About a month-and-a-half ago, Dan Allen sent a Recipe for me to try. It was based on Provia and was specifically intended for spring blossoms, so he called it Spring Provia. When I had the opportunity, I loaded it into my camera and tried it out. I didn’t get to use it a lot, but I did like the results. Fast forward to Fujikina Copenhagen. There was a Magnum exhibit that had a light table wall with hundreds of color transparencies displayed. It was really cool! I noticed one group of slides—I couldn’t tell you who the photographer was or what film was used or any technical information—that was reminiscent of Dan’s Recipe. I found the images I had made using his Recipe on the SD card in my X-E5, and reprocessed them in-camera to better match the slides. While I don’t think I got it completely perfect, I was very happy with the results. Then I continued to use the Recipe—a variant of Dan’s Recipe—while in Copenhagen.
My modified version, which I’ve called Provia Positive, is highly versatile. It’s hands-down my favorite Provia Recipe of all-time. As many of you may know, Provia is not my favorite Film Simulation, and I don’t personally use it often. This Recipe gave me a new appreciation for it, and is one I could see myself using regularly. It’s highly versatile, great for most subjects and situations. While portraits are probably hit-or-miss, it’s excellent for landscapes, still-life, street photography, etc., etc..
For Dan’s original Recipe—Spring Provia—use Provia, DR400, Grain Effect Off, Color Chrome Effect Strong, Color Chrome FX Blue Off, White Balance Daylight, WB Shift +1 Red & -1 Blue, Highlight -1, Shadow +1, Color +3, Sharpness 0, High ISO NR -4, and Clarity 0. I invite you to try Dan’s Recipe, it’s pretty good. My variant adds Grain (because grain was visible in the slides, and I like it personally), Color Chrome FX Blue Strong (to mimic the blue sky in some of the slides, perhaps the photographer used a polarizer filter), Auto White Priority (some of the pictures in the group were in different light situations, and Daylight didn’t match those), WB Shift +2 Red & -3 Blue (I went back-and-forth between +1 and +2 Red… +1.5 Red would have probably been most appropriate if it was possible, so I settled on +2), Color +4, Sharpness -1, and Clarity +2. I made quite a few small changes, but the core idea of Dan’s Recipe remains, so I want to give him credit for the original concept.
Studio Ghibli Scene – Copenhagen, Denmark – Fujifilm X-E5 – Provia Positive Recipe
This Provia Positive Fujifilm Recipe is compatible with “newer” fourth-generation models—X-T4, X-S10, X-E4, and X-T30 II—as well as all fifth-generation cameras—X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III—and “newer” GFX models, like the GFX100S, GFX100 II, GFX100S II, and GFX100RF. For the X-Pro3 and X100V, simply use Auto WB instead of Auto White Priority (outside of artificial light scenarios, it will look the same). For the X-T3 and X-T30, try Dan’s Spring Provia Recipe, which is compatible with those cameras.
Film Simulation: Provia/STD Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome FX Blue: Strong White Balance: Auto White Priority, +2 Red & -3 Blue Dynamic Range: DR400 Highlight: -1 Shadow: +1 Color: +4 Sharpness: -1 High ISO NR: -4 Clarity: +2 ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs using this Provia Positive Film Simulation Recipe on a Fujifilm X-E5, X-T5, and GFX100RF:
M/S Garde – Copenhagen, Denmark – Fujifilm X-E5
Yellow Bike, Yellow Wall – Copenhagen, Denmark – Fujifilm GFX100RF
Front Bike Tire – Copenhagen, Denmark – Fujifilm X-T5
Sunset From Lille Langebro – Copenhagen, Denmark – Fujifilm GFX100RF
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When Fujifilm released the X-T50 last year, it had a new feature: a Film Dial. In my pursuit of figuring out how to use it effectively, I created the Film Dial Recipe set, a group of 14 Recipes that are really just one “Universal Recipe” (set of settings) that work well with any of the 20 film simulations (I grouped all four Acros options together, as well as all four Monochrome; hence 14 Recipes and not 20). This technique makes the X-T50—and now the X-M5, which also has the Film Dial—more versatile than the other X-series cameras for the straight-out-of-camera photographer. At least so I thought.
As it turns out, this technique can be used on any Fujifilm camera, simply by assigning one of the customizable knobs, wheels, rings, or buttons to activate the film simulation menu. The X-S10 and X-S20 have an unmarked knob on top that are factory-default set for this purpose. On other cameras, the rear command dial (R-Dial in the Fn settings menu) can be set to activate the film simulation menu. On my Fujifilm X100VI, I programmed the Control Ring to adjust the film simulation. On one hand the Film Dial is preferable: you can see what the film simulation is set to just by looking at the camera, it can be adjusted with the camera powered off, and it won’t reset when the camera is powered on. On the other hand, the non-Film Dial cameras are preferable: you have quick access to all 20 film simulations, and not limited by the 12 slots found on the Film Dial. There are advantages and disadvantages to both, and I prefer the Film Dial personally. But the light bulb moment for me was realizing that the Film Dial Recipe can be used on many cameras, and not just those with the Film Dial—I use it regularly on several different models, including my X100VI, X-T5, and GFX100S II.
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: set Color Chrome FX Blue to Off on X-Trans V), but use 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. Creating a “Universal Recipe” like the Film Dial Recipe is not an easy task.
Not content with having just one “Universal Recipe”, I set out to create another. I’ve been working on this one for more than three months now, and I’m excited to share it with you. It can be used in conjunction with the Film Dial on the X-T50 and X-M5; however, it can also be used on any fifth-generation X-Trans camera or even the latest GFX models. I created this Recipe on my Fujifilm X100VI, and all of the photos below were made using that camera. Also, if you don’t want to use it as a “Universal Recipe” but you like the results of just one of them—such as Classic Negative (a.k.a. “Fujicolor Superia 200”) below—simply use that one standalone. Or pick your favorite three and use it in conjunction with the Film Simulation Bracket feature.
I wanted this new universal option, which I’m calling Universal Negative, to be different than the Film Dial Recipe set. I didn’t want to merely repackage a small adjustment to it; I wanted something significantly divergent, and maybe a tad more film-like. Hopefully that’s what I accomplished here. My plan is to have both this Universal Negative Recipe set and the Film Dial Recipe set programmed into at least one of my cameras (right now it’s my X100VI), which really just opens up the opportunity to achieve various looks in-camera. It’s kind of like having C1-C35, instead of just C1-C7. While this is intended for fifth-generation models (currently: X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, and X-M5), it can also be used on X-Trans IV (except the X-T3 and X-T30); however, blue will render slightly less deeply on Classic Chrome, Classic Negative, Eterna, and Eterna Bleach Bypass, and some film sims won’t be available.
Film Simulation: Any (See Below) Dynamic Range: DR400 Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome FX Blue: Strong White Balance: 4000K, 0 Red & -5 Blue Highlight: 0 Shadow: -2 Color: -2 Sharpness: -2 High ISO NR: -4 Clarity: 0 ISO: Auto, up to ISO 6400 Exposure Compensation: -1/3 to +2/3 (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. For Eterna and Acros, ISO can be up to ISO 12800.
Provia/STD — “Universal Provia”
This “Universal Provia” Recipe doesn’t much resemble real Provia film, but that doesn’t mean it doesn’t produce an appealing aesthetic. It is true-to-life with a slight analog vibe, perhaps reminiscent of a Fujicolor Crystal Archive print. It’s kind of a Goldilocks Recipe—not too vibrant or muted, not too contrasty or flat, not too warm or cool. For best results, use in sunny daylight; however, it can do well in shade, indoor natural light, and even blue-hour with artificial light.
Velvia/Vivid — “Velvia 100F”
Velvia was the go-to film for vibrant landscape photography. If you wanted the colors to pop, Velvia 50 slide film is what you’d want to use. There were multiple versions of Velvia, and Velvia 100F (not to be confused with Velvia 100) was the least saturated of them all. This “Velvia 100F” Recipe isn’t strictly modeled after the emulsion, but it is in the ballpark, and close enough to name this after the film. This is an excellent option for colorful pictures that are not over-the-top vibrant. Great for sunny daylight landscapes, golden hour, sunrise/sunset, and even some nighttime situations.
Astia/Soft — “Indoor Astia”
This “Indoor Astia” Recipe is my favorite of all these for indoor natural light photography. It’s also good for sunny daylight, dreary overcast, and nighttime pictures. While this Recipe is more similar to actual Astia 100F film than the film simulation is when set to the factory default settings, it’s not necessarily a good match for the emulsion.
Classic Chrome — “Elite Chrome”
Elite Chrome was Kodak’s consumer-grade version of Ektachrome color slide film, produced in the late-1990’s and early-2000’s. While this “Elite Chrome” Recipe wasn’t modeled after the emulsion, surprisingly it does resemble Elite Chrome 100 film to a degree. For best results, use in sunny daylight; however, it does do well in overcast and blue hour light.
