I Spy with my Little Eye – Laguna Beach, CA – Fujifilm X-T5 – Fujicolor Reala 100
There’s an Adobe controversy that seemingly everyone’s talking about. I have probably a unique take on it, and I want to share that with you in this article. If you’re interested, read on; otherwise, this is probably a post that’s ok to skip.
I don’t want to spend too much time rehashing what has already been said about it, but for those who don’t know… Adobe—the makers of Photoshop, Lightroom, and a number of other software programs—has been ticking off their customers for some time now. They’re constantly doing something that makes their customers unhappy—but, apparently, not unhappy enough to actually matter. Adobe is the long-time reigning king of photo and video editing software (at least by subscription sales…), and their closest competitors are pretty far in the distance. Adobe is not worried in the slightest about any controversy they’ve stepped into. They can be brazen in their controversies and it doesn’t bother them even a little. They have a lot to gain and very little to lose (or so they think). They can even spy on your pictures, and you’re not going to do a darn thing about it.
That’s the current controversy. Adobe has updated their terms of service, which allows them to potentially look at your pictures—presumably only if you are utilizing their cloud service and/or AI technologies; however, they haven’t fully clarified that, which certainly casts some doubt to a limited use scenario. If you’re not being forthcoming, people are going to assume all sorts of things, especially if you have a history of deception. For example, nobody had a clue that Adobe was using their pictures (via Adobe Stock) to train their AI; when it came out, Adobe pointed out it was in the terms of service, and everyone was like, “I don’t remember agreeing to that, and I wouldn’t have if I had known.” But how can you argue? You agreed. Is it Adobe’s fault that you didn’t read the lengthy terms of service written in a legal language that only an attorney could fully understand? No, it’s your fault, because you agreed, even though you had no idea what you were agreeing to. It was buried in there somewhere, apparently, that Adobe could legally use your pictures to eventually put you out of business.
A photo from 2015, back when I still post-processed RAW files. A little over-edited; nevertheless, this picture hangs on a wall in my house.
If you want to learn more about the controversy, PetaPixel has a few articles (here, here, and here). Tony Northrup has a video. Even Fujirumors has a post. There are a thousand more, I’m sure, that you can find and read. It’s a big story, but it won’t make any difference, unless this is the straw that breaks the camel’s back. Unless their customers have finally had enough and have a mass exodus. Otherwise, we’ll all forget about this rather quickly, and (as usual) it will be a complete nonissue.
The fact is that most apps are spying on you. Data is money right now. Big money. It’s a multi-billion-dollar-a-year industry. The more that is known about you, the easier it is to control how you think and behave and (most important to companies) to sell you crap that you probably don’t need and otherwise wouldn’t have purchased. Adobe is spying on you for the same reasons why Google, Apple, Meta, Yahoo, etc., etc., etc., etc., etc., are spying on you. There’s a lot of money to be made from knowing more about you, and there’s a lot of money for that data. They will tell you that it’s innocent: to improve customer service or improve their products or for legal or training purposes— something like that—but in reality it’s about the money that they can make from doing it. Your money, btw—it’s about how they can get their hands on your money more easily. And it’s not just your money; they don’t actually care where the cash comes from—for example, Adobe’s AI ultimately isn’t about getting more money from photographers, but eventually the money that might otherwise go to photographers; they’re going to cut out the middleman (that’s you).
I know all of this because, technically speaking, I’m an app developer, and I’ve learned this stuff while developing apps and researching topics related to it. My apps don’t spy on anyone for any reason. I collect zero data with my apps, not even user names or email addresses. There are plenty of people who would say it’s not smart to do that—everyone else is doing it, and making a lot of money in the process. Why shouldn’t I? But I value your privacy, because I value my own privacy. Treat others how you wish to be treated, right? That’s the Golden Rule, which used to mean something. Maybe I’m naive, but I think the world would be better if more people followed that principal. Unfortunately, most apps don’t follow that rule, and you’re being spied on a lot more than you likely realize.
Going back to Adobe, I haven’t used their products for a long time now. A lot of Fujifilm photographers use Capture One instead of Lightroom because of how it handles X-Trans files. Nowadays—and for a handful of years now—I shoot JPEGs, and don’t edit, other than cropping/straightening and maybe a minor adjustment occasionally. I use Film Simulation Recipes, and get the look I want straight-out-of-camera, unedited. I have no need for Photoshop or Lightroom or even a competitor’s version of those programs. Personally, I don’t really care what Adobe does or doesn’t do, because I have no skin in the game, so to speak. Every person’s needs are different, but I bet that a lot of you reading this probably don’t need Adobe’s software, either, and could cancel your subscription (if you have one) without any negative impact whatsoever on your photography. If you’ve been on the fence about cancelling your Adobe subscription, perhaps now is a good time.
Even though Adobe owns the primary programs that many photographers use, if you are not happy with them, why continually give them your money? There are alternative software options, and alternative approaches, that make Adobe unnecessary for almost everyone. For me, it’s Film Simulation Recipes and JPEGs. For you, maybe it’s Capture One or some other program. I don’t want to suggest what might be the best choice for you, as we’re all different. Maybe you actually really do need Adobe; if that’s you, I hope you don’t mind being spied on by them, because they might just be doing that.
Anyway, this will all blow over really quickly, and two weeks from now probably no one will even be talking about it or concerned in the least about Adobe possibly spying on their pictures. So none of this actually matters. But if it does matter to you, just know there are indeed other options, and some might even be closer to you and easier for you than you realize.
I really like Godox flashes. They’re good quality, easy to use, oftentimes retro styled, reasonably priced, and fun to use. The Godox Lux Junior is my personal favorite mainly because it is compact and lightweight. I also like the Godox Lux Cadet; it’s also fairly small and light. Either one of those are fun to use, but I’m not really a flash-photography guy, so I only occasionally utilize them.
I paid for my Lux Junior out of my own pocket, and wrote briefly about that flash in Getting that ’90’s Film Look with Fujifilm Cameras. Perhaps because of that, Godox sent me a Lux Cadet, which I discussed at length in Using a Godox Lux Cadet for a ’90’s Film Look. More recently, Godox asked if I’d be interested in trying the Lux Master. I said sure; however, I probably should have researched a little before agreeing. Anyway, the flash arrived, and I was a little surprised by the size of the box. The Lux Master is neither compact nor lightweight!
Of course, that doesn’t mean it’s not good, because the Lux Master is definitely a pro-level flash (and only $250, which seems like a bargain for what it is). If you are an event, wedding, or portrait photographer and do flash photography, the Lux Master is one to strongly consider. Or, put on a fedora hat with a paper containing the word PRESS on it, and you could be an old-fashioned photo journalist. I don’t have anything negative to say about the Lux Master, other than it’s a little too much for my photography. I’d use a Lux Junior or Lux Cadet over the Lux Master any day of the week, personally, just because those suit me better (mainly, the size and weight). But, there are some people who need a bit more, and that’s where the bigger flash comes into play. If you need a pro-level flash that is retro cool and affordable, the Lux Master should be high on your list.
There are two main ways that I use an external flash with my photography. With the X100-series I sometimes use the built-in flash for daylight fill, but for the Godox flashes I use them either to get a retro ’90’s look (for lack of a better description… essentially, Film Simulation Recipes combined with flash) and/or creatively use shutter drag (slow shutter speed with intentional movement combined with flash). That’s how I typically use the Lux Junior and Lux Cadet, and how I initially was using the Lux Master.
But then I decided I’ve probably covered that topic enough, and maybe you’d like to see something else. So I waited until sunset, grabbed my Fujifilm X-T5 with the Godox Lux Master attached, and headed out into the desert. How about some cacti photographi? (BTW, that spelling error was intentional). I live in the desert and photograph cactus regularly, but not often when combined with a flash. I did this after-sunset desert trek a few different times, and came away with a few good pictures.
Obviously there’s a pretty significant difference between after-sunset photography with and without a flash. How bright the flash is set, how close the subject is to the camera, and the exact light situation will all affect the outcome. I don’t know if I came away with any good tips to pass along, other than try and try again. For a lot of images, finding the right flash and camera settings often took three or four or five tries, sometimes more. It was a fun little project to do, and I think the experimental nature of it (for me, anyway, since it’s not something that I normally do) was somehow both therapeutic and thrilling. Even if you don’t do much flash photography, something like the Lux Master could be a good training tool to help improve your photography. Or it could be just for fun.
The photographs below are all camera-made JPEGs captured with a Fujifilm X-T5 + Fujinon 56mm f/1.2 lens + Nostalgic Americana Film Simulation Recipe + Godox Lux Master flash:
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Glimpse of a Fleeting Memory – Gilbert, AZ – Fujifilm X-T5 – “Vintage Cinema”
Awhile back I binge-watched a number of classic movies from the 1950’s, and I was really inspired by their picture aesthetics. After some research, I discovered that Kodak ECN 5248 25T motion picture film was used in several of these flicks. The problem, of course, with trying to replicate the look of a motion picture film stock is that not only is the aesthetic dependent on the usual factors of how shot and developed, but also on the lighting and filters used, which can be different movie-to-movie and even scene-to-scene. Instead of attempting to mimic the look of any particular movie or cinema film stock, I wanted to create a certain feel or mood—a “memory color” reminiscent of color movies from the 1950’s.
This Vintage Cinema Film Simulation Recipe was a Fuji X Weekly App Patron Early-Access Recipe, but now it’s been replaced by a different Early-Access Recipe, making this one available to everyone. Those who are App Patrons have had access to it for some time now.
Ball on a Wall – Buckeye, AZ – Fujifilm X-T5 – “Vintage Cinema”
The Vintage Cinema Film Simulation Recipe is compatible with the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50. I assume that those with the latest GFX cameras can also use this Recipe, but that it will render slightly different—I have not tested it to know for certain. This Recipe is best for sunny daylight conditions, and seems especially well-suited for golden hour photography, but can sometimes produce interesting results in cloudy, shade, and indoor situations, too. I believe this Recipe would pair especially well with vintage lenses and probably diffusion filters, but for these pictures I used Fujinon lenses, including the 27mm f/2.8, 35mm f/2, 90mm f/2, and 100-400mm, without any filters.
