Philadelphia, PA – Fujifilm X-T50 – Nostalgic Americana

None of the prior five Film Simulation Recipes use Nostalgic Neg., while Nostalgic Americana and the four below all do. This Recipe was modeled after photographs found in vintage Arizona Highways issues from the ’60’s and ’70’s.

Kodak Vericolor VPS

Mission San Xavier del Bac – Tucson, AZ – Fujifilm X-E5 – Kodak Vericolor VPS

This Recipe is a late-1970’s and early-1980’s color negative film aesthetic.

1976 Kodak

Rainbow over Jersey – Jersey City, NJ – Fujifilm X-T50 – 1976 Kodak

The 1976 Kodak Recipe was modeled after some of Joel Meyerowitz photographs from the mid-1970’s, especially his pictures from 1976 specifically.

1970’s Summer

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

This Recipe is a facsimile of New American Color style photographs, and produces a warm summertime vibe.

1971 Kodak

View of North Rim from the South – Grand Canyon NP, AZ – Fujifilm X-T5 – 1971 Kodak

1971 Kodak is a Fuji X Weekly App Patron Early-Access Recipe, which means that only App Patrons have access to it at the moment (eventually it will be available to everyone). It’s modeled after some old family prints of my dad from 1971 and 1972, likely shot on Kodacolor-X film.

See Also: 10 Fujifilm Recipes for a 1980’s Aesthetic

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

Will The Next X-Pro Have a Film Era Dial??

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

Fujirumors just posted today that Fujifilm is working on “a dial that lets you choose an era-inspired look for your images.” This will be for some upcoming camera. It sounds like this new dial might be similar to the Film Dial, except instead of Film Simulations (and Film Simulation Recipes on FS1/FS2/FS3 for the X-E5 & X-T30 III), it will be aesthetics that mimic specific eras of photography, presumably something like 1950’s, 1980’s, etc.. So not a Film Dial, but a Film Era Dial.

My best guess is that this will be on the next X-Pro camera, which Fujifilm is working on. I suspect that this camera will be the next model that Fujifilm announces, and it will come early next year. This is simply the first of many rumors we can expect for the X-Pro4 (I’m predicting that it will be called X-Pro5) over the next few months. This is merely speculation, of course, and I have absolutely zero inside information. I do know that Fujifilm wants to do something unique and unexpected with the next X-Pro (they’ve said so a few times now), and this would certainly qualify as that.

I can only guess how the Film Era Dial might work, but it will likely be similar to the Film Dial on the X-E5. Perhaps it will have nine or ten or eleven “eras” plus an Off position. These eras, which will likely be divided by decades, will probably be similar to Recipes, except designed by Fujifilm and not customizable. In this way it could be more like Advanced Filters, which aren’t customizable—you get what you get—but probably more refined and sophisticated, something you’d definitely want to use (in other words: built-in—but not customizable—Recipes). Maybe it’s also a bit X half-ish, with the idea being that it’s super easy to get great retro-like looks straight-out-of-camera. If that’s all true, I’m disappointed to not have been invited to be a part of the creation process; however, I do trust that Fujifilm will do an excellent job with it.

So what does “Film Eras” look like on Fujifilm cameras? It can be different things, but I do have an idea. For example, Sepia prints were popular in the 1920’s; Faded Monochrome gives a nod to really old B&W prints; Vintage Kodachrome mimics an early version of Kodachrome film; Vintage Agfacolor has a 1950’s look; 1960’s Chrome resembles pictures found in magazines during that era; 1976 Kodak is similar to some Joel Meyerowitz photographs from the mid-’70’s; Kodacolor has a distinct ’80’s vibe; Kodachrome 64 was an extremely popular (and iconic) film in the 1990’s; Fujicolor Superia 800 has a 2000’s disposable-film-camera quality; Kodak Portra 400 v2 mimics a Portra 400 aesthetic, a popular film in the 2010’s; and the new Reala Ace film sim has been called the “negative for the new era” so it makes sense to use a Recipe like Fujicolor Film for the 2020’s. I could make probably four or five unique lists like this that demonstrates “photography through the decades” aesthetics using my different Film Simulation Recipes.

1920’s

Espresso Yourself – Layton, UT – Fujifilm X100V – Sepia Recipe

1930’s

Urban Escape – SLC, UT – Fujifilm X-T30 – Faded Monochrome Recipe

1940’s

Onaqui Horses – Dugway, UT – Fujifilm X-T30 – Vintage Kodachrome Recipe

1950’s

Always Moving Ahead – Rawlins, WY – Fujifilm X-Pro2 – Vintage Agfacolor Recipe

1960’s

Bell & Cross – Tumacacori, AZ – Fujifilm X-T5 – 1960 Chrome Recipe

1970’s

Rainbow over Jersey – Jersey City, NJ – Fujifilm X-T50 – 1976 Kodak Recipe

1980’s

Jon’s ’80’s Era – Buckeye, AZ – Fujifilm X-T30 – Kodacolor Recipe

1990’s

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

2000’s

Hello, I am at Disneyland – Anaheim, CA – Fujifilm X100VI – Fujicolor Superia 800 Recipe