Reala Ace — “Retro Negative”
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. This “Retro Negative” Recipe is reminiscent of color negative film from the 1980’s and ’90’s, and might even remind you of some photos printed in magazines from that time frame. I found it is quite excellent for golden hour and blue hour photography; however, it’s good for a lot of different subjects and situations, including rainy days, natural light indoors, and portrait photography.
PRO Neg. Hi — “Fuji Negative”
This “Fuji Negative” Recipe is generally similar to various Fujicolor negative films, without mimicking any one specifically. This is probably my favorite of this group for overcast light, but it also does well in sunny daylight and blue hour.
PRO Neg. Std — “Pulled Negative”
Pulling film means to overexpose a little, then reduce the development time to compensate. The results are lower contrast photos with less pop. You could consider this “Pulled Negative” Recipe a one-stop pulled version of the “Fuji Negative” Recipe above. This Recipe is one of the best of this group for artificial light situations, such as nighttime and indoors.
Classic Negative — “Fujicolor Superia 200”
This “Fujicolor Superia 200” Recipe is probably my favorite of this group. Inadvertently, it’s reminiscent of Fujicolor Superia 200 color negative film, which was introduced in 1998 and discontinued in 2017. I especially like this Recipe for indoor natural and artificial light situations; however, it’s good for many subjects and light scenarios.
Nostalgic Neg. – “Americana Film”
Nostalgic Neg. is the second most recent addition to the film simulation lineup, and is modeled after American New Color images from the 1970’s. The Nostalgic Neg. film simulation has a strong Kodak aesthetic, particularly photographic prints from five decades ago. This is the warmest film sim, which means that this “Americana Film” Recipe is the warmest of this group. It’s great for portraits or any situation where you want a retro rendering.
Eterna/Cinema — “Eterna Film”
This “Eterna Film” Recipe is the second lowest saturated and least contrasty of all the color options in this series. It has a lovely soft cinematic quality that is especially great for taming high-contrast scenes; however, it has a limited use-case where it does well. I had trouble finding scenarios where it was the most appropriate option for the situation, but occasionally I did.
Eterna Bleach Bypass — “Chrome City”
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-saturation 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 “Chrome City” Recipe is reminiscent of LomoChrome Metropolis film, which is an emulsion by Lomography that mimics the aesthetic of the bleach bypass technique. The results from this Recipe can be spectacular, and it’s one of my favorites from this group; however, it’s definitely not for every subject or situation.
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 “Acros 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 this Recipe thrives on high-contrast scenes. In the right situations, the results can be wonderful. 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 “Acros Negative” Recipe, I’d go with Acros+R.
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, and you might choose this “B&W Negative” Recipe. Similar to the “Acros Negative” Recipe above, this one thrives in high contrast light, and the filter options (+Y, +R, +G) are your friends.
Sepia — “B&W Sepia”
Last and 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), which was popular a hundred or more years ago. For a more subtle effect, simply use either “Acros Negative” or “Monochrome Negative” with Monochromatic Color set to WC +2 MG -2. 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 cameras are special. With 20 Film Simulations (on the latest models) that are crafted using Fujifilm’s vast experience with analog film, and the ability to fine-tune them into Recipes, you can achieve incredible straight-out-of-camera results. I’ve published nearly 400 Film Simulation Recipes, most of which are modeled after the aesthetics of classic film stocks. Some Recipes get all the attention, particularly those that are Classic Chrome-based, like Kodachrome 64 and Kodak Portra 400 v2. In this article, I’m going to suggest some lesser-used gems.
If you’re looking for something new to try—maybe one that is less commonly used—these five underrated Film Simulation Recipes deserve a spot in your camera’s Custom Settings. Give them a try, and you might just find your next go-to look!
Camera Conversation – Philadelphia, PA – Fujifilm X-T5 – Fujifilm Negative – by Amanda Roesch
Fujifilm has a long history of producing amazing film stocks, and this Fujifilm Negative Recipe is inspired by their color negative films of the past, particularly Fujicolor PRO 160NS. With soft contrast, balanced colors, and a subtle vintage warmth, it creates a beautiful everyday look. Whether you’re shooting portraits, street photography, landscapes, or travel, Fujifilm Negative delivers a timeless feel that works in a variety of lighting conditions. Since this Recipe uses the new Reala Ace film sim, it is only compatible with fifth-generation X-series cameras, plus the newest GFX models.
Saguaro & Abandoned Building – Vulture City, AZ – Fujifilm X-T5 – Kodak Ektachrome E100VS v1
If you love vibrant colors, the Kodak Ektachrome E100VS v1 Recipe is a fantastic choice. With an aesthetic similar to the slide film of the same name, which was one of my favorites 20 or 25 years ago, this Recipe produces deep blues, rich reds, and strong contrast that make images pop with its bold colors (thanks to the Velvia film sim that it uses). It’s perfect for colorful urban scenes, sunsets, landscapes, and travel photography. Since it uses Auto White Balance, it’s quite versatile; however, just like the film, it’s not a good choice for portrait photography. This Recipe is compatible with X-Trans IV (except the X-T3/X-T30) and X-Trans V cameras, plus newer GFX models.
The Eterna Film Simulation is often associated with soft, low-contrast tones, but the Eterna Summer Recipe adds warmth, vibrancy, and contrast. Sunlit scenes have a dreamy, vintage, and almost cinematic feel, with soft shadows and bright highlights. It’s especially great for roadtrips, urban scenes, portraits, and hot summer afternoons when you want to capture the golden essence of the season. For best results, use in sunny daylight situations. This Recipe is compatible with “newer” X-Trans IV cameras, all X-Trans V, and many GFX models.
City of Grace Tower – Phoenix, AZ – Fujifilm X-T5 – CineStill 400D v2
The CineStill 400D v2 Recipe is inspired by CineStill 400D film, which is known for its cinematic feel and warm tones. This Recipe produces soft highlights, slightly punchy colors, and a dream-like quality, making it a good choice for both daytime and blue-hour photography. CineStill 400D v2 uses the Astia Film Simulation, and is great for landscapes and street photography, especially during golden-hour. This Recipe is compatible with X-Trans IV (except the X-T3/X-T30) and X-Trans V cameras, plus the 100mp GFX models.
Fall at Boulder Lake – Clinton, CT – Fujifilm X-T5 – Kodak Negative
The Kodak Negative Recipe, which is reminiscent of some vibrant negative film stocks by Kodak, is quite versatile, thanks to the use of Auto White Balance. It has the right amount of warmth, saturation, and contrast for many subjects and situations. Because it uses the Nostalgic Neg. Film Simulation, it has a vintage feel that is easy to appreciate. This Recipe is only compatible with the fifth-generation X-series cameras, plus the newest GFX models.
Final Thoughts
Rock Rings – Saguaro National Park, AZ – Fujifilm X-T5 – Eterna Summer
These five underrated Film Simulation Recipes are waiting to be discovered! Whether you’re after a nostalgic analog look, a punchy slide film aesthetic, or a dreamy cinematic feel, there’s something here for your next photographic adventure. The best way to find out which Recipes are your favorites is to get out and try them—so load one of these Recipes into your Fujifilm camera and see what magic you can create!
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Fujifilm has the best JPEG output in the camera industry, in my opinion. That’s not to say the others are garbage, because some brands are pretty good (Ricoh, for example); however, they are not all equal, and—in my view—Fujifilm is at the very top when it comes to straight-out-of-camera photography. Leaning into their long history of making analog film, they’ve crafted Film Simulations and various JPEG options (which together make Film Simulation Recipes) that achieve authentic aesthetics that don’t require editing.
Over the years Fujifilm has added many new Film Simulations and JPEG settings so that photographers can get a wider variety of looks straight-out-of-camera. Nostalgic Negative and Reala Ace are found on the latest generation of models. Eterna Bleach Bypass and .5 Highlight and Shadow adjustments were introduced with the Fujifilm X-T4. Classic Negative, Grain size, Color Chrome FX Blue, and Clarity were first found on the X-Pro3. So what should Fujifilm introduce next? What new Film Simulations and JPEG settings should be added to future cameras?
Fujifilm X100V & Pop Color Advanced Filter
There are a number of Film Simulations that Fujifilm could make. Probably the easiest would be Fortia, which would simply require moving Pop Color from Advanced Filters to the Film Simulation set. Another easy option would be a new B&W Film Simulation (maybe called Neopan) that would essentially be a higher contrast and grainer version of Acros. A Film Simulations that I believe would be a big hit is one modeled Fujicolor PRO 400H that turns pastel when overexposed, like the film was famous for. Another option that I would like to see is Cross Process, modeled after Velvia 50 developed in C41 chemistry. A fifth potential future Film Simulation is Instax, mimicking instant film.