Film Simulation: Nostalgic Neg. Dynamic Range: DR400 Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome FX Blue: Off White Balance: 4900K, +3 Red & +3 Blue Highlight: +3 Shadow: -2 Color: -1 Sharpness: -2 High ISO NR: -4 Clarity: -4 ISO: Auto, up to ISO 6400 Exposure Compensation: -1/3 to -2 (typically)
Example photographs, all camera-made JPEGs using this Vintage Cinema Film Simulation Recipe on my Fujifilm X-T5 and X100VI:
Birds of a Feather – Gilbert, AZ – Fujifilm X-T5
Flipped Reflection – Gilbert, AZ – Fujifilm X-T5
Three Ducks in a Lake – Gilbert, AZ – Fujifilm X-T5
We All Live There – Anaheim, CA – Fujifilm X100VI
It’s Corn – Anaheim, CA – Fujifilm X100VI
Up – Anaheim, CA – Fujifilm X100VI
Bougainvillea Blooms & Blue – Buckeye, AZ – Fujifilm X-T5
Bougainvillea Beams – Buckeye, AZ – Fujifilm X-T5 – Photo by Jonathan Roesch
Side Gate Cracked Open – Buckeye, AZ – Fujifilm X-T5
Bougainvillea Bush in Bloom – Buckeye, AZ – Fujifilm X-T5
Hanging Bougainvillea Blossom – Buckeye, AZ – Fujifilm X-T5
Desert Bunny – Gilbert, AZ – Fujifilm X-T5
Jo on a Dirt Path – Gilbert, AZ – Fujifilm X-T5
Jo on the Patio – Buckeye, AZ – Fujifilm X-T5
Late Autumn Yellow – Buckeye, AZ – Fujifilm X-T5
Leafless Tree – Buckeye, AZ – Fujifilm X-T5 – Photo by Jonathan Roesch
Do Not Enter When Flooded – Buckeye, AZ – Fujifilm X-T5 – Photo by Jonathan Roesch
Dry Leaves on a Patio Chair – Buckeye, AZ – Fujifilm X-T5
Pruner & Gloves – Buckeye, AZ – Fujifilm X-T5
Fruit – Buckeye, AZ – Fujifilm X-T5
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There’s a digital camera that Fujifilm should absolutely be making right now, and it’s not the X-Pro4, or X-E5, or a full-frame model (although those would be great, too). There’s a specific camera that would fly off the shelves—the X100VI’s historic demand would pale in comparison. What is this camera?
The digital QuickSnap.
The Fujifilm QuickSnap is a disposable 35mm film camera that is beloved for its nostalgic lo-fidelity aesthetic, simplicity, and price. Fujifilm introduced the QuickSnap camera in 1986, with the slogan, “Everybody should enjoy photography with ease.” The QuickSnap was an immediate success, and was immensely popular for a very long time—it was even successful enough to survive the film crash of the 2000’s. People still buy and use QuickSnap cameras; they’re particularly popular for weddings, kids, and lomographers. Many people love the nostalgic experience of one-time-use cameras.
Interestingly, the most sold digital camera right now in Japan is a cheap Kodak digicam. Third and fifth places are also cheap Kodak digicams. Digicams are a dime a dozen (perhaps literally, if you win a collection on an auction site, or rummage through your parents or grandparents house). What’s missing in the photo world is a digital version of the QuickSnap, a film camera that partially inspired the digicam. I have zero doubts that it would be a massive success for Fujifilm, and would probably leave all digicams in the dust.
This is how I envision the digital QuickSnap:
First, it would need a digital sensor that obviously won’t be anywhere close to full-frame, since that would be both ridiculous and expensive. The Fujifilm Mini Evo has a tiny 5mp sensor; it would likely be a mistake to use that one, but they certainly could. I think that a 12mp or 16mp 1/2.3″ would be the most obvious choice, since those can be obtained by Fujifilm rather easily and cheaply. The sensor itself doesn’t matter all that much; however, cost and quality must be balanced extremely carefully. Too poor of image quality will hurt sales, while a too expensive price-tag will also hurt sales.
More important, though, is the picture aesthetic. Fujifilm should program it with their Classic Negative film simulation, including faux grain—something similar to my Fujicolor Superia 800 Recipe. The pictures created by the digital QuickSnap camera should look similar to the pictures that come out of an analog QuickSnap. As much as practical, the pictures need to look alike from the film and digital versions.
Next, it needs to function nearly the same as the analog QuickSnap. It should be super simple: a switch to activate the built-in flash, a wheel to cock the shutter and “advance” to the next frame, a shutter release button, a battery-level indicator, and maybe a one-press picture-transfer to an app. There should not be any LCD or electronic viewfinder to review the pictures.
The very basic optical viewfinder from the film camera should be carried over—the user experience should be as similar to the analog version as possible. Due to the crop factor of the sensor, a new lens will be necessary. The exact sensor size will determine what the lens should be, perhaps something like a 5mm or 6mm f/5.6 plastic lens that’s close to 30mm full-frame equivalent. What is important is that it is focus-free (fixed focus) and produces a similar aesthetic to the film camera.
A critical factor of one-time-use cameras is the film itself; namely, the tolerance for under and over exposure. Since the sensor won’t have this same tolerance, it’s necessary for the digital QuickSnap to have some amount of exposure control. It must have a light meter, as well as some (auto) control over the ISO and shutter speed. For the sake of image quality, the ISO should be capped as low as practical. If Fujifilm could utilize the D-Range Priority technology, I think that would help, too.
The digital QuickSnap should have internal storage that saves only 27 JPEG images. It could count the exposures mechanically exactly like the film camera does, providing an identical experience. Once the 27th picture has been captured, it won’t let you capture anymore until the memory has been cleared, either by wirelessly transferring the images to a mobile app, or via USB. The QuickSnap App should be super simple (and actually work), with an option within the app to auto-connect and transfer once 27 pictures have been recorded, or manually connect and transfer if preferable. The camera should also be able to connect to the Instax app, and transfer (and print) directly from there. The camera should charge via USB, and could also transfer the images using a USB cable. Once the pictures have been removed from the camera, it would then allow the user to capture the next 27 frames.
The QuickSnap App, aside from photo transfers, should have a few simple options, for those who wish to do a little more with their pictures. A retro-styled date stamp. Maybe a few filter overlays that don’t radically change the picture aesthetic (examples: high contrast, low contrast, warm, cool, color boost, reduce color, etc.), and maybe a handful of light-leak affects. The more simple the better. Maybe Fujifilm can even offer a service where 4″ x 6″ prints can be made and mailed out to customers who wish for an even more authentic experience.
While the size and design should still closely resemble the film version, I think the digital QuickSnap must feel a little more sturdy, and not so cheap that it would easily break if dropped. If Fujifilm could offer it for less than $100, that would be most ideal. A camera like that would be a huge hit, thanks to its nostalgic charm, ease of use, straight-out-of-camera aesthetic, and affordability.
Manhattan from Pulaski Bridge – New York City, NY – Fujifilm X-T50 – PRO Negative 160C
I get asked fairly regularly which Film Simulation Recipes are the most popular. For me, this is a fascinating topic, but it’s definitely hard to know definitively. While I get a glimpse on social media, my best gauge is the Fuji X Weekly website statistics; specifically, which Recipe articles are viewed the most. I don’t collect any data on the Fuji X Weekly App, so that’s no help—although, if I did, it would likely offer the most accurate picture; however, it would still be impossible to know which Recipes people programmed into their Fujifilm cameras, or how often they used each. Perhaps a survey would be particularly useful, yet even it has its limitations. While certainly a flawed method, page-view website statics offer the best glimpse at which Film Simulation Recipes are the most popular, so that’s what I’m using for this article. These are simply the Top 25 most-viewed Recipes on the Fuji X Weekly website last month (May 2024).
There was a lot of movement for May, especially in the bottom 80% of this list—the top five Recipes are pretty predictable. Those with Kodak brand names in the title—Kodachrome, Portra, Gold, Tri-X, etc., etc.—are usually the most popular. Classic Chrome is the king of film simulations, as the majority of the most-viewed Recipes are based on that film simulation.
Bright Summer has been on a rollercoaster lately, and its jump to number six is quite surprising. A lot of upward and downward movements overall. A couple Recipes that usually rank in the Top 25 didn’t make the cut. There are three Nostalgic Negative Recipes in this list, which is a bit unusual, two Classic Negative Recipes, one each of Eterna, Reala Ace, and Acros; otherwise, all the rest are Classic Chrome.
Without any further delay, below are the most popular Recipes of last month!
Top 25 Most Popular Film Simulation Recipes of May 2024
A Classic Chrome based Recipe for X-Trans IV cameras that is the long-time most popular Film Simulation Recipe for Fujifilm cameras. This is the king of Recipes!
Bright Summer—another Classic Chrome based Recipe for X-Trans IV—is sometimes called Preetra 400, because it is modeled after Preet’s aesthetic (Preet himself is the one who gave it that nickname, btw). It doesn’t usually crack the Top 25, but in March it suddenly jumped to #9, for April it fell to #23, and now in May it up all the way to #6!
This is a recently published Recipe that uses Classic Chrome, and has similarities to Kodak Portra. It’s compatible with both X-Trans IV and X-Trans V. This Recipe moved up one position from April.
This version of Kodak Portra 400 was commonly the third most popular Film Simulation Recipe on Fuji X Weekly for a long time. It fell one spot compared to last month.
Pacific Blues used to be the highest-ranked Classic Negative based Recipe, but Reala Ace has left it in the dust. This particular one is compatible with X-Trans IV models, but there is also an X-Trans V version. In April it was ranked #16, so it is definitely on the rise.
By far the most popular B&W Recipe, Kodak Tri-X 400 is based on the Acros film simulation, and has compatibility X-Trans III, X-Trans IV, and X-Trans V models. It was ranked #17 last month.
Vintage Kodachrome, which is based on Classic Chrome, is one of the older Film Simulation Recipes on Fuji X Weekly, and is compatible with X-Trans III cameras. It was ranked #11 last month.
This is a fairly recently Recipe, and the very first to use the new Reala Ace film simulation. At the moment, it is only compatible with the Fujifilm X100VI and X-T50. In April it ranked #12.
This is a newly published Recipe that uses Nostalgic Negative as the base, which means that it is for X-Trans V cameras. This Recipe is what I used for my two pictures that are found on Fujifilm’s new film simulation page.
1976 Kodak doesn’t typically crack these lists, but it is a very good Recipe that I’m happy to see being used by more people. The base film simulation is Nostalgic Negative, so it is only compatible with X-Trans V cameras.
This is a recently published Eterna-based X-Trans V CineStill 800T Recipe; however, it’s simply an adaptation of the X-Trans IV version that has been around awhile. This is the highest ranking Eterna-based Recipe; however, it fell significantly, from #10 in April.
This is a Recipe that I’m surprised doesn’t rank higher; typically, it’s not even in the Top 25. This version is for X-Trans IV cameras, but there are also versions for X-Trans II, X-Trans III + X-T3/X-T30, and X-Trans V.
Kodachrome II is an older Recipe made for X-Trans III cameras. It used to often be in the Top 10, but has been falling for awhile. Last month it ranked the same.
The weather is getting hotter, so it’s not a huge surprise that 1970’s Summer is on the rise. This is a Nostalgic Negative Recipe for X-Trans V cameras.
Panasonic inadvertently created a controversy (actually, two). You’re probably aware of it already, but for those who aren’t, let me briefly explain it to you. Afterwards, I’ll tie it back into Fujifilm and Fuji X Weekly, and by the end it will all make sense why I’m bringing it up on this blog.