2010’s

Sunset Photography – Laguna Beach, CA – Fujifilm X100V – Kodak Portra 400 v2 Recipe

2020’s

Saltwater Marsh – Plymouth, MA – Fujifilm X100VI – Fujicolor Film Recipe

I like the general idea of a Film Era Dial, and if anyone can pull it off it’s Fujifilm. I’ll reserve my full judgement until it is released, presumably on the upcoming X-Pro5 early next year. I don’t anticipate it being perfect; the Film Dial isn’t perfect, but it is good, adding aesthetic versatility if you know how to get the most out of it (tune into SOOC Live this coming Monday, as this will be the topic of our conversation). I wonder if the Film Dial will be unique to fifth-generation cameras, and the Film Era Dial will be unique to sixth-generation models. Time will tell.

If you like the idea of the Film Era Dial, you don’t have to wait for it. Simply program into your C1-C7 Recipes for different decades. I gave you some ideas above; perhaps this could turn into a series of articles. Maybe I can give some specific recommendations for each era. What do you think? Is a Film Era Dial a good idea? Let me know your thoughts in the comments!

Fujifilm Found in Unexpected Places

Refine – North Salt Lake, UT – Fujifilm X-T30 – Urban Vintage Chrome

Most people think of Fujifilm as a camera or film company, but that’s not their main business, and it hasn’t been for awhile now. When film sales collapsed on the early 2000’s, Fujifilm diversified into many different industries: medical, pharmaceutical, cosmetic, tech, and chemicals. While photography is a big part of Fujifilm’s heritage and identity, it is only a small part of their company overall nowadays.

At a recent photowalk, someone asked me if I had seen a large building in Mesa, Arizona, with Fujifilm’s name on the side, and wondered if I knew what it was for. I hadn’t seen it, and I had no idea what it was for. I didn’t think much about it, but then it showed up in my news feed. Curiosity got the better of me, so I did a little research. Fujifilm Electronic Materials in Mesa, is quietly an industrial powerhouse. The facility is not dedicated to film or sensors, but to the ultra-pure chemicals that make modern semiconductors possible. It’s a different side of Fujifilm, one that most photographers never hear about. Yet this plant plays a key role in the digital world.

Sunset Glow & Salt River – Mesa, AZ – Fujifilm X-T5 – Astia Azure

Inside the Mesa facility, Fujifilm produces high-purity solvents, developers, cleaning agents, and slurries used by chip fabricators to polish, pattern, and prepare silicon wafers. These aren’t camera-sensor chemicals specifically; they’re the chemicals needed for nearly every chip you can imagine: CPUs, GPUs, memory, mobile processors, automotive controllers, and, yes, even camera sensors (although only indirectly). Fujifilm is one of a couple handful of companies that supply ultra-clean chemistry for chip manufacturing, and one of a few in Arizona.

Fujifilm expanded the Mesa site only a few years ago, and they’re planning to significantly expand again, due to exploding demand for semiconductors. The CHIPS Act, combined with billions of dollars in private investment, has turned Arizona into one of the fastest-growing semiconductor hubs in the world. Intel has a large footprint, including the massive Ocotillo campus in Chandler. TSMC is building multiple fabrication plants in Phoenix, including a huge campus in north Phoenix. Amkor, Microchip, and more are found in the area. All those fabricators need chemicals—lot’s of chemicals—and Fujifilm is scaling up to meet that demand.

Irrigation Pipe – Buckeye, AZ – Fujifilm GFX100S II – Kodak Plus-X 125

To me, Arizona seems like an odd choice for chip manufacturing. It’s a desert, which means it’s hot and dry, and water is somewhat scarce. Apparently the reasons why Arizona is booming for this industry are available land, business-friendly environments, stable geology, talent (ASU, UofA, and other universities nearby), and—perhaps counterintuitively—the water situation, which is extremely controlled and can support the ultra-pure water required. The dry climate helps with contamination control, and the lack of natural disasters is apparently a big appeal. What was once a small tech outpost has been growing into a full-blown semiconductor ecosystem. Arizona is apparently a new Silicon Valley.

For photographers, this might feel like a distant subject, yet it’s a big part of the larger Fujifilm story: a diverse and resilient company that would not likely be making cameras today if not for things like high-purity solvent manufacturing for microchips. While we’re out with our X100VI or X-T5, Fujifilm is making the unseen materials that help power the digital world our pictures live in. If you happen to pass by that building in Mesa, Arizona, with Fujifilm’s name on the side, you’ll see a facility that helps to shape the silicon heartbeat of modern technology. It’s another reminder that Fujifilm is bigger than cameras. Sometimes the most important parts of a story happen in places we don’t expect.