As for JPEG settings, one option might be Split-Tone, where a certain color cast could be selected for the shadows, and a different color cast could be selected for the highlights (for example, blue for the shadows, yellow for the highlights). This could be available for both color and B&W images. Another one might be Faded Blacks, where deep shadows are rendered lighter. A third potential option could be vignette. For those last two, it could simply be Off, Weak, or Strong. To demonstrate what Faded Black and Vignette might look like, I edited some pictures using the Photos App in my iPhone, simply setting the Black Point to -50 and Vignette to +10, which might be similar to Faded Black Strong and Vignette Weak, if such settings existed. You can see the before and after below:
Now it’s your turn! What would you like the next Film Simulation to be? Should Pop Color be moved from Advanced Filters to the Film Simulation set? What new JPEG option would you prefer be introduced next? Do you like the idea of Faded Blacks and/or Vignette? Let me know in the comments!
As we’ve already discussed, aperture determines the amount of light that enters the camera, and shutter speed determines for how long that light is allowed to expose the camera’s sensor. The third aspect of the exposure triangle is ISO, which is how sensitive the sensor is to that light. Well, that’s not exactly true. ISO works much different with digital sensors than it did with silver halide film, but the basic premise is similar: the higher the ISO, the brighter and “grainer” the image; the lower the ISO, the darker and “cleaner” the image. ISO is found in the camera’s menu, and on some models is controlled by a knob on the top plate or via a wheel around the shutter knob.
This is the simplest of the three exposure triangle elements to grasp, and yet maybe the most difficult. With things like dual-native ISO and ISO invariance, it can be quite confusing. I don’t want to get too deep into the weeds here, because it doesn’t really matter all that much. Basically, Fujifilm cameras technically have just two ISOs: base gain (ISO 200 on X-Trans III and older, ISO 160 on X-Trans IV, ISO 125 on X-Trans V) and second gain (ISO 800 on X-Trans III and older, ISO 640 on X-Trans IV, and ISO 500 on X-Trans V). The base gain is the cleanest of the two. As the ISO is increased from the base gain, the picture becomes “noisier” (a.k.a. “grainier” or “grittier”) because the brightness is being turned up, making the digital noise more obvious. At the second gain point, a switch activates the second base ISO, and the image is actually cleaner than the ISO directly below it. As the ISO is increased from the second gain, it becomes “noisier” because the brightness is being turned up, making the digital noise more obvious. You could photograph at just those two ISOs, and using software increase the brightness, and the results will be the same as increasing the ISO in-camera. Clear as mud?
Another point worth mentioning is that Dynamic Range (DR) and D-Range Priority (DR-P) settings are ISO-dependent. In order to use DR400 or DR-P Strong, the minimum ISO required is ISO 800 on X-Trans III and older, ISO 640 on X-Trans IV, and ISO 500 on X-Trans V. For DR200 or DR-P Weak, the minimum ISOs are 400, 320, and 250, respectively. DR200 and DR400 are unavailable at the extended ISOs. This illustrates another point of confusion: while the maximum dynamic range (range of details between deep shadow and bright highlight) for DR100 is at base ISO, the maximum dynamic range in general is at the second gain point with the camera set to DR400 or DR-P Strong. Confusing, right?
Fujifilm X-T50 – ISO 51200 – Nostalgic Neg. film simulation
The old rule of thumb for ISO was to keep it as low as possible, and only increase it when necessary. I think that advice is a little outdated. Fujifilm cameras produce clean results that are very difficult to distinguish from each other at and below the second gain point, and are still pretty clean at and below ISO 1600. Above ISO 1600 the noise becomes more obvious, and it’s up to each person to determine just how high is too high, how much noise is too much noise. Generally speaking, on X-Trans III and newer cameras, I personally find that color photographs are good up to ISO 6400 and black-and-white up to ISO 12800. There are, of course, exceptions to this. You might desire the gritty aesthetic produced by using ultra-high ISOs. Each person’s tastes are different.
Because (for the most part) ISO isn’t all that important, I like to let the camera choose it for me with Auto-ISO. This works with either the Aperture or Shutter set to “A” (Aperture-Priority or Shutter-Priority). In Auto-ISO, the camera will choose the lowest ISO possible, and only increase it when necessary. You can choose the top and bottom ISO values, and the minimum shutter speed. It works really well most of the time. Also, like aperture and shutter, there are full stops (ISO 200, 400, 800 etc.) and intermediate third stops (ISO 250, 320, 500, 640, etc.).
Unless you desire a “grainy” photo, you want to keep the ISO low (however, no lower than the minimum for the Dynamic Range setting used). Find the maximum ISO that you are comfortable with, and set that as the top value of your Auto-ISO (basically, you can set-and-forget). I think a lot of people worry too much about ISO and digital noise—I invite you to try a higher ISO than you might otherwise set as the maximum, as you might find it to be more useful than you previously thought. For the cleanest photographs, keep the ISO low, no higher than the second gain point for your camera.
Shutter speed simply controls the amount of time that light is exposed to the camera’s sensor. How motion is rendered—either frozen still or as a blur—will depend on the shutter speed. There are a few key things to know, but overall this is all fairly easy to understand.
Before we dive in, I want to quickly revisit aperture, because there’s something I forgot to mention in Part 1. How sunstars and lens flare will appear depends on a number of factors, including (among other things) the aperture you’ve selected. For more pronounced sunstars, use a small aperture, such as f/16. If you want to minimize sunstars and lens flare, use a large aperture, such as f/2. This is just one more factor to consider when choosing the most appropriate aperture for the scene in front of you.
Forest Sunstar – Sedona, AZ – Fujifilm X-T50 & Fujinon 23mm f/2 lens at f/14 – California Summer
Now, with that out of the way, let’s talk about shutter speeds. What is it? What does it do to your pictures? How do you control it to get the images that you want?
The quick and simple definition of shutter speed is that it is the amount of time the camera’s shutter curtain is open, allowing light to reach the sensor or film. A fast shutter speed allows very little light to expose the sensor, while a slow shutter speed allows a lot of light in. Shutter speed is one of three elements of the exposure triangle, along with aperture and ISO, and must be used in balance with the other two elements. On many Fujifilm cameras, the shutter speed is controlled by a knob on the top of the camera, marked with numbers like 125, 250, 500, etc., etc..
Some common shutter speeds are 1/15, 1/30, 1/60, 1/125, 1/250 and 1/500. There are, of course, many other shutter speeds, this is far from a comprehensive list. 1/15 is an example of a slow shutter speed, and 1/500 is an example of a quick shutter speed. You’ll note that these are fractions, as in fractions of a second. You’ll also note that they’re half or twice as long as the shutter speed on either side, which means that 1/60 lets in half as much light as 1/30, and 1/15 lets in twice as much light as as 1/30. Like aperture, there are intermediate stops in-between the full stops—most commonly one-third stops, but sometimes half-stops.
Shutter speed is about motion, either freezing or showing it. A slow shutter speed will show motion as a blur, while a fast shutter speed will freeze it. In the first picture below, which was captured with a 1/450 shutter speed, you’d never know that the car was zooming by, because the motion was frozen. The second picture below, which was captured with a 1/80 shutter speed, shows the motion through the car’s blur. The third picture below, which was captured with a 1/60 shutter speed, shows the motion through panning, where the car is sharp but the background blurred from the sweeping lens.
In order to freeze motion, there are a few considerations: the focal length of the lens, the distance of the moving object, and it’s speed. The longer the focal length of the lens, the faster the minimum shutter speed needs to be; the shorter the focal length, the slower the minimum shutter speed needs to be. The closer and faster the moving object is, the faster the shutter speed needs to be; the further and slower the moving object is, the slower the shutter needs to be in order to freeze it.
If nothing is moving in the frame, the only motion is the photographer. A tripod will eliminate camera shake; if you don’t have a tripod, in-body-image-stabilization (IBIS) or optical-image-stabilization (OIS) can help to a degree. If your gear doesn’t have stabilization, you’ll want to use this rule of thumb: whatever the focal length of the lens is (or in the case of Fujifilm cameras, the full-frame-equivalent focal length), the minimum shutter speed should be a similar number. For example, if the lens is 18mm, which has a full-frame-equivalent focal length of 27mm, the slowest hand-held shutter speed is around 1/30. If the lens is 90mm, which has a full-frame-equivalent focal length of 135mm, the slowest hand-held shutter speed is around 1/125. With good techniques, you can often get a sharp picture with even slower shutter speeds, but that takes practice.
Fujifilm GFX100S II & Fujinon 80mm f/1.7 – f/9, ISO 320, 1/680 shutter – 1970’s Summer
In order to freeze motion, for portraits, events, kids, and pets, I recommend a minimum shutter speed of 1/125, but faster is better, such as 1/250. For sports and moving wildlife, the minimum shutter speed should be 1/250, but faster is better, such as 1/500. If the motion is blurry, increase the shutter speed. In order to show motion as a blur, the maximum shutter speed will likely need to be under 1/125, and probably under 1/30, just depending on the situation. If the blur is insufficient, decrease the shutter speed.