It began when Gerald Undone, a popular YouTuber, posted a video lamenting that Panasonic didn’t invite him to the launch event of the Lumix S9, nor did they send him a preproduction model prior to release. Gerald comes across as unnecessarily bothered for the exclusion; however, he goes on to make some extremely valid points that shouldn’t be dismissed. If you haven’t seen the video, I’d rather you watch it and form your own opinions than to read my commentary on it, so I’ll leave it at that.
What is important to note, though, is that—in Gerald’s view—Panasonic punished him for being critical of one of their products (or, really, using the “wrong” word), and they told him they were excluding him from the S9 launch because they were concerned he wouldn’t like the camera. In his opinion, Panasonic’s content-creator inclusion for the event was largely based on who they felt would tow the company’s line, which casts skepticism (fairly or unfairly) across the viewpoints of those who were invited. Again, you can watch the video and form your own opinions, I’m just trying to lay out the controversy for those who are unaware.
Afterwards, people noticed that the camera reviews by those who attended the launch event and/or who had received a preproduction model of the Lumix S9 were largely very positive despite the technical specs and features being surprisingly mediocre. There was an obvious disconnect between the initial reviews and the perception of those who had read the fine details. Did that prove Gerald right?
Important to the controversy is that the Lumix S9, aside from one important aspect, is probably the least interesting full-frame camera released in the last decade (this is my opinion, it’s ok to disagree). Some reviewers—I’m sure at the recommendation of Panasonic—suggested that the S9 is comparable to the Fujifilm X100VI; basically, the S9 is a full-frame interchangeable-lens X100VI alternative. However, the Fujifilm camera that the S9 is most similar to is the X-A5, and not the X100VI. The X-A5 has some advantages (mechanical shutter, hotshoe, grip, size/weight, price, lenses), and the S9 has some advantages (6K video, IBIS, larger dynamic range, better high-ISO, better autofocus); otherwise, those two models are surprisingly similar.
The “important aspect” of the Lumix S9, which is indeed noteworthy, is the ability to wirelessly transfer LUTs (think overlays or presets) from an app to the camera, and apply those to still pictures for straight-out-of-camera photography. Panasonic is trying to create a community around LUTs similar to the Recipe Community for Fujifilm. Interestingly, Panasonic’s slogan for the S9 is: “Shoot. Edit. Share.” It’s a mixed message, for whatever reason; however, Film Simulation Recipes have become so popular for Fujifilm that other brands are trying to figure out how to incorporate something similar, which should not be overlooked or under-appreciated.
Going back to the controversy, there have been a large number of people within the photography world who have commented on a perceived disconnect between what the Lumix S9 actually is and the hype that many YouTubers espoused who were flown to Japan for the launch. The solution suggested by some is to ignore the opinions of those who were given early-access to the S9, and especially to those who attended the launch. But is that fair?
I was recently loaned a preproduction Fujifilm X-T50. I wasn’t invited to the X-Summit launch event in Sydney, but I was flown to a secondary event in New York City. The X-T50 has a contentious design choice that I spoke (mostly) positively about. Do you see a parallel? Was I invited because Fujifilm thought I would hype the camera? Were my opinions influenced by Fujifilm’s generosity towards me? Can Fuji X Weekly still be trusted for unbiased opinions (or at least as unbiased as an unashamed fanboy can get)? I really had to ask myself these questions, and give this whole matter a lot of consideration.
When I arrived in New York, one of the first things I was asked by a Fujifilm representative is what I thought of the new Film Dial. I said that I was unsure about it at first, but once I figured out how to get the most out of it, I really liked it. The representative was surprised, because it was assumed that I wouldn’t like it, since it’s not necessarily designed for use with Recipes.
During the trip—and even before—it was stated several times by Fujifilm that what they wanted most was authenticity—those involved shouldn’t be concerned with what they may believe the company wants; Be true to who you are. I was also told that vulnerability is a virtue they appreciate. Looking back, my impression is that they wanted those in attendance to be at ease, and to not feel pressured to think or feel some certain way, or create some certain things. The point seemed to be more about establishing connections between creative people who happen to use Fujifilm products, and much less about the products themselves.
The question is whether or not I was influenced in some way by Fujifilm. I probably would not have picked up an X-T50 had Fujifilm not sent me one; had I not used it, I probably would not have spoken so positively towards it, because I wouldn’t have discovered how to effectively use it. That seems like an obvious one, to me. Maybe more subtly: I met some of the people behind the brand, and gained insights into some inner workings, which adjusted my perception about the company—essentially, some of my preconceived notions about Fujifilm had to be realigned to match reality. That’s a type of influence that I believe is actually positive. Did I come away thinking that if I speak negatively about the brand, I won’t be invited back? I’d be lying if I told you that it didn’t cross my mind, because it did; however, I don’t believe that is true.
This whole controversy has caused me to pause and self-reflect, and evaluate my own motives and actions. I want authenticity and vulnerability to be the gold standard of this website and myself, personally. I hope that I’m a trustworthy voice in the Fujifilm community—both now, and for years to come. I’m highly appreciative that Fujifilm reached out to me, loaned me a camera, and invited me to their event, and I look forward to any other potential opportunities to work with the brand in the future. If I have to leave my ethics at the door to do so, I’m not ok with that. Thankfully, I don’t believe Fujifilm would ask that of me, but it is important to not be complacent of the potential, and to hold onto my personal values tightly at all times.
Dumbo Crowd – Brooklyn, New York City, NY – Fujifilm X-T50 – Reala Ace Recipe
2024 has been a wild ride so far, but in the best way possible.
I have so much to share with all of you. I’m sure it will take weeks to get it all out via various articles, videos, and social media content. This post is simply to lay out the backstory, and serve as a foundation to build on. There’s so much that I’ve been wanting to tell you but couldn’t; however, now I can!
In January I got a call from Fujifilm North America. They told me that they like what I’m doing and that they want to work with me in the coming year, but they weren’t yet sure what that might look like. This call was more to get the conversation started, and to make sure that I would be willing to work with them. It was a very positive experience, but I took a wait-and-see approach.
I didn’t have to wait very long, as Fujifilm sent an email in March inviting me to be a part of a global film simulation project. Specifically, they wanted me to create some pictures using Nostalgic Neg., Classic Chrome, and Astia that illustrate how those film simulations can look. They encouraged those involved in the project to use Film Simulation Recipes. Of course, for me, that was a good excuse to invent some brand-new Recipes! Nostalgic Americana, Classic Color, and Astia Azure are the three that I created and used for my photographs. Just recently, Fujifilm published a Film Simulation page on their global website, which is the first fruits of the project—you can find two of my Nostalgic Neg. pictures there. I’m sure there is more to come.
Just as soon as that project wrapped up, I received another email from Fujifilm. They wanted to send me an unreleased camera to try out. Whoa! It was such an honor, just to even be asked. Of course I said “yes” and a week later a Fujifilm X-T50 arrived at my door. I had to wait until after the X-Summit announcement before I could talk about the camera.
Film Dial on the Fujifilm X-T50
It took me a few days to warm up to the X-T50, and a few more days to really figure out how to use it. But, once I did, it quickly became a personal favorite camera. I love the Film Dial! Is it the perfect implementation of it? No. Is it a lot of fun and useful? Absolutely! I still have the camera in my possession, but it’s due to be returned. It’s a preproduction loaner, so I can’t keep it. I just hope, if there is a wait list, that it’s not very long.
This isn’t the end of the story in the slightest. Well before the launch, Fujifilm invited me to join them on a creator’s retreat—Camp Fujifilm, as they affectionately nicknamed it—in the Catskill Mountains of New York, followed by a rooftop X-Summit Experience event in New York City. The retreat was a new thing that Fujifilm was trying out. I didn’t know what to expect, but I knew to say yes, no matter what else I may or may not have had going on at that time. It was a drop-everything-and-be-there type of thing.
So my wife, Amanda, and I flew out of Phoenix to Newark one week ago today. We stayed a night in Brooklyn, and the next day met up with everyone. Fujifilm chartered a bus; we loaded up, and were quickly off. This was our first time in New York City, so we were incredibly excited and just in awe of everything, trying to soak it all in. But as quickly as we got there, we were out of the city and in the rural greenery of the Catskills.
I don’t want to tell anyone else’s story. But, just real briefly, there were 13 creators (including myself and Amanda), plus three Fujifilm employees, at this retreat. It was a very diverse group. There were X-Photographers, cinematographers, YouTubers, hobbyists, etc.—just a wide range of talents and experiences. There were no real expectations. It was like Fujifilm wanted to know what would happen if they just had us all meet and hang out for a few days.
I was nervous because I didn’t know anyone there. I was unsure if I was going to fit in. Even though I have a popular Fujifilm blog (and some apps), I still often feel like an outsider in the general photographic community. But I had nothing to worry about. Everyone was great and welcoming, and we had such an incredible time. I made some new friends, which alone made the whole trip worthwhile.
I won’t soon forget the early morning hike in the pouring rain with Bryan Minear plus Matt Matkin and Lotta Milde of B&H (you may have seen them on YouTube or B&H’s social channels). Tom Baumgaertel (a.k.a. bewaremyfuji) was super helpful when discussing multiple exposure photography. I feel like everyone brought something to the table, and we all learned things from each other. Amanda was surprised how many questions she was asked about social media video trends, and in turn she was able to ask questions related to recording and editing videos. It was an invaluable experience—I’m sure for everyone there, but definitely for myself and Amanda. I hope that Fujifilm does this regularly moving forward.
Tunnel Traffic – New York City, NY – Fujifilm X-T50 – Pacific Blues Recipe – Double Exposure
We returned to New York City from the Catskills on Thursday. The bus dropped us off at our Manhattan hotel, and an hour later Amanda and I strolled over to Foto Care for the X-Summit Experience. The rooftop event was super cool. I got to shake hands with some of you and briefly chat cameras, which was amazing. I met some more talented content creators—photographers and cinematographers—and made some connections.
One highlight was meeting Omar Gonzalez. He was at the event, and we got to talk a little. He had his Fujifilm X-T20 Noir camera with him. I’m a big fan, personally, so it was like meeting a favorite musician or actor or something like that. I kept telling myself to play it cool, just play it cool. Anyway, it was so great to meet him!
Afterwards, I met up with more Fujifilm people, and hung out for awhile. We ate a mustard/sauerkraut pizza at Lions & Tigers & Squares at the suggestion of Shotti—I know it sounds gross (and it’s not something I would normally even try), but it was easily an all-time top-five favorite for me. The whole trip was so surreal, but especially this day. It was like a dream, except that it actually happened. It was so great to meet everyone and make a lot of new connections.
I have a lot more to share, but this is enough for today. I want to give a big “thank you” to Fujifilm North America for loaning me the camera, inviting me out for the retreat and event, and the first-class treatment. I’m so glad that I could meet the team, and I hope that we can work together more in the future.