Just Learn to Shoot & Edit RAW (say the gatekeepers)

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

There’s a frustrating comment I receive every now and then. It’s been going on for years and years—pretty much since I started making Film Simulation Recipes—and it continues to this very day. It goes something like this: “If you just learned to edit RAW, you wouldn’t need Recipes.” It can be said many different ways, but that’s always the gist of it. Sometimes it’s stated a bit nicer with a beating around the bush, and sometimes it’s said more harshly, occasionally with swearing. I’ve even been told once that I’m doing much harm to photography. Someone even threatened me physically, should they ever see me on the streets.

All of that is crazy wild. It’s bananas. Did Edwin Land get this reaction with the Polaroid? Maybe, I don’t know. It just seems like a weird response to someone else’s personal workflow choice. It’s gatekeeping.

Horsetail Falls from Bridge – Columbia River Gorge, OR – Fujifilm X100V – Improved Velvia Recipe

Gatekeeping, which says that only photography done the “right” way is correct and all other methods are incorrect, is a big problem. To be clear: there’s no right or wrong way to do photography, only whatever works for you personally. Anybody who says otherwise is flat out wrong, and couldn’t be more wrong. But there are, unfortunately, many people who will tell you that photography must be done a certain way or else it’s less legitimate. There are a several reasons why people gate keep, so let’s look at some.

Photography is deeply personal, and many people tie their identity to how “skilled” they think they are. When someone else succeeds with a different method—shooting JPEGs, iPhone photography, etc.—it threatens the fragile belief that their way is the only legitimate path. It’s a defensive shield: If you do it differently and are successful, then my choices—and hence myself—might be less special.

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

Kind of similarly, people who learn a lot can mistake knowledge for superiority. You’re doing it wrong is a shortcut to feeling important. Unfortunately, this kills community. You see it all over the place in forums and comment sections of many websites. This is also used by trolls, who may think they’re knowledgable while oftentimes being quite ignorant.

Photography has a long, technical history. Many photographers were taught rigid rules, such as shoot RAW, use full frame, manual-mode is the only real mode, rule-of-thirds, sunny 16, and many, many more. These types of rules evolve over decades, but they always seem to exist. They serve a purpose: give structure to those early in their journey; however, over time, these types of rules tend to harden into what some believe to be absolute truths. Instead of guidelines that helped for a time, they become laws that must be followed. But, remember, in art rules are meant to be broken.

Barn by the Tetons – Grand Teton NP, WY – Fujifilm X-E1 – RAW edit from 2016

Photography used to be expensive, slow, and technical, which meant that only some people were photographers, and most were not. Now everyone has a camera in their pocket, and everybody’s making pictures. For some, that democratization feels like a loss of status. Gatekeeping is a way of preserving a hierarchy that no longer naturally exists. I’m a real photographer because I do it this way, and you’re not because you don’t. It’s a game of king-of-the-hill, except nobody else is playing.

Some photographers confuse process with vision. They think creativity comes from the mechanical steps—RAW workflow, layers and curves, editing rituals—rather than from seeing the world in a certain way. When someone simplifies the process, it feels like “cheating” to them. In the end, what matters is if the photo fulfills the photographer’s vision, not what specific steps it took to get there.

McWay Falls View – Big Sur, CA – Sigma DP2 Merrill – RAW edit from 2014

Gatekeeping in photography is almost always born from fear—fear of losing relevance, fear of being wrong, fear of being overshadowed, fear of loss of control, fear of competition, etc.. Creativity, on the other hand, comes from curiosity, play, and the freedom to break rules—rules that gatekeepers cling to as if they define the medium.

Getting back to the original statement that inspired this post—if I just learned to edit RAW—well, I shot and edited RAW for years. There are several pictures I’ve included in this article from that era of my photography when I did shoot and edit RAW. I know how to do it, I just don’t enjoy it, so I no longer choose to do it. I don’t personally find any fulfillment in sitting at a computer for hours making all sorts of various adjustments to my pictures. After doing it for years, I realized that it’s just not for me. And that’s ok. There’s no right or wrong way to do photography. I don’t feel that my photography suffers from a lack of RAW editing; actually, I feel that the restraint produces a more authentic result, which I’m quite pleased with.

Red Chairs – Cambria, CA – Nikon D3300 – RAW edit from 2015

Invariably, someone will drag Ansel Adams into this argument. Adams spent hours in the darkroom developing film and printing enlargements, with masterful dodging and burning. That’s how photography should be done, except now it’s Lightroom and not a darkroom. All of this ignores Adams’ love for Polaroid photography, which he called one-step photography. Typically, the first step is image capture, and the second is image development, but Polaroids only required the first step (hence, one-step photography). Adams wrote, “The effect of one-step processing on both amateur and professional creative photography has been revolutionary.” One of his well-known Yosemite pictures was captured on a Polaroid, and most who view it are unaware. He wrote a whole book about this topic. Using Film Simulation Recipes is a type of one-step photography, and it can indeed be revolutionary.

Anyway, just because someone chooses to shoot JPEGs on their Fujifilm camera with Film Simulation Recipes does not mean they don’t know how to edit a RAW file. And even if they don’t, that doesn’t make them any less of a photographer. It’s not how you arrive at the destination, it’s the destination itself—the photograph—that matters, and whether or not it fulfills the vision of the photographer.