Another shutter speed consideration is in regards to flash photography. Some cameras, such as the X100-series, have a leaf shutter, which allows for high-speed flash sync; however, most cameras don’t have a leaf shutter, and have a maximum shutter speed for flash. On Fujifilm models, this is marked by an “X” next to the shutter speed—for example, on the X-T5, the maximum shutter speed for flash photography is 1/250, which is marked as 250X on the shutter knob. The fastest shutter speed you should use with flash photography is the one with the X next to it.
The two main things to remember about shutter speed are 1) that it is used to show motion, either frozen still or as a blur, and 2) it is one aspect of the exposure triangle, and must be balanced with both aperture and ISO. Increasing the shutter speed reduces the light, so you may need to use a larger aperture and/or a higher ISO to compensate; reducing the shutter speed increases the light, so you may need to use a smaller aperture and/or lower ISO. It’s a balancing act. Used thoughtfully, shutter speed can express movement in creative ways, so take a moment to consider how to best use it for the scene in front of you.
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Aperture is a fundamental aspect of photography. The exposure (brightness) of an image is determined by the aperture, shutter speed, and ISO (referred to collectively as the “exposure triangle”). Yet many photographers don’t fully understand aperture, and when to choose which f-stop. It’s more than just a setting—it’s a creative tool that can dramatically impact the look and feel of your images. Understanding how aperture affects depth-of-field, exposure, and sharpness will help you take control of your photography and achieve your artistic vision.
With Fujifilm cameras, you’ll typically control the aperture via a ring on the lens, which are marked in f-stops. A large aperture has a low f-stop number, such as f/2, while a small aperture has a high f-stop number, like f/16. There are full-stops (e.g. f/1.4, f/2, f/2.8, f/4, f/5.6, f/8, f/11, f/16, f/22); in-between the full stops are intermediate stops, which are most commonly third-stops (e.g. (f/1.8, f/2.2, f/2.5, f/3.2, f/3.5, f/4.5, f/5, etc., etc.) and less commonly half-stops (e.g. f/1.7, f/2.4, f/3.3, f/4.8, etc.). A large aperture (low f-stop number, such as f/1.4 or f/2.8) allows more light into the camera and also creates a shallow depth-of-field (only a narrow slice in focus), making the subject stand out against a blurred background and/or foreground—common for portraits, where you want to separate the subject from distractions. A small aperture (high f-stop number, such as f/11 or f/16) allows less light into the camera and also creates a large depth-of-field (lots in focus), which is common for landscapes where you have several compositional elements at various distances from the camera.
Fujifilm GFX100S II + Fujinon 80mm f/1.7 lens at f/1.7 + Reggie’s Portra
The closer the subject is to the end of the lens, the more shallow the depth-of-field will be, and the further the subject is, the larger the depth-of-field will be, regardless of the aperture. In other words, the focus distance and aperture work together to create the depth-of-field, whether narrow or expansive. To achieve a narrow slice that is in focus (a small depth-of-field), one should position the subject close to the camera and use a large aperture (for example, f/2); to achieve a broad slice that is in focus (a large depth-of-field), one should position the subject further from the camera and use a small aperture (for example, f/11).
The aperture you choose determines how much light enters the camera (shutter speed determines for how long the sensor will be exposed to that light). A large aperture (such as f/1.7 or f/2) allows more light to enter, which is useful in low-light conditions, such as indoors or at night. A small aperture (such as f/13 or f/16) reduces the amount of light, which is useful in bright daylight situations. Even though you might wish for a shallow or large depth-of-field, the conditions might prevent you from using the most ideal aperture for what you want to achieve.
Adjusting the aperture affects other exposure settings. If you open up the aperture for more light, you may need a faster shutter speed and/or a lower ISO to compensate. Conversely, if you stop down the aperture, which allows less light, you might need to increase the ISO or use a slower shutter speed. This is a balancing act that should be thoughtfully considered—compromises are often necessary.
Aperture also influences sharpness. While stopping down (using a smaller aperture) generally increases the area of sharpness (depth-of-field), it might actually decrease sharpness. Every lens has a “sweet spot”—an aperture range where it delivers the best overall sharpness. For many lenses, this is between f/4 and f/8 (this is generally speaking, and varies from lens-to-lens, and even sensor-to-sensor). At large apertures (such as f/1.4), lenses can exhibit softness around the edges due to optical imperfections, and also decreased overall sharpness. At small apertures (such as f/16), diffraction can reduce overall image sharpness. Selecting the optimal aperture range for your lens will ensure the sharpest photographs.
F-stop is more than just a technical setting, it’s an artistic choice. Large apertures can create dreamy backgrounds and subject isolation, small apertures ensure everything is in focus, while the middle apertures produce sharply detailed pictures. Whether you’re shooting portraits, landscapes, street photography, still-life, macro, or any other genre, the aperture choice will significantly effect the outcome, giving you creative control over your photography. Experimenting with different apertures will deepen your understanding of how they impact your pictures—the more you practice, the more intuitive it will become. The next time that you’re out with your camera, take a moment to consider the f-stop, because it’s one of the most powerful tools at your disposal.
Fujifilm GFX100S II – PRO Negative 160C except with D-Range Priority Auto
Someone pointed out to me that D-Range Priority Auto behaves differently on his Fujifilm X-T5 than he thought it would. I don’t use D-Range Priority Auto all that often, and it’s been awhile since I’ve done any sort of serious testing with it, so I took the opportunity to see what’s going on. I was quite surprised by what I found.
D-Range Priority (abbreviated DR-P) was a feature first found on old Fujifilm EXR models (this was before X-Trans) that utilized pixel-binning, and it worked much different than the current iteration of it. The modern version of DR-P was introduced in 2018 with the X-H1 and X-T3, and is modeled after a feature called Hypertone found on Fujifilm’s Frontier scanners. DR-P is used in lieu of the Dynamic Range (DR) settings and the Tone Curve (Highlight and Shadow).
Like the DR settings, DR-P is ISO dependent. DR-P Weak requires the same minimum ISO as DR200, and DR-P Strong requires the same minimum ISO as DR400. DR-P Auto should work the same as DR-Auto, and seemingly it does, but upon closer review it is significantly divergent. At least it is now. The way it works has evolved over time, largely unnoticed.
Fujifilm GFX100S II – PRO Negative 160C except with D-Range Priority Auto
Someone reported to me awhile back that they couldn’t get their X-T5 to choose DR-P Strong with DR-P Auto selected. With my X-Trans IV models, in DR-P Auto, the camera will almost always choose DR-P Weak, and only DR-P Strong in extreme high-contrast situations, with both bright highlights and deep shadows. The camera will do it, but not very often. I assumed that this person probably just hadn’t encountered the right situation where the camera would choose DR-P Strong. I can see now that my assumption was wrong.
Let’s backtrack a bit. D-Range Priority works a certain way on the X-H1 and X-T3/X-T30 (at least when the X-T30 was released and I tested DR-P on it back then …it might work differently today after firmware updates, I’m not certain). On those cameras, DR-P Auto will choose DR-P Weak most of the time, and DR-P Strong only in extreme situations. DR-P Weak is the same as DR200 with both Highlight and Shadow set to -1. In the set of three very identical images below, captured with a Fujifilm X-H1 this morning, one is DR-P Auto (which chose DR-P Weak), one is in-camera reprocessed as DR-P Weak, and one is in-camera reprocessed as DR200 with Highlight and Shadow both set to -1. They look exactly alike.
Now let’s fast forward a little. DR-P Auto works a little different on my Fujifilm X100V and X-E4, but not exactly as I remember it working, or as I expected it to. I’m not certain if the way it works changed after some firmware update, or if my memory of it is incorrect (it could go either way). Let’s take a look at a photograph that I captured today on my X-E4 using DR-P Auto, which chose DR-P Strong. I then reprocessed the image in-camera.
Fujifilm X-E4 as shot in DR-P Auto, which selected DR-P Strong
Same image, except reprocessed in-camera using DR-P Strong—surprisingly, it’s not the same.
Same image, except reprocessed in-camera using DR-P Weak; it’s getting closer, but not identical.
Same image, except reprocessed in-camera using DR200 + Highlight & Shadow set to -1; it’s divergent from all of the above images.
Same image, except reprocessed in-camera using DR400 + Highlight & Shadow set to -2. This is identical to the as-shot photograph.
Same image, except reprocessed in-camera using DR200 + Highlight & Shadow set to -2. This is identical to the reprocessed DR-P Weak image.
On the X-H1, DR-P Auto is more straightforward than on the X-E4; on the X-E4, it did not behave as I expected it to. While I could get it to choose DR-P Strong, it didn’t actually create a DR-P Strong image, or even a DR-P Weak image; instead, it created an image identical to DR400 with Highlight and Shadow set to -2 (“DR-P Medium”?). DR-P Weak is the same as DR200 with Highlight and Shadow set to -2; however, on the X-H1, DR-P Weak is identical to DR200 with Highlight and Shadow set to -1. Clear as mud?