The brand-new Fujifilm X-T50 has a Film Dial! It’s their very first model with a Film Dial, actually. Turn the knob to give your photos a different analog aesthetic. The “films” are simply the various film simulations, which Fujifilm has been including in their cameras for a couple of decades now; originally there were only a few, but they’ve routinely added more over the years, and now there are 20 different film simulations to choose from. I really like the Film Dial, and I think it’s wonderful that Fujifilm has decided to make film simulations a prominent part of the X-T50 experience.
The Film Dial is great for exploration. Many photographers never venture outside of Provia/STD, or perhaps they try a few different options but end up sticking with just one, and they don’t really know what they’re missing out on with the other film simulations. Even though it is such an intrinsic part of the Fujifilm experience for many, you have to dig through the menu (or select the correct Fn shortcut) in order to change the film simulation. Now, it’s as easy as changing the shutter speed or aperture, and is placed in a prominent position of equal importance.
Fujifilm’s film simulations are good straight-out-of-the-box, but with some parameter adjustments, they can become great. To get the most out of the various film simulations, you need to make changes to the factory-default settings (a.k.a. use Film Simulation Recipes). However, the Film Dial becomes problematic when you do this because rarely do multiple film simulations look good with the same Recipe settings. Sometimes they do, such as with Kodak Portra 400 v2, Vintage Vibes, and Ferrania Solaris FG 400, which require the same exact settings (note: use Color Chrome FX Blue Off on X-Trans V), but three different film simulations: Classic Chrome, Classic Negative, and Eterna Bleach Bypass. Most of the time, however, whenever you use a different film sim than what the Recipe calls for, the results are less than spectacular, such as when Omar Gonzalez accidentally used Classic Chrome instead of Classic Negative with the Agfa Vista 100 Recipe.
Initially, I wasn’t sure how to best implement the Film Dial into my workflow. I figured that it makes the most sense if you have the Kodak Portra 400 v2 Recipe programmed into one of the C1-C7 custom presets—turn the knob to NC and now you’ve got Vintage Vibes, and set Eterna Bleach Bypass to one of the three FS custom positions and you’ve got Ferrania Solaris FG 400. It’s like having two extra custom presets! While that in-and-of-itself is great, I wondered if I could come up with an even better strategy to get the most out of the Film Dial.
Before jumping into that, let’s talk a little about the Film Dial, which sits just above the words “X-T50” and in place of the Drive Dial that the X-T30 has (Drive is now a button like on the X100 and X-E series). There are 20 film simulations, and only 12 positions on the Film Dial, which means that some film sims got left out. There are eight “films” on the knob: Provia (STD), Velvia (V), Astia (S), Classic Chrome (CC), Reala Ace (RA), Classic Negative (NC), Nostalgic Neg. (NN), and Acros (A). Acros can be customized to +Y, +R, or +G, if you prefer one of those over standard Acros. For those keeping score, PRO Neg. Hi, PRO Neg. Std, Eterna, Eterna Bleach Bypass, Monochrome (including +Y, +R, and +G), and Sepia have all been left out.
Fujifilm does provide three customizable options (FS1, FS2, FS3), so you can add some of the left-out film sims back to the dial. Personally, I found Acros+Y, Acros+R, and Acros+G to be excellent contenders for this. If you don’t do much black-and-white photography, maybe PRO Neg. Std, Eterna, and Eterna Bleach Bypass could be good options. There’s also the “C” position on the knob, which is what you want the dial to be set to when using your C1-C7 custom presets. You can program a bonus 8th Recipe into the IQ Menu set; when you don’t have a C1-C7 selected (a.k.a. P, A, S, M, Off, or Nothing Selected, just depending on where you’re viewing it from), this bonus Recipe is activated, and you’ll want to use “C” for this, too. If this bonus Recipe is programmed with a film simulation that’s not otherwise on the Film Dial, you can have 12 (of the 20) film sims at your disposal.
That was all a little convoluted, so just to be clear: the “C” position simply disables the Film Dial; if the knob is set anything other than “C” it will use that film simulation, no matter what you may have otherwise programmed into your camera. There were several times that I forgot to check what the Film Dial was set to (not verifying that it was in the “C” position), and I accidentally used the wrong film simulation with my Recipe for some pictures, until I caught my mistake. It’s important to check the position of the Film Dial—make it a habit—when using the X-T50. Once you are used to how this all works, the camera is so much fun to use, and it feels like there are a massive number of Recipes available to you on the camera at any given time.
A couple other quick points that I want to make about the Film Dial is that it isn’t just for straight-out-of-camera JPEG photographers. Obviously those who use film simulations regularly are the most obvious beneficiaries of the new knob, but there are two other groups of people who might unexpectedly appreciate it. The first is those who shoot RAW but oftentimes apply a film simulation to their pictures in Lightroom or Capture One; now, you can know while your making your exposure what it will look like with a certain film simulation, instead of waiting until later while at your computer. Having a clearer vision of the finished picture at the moment the image has been snapped will only improve one’s photography. The other group is videographers who don’t (yet) realize that they can reduce or even eliminate color grading by using film simulations—the Film Dial works in video mode, too.
If you’re not sure what analog aesthetic a certain film simulation is replicating or how it behaves, pressing the Q-button while browsing via the Film Dial will provide you with a brief synopsis of each. I think these need to be taken with a small grain of salt, though, because a bit of liberty was taken by Fujifilm when writing some of them out. With that said, this is a good starting point for learning about the various options, if this is new to you.
The Film Dial only changes the film simulation. All of the other settings remain the same when you turn the knob. This is, of course, the problematic situation that I mentioned before. While contemplating a solution, I remembered the “different approach” that Anders Lindborg came up with a few years back, and how he was able to get good results when using the various film simulations with the same base settings. I wanted to try my hand at something similar: have one set of settings, which could be programmed into a C1-C7 slot or in the IQ Menu, and simply turning the Film Dial will produce good results no matter the film simulation that you’ve selected. In other words, I set out to create one Film Simulation Recipe that works well with all of the film simulations. It was definitely difficult to do, because (like I already said) one set of settings doesn’t often work well with multiple film simulations.
I desired these settings—this new Recipe—to be generically analog-like, and also versatile. Sunny, rainy, indoors, outdoors—whatever situation you find yourself in, and whatever subject you are photographing, this Recipe will produce good results. You just have to find the film sim that is most ideal for whatever it is that you are photographing, and how you want it to render—your own personal tastes and styles will largely dictate which one is most ideal for you, and the best way to find out is to give them a try. Turn the Film Dial until you get to the one that you want to use.
Just to be completely clear, the way this works is that you program the Recipe (that’s found below) into either a C1-C7 slot, or (as I did it) into the IQ Menu set. Then, when this Recipe is selected, simply rotate the Film Dial to choose the film simulation that you want to use. There are eight built-into-the-knob film sims, plus three custom, plus “C” (which is whatever you have programmed into the Recipe). My recommendation is to choose—for the programmed Recipe—a film sim that is not available on the knob (I chose Eterna). Carefully consider which three film simulations you want to custom set in addition to the standard eight; unfortunately, you cannot have all 20, but you can have most of them.
Only the Fujifilm X-T50 has a Film Dial, but all Fujifilm cameras have an Fn shortcut to the film simulation menu. If yours doesn’t, or you don’t like the specific button that it is set to, you can customize it yourself pretty easily. Even though your camera doesn’t have a Film Dial, you can do pretty much the same thing using an Fn button—the advantage you have is quick access to all of the film simulations and not just some, but the disadvantage is that it takes an extra step and isn’t as instinctive or obvious. Even though the technique in this article is specifically for the Fujifilm X-T50, you can do this on any Fujifilm camera; however, the Recipe below is intended for fifth-generation X-Trans cameras (as of this writing: X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50), and not the older models, although you’re probably alright using it on some fourth-generation X-Trans cameras (X-T4, X-S10, X-E4 & X-T30 II), and newer GFX.
I’ve lumped all four Acros options into one category; ditto for Monochrome. That means, technically speaking, I have 14 Film Simulation Recipes below. You can use as many as 12 of them on your X-T50, so you’ll have to decide which ones (PRO Neg. Hi, PRO Neg. Std, Eterna, Eterna Bleach Bypass, Monochrome, or Sepia) you want available in addition to the standard eight (Provia, Velvia, Astia, Classic Chrome, Reala Ace, Classic Negative, Nostalgic Neg., and Acros).
It would be absurd to include all 14 versions of this Recipe in the Fuji X Weekly App; even adding eight to the App is too much, but (with hesitation) that’s what I’ve done. Hopefully it will make this approach discoverable, because I can imagine many X-T50 owners utilizing it, and maybe even some who have other cameras. This doesn’t take the place of C1-C7, but can be used in addition to it, basically giving you 19 different Film Simulation Recipes at your disposal, and, if you have Kodak Portra 400 v2 as one of the seven custom presets, you can actually have 21 Recipes! Additionally, you could choose three of these for use with the Film Simulation Bracket feature.
Film Simulation: Any (See Below) Dynamic Range: DR400 Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome FX Blue: Weak White Balance: Auto White Priority, +2 Red & -4 Blue Highlight: -1.5 Shadow: -1 Color: +3 Sharpness: -1 High ISO NR: -4 Clarity: -2 ISO: Auto, up to ISO 6400 Exposure Compensation: 0 to +1 (typically)
Additionally, for Acros and Monochrome, set Monochromatic Color to WC 0 & MG 0 (a.k.a. Off). Also, Color will be disabled for Acros, Monochrome, and Sepia.
Provia/STD — “Standard Film”
This “Standard Film” Recipe is bright, colorful, and slightly warm. Unintentionally, it’s more like actual Fujichrome Provia 100F slide film (especially if an 81B warming filter had been used) than the Provia film simulation with factory-default settings. It’s a good option for landscape photography, but some might find it to be a tad too vibrant for portraits. “Standard Film” is kind of similar to the Provia Slide Recipe, or perhaps a less warm KodaNeg VC.
Velvia/Vivid — “Velvia Film”
Velvia was the go-to film for vibrant landscape photography. If you want the colors to pop, this “Velvia Film” Recipe is what you want to use. There’s definitely some resemblance to Fujichrome Velvia 50 reversal film with a warming filter. This is a great option for landscapes; however, don’t use this Recipe for portraits, unless you want your subjects to look like they have a sunburn. Vibrant Velvia is probably the most similar Recipe, but this one is warmer and a little less punchy.
Astia/Soft — “Astia Summer”
Fujichrome Astia 100F was a lower-contrast, lower-saturation slide film with a slight red/purple hue that was specifically intended for portraits. Divergently, the Astia film simulation has high saturation that sits somewhere in-between Provia and Velvia, but with a flatter tonality (yet with deep blacks). I think the “Soft” description is in reference to the tonality. The film and the film simulation are significantly divergent from each other; Fujifilm has stated that the film simulation is the ideal of what the Astia film was intended to be, but wasn’t possible due to the limitations of the emulsion. This “Astia Summer” Recipe is more similar to Kodak Ektar 100 than Fujichrome Astia 100F, but is not a great match for either. It’s good for landscapes—especially when Velvia is too strong—but possibly too vibrant for portraits. The closest Recipe to this one is CineStill 400D v2, but it’s noticeably different.