Now let’s look at the newer cameras. On X-Trans V, as well as the latest GFX, it works even differently. Check out this set of photographs:
Fujifilm GFX100S II as shot in DR-P Auto, which selected DR-P Weak
Same image, except reprocessed in-camera using DR200 + Highlight & Shadow set to -1. It’s identical to the above photograph.
Same image, except reprocessed in-camera using DR-P Weak.
As you can see, the camera is not using DR-P Weak when in DR-P Auto. Like the X-H1, it is using DR200 with Highlight and Shadow set to -1; however, unlike the X-H1, DR-P Weak is not the same as DR200 with Highlight and Shadow set to -1. On the newer models, DR-P Auto is actually “DR-P Extra Weak” (if such a setting existed, which incidentally is the same as DR-P Weak on the X-H1). DR-P Weak is actually more like DR200 with Highlight set to -2 and Shadow set to -3 (if such a setting existed—in other words, it can’t really be replicated). Also, no matter how hard I tried, I could not get my X-T5 or GFX100S II cameras to choose DR-P Strong when in DR-P Auto; only DR-P Weak (except that the picture is “DR-P Extra Weak” instead of DR-P Weak).
Fujifilm GFX100S II shot with DR-P Strong and in-camera reprocessed to DR-P Weak
Same image, except reprocessed in-camera using DR400 + Highlight & Shadow set to -2. This is the closest I could get the shadows, but the highlights are divergent.
So what is the practical application of this? Since we know on the newer models—X-Trans V and the latest GFX—that the picture you get using DR-P Auto is the same as DR200 with Highlight and Shadow set to -1, you can replace any Film Simulation Recipe that calls for those settings (such as PRO Negative 160C) with DR-P Auto. There isn’t necessarily a practical advantage to doing that, except if you accidentally overexpose the frame, you can recover it by reprocessing the file in-camera with DR-P Weak. Below is an example of that:
Fujifilm GFX100S II as shot in DR-P Auto, overexposed
Same image, simply reprocessed in-camera with DR-P Weak with no other adjustments
I’m not really sure how to conclude this other than to say that D-Range Priority Auto works differently depending on what generation of camera you have. DR-P Weak and DR-P Strong are also a little divergent. I reached out to Anders Lindborg to ask his opinion and see if he had any insights on DR-P Auto, since he’s researched this topic pretty extensively. “The answer is actually in the manual,” he told me. “It says, ‘When an option other than Off is selected, Highlight Tone, Shadow Tone, and Dynamic Range will be adjusted automatically.'” On the newest models, that means Highlight and Shadow both set to -1 and Dynamic Range set to DR200 …and nothing else, unless you reprocess as DR-P Weak. Unfortunately, if you want to shoot with DR-P Weak or DR-P Strong straight-out-of-camera, then don’t use DR-P Auto. I suppose you could look at this way: DR-P Auto is actually DR-P Weak, DR-P Weak is actually DR-P Medium, and DR-P Strong is still DR-P Strong. I hope this somehow clears things up for those confused by it.
Below are a few pictures I created in preparation for this article, using my Fujifilm GFX100S II with the PRO Negative 160C Recipe (except for DR-P Auto in lieu of the DR and Tone Curve settings).
I get asked all of the time when to use which Film Simulation Recipe. With over 350 in the Fuji X Weekly App to choose from, it can be difficult to know when each Recipe should be chosen, especially since many of them are specifically intended for sunny daylight conditions. With only seven Custom Presets on your Fujifilm camera (for most of you, anyway), which ones should you have programed? When should you select them?
The problem with trying to answer this question is that it’s a highly subjective endeavor. While I might like a certain Recipe for a particular situation, you might not. There’s not a right or wrong answer, just what works for you and what doesn’t—and I cannot say whether any particular Recipe will work for you or not. Only you can answer that for yourself, and you have to try a Recipe to know. With that said, I do attempt to give good advice. I’ve written many articles related to this topic, including the series Which Film Simulation Recipes, When? While that has likely been the most helpful, it’s nearly two-years-old now, and a lot of new Recipes have been published since. I think it’s time to update the series for 2024.
The premise of the original series is that Jason Kummerfeldt of Grainydays, a YouTube channel about film photography, gave some advice on when to use which film emulsion in a video entitled Which Film Stock, When? Since film choice is such a personal thing, how do you say when to use which? It’s the same thing for Film Simulation Recipes. His solution was simply to demonstrate what he uses and state what he likes, and maybe you’ll like it, too. In my series, I copied that approach for Recipes—I told you my preferences, and invited you to try them out. We’re going to follow that same formula for this update with just a small twist, which I think makes a little more sense.
Below are seven Recipe suggestions for you to program into C1-C7 on your Fujifilm camera, with advice on when to use each. Since Recipes are (for the most part) generationally specific, each article will cover a different group of cameras. This is Part 2, and covers X-Trans IV models (except the X-T3 and X-T30, which will be discussed in Part 3): Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II.
Kodak Portra 400 v2 does well anytime during daylight hours, but especially for “golden hour” near sunrise and sunset. As the name suggests it is a good option for portrait photography, but is excellent for many genres. This really could be your primary use-all-of-the-time Recipe, and that’s why I suggest placing it in C1. Personally, I use this one frequently.
Golden Desert Hill – Buckeye, AZ – Fujifilm X-E4 – Bright Kodak
I like to reserve C2 for bright midday photography. The old rule of thumb was once the sun was high in the sky, it’s time to put the camera away. While Bright Kodak can be used anytime the sun is out, it is one of my favorite options for middle-of-the-day situations, and proves the old adage wrong.
Denny’s Days – Beaver, UT – Fujifilm X-E4 – Kodachrome 64
This is a good spot to have an alternative aesthetic compared to C1 and C2—as I don’t think you’d want to have all three up to this point to be essentially similar. Although each of the first three have a Kodak-like look, Kodachrome 64 produces a more contrasty slide film aesthetic. With the ones I’ve suggested, you’ve got a good set for all sorts of daylight situations no matter your subject.
Ice Flower & Chain Link – Morro Bay, CA – Fujifilm X-E4 – Pacific Blues
Pacific Blues is excellent for sunny daylight photography—it was specifically designed for a summer day at the beach—but I have fallen in love with it for overcast and foggy days. For dreary conditions, this Recipe is hard to beat.
I like to have at least one Recipe programmed into my camera that’s highly versatile and can be used no matter the situation. There are several excellent options, but a personal favorite that I use frequently is Reggie’s Portra. Almost no matter the light, this one does very well.
11th Street – Astoria, OR – Fujifilm X100V – Serr’s 500T
Most Recipes are intended for sunny daylight; while some can still do well at night, and the versatile options above are definitely good for after-dark, there are some Recipes that are specifically intended for night photography. Of those, Serr’s 500T is one of my absolute favorites.
Old Window Blinds – San Luis Obispo, CA – Fujifilm X100V – Kodak Tri-X 400
I love black-and-white photography. As far as Recipes go, the monochrome options tend to be less popular than color; however, my favorite Recipe—and the one that I would choose if I could only ever photograph with one—is Kodak Tri-X 400.
Travel by Train – Denver, CO – Fujifilm X-T50 – Cinematic Film Recipe
Like film, the majority of Film Simulation Recipes are intended for daylight photography, and it can be difficult to know which ones are good for nighttime use. Once the sun goes down and the street lamps begin to glow, some of the Recipes that are great for sunny conditions won’t produce particularly good results. Which ones should you use instead? Well, I’ve got you covered!
In this article I have 10 Recipe suggestions for nighttime photography. Each exact lighting scenario is different, and everyone has their own unique style, so not all of these will necessarily be for everyone; however, if it’s after-dark, at least one of these 10 should work quite well for you. Also, there are a lot of other Recipes not in this list that could potentially give you good results—in other words, this is not comprehensive in the least; mostly, I just wanted to include a variety of options. Don’t be afraid to try a Recipe not in this list for night pictures, but, if you are at a loss for which one to use after-dark, try one of the options below.
Oysters & Seafood – Denver, CO – Fujifilm X-T50 – Cinematic Film Recipe
This is one of the 14 Film Dial Recipes made for the Fujifilm X-T50, but it’s not limited to use on that camera. It’s compatible with all fifth-generation models; for the X-T4, X-S10, X-E4, or X-T30 II, simply set Color Chrome FX Blue to Off. This is such an excellent Recipe for after-dark photography, and is at the top of my suggestion list for a reason. Also, many of the other Film Dial Recipes also do quite well at night, so don’t be afraid to try those, too.
This is another personal favorite for nighttime photography—in fact, it’s specifically intended for this purpose. There are also versions for X-Trans IV, X-Trans III, and X-Trans II cameras. This Recipe pairs especially well with a weak diffusion filter, such as a 5% or 10% CineBloom or 1/8 or 1/4 Pro Mist.