Classic Chrome — “Kodak Film”
Classic Chrome has a distinct Kodak color palette, but Fujifilm won’t ever use the name of their long-time competitor. It’s more contrasty and less saturated than many of the other film simulations. Unsurprisingly, Classic Chrome is by far the most popular film simulation among those who use Film Simulation Recipes. This “Kodak Film” Recipe is by chance kinda-sorta similar to the (discontinued) Kodak Portra 160VC emulsion (but it’s certainly not a perfect match). This one is good for a lot of different subjects and situations, including portraits. With similarities to Reggie’s Portra, this Film Simulation Recipe will likely become the most popular of all of these.
Reala Ace — “Fujicolor PRO 160C Warm”
Reala Ace is Fujifilm’s newest film simulation. It’s purportedly based on Reala film, but it’s not a very close replication of that emulsion, which is in the Superia line, and more similar to Classic Negative. Instead, Reala Ace is nearer to the Fujicolor PRO 160 line, and shares similarities with PRO Neg. Std and PRO Neg. Hi. Reala Ace probably should have been named PRO Neg. C, since it is most similar to Fujicolor PRO 160C film. Of the three “PRO Neg.” film sims, Reala Ace is my personal favorite. Essentially, Fujifilm has “replaced” both PRO Neg. Hi and PRO Neg. Std with Reala Ace; yes, both of those film sims still exist, but Reala Ace is on the Film Dial instead. This Recipe is reminiscent of Fujicolor PRO 160C film used with a warming filter. It’s good for a lot of different subjects and situations, including portraits. The closest Film Simulation Recipe to “Fujicolor PRO 160C Warm” is PRO Negative 160C.
Classic Negative — “Superia Negative”
Classic Negative is closely modeled after Fujicolor Superia film, which Fujifilm introduced in 1998. It is one of the less saturated and most contrasty film simulations. Classic Negative has some unique color shifts, and behaves differently to under and over exposure, much like the emulsion. This “Superia Negative” Recipe isn’t modeled after any Superia film, but it does have a general Superia Xtra 400 vibe. It’s good for a lot of subjects and situations, especially in low-contrast light. The Film Simulation Recipe that is most similar to this is Superia Xtra 400. The picture above looks extremely similar to one that I saw as wall art inside of an AirBnB.
Nostalgic Neg. – “Nostalgic Film”
Nostalgic Neg. is the second most recent addition to the film simulation lineup. It’s modeled after American New Color images from the 1970’s. Nostalgic Neg. has a strong Kodak quality, particularly photographic prints from five decades ago. This is the warmest film sim, which means that “Nostalgic Film” is the warmest Recipe of this group. In my opinion, it might be slightly too vibrant and amber for portraits, but your milage may vary. If you want a retro rendering, the “Nostalgic Film” Recipe is your best bet from these 14. The closest Film Simulation Recipes to this are maybe Kodak Vericolor Warm and 1976 Kodak.
Fujifilm introduced Neopan Acros black-and-white negative film back in 1952. Neopan Acros came in four versions: ISO 100, ISO 400, ISO 1600, plus an ISO 400 version for C41 development that was actually repackaged Ilford XP2 Super 400. Neopan Acros was briefly discontinued in 2018, and reintroduced in 2019 as Neopan Acros 100 II. Curiously, the new version is actually manufactured by Harman (the parent company of Ilford), although it behaves quite similarly to the original.
Typically, I prefer contrasty black-and-white pictures; however, this “Neopan Negative” Recipe is fairly low-contrast. It has to be used thoughtfully, or else the pictures will look slightly muddy. The Acros filter options (+Y, +R, +G) are your friend, and FS1, FS2, and FS3 are a great place to put them. This Recipe thrives on high-contrast scenes. For grainer pictures, use higher ISOs, as the Acros film sim has built-in Grain that increases with the ISO. If I could only pick one Acros option for the “Neopan Negative” Recipe, I’d go with Acros+R. There’s not really any Film Simulation Recipe that’s similar to this one, but perhaps B&W Superia is the closest.
That covers the “standard” eight film simulations found on the Fujifilm X-T50’s Film Dial. The above Film Simulation Recipes can be found in the Fuji X Weekly App. The six Recipes below can also be used, but you won’t find them in the App; however, if you have an X-T50, I recommend choosing one of them as the base, since their film sim is not on the Film Dial. Also, you can program up to three of them into the FS1, FS2, and FS3 positions if you’d like.
PRO Neg. Hi — “Fujicolor PRO Film”
This “Fujicolor PRO Film” Recipe is fairly similar to the Reala Ace version (called “Fujicolor PRO 160C Warm”) higher up in this article. You’ll find it to be a decent all-around option; however, I like Reala Ace more than PRO Neg. Hi. It’s a solid choice to serve the “base” film sim or for FS1, FS2, or FS3, but also slightly redundant. The Film Simulation Recipe that this one is most similar to is PRO Negative 160C.
PRO Neg. Std — “Fujicolor PRO 160S”
For pictures of people, this is my favorite of these Film Simulation Recipes—followed closely by the Classic Chrome (“Kodak Film”), Eterna (“Cinematic Film”), and Classic Negative (“Superia Negative”) options. PRO Neg. Std is nearly identical to PRO Neg. Hi, just lower-saturated and with less contrast. This “Fujicolor PRO 160S” Recipe is a strong contender for the “base” film sim or for FS1, FS2, or FS3. It’s not especially similar to any other Recipe, but perhaps Fujicolor Pro 160NS is the closest.
Eterna/Cinema — “Cinematic Film”
This “Cinematic Film” Recipe is the second lowest saturated and least contrasty of all the color options in this series. It has a lovely soft quality that is especially great for high-contrast scenes. It’s one of my personal favorites, and the one that I personally used for the base film simulation. Eterna is the name of Fujifilm’s line of motion picture films. The most similar Recipes to “Cinematic Film” are Indoor Angouleme, Timeless Negative, and Eterna Low-Contrast.
Eterna Bleach Bypass — “Reduced Bleach”
Eterna Bleach Bypass has the lowest saturation and highest contrast of all of the film simulations. Bleach bypass is a development technique where the bleach step is reduced or eliminated, resulting in a high-contrast, low-saturated image that almost appears like a B&W picture over a color picture. It can be used in still photography, but is more commonly found in motion pictures. Think Saving Private Ryan. This “Reduced Bleach” Recipe is somewhat similar to cinema film that has had the bleach step decreased (but not skipped). It’s a great option for results that are significantly different from the other options. The closest Recipe to this one is probably Ferrania Solaris FG 400, although it’s notably divergent.
The Monochrome film simulation is simply Provia with the color turned off. It was the standard B&W film sim until the introduction of Acros on X-Trans III. Generally speaking, I like Acros much more than Monochrome, as Acros has more of an analog feel to it; however, Monochrome does have a slightly harsher tonality, so there are times that the Monochrome film simulation could be preferable. Similar to the “Neopan Negative” Recipe, this one thrives in high contrast light, and the filter options (+Y, +R, +G) are your friends. The only way to use all four Monochrome options are to have one as the base Recipe, then set the other three to FS1, FS2, and FS3. The Film Simulation Recipe that’s closest to the “Monochrome Film” Recipe is Ilford FP4 Plus 125.
Sepia — “Sepia Print”
Last and certainly least is Sepia. This film simulation has been around for a long time, but very few use it. If Fujifilm discontinued it, most probably wouldn’t even notice. Sepia is a darkroom technique where you bathe B&W prints in a chemical for archival and artistic purposes. Most commonly, Sepia baths are quick, and the toning subtle; however, the prints can be left in longer, resulting in a pronounced reddish/brown tone. This film simulation replicates that. For a more subtle effect, simply use either “Neopan Negative” or “Monochrome Film” with Monochromatic Color set to WC +2 MG -2. The only Film Simulation Recipe that is similar to this “Sepia Print” Recipe is Sepia. Most likely you’ll skip this one, but if you’re looking for something different, maybe give it a try.
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Fujifilm is offering an X Summit Experience in New York City on May 16th. Click here to sign up! Spots are very limited, so if you’re interested, be sure to register now, and don’t delay. What I can say about it is that you don’t want to miss it. It’s going to be epic.
I’ll be there! Fujifilm invited me to join them at this event, along with a group of seriously talented photographers and filmmakers. I’d love to meet you and chat cameras and Film Simulation Recipes. If you are in the NYC area on May 16th, be sure to go.
Aside from chatting gear, there’s going to be an opportunity to try out cameras and lenses. The main thing that you need to bring is an SD Card, so that you can take your pictures home. I’ll say it again: bring an SD Card! Even if you forget, the event is going to be so incredible that it will still be worthwhile to attend. But… try to remember the SD Card.
Let me apologize right up front for the slowdown in articles lately. I’ve been really busy the last few weeks, and especially the last two weeks, and particularly the last handful of days. I’m hopeful that the chaos will calm down soon—perhaps in another week—and I can get back to publishing the amount and quality of content that you are used to seeing on Fuji X Weekly.
Anyway, Fujifilm just released a teaser video ahead of their May 15/16 X Summit in Sydney (10 PM Pacific, 1 AM Eastern). From the video, it appears like they’re going to announce a camera and lens. It definitely looks intriguing. I might have to catch the X Summit the morning after because it is so late here in America. It’s only seven days away, which means we’ll know all of the details by this time next week.
I browsed Fujirumors today, to catch up on the latest buzz. I found two articles that I want to briefly comment on. First, Fujifilm apparently is working on an X100-like GFX model (no PASM, please!), which might possibly be released sometime next year. Second, Fujifilm apparently has began the initial work on a potential digital X-Pan camera to be released in 2028. I don’t know if there’s any truth to either of those, and even if there is, there’s plenty of time for Fujifilm to switch directions. However, if there is any kernel of truth, my response is: heck, yeah! I’d buy both. Take my money, Fujifilm!
I think both of those potential future cameras qualify as “wow” products, which Fujifilm talked about a couple years ago. If they are indeed in the process of creating those two models, I would just offer my encouragement to keep at it, Fujifilm, and make it happen. It seems as though there are exciting times ahead for Fujifilm photographers!
Yesterday’s Fuji X Weekly + Nuzira collaborative Fujifilm photowalk in Scottsdale, Arizona, was a huge success! Altogether, 16 people showed up, including myself and Lucas White of Nuzira. It was a great group of photographers, and I think everyone had a good time. Most were local to the Phoenix metro area, but three came from Ohio and one from South Dakota—they were in the area, and it just happened to work out that they could attend. It was such an honor to co-lead everyone through Old Town Scottsdale!