This version of CineStill 800T was actually intended for daytime photography, but works particularly well at night. It’s more of an alternative-process type rendering, but can be a lot of fun. There are also two versions for X-Trans IV cameras (here and here).
Birria – Surprise, AZ – Fujifilm X-T5 – Fluorescent Night Recipe
Under the right lighting situation, this Recipe can look really good; however, it’s not necessarily a versatile nighttime option. It definitely needs artificial light, preferably some fluorescent tubes. You might love it, or you might not, but you won’t know until you try.
PARK – Goodyear, AZ – Fujifilm X-T5 – Agfa Ultra 100 v2 Recipe
This Recipe is for sunny daylight, but I was quite surprised at some of my nighttime results. I don’t think it will be good for every after-dark situation, but it is certainly good for some, particularly blue-hour light.
Boat Shack at Sunset – Tempe, AZ – Fujifilm X-T5 – Fujicolor Super HG v2 Recipe
This is a versatile Recipe that works really well for nighttime photography. This is a great one just to always have programmed into your camera. There’s a version for X-Trans IV.
This Recipe uses Classic Negative (not the new Reala Ace film sim). It’s very versatile, and as such works well for nighttime photography. It’s another Recipe that you can just always have programmed into your camera.
This Recipe uses the new Reala Ace film simulation. It’s not specifically intended for nighttime photography, but is versatile, and works quite well for it.
Pulaski Bridge View – New York City, NY – Fujifilm X100VI – PRO Negative 160C Recipe
Another Reala Ace-based Recipe, and another that is great for night simply due to its versatility. As Fujifilm put it, Reala Ace is the “Negative for the new era.”
Veterans Bridge at Night – Nashville, TN – Fujifilm X-T50 – Fujicolor PRO 160C Warm Recipe
Like Cinematic Film at the top, this is one of the 14 Film Dial Recipes. Many of the Film Dial Recipes are great for nighttime photography—not just the two in this list—but some are better than others, and Fujicolor PRO 160C Warm is one of my personal favorites.
Salt River & Mountain Reflection – Mesa, AZ – Fujifilm X-T5 – Astia Azure Recipe
Since I included two of the Film Dial Recipes in the Top 10, I thought that it would be more fair to add an 11th Recipe. Astia Azure is intended for sunny daylight photography, but I’ve had good luck with it after-dark, particularly in blue-hour light. This is currently a Fuji X Weekly App Patron Early-Access Recipe, and is only available to App subscribers at this time; however, it will eventually be made available to everyone. It’s compatible with X-Trans V cameras, and some X-Trans IV models.
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The Fujifilm X-T50 has a Film Dial, a new feature that likely will begin to appear on other Fujifilm models in time. It’s possible that it might eventually find its way onto most bodies (or some alternate iteration of the concept). While the Film Dial has been controversial, I think it has been largely misunderstood, and I don’t believe a lot of people realize the great potential of it. Back in May, I created a strategy—a universal Recipe—for getting the most out of the Film Dial, which really makes it a useful feature. I thought it would be worthwhile to show what that looks like in real-life practice.
In August I had the wonderful opportunity to travel from coast-to-coast, leading photowalks in San Diego, Denver, Nashville and Philadelphia. It was so great to meet you all! Throughout the tour I had a Fujifilm X-T50, and utilized the Film Dial several times. Interestingly, even if you don’t own an X-T50, you can still use this strategy by programing a Fn button to open the Film Simulation menu—the Film Dial Recipe doesn’t actually require the Film Dial to use. In this case, though, I used the X-T50 and the Film Dial, and I want to share with you four times where I put it into practice. I think seeing the results from actual use will help to demonstrate just how nice the Film Dial is.
The universal Film Dial Recipe (click here) works well with every film simulation. Some are better than others, but all of them are decent enough (even Sepia). Since the Film Dial only changes the film simulation and nothing else, the universal Recipe parameters—other than the film sim—remain exactly the same when you turn the Film Dial. Each time you turn the Film Dial and select a different film simulation, it is like having a different Recipe (even though the Recipe parameters didn’t budge), because each film simulation is so unique. Essentially, the Film Dial gives you up to 12 bonus Recipes right at your fingertips!
Denver Nighttime Street Photography
Nostalgic Neg. a.k.a. “Nostalgic Film”
Classic Negative a.k.a. “Superia Negative”
Eterna a.k.a. “Cinematic Film”
Classic Chrome a.k.a. “Kodak Film”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Eterna a.k.a. “Cinematic Film”
Reala Ace a.k.a. “Fujicolor PRO 160C Warm”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Classic Negative a.k.a. “Superia Negative”
Exploring Nashville
Classic Negative a.k.a. “Superia Negative”
Classic Negative a.k.a. “Superia Negative”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Acros a.k.a. “Neopan Negative”
Eterna a.k.a. “Cinematic Film”
Eterna a.k.a. “Cinematic Film”
Reala Ace a.k.a. “Fujicolor PRO 160C Warm”
Reala Ace a.k.a. “Fujicolor PRO 160C Warm”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Classic Chrome a.k.a. “Kodak Film”
Classic Negative a.k.a. “Superia Negative”
Velvia a.k.a. “Velvia Film”
Reala Ace a.k.a. “Fujicolor PRO 160C Warm”
Reala Ace a.k.a. “Fujicolor PRO 160C Warm”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Classic Negative a.k.a. “Superia Negative”
Reala Ace a.k.a. “Fujicolor PRO 160C Warm”
New York & New Jersey
Classic Negative a.k.a. “Superia Negative”
Classic Negative a.k.a. “Superia Negative”
Classic Negative a.k.a. “Superia Negative”
Reala Ace a.k.a. “Fujicolor PRO 160C Warm”
Reala Ace a.k.a. “Fujicolor PRO 160C Warm”
Acros a.k.a. “Neopan Negative”
Acros+G a.k.a. “Neopan Negative”
Massachusetts
Nostalgic Neg. a.k.a. “Nostalgic Film”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Reala Ace a.k.a. “Fujicolor PRO 160C Warm”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Acros+G a.k.a. “Neopan Negative”
Acros a.k.a. “Neopan Negative”
Classic Negative a.k.a. “Superia Negative”
Classic Negative a.k.a. “Superia Negative”
Eterna a.k.a. “Cinematic Film”
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
Oysters & Seafood – Denver, CO – Fujifilm X-T50 – Cinematic Film Recipe
This isn’t a new Film Simulation Recipe, but one of the 14 Fujifilm X-T50 Film Dial Recipes that I published in May when the Fujifilm X-T50 was announced. I stated in that article, “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.” Those eight Recipes—Standard Film, Velvia Film, Astia Summer, Kodak Film, Fujicolor PRO 160C Warm, Superia Negative, Nostalgic Film, and Neopan Negative—are all identical other than the film simulation, and are found in the App.
I left six of the 14 Recipes—Fujicolor PRO Film, Fujicolor PRO 160S, Cinematic Film (which is this Recipe), Reduced Bleach, Monochrome Film, and Sepia Print—out of the App. In the months since, I have had a number of requests to include the Cinematic Film Recipe in the Fuji X Weekly App, so—by popular demand—Cinematic Film is now available on your phone!
Hotel Chelsea – New York City, NY – Fujifilm X-T50 – Cinematic Film Recipe
This Recipe is compatible with all fifth-generation X-Trans cameras, which (as of this writing) are the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50. For the X-T4, X-S10, X-E4, and X-T30 II cameras, I recommend setting Color Chrome FX Blue to Strong (instead of Weak). For the latest GFX models, I recommend setting Shadow to -0.5 (instead of -1). For more information on how I setup and use the X-T50 Film Dial Recipes, watch this video (click here). If you don’t have an X-T50 and still want to use the Film Dial strategy, simply add the Recipe to one of your C1-C7 slots, and program a Fn button to activate the film simulation menu. The Cinematic Film Recipe is especially great for taming high-contrast light, for a soft aesthetic, and for after-dark photography.
Film Simulation: Eterna 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)
Example photographs, all camera-made JPEGs captured using this “Cinematic Film” Film Simulation Recipe on a Fujifilm X-T50:
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There’s a feature on most Fujifilm cameras that few use—you might not even be aware that they exist—called Advanced Filters. Fujifilm introduced it in 2013 with the X100S and X20 models. With the exception of a few early models, your Fujifilm camera has Advanced Filters—find it on the Drive Dial or Drive Menu (depending on the specifics of your model). For older models, Advanced Filters are JPEG only; however, on newer models, you can save a RAW file in addition to the JPEG.
So why are the Advanced Filters so obscure and not widely used? Worse, why is it actually detested by some who have tried it? Well, the short answer is that Advanced Filters aren’t “advanced” at all, and are probably the most gimmicky and sometimes cringy thing Fujifilm has included in what are otherwise sophisticated cameras. My personal opinion is that some of the Advanced Filters aren’t half bad, and some are indeed bad and definitely out-of-date; none are especially good (although a couple have potential). Below I’ll briefly explain what each one of the Advanced Filters do. Also, this will serve as an open letter to Fujifilm, with suggestions on how to improve this feature for future cameras.