The weather cooperated wonderfully, but it didn’t initially seem like it was going to. May is typically a hot month—the average high temperature right now is 90° Fahrenheit; however, a cool-front passed through shortly before the photowalk, which kept it at a more reasonable 82° at the start, and 77° by the end. Because of the frontal system, the wind howled most of the day, and clouds covered the sky. Just as the photowalk was about to begin, the wind calmed and the clouds cleared, revealing endless blue. Really, it couldn’t have been better.
Most people had an X100-series camera, ranging from an X100T to the new X100VI. The other cameras I saw were an X-T100, X-T20, X-E4, X-S10, X-S20, X-Pro3, and X-T5. The camera I brought was my X100VI, which is perfect for walk-around photography. Lucas had a bag full of gear, which he graciously let anyone try out if they wanted. Fujifilm provided some stickers and pins to give away, and Sigma provided multi-use tools (screwdriver/wrench/bottle-opener, etc., combo) with their logo.
The Film Simulation Recipes that I used for the photowalk were Kodak Portra 400 v2, Kodachrome 64, Kodak Tri-X 400, and two upcoming Recipes that have not yet been published, one based on Nostalgic Neg. and the other on Reala Ace. As we were walking around, I was stopped by someone who recognized that I had a Fujifilm camera, but seemed only vaguely familiar. “I’ve heard about those,” he stated. “Can I see some of the pictures?” So I showed him the images I had just captured on the photowalk. “It’s just like the Reels!” He took note of the camera name, said “thanks” and walked away.
It was great to meet everyone who attended, and have some face-to-face conversations about Fujifilm gear, Film Simulation Recipes, and photography. Every time I looked around, I noticed that those in attendance were talking with each other; it was great to help facilitate community. Fujifilm cameras and Recipes seem to bring people together.
I want to give a big “thank you” to those who came out and joined us! I appreciate you taking time out of your busy day to meet up, chat, and photograph. I hope to see everyone again sometime in the future!
There are 20 different film simulations on the new Fujifilm X100VI. Since there are likely many newcomers to Fujifilm who aren’t all that familiar with the various film sims (and Film Simulation Recipes), I thought it would be worthwhile to discuss each one in more detail, and offer my personal favorite Recipes for each. The new Reala Ace film simulation will be excluded from this because there aren’t many Recipes available for it yet. Also, I’m combining the four Acros film sims into one article (this one!), and the four Monochrome film sims (and probably Sepia, too) into another (the next one).
The Acros film simulation is modeled after Neopan Acros black-and-white negative film, which Fujifilm introduced back in 1952. Neopan Acros came in three ISOs: 100, 400, and 1600. Neopan Acros was briefly discontinued in 2018, and reintroduced in 2019 as Neopan Acros 100 II. Curiously, the new version is actually manufactured by Harman (the parent company of Ilford), although it behaves quite similarly to the original. Acros is one of the most analog-like film sims, and one of my absolute favorites. One unique aspect about it is that it has built-in Grain that increases with the ISO. For grittier pictures, simply use higher ISOs. If you are unsure what the +Y, +R & +G filter options do, I wrote about it here.
Playing with Waves – Cambria, CA – Fujifilm X100V – Kodak Tri-X 400
While there are a number of Acros-based Film Simulation Recipes, which produce a variety of results, there’s only one that I use regularly: Kodak Tri-X 400. It’s always programmed into at least one of my cameras. I often tell people that it is my all-time favorite Film Simulation Recipe, and if I could only ever use just one Recipe for the rest of my life, it would be Kodak Tri-X 400.
The five Film Simulation Recipes below are my favorites that use Acros as the base. Everyone has different tastes, so you might like other ones more. I count 22 Recipes in the Fuji X Weekly App that use Acros, so you have some choices. But, if you are unsure which Acros Recipe to try, let me suggest picking one from my list below.
Not only is this, by far, the most popular black-and-white Film Simulation Recipe, it’s also my personal favorite. I use it all of the time, and it’s an easy one to recommend for you to try. There’s compatibility with X-Trans III, X-Trans IV, and X-Trans V cameras.
This Recipe has some similarities to Kodak Tri-X 400, so—unsurprisingly—it is quite excellent, too. It has compatibility with X-Trans IV (except the X-T3 & X-T30) and X-Trans V.
This used to be my favorite B&W Recipe before Kodak Tri-X 400. You have to be careful with the exposure, and watch the highlights carefully so that they don’t clip. It’s compatible with X-Trans III and the X-T3/X-T30; for use on newer cameras, set Color Chrome Effect and Color Chrome FX Blue to Off, Grain size Small, and Clarity 0.
This is the original B&W Recipe published on this website, and one that helped convince me that camera-made JPEGs can actually be good. It’s intended for X-Trans III cameras, but can also be used on the X-T3 and X-T30.
This is the newest B&W Film Simulation Recipe. It’s actually quite excellent—I personally like it a lot—and is a good alternative to the ones above. It’s compatible with X-Trans IV (except the X-T3 & X-T30) and X-Trans V cameras.
I get asked fairly regularly which Film Simulation Recipes are the most popular. For me, this is a fascinating topic, but it’s definitely hard to know definitively. While I get a glimpse on social media, my best gauge is the Fuji X Weekly website statistics; specifically, which Recipe articles are viewed the most. I don’t collect any data on the Fuji X Weekly App, so that’s no help—although, if I did, it would likely offer the most accurate picture; however, it would still be impossible to know which Recipes people programmed into their Fujifilm cameras, or how often they used each. Perhaps a survey would be particularly useful, yet even it has its limitations. While certainly a flawed method, page-view website statics offer the best glimpse at which Film Simulation Recipes are the most popular, so that’s what I’m using for this article. These are simply the Top 25 most-viewed Recipes on the Fuji X Weekly website last month (April 2024).
I was quite surprised by the rankings for April. Most of the time these lists are pretty predictable. Those with Kodak brand names in the title—Kodachrome, Portra, Gold, Tri-X, etc., etc.—are 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. This time there was a lot of movement, and even some surprises (at least to me, anyway).
Gen Reflection – Tempe, AZ – Fujifilm X-E4 – Classic Color
Vibrant Arizona jumped up to number two, surpassing Kodak Portra 400 v2, which almost always occupies that spot. There are five newcomers to the list. A lot of upward and downward movements. Several Recipes left the Top 25. Some of these Film Simulation Recipes have only been published for a few months or less. Two of these are only currently compatible with one camera: the Fujifilm X100VI.
Without any further delay, below are the most popular Recipes of last month!
Top 25 Most Popular Film Simulation Recipes of April 2024
A Classic Chrome based Recipe for X-Trans IV cameras that is the long-time most popular Film Simulation Recipe for Fujifilm cameras. This is the king of Recipes!
Typically, Classic Chrome dominates these lists, Classic Negative makes a few appearances, and Acros will occupy one spot, as well as some other film sim sometimes, such as PRO Neg. Std. The new Reala Ace film sim makes two appearances this time, and Fujicolor 100 Industrial takes the lead among them. Right now, this Recipe is only compatible with the X100VI, so #6 is incredibly (and surprisingly) high, all things considered.
This version of Kodak Portra 400 was commonly the third most popular Film Simulation Recipe on Fuji X Weekly for a long time. It moved up one spot from March.
This is a newly published Eterna-based X-Trans V CineStill 800T Recipe; however, it’s simply an adaptation of the X-Trans IV version that has been around awhile. Eterna makes two surprise appearances this month, and this one ranks the highest, just reaching the Top 10.
Vintage Kodachrome, which is based on Classic Chrome, is one of the older Film Simulation Recipes on Fuji X Weekly, and is compatible with X-Trans III cameras. It was ranked #15 last month; oftentimes it’s in the Top 10.
This is a fairly recently published Recipe, and the very first to use the new Reala Ace film simulation. At the moment, it is only compatible with the Fujifilm X100VI. In March it ranked #22.
This is a somewhat new Recipe, published in January of 2024. It is based on Classic Chrome, and is compatible with X-Trans IV cameras. Last month it was ranked one spot lower.
Pacific Blues used to be the highest-ranked Classic Negative based Recipe, but Reala Ace has left it in the dust. This particular one is compatible with X-Trans IV models, but there is an X-Trans V version. In March it was ranked #12.
By far the most popular B&W Recipe, Kodak Tri-X 400 is based on the Acros film simulation, and has compatibility X-Trans III, X-Trans IV, and X-Trans V models. It was ranked #11 last month.
Provia Slide is a newly published Recipe, and the first in awhile to reach the Top 25 that uses the Provia film sim. It’s compatible with X-Trans III cameras, plus the X-T3 & X-T30.
Bright Summer—another Classic Chrome based Recipe for X-Trans IV—is sometimes called Preetra 400, because it is modeled after Preet’s aesthetic (Preet himself is the one who gave it that nickname, btw). It doesn’t usually crack the Top 25, but in March it suddenly jumped to #9, and for April fell to #23.
Kodachrome II is an older Recipe made for X-Trans III cameras. It used to often be in the Top 10, but has been falling for awhile. Last month it didn’t even crack the Top 25, so I’m happy to see it return.
Back in 2018, I briefly owned a Fujifilm X-Pro2. I loved that camera! It was so much fun, and the perfect compliment to my Fujifilm X100F. To this day it remains my absolute favorite interchangeable-lens model by Fujifilm that I’ve ever purchased. Unfortunately, I had to sell it.
You see, I didn’t have a lot of money back then to spend on (what was at the time) my hobby. I’m sure that many of you can relate. I found a good deal on a used X-Pro2, but I really couldn’t afford it. Using PayPal credit, I was able to hold onto the camera for about six months, but when the interest came due, I had to let it go. I had high hopes that I could find a way to keep it, but it just didn’t work out. The day that I mailed the X-Pro2 off to its new owner was a sad one (although I’m sure it was quite happy for them). I’ve thought about that camera—and the summer of 2018 when I briefly owned it—many times since. I’ve often wondered if I’d like it just as much today as I did then.
Thankfully, the kind folks at MPB, who are fans of Fuji X Weekly and Film Simulation Recipes, provided me with the opportunity to find out. MPB is the sponsor of this article—this is the first ever sponsored post on this website, by the way—and they loaned me a Fujifilm X-Pro2 to try out for two weeks. For those who don’t know, MPB is an online platform where you can buy, sell, or trade used photo and video gear. “At MPB, there’s something for everyone who wants to try something new, hone their skills, or pursue their passion—and it won’t cost the earth.” If you’re in the market for used camera gear, be sure to check out their website—you can learn more about MPB here. Thank you, MPB, for making this article possible!
Fujifilm released the X-Pro2 eight years ago, in 2016. It’s a rangefinder-styled 24mp APS-C mirrorless camera with a hybrid optical/electronic viewfinder. The X-Pro2, which resembles a classic film camera, is rock-solid, and feels like it could last forever, even if you tossed it around a little. In my opinion, the X-Pro series is one of the most beautifully designed camera lines of all time. The X-Pro2 was an instant classic when it was newly released, and will continue to be for many years to come.
I chose the specific Fujifilm X-Pro2 that I wanted to borrow from the MPB website the same as if I were buying it. When the box arrived in the mail, the camera was exactly as the website described. The camera functioned like it was brand-new; the body had a few minor signs of wear, which I was well aware of due to the gear-specific ‘cosmetic condition’ rating displayed on the platform. There were no surprises, and I got precisely what I was expecting to get. Did I mention that the X-Pro2 is a beautiful camera?
When I had the X-Pro2 back in 2018, I brought it along with me on some epic roadtrips. It went with me to the Black Hills in South Dakota. It traveled with me through Colorado and New Mexico, including The Great Sand Dunes and Taos. I have many great memories associated with the X-Pro2. Was how I felt more about those adventures than the camera itself? Or was the camera truly that great?
As I was removing the X-Pro2 from the box, many of those memories came flooding back. It was a great joy to hold it once again. This time, I wouldn’t be able to take it on any roadtrips. Would I feel the same without some travel experiences to go along with the camera? I wondered what I would think about the X-Pro2 all these years later—would it hold up to the test of time?
Back in 2018, I mostly used three lenses with the X-Pro2: Fujinon 60mm f/2.4, Fujinon 16mm f/1.4, and Meike 35mm f/1.7. Of those three, the only one that I still own is the Meike, so I used it extensively during the two weeks that I had the X-Pro2. I also tried a Helios 44-2, Pentax-110 50mm f/2.8, and 7Artisans 35mm f/0.95. Each of those four lenses have unique characteristics and strengths. The X-Pro2 is especially fun to pair with vintage and manual lenses, and I very much enjoyed that approach with it.
I shoot JPEGs, and rarely edit my pictures (aside from some cropping/straightening). I found that this approach works very well for me. The photographs in this article are all camera-made JPEGs that are not post-processed. The Film Simulation Recipes that I used with the camera six years ago were mainly Kodachrome II, Dramatic Classic Chrome, Vintage Agfacolor, Acros, Acros Push Process, and Agfa Scala. A few of those pictures remain personal favorites to this day.
Above: My Fujifilm X-Pro2 photos from 2018.
For this project, the seven Recipes that I programmed into the C1-C7 Custom Presets on the X-Pro2 were Kodachrome II, Kodak Gold 200, Kodacolor, Classic Kodak, Color Negative, Provia Slide, and Acros. The Kodachrome II and Acros Recipes require the same White Balance type but different White Balance Shifts, so I used the Kodachrome II shift with the Acros Recipe; however, towards the end of the project I replaced Kodachrome II with Analog Monochrome, and switched the Acros WB Shift to be correct for that Recipe. You cannot program a WB Shift into the X-Pro2’s C1-C7 presets (like you can with newer Fujifilm models), but if each Recipe uses a different WB type (or share the same WB type and WB Shift), you don’t have to remember to adjust the WB Shift when changing Custom Presets, and you get a better user experience.
When reviewing the pictures after I returned the camera, I discovered that the Film Simulation Recipes I had used the most were Provia Slide, Acros, Kodak Gold 200, Kodachrome II, and Kodacolor (in that order). Provia Slide is a brand-new Recipe that I created on the X-Pro2, and it wouldn’t exist if MPB hadn’t loaned me the camera, and is a very positive side effect of their sponsorship. I’m quite happy with how several of these images turned out, even if I only had the local sights to capture.
Using Film Simulation Recipes on the Fujifilm X-Pro2 provides a film-like shooting experience and output, especially when combined with vintage or manual lenses. It’s an analog approach with the convenience of digital. Since the pictures don’t need to be edited, you can download them straight from the camera using WiFi and immediately share them—or send them off to be printed—right from your phone. That can save you a lot of time and hassle, while making the process more enjoyable and authentic.
Above: My Fujifilm X-Pro2 photos from 2024.
It was once again heartbreaking to mail off the Fujifilm X-Pro2. I very much wanted to keep it. The camera is just as great in 2024 as it was in 2018. I can’t help but think that 20 years from now the X-Pro2 will be sought after for the photographic experience and picture aesthetic that it provides. There aren’t very many digital cameras you can say that about. I feel like in today’s age where new camera models are constantly being released, and photographers just have to have the latest-and-greatest, it’s easy to overlook legendary cameras like the X-Pro2. And I do very much mean that the Fujifilm X-Pro2 is legendary—those who own it already know it, and those who don’t haven’t yet discovered it.
Will I buy a Fujifilm X-Pro2, this time to keep? I’d love to and I hope to, but I already own way too many cameras, so I’d first need to part ways with at least a couple that I rarely use. The X-Pro2 is extremely tempting. I don’t have an answer one way or the other yet, but the X-Pro2 is one that I certainly wish that I had.
On Top of a Desert Hill – Tucson, AZ – Fujifilm X-T5 – Nostalgic Americana
If you are a Fuji X Weekly regular, you probably know that I like to read vintage issues of Arizona Highways. For those unfamiliar, Arizona Highways is a photo-centric magazine that has been around for a hundred years. Many decades ago, Ansel Adams was a regular contributor, as were Barry Goldwater, Ray Manley, Chuck Abbott, Ester Henderson, David and Josef Muench, and Ed Ellinger, among many others. It’s a great resource for photographic inspiration!
I have a stack of these magazines in my office that I like to browse from time-to-time. This particular Film Simulation Recipe was influenced by many different pictures found in the pages of Arizona Highways issues from the 1960’s and ’70’s. This was during the American New Color movement. Sometimes extensive details were given about the photographs in the magazine, and sometimes not much at all; the pictures that inspired this Recipe were likely captured on first and second era Kodachrome, as well as E3 and E4 Ektachrome. I believe the printing process, as well as the aging of the magazines, play a roll in the aesthetic. This Nostalgic Americana Film Simulation Recipe replicates the look of those pictures, and produces an obvious retro rendering.
Old Yellow Truck – Bisbee, AZ – Fujifilm X-T5 – Nostalgic Americana
Because this Nostalgic Americana Recipe uses the Nostalgic Neg. film simulation, it is only compatible with fifth-generation X-Trans models, which (as of this writing) are the Fujifilm X-H2s, X-H2, X-T5, X-S20, and X100VI. I’m sure it can also be used with newer GFX models, but I’ve not tested it, and it will likely render very slightly differently (try it anyway, though). Nostalgic Americana works best in sunny daylight situations.
Film Simulation: Nostalgic Neg. Dynamic Range: DR200 Grain Effect: Strong, Large Color Chrome Effect: Strong Color Chrome FX Blue: Off White Balance: 5800K, -2 Red & -4 Blue Highlight: -1 Shadow: -1.5 Color: -2 Sharpness: -2 High ISO NR: -4 Clarity: -3 ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured using this Nostalgic Americana Film Simulation Recipe on my Fujifilm X-T5:
White Brick – Bisbee, AZ – Fujifilm X-T5
White Dome – Tumacacori, AZ – Fujifilm X-T5
Old Spanish Mission – Tumacacori, AZ – Fujifilm X-T5
Bell – Tumacacori, AZ – Fujifilm X-T5
Horses on Allen Street – Tombstone, AZ – Fujifilm X-T5
Studebaker Bells – Bisbee, AZ – Fujifilm X-T5
No Parking Vines – Bisbee, AZ – Fujifilm X-T5
Solo Cup – Bisbee, AZ – Fujifilm X-T5
The Road is Closed – Bisbee, AZ – Fujifilm X-T5
No Parking Garage – Bisbee, AZ – Fujifilm X-T5
Various Textures – Bisbee, AZ – Fujifilm X-T5
Reaching Down – Bisbee, AZ – Fujifilm X-T5
Fake Flowers in a Window Box – Bisbee, AZ – Fujifilm X-T5
Star Spangled Dress – Buckeye, AZ – Fujifilm X-T5
Final Sale – Buckeye, AZ – Fujifilm X-T5
Mustang – Tombstone, AZ – Fujifilm X-T5
Se Renta Especio – Buckeye, AZ – Fujifilm X-T5
Space for Rent – Buckeye, AZ – Fujifilm X-T5
Restrooms – Casa Grande, AZ – Fujifilm X-T5
Mule Pass Tunnel – Bisbee, AZ – Fujifilm X-T5
Hall’s Trailer – Arlington, AZ – Fujifilm X-T5
Sign for Abandoned Mall – Casa Grande, AZ – Fujifilm X-T5
Caution: Desert Ahead – Litchfield Park, AZ – Fujifilm X-T5
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There are 20 different film simulations on the new Fujifilm X100VI. Since there are likely many newcomers to Fujifilm who aren’t all that familiar with the various film sims and Film Simulation Recipes, I thought it would be worthwhile to discuss each one in more detail, and offer my personal favorite Recipes for each. The new Reala Ace film simulation will be excluded from this because there aren’t many Recipes available for it yet. Also, I’ll combine the four Acros film sims into one article, and the four Monochrome film sims (and probably Sepia, too) into another.
The Eterna Bleach Bypass film simulation is an approximation of Eterna motion picture film that has had the bleach stage of development skipped, or at least reduced. Think Saving Private Ryan. It has harsh tonality, and is the least saturated of all the color film simulations. While you can make a fairly close facsimile using Eterna (by increasing Highlight and Shadow and lowering Color), Eterna Bleach Bypass has its own unique look. Fujifilm introduced this film sim on the X-T4, so only “newer” models have it.
Golden Light on Water – Buckeye, AZ – Fujifilm X-T5 – Ferrania Solaris FG 400
Eterna Bleach Bypass produces stunning results sometimes. It requires the right subject and lighting, which varies from Recipe-to-Recipe. It can be challenging to use, so I think a lot of people avoid it, and consequently it is probably the least-utilized film simulation, aside from Sepia. Personally, I like Eterna Bleach Bypass, and hope that it catches on more in the future.
The five Film Simulation Recipes below are my favorites that use Eterna Bleach Bypass as the base. Everyone has different tastes, so you might like other ones more. I count 16 Recipes in the Fuji X Weekly App that use Eterna Bleach Bypass, so you have some choices. But, if you are unsure which Eterna Bleach Bypass Recipe to try, let me suggest picking one from my list below.
This is, by far, my favorite Eterna Bleach Bypass Recipe. I’ve used it in a variety of locations and have had good success with it. Ferrania Solaris FG 400 is best for sunny daylight situations, but I have had some good results in overcast, shade, and natural light indoors. This Recipe is for X-Trans IV cameras, specifically the Fujifilm X-T4, X-S10, X-E4, and X-T30 II; for use on X-Trans V, set Color Chrome FX Blue to Off.
This is the most popular Eterna Bleach Bypass Recipe. Best in sunny daylight; however, works fairly well in most light situations. LomoChrome Metropolis is compatible with X-Trans IV cameras, specifically the Fujifilm X-T4, X-S10, X-E4, and X-T30 II; for use on X-Trans V, set Color Chrome FX Blue to Weak.