Here we go!
Toy Camera
Fujifilm X-T50 – Advanced Filters – Toy Camera
Fujifilm describes this Advanced Filter as “a retro toy camera effect”, which is to say that it is roughly modeled after a Holga or Diana film camera aesthetic. The Toy Camera Advanced Filter is ok, but the big issue—and this is a problem with all the filters—is that it cannot be customized. You get what you get, and what you get is mediocre. I have used Toy Camera several times over the years because I like the idea, but I’m always a bit disappointed in the execution.
Fujifilm could make the Toy Camera filter much better by allowing it to be customizable. First, you should be able to choose any film simulation to use with it. Second, the vignetting should be adjustable, such as Weak or Strong, with the current amount being the Strong option. You should be able to add Grain (Weak or Strong, and Small or Large). Soft Focus—which we’ll talk more about in a moment—should be merged into Toy Camera, with the options of Off, Weak or Strong (Strong being the current Soft Focus, and Off being default). You should be able to adjust the contrast: Low, Standard, and High. Finally, Fujifilm should allow you to use any White Balance that you’d like, so that you can control the tint.
Miniature
Fujifilm X-T50 – Advanced Filters – Miniature
This filter adds blur to the top and bottom of the frame, similar to using a tilt-shift lens. When you are photographing from an elevated vantage point, this Advanced Filter can give the illusion that the subject is a miniature model. It’s better to use an actual tilt-shift lens to get this effect, but if you don’t own one, this is an easy way to approximate it.
The Miniature filter, along with many of the others, are modeled after photography trends that were popular 15 years ago. By the time Fujifilm introduced Advanced Filters in 2013, these trends were already on their way out. Now, eleven years later, they’re very dated. While I don’t have any issues with Miniature being included, I also don’t think anyone would mind of Fujifilm axed it, or replaced it with something different entirely. How about a filter that gives an Aerochorme-like infrared aesthetic?
Pop Color
Fujifilm X-T50 – Advanced Filters – Pop Color
Pop Color is my favorite Advanced Filter; however, it suffers from the same problem that they all do—it cannot be customized. The solution for Fujifilm is quite simple, actually: make Pop Color the next film simulation. Obviously it wouldn’t be called Pop Color; instead, Fujifilm should call it Fortia, as it resembles Fujichrome Fortia 50 film. Perhaps they’ll need to fine-tune some aspects of it in some way in order to make it a film simulation—whatever it is that they need to do, I believe that Pop Color absolutely should graduate from Advanced Filters into the film simulation list as Fortia.
High Key / Low Key
Fujifilm X-T50 – Advanced Filters – High Key
Fujifilm X-T50 – Advanced Filters – Low Key
There’s nothing especially special about the High Key and Low Key Advanced Filters—both can be easily replicated using the Provia film simulation. You might occasionally use these two in lieu of having a Film Simulation Recipe programmed into C1-C7 with a similar look, but I don’t believe many people are doing that. Instead, you could use Recipes like Bright Kodak or Low Key for better results.
Fujifilm should replace these two Advanced Filters with something else entirely. How about a split-tone effect? Select any of the film simulations, have three-to-five different split-tone options (highlight and shadow with a different tints), plus have grain and contrast options for further customization.
Dynamic Tone
Fujifilm X-T50 – Advanced Filters – Dynamic Tone
“Dynamic tone expression is used for a fantasy effect,” is how Fujifilm describes it. What it reminds me of is HDR photography with aggressive tonemapping, which was all the rage 15 years ago despite being hideous. This is one that Fujifilm should definitely axe, in my opinion. They could replace it with something like a high-contrast effect, where you can choose any film sim, but where the contrast is stronger than Highlight and Shadow set to +4 (Dynamic Range, White Balance and Grain should be customizable).
Soft Focus
Fujifilm X-T50 – Advanced Filters – Soft Focus
This is kind of like setting Clarity to -20 and Sharpness to -10 on your Fujifilm camera. Obviously that’s not possible, but it it were, Soft Focus is what it would look like. Aside from being much too strong generally speaking, Soft Focus should be integrated into the Toy Camera filter instead of being standalone. A better Advanced Filter might be a faded effect similar to my Film Simulation Recipes that utilize double exposures like Faded Color, Vintage Color Fade, Bleach Bypass, and Faded Monochrome.
Partial Color (Red, Orange, Yellow, Green, Blue, Purple)
Fujifilm X-T50 – Advanced Filters – Partial Color Red
Fujifilm X-T50 – Advanced Filters – Partial Color Green
The six Partial Color filters are the Monochrome film simulation (with everything set to factory defaults), but with one color recorded (either red, orange, yellow, green, blue, or purple—the singular color is the Provia film simulation). This is another effect that was popular 15 years ago, and I’m sure very few utilize it in 2024. If Fujifilm wants to keep Partial Color, they should allow it to be customized similar to how I described for the other effects; however, I doubt that many would miss it if Fujifilm got rid of it entirely. I think a cross-process filter would be much more interesting—perhaps like cross-processed Velvia, with deep contrast, vibrant colors, pronounced grain, and shifted hues. Something along the lines of the picture below, which is actual cross-processed Velvia 50 film.
To conclude, your Fujifilm camera has something called Advanced Filters that are rather mediocre at best and cringeworthy at worst. Pop Color is my personal favorite—it’s the closest your camera can get to straight-out-of-camera Fujichrome Fortia 50—and it should be made into a film simulation so that it can be customized with Grain, Color Chrome Effects, Highlight, Shadow, etc., etc.. Most of the Advanced Filters should be replaced with something else entirely, and I think I offered a number of good suggestions for that (for those keeping score, that’s Aerochrome, Split-Tone, High Contrast, Faded, and Cross Process, plus an improved Toy Camera). If you find yourself bored one day, perhaps try out some of the Advanced Filters for yourself—Pop Color is my recommendation if you’re only going to try one; otherwise, just know that you’re not missing out on much. If you are Fujifilm reading this, I would suggest working right away on new-and-improved Advanced Filters for the next generation of Fujifilm cameras.
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Bell Tower – Tumacacori, AZ – Fujifilm X-T5 – 1960 Chrome
This Film Simulation Recipe was created at the same time as Classic Color, Nostalgic Americana, Eterna Summer, and Astia Azure. These five Recipes were intended to work well together—could all be used in a single series or project—however, 1960 Chrome is the largest outlier of the group. It uses the Eterna Bleach Bypass film simulation, which has high contrast and low saturation, with a slight reddish tint.
The inspiration for 1960 Chrome came from several photographs in various vintage issues of Arizona Highwaysmagazine from the 1960’s. While sometimes the publication provided detailed information on the photographs, sometimes they did not; from the instances where information was provided, the film used appears to be Ektachrome, perhaps from the 1950’s—likely E2 or E3 process. I’m sure the printing process and the age of the magazine play a significant role in the aesthetic as it appears today. In any event, this Recipe has a strong vintage color film aesthetic.
Lake Bridges – Tempe, AZ – Fujifilm X-E4 – 1960 Chrome
This 1960 Chrome Film Simulation Recipe is compatible with all fifth-generation X-Trans cameras, which (as of this writing) are the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50, as well as “newer” X-Trans IV models—specifically, the X-T4, X-S10, X-E4, and X-T30 II. I’m sure it can be used on several GFX cameras, but will likely render slightly different (try it anyway). For X-Trans V, set Color Chrome FX Blue to Off, and for X-Trans IV set Color Chrome FX Blue to Weak.