This is one of my favorite Film Simulation Recipes for nighttime photography, but it can also be fun to use in daylight occasionally. Ektachrome 320T is for X-Trans IV cameras, specifically the Fujifilm X-T4, X-S10, X-E4, and X-T30 II; for use on X-Trans V, set Color Chrome FX Blue to Weak.
The Pushed CineStill 800T Recipe was intended for daytime photography, but is actually most well suited for nighttime situations. This one is compatible with X-Trans V cameras; for “newer” X-Trans IV (Fujifilm X-T4, X-S10, X-E4 & X-T30 II) use this version, and for the X-Pro3 and X100V use this one that has Eterna as the base.
Kodachrome Blue is currently a Fuji X Weekly App Patron Early-Access Recipe, so only App Patrons have access to it right now. It mimics the look of improperly color-corrected scans of Kodachrome film. While it does best in sunny daylight, it has some versatility, and works well in a lot of different light situations. Kodachrome Blue is for X-Trans IV cameras, specifically the Fujifilm X-T4, X-S10, X-E4, and X-T30 II; for use on X-Trans V, set Color Chrome FX Blue to Weak.
Come join Ritchie Roesch of Fuji X Weekly and Lucas White of Nuzira on Sunday, May 5th, for an epic photowalk around Old Town Scottsdale, Arizona! Bring your Fujifilm gear to the Arizona Canal South Bridge promenade near the Pinball Wizard Public Art display at 5:30 PM. Explore the blending of modern cosmopolitan with off-beat western heritage through pictures. There will be the potential for street/urban, architecture, automobile, and landscape photography. It will be an opportunity to meet fellow Fujifilm photographers, and to chat about Fujifilm gear, film simulations, and Film Simulation Recipes. We’re going to have lots of fun!
Please RSVP by May 3rd so that we know how many are coming. Click here for more details and to RSVP. If you’re in the area, I hope to see you on May 5th from 5:30 to 7 PM for this Fujifilm-centric event! This photowalk is free, and family-friendly.
Join me on a free Fujifilm-centric photowalk on Sunday, May 5th, in Old Town Scottsdale, Arizona, at 5:30 PM. Explore the blending of modern cosmopolitan with off-beat western heritage through pictures. There will be the potential for street/urban, architecture, automobile, and landscape photography. It will be an opportunity to meet fellow Fujifilm photographers, and to chat about Fujifilm gear, film simulations, and Film Simulation Recipes.
Mark your calendars now! More details coming soon, so stay tuned.
A few months back Pergear reached out to me and asked if I would like to test an upcoming lens. This is actually the second time that this has happened; the first was the TTArtisan AF 35mm f/1.8. Now this time, the lens is the TTArtisan AF 56mm f/1.8. Unlike the 35mm lens, which was quite obviously an early-preproduction model, the 56mm seemed very production-ready. It’s still technically a preproduction model, but I don’t think there’s much, if any, changes between my copy and the final version that is now available for purchase; however, just to be completely transparent, there could be something different that I’m unaware of.
The TTArtisan AF 56mm f/1.8 lens is an affordable autofocus portrait lens for Fujifilm X-mount. I’m sure it’s available for other lens mounts, too, but this is a Fujifilm-centric website, so we’re specifically talking about using it with Fujifilm cameras. Because of the crop factor, 56mm on APS-C is an 84mm full-frame-equivalent focal-length, which means that it is basically an 85mm lens, a fairly common focal-length for portrait photography. I’m not a portrait photographer myself, so I mostly used it for other subjects.
The maximum aperture on the TTArtisan AF 56mm lens is f/1.8, and the minimum is f/16, with 1/3 intermediate-stops in-between the full-stops. The minimum focus distance is about 20″, which is decent. There are 10 elements in 9 groups, with 9 aperture blades. The lens accepts 52mm threaded filters. It is made mostly of metal and weighs about half a pound. It has similar dimensions to the TTArtisan AF 35mm f/1.8, which means that it is reasonably-sized for a telephoto. The autofocus motor is fairly quick and quiet, but not quite as snappy as most Fujinon lenses that I’ve used, and it has a tendency to hunt sometimes. It comes with a little lens hood. Like the 35mm lens, the firmware for this lens is updated via a USB connection in the rear lens cap, but apparently requires a Windows operating system. It has electrical contacts, which means that the lens information is recorded into the EXIF data.
This TTArtisan is pretty good optically, and I really don’t have a lot to say about it. Oftentimes with these less-expensive third-party options, there are flaws which can give your photographs character that precision-engineered glass cannot. If you appreciate that character, it might be a reason to purchase the lens, and if you don’t appreciate it, that might be a reason not to buy. The TTArtisan AF 56mm f/1.8 doesn’t have very many flaws, so it lacks the typical character that one might expect; instead, you have good sharpness corner-to-corner without vignetting or other issues, especially when stopped down a little—wide open, there is a little corner softness and vignetting, but it’s not bad. I’m not convinced that this lens can fully resolve the 40mp sensor found in some of the latest cameras. I don’t think that really matters—for example, I sometimes use the Fujinon 18-55mm f/2.8-4 kit zoom, which also doesn’t fully resolve 40mp, and I don’t think twice about it and I’m not bothered by it in the slightest. I believe that maximum sharpness is around f/5.6, but I didn’t do any scientific tests to figure that out.
My opinion is that any and all lenses for Fujifilm X-series cameras should have an aperture ring. Of course not all of them do—not even all Fujinon lenses. Many of the low-budget options don’t have an aperture ring; a lot of third-party lenses are made for multiple lens mounts, and aperture rings aren’t necessarily common for other brands. The TTArtisan AF 56mm f/1.8 does not have an aperture ring, which is my largest negative comment about it. My hope is that TTArtisan would someday offer a version with an aperture ring.
Something else that might be considered a complaint—or a compliment (depending on your perspective)—is lens flare, which is well controlled. I had to work at achieving it in my pictures, even with the hood off. If you like flare (which I do, personally), that might be considered a negative, but if you don’t like it, then it’s positive news. The pictures below are the best that I could get regarding lens flare.
Fujifilm X-T5 + TTArtisan AF 56mm f/1.8 + Summer of ’59
I really had to consider which Fujinon lens this TTArtisan best competes with. Of course, there’s the 56mm f/1.2, but I believe if you can afford that one, you’re going with the Fujinon, no questions asked. So maybe the TTArtisan AF 56mm f/1.8 is a good alternative to it if money is tight, and could serve as a temporary stop-gap until you can afford the better lens. There’s also the Fujinon 60mm f/2.4 Macro, which might seem like a less-obvious comparison at first glance. While the TTArtisan is not a macro by any means, there are similarities, I think, between the two with regards to image quality and autofocus performance and such. If you don’t need the macro capabilities, the TTArtisan is about as good, yet with a larger maximum aperture and a significantly lower cost, at only $168.00 USD (or $158 when ordered directly from Pergear). Between the Fujinon 60mm f/2.4 Macro and the TTArtisan 56mm f/1.8, if I wasn’t interested in close-focusing capabilities, the TTArtisan is similar quality for a fraction of the cost, and is a better overall value. Otherwise, the Viltrox 56mm f/1.7 was recently released and is seemingly similar for a little less money. If you’re in the market for a good quality autofocus portrait lens for your Fujifilm camera, the TTArtsian AF 56mm f/1.8 is definitely one to consider, just as long as the lack of an aperture ring doesn’t bother you.
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There are 20 different film simulations on the new Fujifilm X100VI. Since there are likely many newcomers to Fujifilm who aren’t all that familiar with the various film sims and Film Simulation Recipes, I thought it would be worthwhile to discuss each one in more detail, and offer my personal favorite Recipes for each. The new Reala Ace film simulation will be excluded from this because there aren’t many Recipes available for it. Also, I’ll combine the four Acros film sims into one article, and the four Monochrome film sims (and probably Sepia, too) into another.
The Eterna film simulation is (somewhat loosely) modeled after Fujifilm’s line of motion picture films of the same name. It has the softest tonality of all the film sims, and second lowest saturation (only Eterna Bleach Bypass has less). As you might expect, it has a cinematic quality to it. It’s also the best color film simulation for high ISO photography. For cameras that don’t have Eterna, PRO Neg. Std is the next closest, and can be used to approximate Eterna. Also, there are some similarities between Eterna and Nostalgic Neg., so if your camera doesn’t have Nostalgic Neg., you can sometimes approximate it with Eterna.
Windmill – Prefumo Canyon, CA – Fujifilm X-E4 – Vintage Color
Eterna is one of my favorite film simulations; only Classic Chrome, Classic Negative, Nostalgic Neg., and Acros rank higher for me. I think it’s often overlooked by Fujifilm photographers, and is one of the less popular film sims, which is a shame because it’s really good. A few of my absolute favorite pictures were captured with an Eterna-based Recipe.
The 10 Film Simulation Recipes below are my favorites that use Eterna as the base. Everyone has different tastes, so you might like other ones more. I count 28 Recipes in the Fuji X Weekly App that use Eterna, so you have some good choices. But, if you are unsure which Eterna Recipe to try, let me suggest picking one from my list below.
The Vintage Color Film Simulation Recipe is one that is kind of hit-or-miss; however, when it hits, it really hits! Some of my top favorite pictures of all time were captured with this Recipe. Vintage Color is compatible with X-Trans IV cameras (except the X-T3/X-T30); for X-Trans V, set Color Chrome FX Blue to Weak instead of Strong.
This is the newest Eterna-based Recipe, and it’s especially great for sunny daylight situations. It’s compatible for both “newer” X-Trans IV (X-T4, X-S10, X-E4 & X-T30 II) and X-Trans V cameras.
I shoot with the Timeless Negative Recipe a lot during the November and December holiday season. It’s highly versatile, and can be used for a large variety of subjects and light situations. This version is compatible with X-Trans IV cameras (except the X-T3/X-T30); there’s a version for X-Trans V that uses the Nostalgic Neg. film simulation.
Summer of ’59 is currently a Fuji X Weekly App Patron Early-Access Recipe, so only App Patrons have access to it right now. While it does best in sunny daylight, it has some versatility, and works well in a lot of different light situations.
This Recipe is specifically intended for nighttime photography, where it excels. It’s compatible with X-Trans IV cameras (except the X-T3/X-T30); for X-Trans V, set Color Chrome FX Blue to Weak instead of Strong.
A lovely film-like rendering. This Recipe is compatible with the Fujifilm X-H1, X-T3, and X-T30; for “newer” X-Trans IV cameras, set Color Chrome FX Blue to Off, Grain size Small, and Clarity to 0.
Great for replicating a motion picture aesthetic. This Recipe is compatible with the X-T3 and X-T30; for “newer” X-Trans IV cameras, set Color Chrome FX Blue to Off, Grain size to Small, and Clarity to 0.
My favorite color Recipe for high-ISO photography. Compatible with X-Trans IV cameras (except the X-T3/X-T30); for X-Trans V, set Color Chrome FX Blue to Weak instead of Strong.