Film Simulation: Eterna Bleach Bypass Dynamic Range: DR400 Grain Effect: Strong, Large Color Chrome Effect: Strong Color Chrome FX Blue: Off (X-Trans V); Weak (X-Trans IV) White Balance: Fluorescent 1, -2 Red & -4 Blue Highlight: -2 Shadow: -1 Color: +2 Sharpness: -1 High ISO NR: -4 Clarity: -2 ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs captured by my son, Jonathan, using this 1960 Chrome Film Simulation Recipe on a Fujifilm X-E4:
The Canal – Scottsdale, AZ – Fujifilm X-E4
Pipe Bridge – Scottsdale, AZ – Fujifilm X-E4
Hot Wheels – Scottsdale, AZ – Fujifilm X-E4
Yellow Porsche – Scottsdale, AZ – Fujifilm X-E4
The Cross(walk) Roads – Scottsdale, AZ – Fujifilm X-E4
The Lamp in the Tree – Scottsdale, AZ – Fujifilm X-E4
Gunslingin’ Martian – Scottsdale, AZ – Fujifilm X-E4
Strip Mall – Scottsdale, AZ – Fujifilm X-E4
The Back Rooms – Scottsdale, AZ – Fujifilm X-E4
Los Musicos – Scottsdale, AZ – Fujifilm X-E4
Tiled Ball – Scottsdale, AZ – Fujifilm X-E4
Phantom of Scottsdale – Scottsdale, AZ – Fujifilm X-E4
Example photographs, all camera-made JPEGs captured using this 1960 Chrome Film Simulation Recipe on my Fujifilm X-T5:
Yellow House, White Window – Bisbee, AZ – Fujifilm X-T5
Abandoned House & Palm Tree – Arlington, AZ – Fujifilm X-T5
Posts – Arlington, AZ – Fujifilm X-T5
Abandoned Mall Sign – Casa Grande, AZ – Fujifilm X-T5
Gas & Grocery – Casa Grande, AZ – Fujifilm X-T5
Old Hoop – Arlington, AZ – Fujifilm X-T5
Mission Gate – Tumacacori, AZ – Fujifilm X-T5
Bell & Cross – Tumacacori, AZ – Fujifilm X-T5
Shack on the Hill – Tucson, AZ – Fujifilm X-T5
Deer on the Rocks – Saguaro NP, AZ – Fujifilm X-T5
Palo Verde in the Rocks – Saguaro NP, AZ – Fujifilm X-T5
Tilted Saguaro – Tucson, AZ – Fujifilm X-T5
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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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Nature of Architecture – Buckeye, AZ – Fujifilm X-Pro2 – Provia Slide
This Provia Slide Film Simulation Recipe doesn’t necessarily do a great job of replicating real Fujichrome Provia 100F or 400X color transparency film. I did find some examples that weren’t far off at all, but I believe it was more in how they were scanned and edited than anything else. One film can have many different looks based on a whole host of factors, and there is a by-chance resemblance to some Provia 100F pictures, but this Recipe is not a good facsimile for most Provia transparencies. I wasn’t attempting to replicate Provia film, so the similarities that do exist are merely a happy accident. I do believe it has an analog-like slide film aesthetic, even if it’s only a moderately good match for Provia 100F.
More simply, I was going for a Recipe that’s vibrant, based on the Provia film simulation, and uses the Fluorescent 3 White Balance. I chose Provia because I’d like to have more Recipes that are based on the Provia film simulation. I decided on the Fluorescent 3 White Balance because X-Trans III cameras cannot save a White Balance Shift within the C1-C7 Custom Presets, but they will remember one WB Shift per WB type; if each C1-C7 Recipe has a different WB type, then you don’t have to remember to adjust the WB Shift when changing to a different C1-C7 preset. Since there is only one Recipe that uses Fluorescent 3 for X-Trans III (and two for the X-T3/X-T30), I thought it would be good to have another option.
This Provia Slide Recipe is compatible with all X-Trans III cameras: Fujifilm X-Pro2, X100F, X-E3, X-T2, X-T20, and X-H1, as well as the Fujifilm X-T3 and X-T30 (simply set Color Chrome Effect to Off). I’m sure it can also be used on the GFX 50R and GFX 50S, although it will likely render slightly different.
Film Simulation: Provia/STD Dynamic Range: DR200 Grain Effect: Weak White Balance: Fluorescent 3, -1 Red & -8 Blue Highlight: -1 Shadow: +1 Color: +3 Sharpness: -1 Noise Reduction: -4 ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured using this Provia Slide Film Simulation Recipe on a Fujifilm X-Pro2:
Patio Pot – Buckeye, AZ – Fujifilm X-Pro2
Dying Plant – Buckeye, AZ – Fujifilm X-Pro2
Spring Wildflowers & Dead Wood – Buckeye, AZ – Fujifilm X-Pro2
Suburban Bougainvillea Blossoms – Buckeye, AZ – Fujifilm X-Pro2
Closed Sidewalk – Buckeye, AZ – Fujifilm X-Pro2
Green Leaves & Rose Blossom – Buckeye, AZ – Fujifilm X-Pro2
Backlit Tree Leaves Abstract – Buckeye, AZ – Fujifilm X-Pro2
Bright Green Leaves – Buckeye, AZ – Fujifilm X-Pro2
Potted Green – Buckeye, AZ – Fujifilm X-Pro2
Peace & Happiness – Goodyear, AZ – Fujifilm X-Pro2
Water Fountain Rainbow – Buckeye, AZ – Fujifilm X-pro2
Vines in the Arches – Buckeye, AZ – Fujifilm X-Pro2
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Fujicolor 100 Industrial was a color negative 35mm film sold in bulk only in Japan—it’s not the same as the Fujicolor 100 that was widely available worldwide. It has been said that Fujifilm keeps their best film stocks in Japan, and there are two Japanese-only Fujicolor 100 emulsions: one is known as Fujicolor 100 Japan, and the other is Fujicolor 100 Industrial; however, they might be the exact same film—some say they are, while others say they are not (I’m not certain which is true, but I think they might be the same). The “Industrial” part of the name does not mean that it was for photographing industrial buildings, but simply that it was intended for commercial use by corporations who go through a lot of film—Fujifilm did not desire for it to be sold individually, but some did so nonetheless. Fujicolor 100 Industrial was discontinued by Fujifilm in 2020.
This film is unusual because it was made for daylight photography, but it is actually Tungsten-balanced. Fujifilm shifted the dyes so that it looked “normal” when used in sunny conditions. I’m not sure why they did this. Was it an experiment from their lab that they thought was cool but didn’t really know how to market? Is it that Tungsten film is cheaper to produce? I have no idea why, but it does give it a slightly different look than other Fujifilm emulsions.
Ford – Buckeye, AZ – Fujifilm X100VI – Fujicolor 100 Industrial
Back in 2019 I made a Fujicolor 100 Industrial Film Simulation Recipe for the Fujifilm X-T3 and X-T30 cameras, which uses PRO Neg. Std as the base. Ever since I published that Recipe, it has been one of my personal favorites for my X-T30; however, I never adapted it for the newer models. The solution is simple: if you have a Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, X-H2s, X-H2, X-T5, X-S20, or X100VI, set Color Chrome FX Blue to Off, Grain size to Small, and Clarity to 0 (or -2, if you prefer). I have used that adaptation on my X100V, X-E4, and X-T5 a few times, but never made it an official Recipe.
Since the new Reala Ace film simulation is so similar to PRO Neg. Std, I decided to make a version of Fujicolor 100 Industrial using it as the base. I also used the latest JPEG options (that aren’t available on the X-T3 and X-T30) to fine-tune it just a tad more. While this new version of the Recipe isn’t identical to the old, it is still very similar. I like this new one, which uses Reala Ace, a tiny bit better than the old one, which uses PRO Neg. Std., but since they are so similar, you can go with whichever one you personally prefer.
At this time, the only X-series camera that this new Fujicolor 100 Industrial Film Simulation Recipe is compatible with is the Fujifilm X100VI; however, sometime this coming summer Fujifilm will purportedly give the new Reala Ace film simulation to the other fifth-generation models (X-H2s, X-H2, X-T5, and X-S20), so if you have one of those cameras, you’ll be able to use it soon enough. Also, the GFX100 II has Reala Ace, so you can use this Recipe on that camera, but it will likely render slightly differently (try it anyway).
Film Simulation: Reala Ace Dynamic Range: DR400 Grain Effect: Weak, Small Color Chrome Effect: Weak Color Chrome FX Blue: Off White Balance: 3100K, +8 Red & -8 Blue Highlight: +0.5 Shadow: +1.5 Color: -1 Sharpness: -1 High ISO NR: -4 Clarity: -2 ISO: Auto, up to ISO 6400 Exposure Compensation: -1/3 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured using this Fujicolor 100 Industrial Film Simulation Recipe on my Fujifilm X100VI:
Sunkissed Leaves – Buckeye, AZ – Fujifilm X100VI
Sunlight Pouring on the Tree – Buckeye, AZ – Fujifilm X100VI
Easter Bunny – Buckeye, AZ – Fujifilm X100VI
Looking for Hidden Eggs – Buckeye, AZ – Fujifilm X100VI
Main Street Fountain – Buckeye, AZ – Fujifilm X100VI
Oleander Parking – Buckeye, AZ – Fujifilm X100VI
Exit 137 – Buckeye, AZ – Fujifilm X100VI
Two Men at Breakfast – Goodyear, AZ – Fujifilm X100VI
Suburban Roof – Buckeye, AZ – Fujifilm X100VI
Roofline Abstract – Buckeye, AZ – Fujifilm X100VI
Rural Backyard – Litchfield Park, AZ – Fujifilm X100VI
Building in Ruins – Gila Bend, AZ – Fujifilm X100VI
Little Yellow Flower at the Base of a Tree – Buckeye, AZ – Fujifilm X100VI
Small Outdoor Table – Goodyear, AZ – Fujifilm X100VI
Mudflap – Litchfield Park, AZ – Fujifilm X100VI
Palm Shadow on Window – Buckeye, AZ – Fujifilm X100VI
Tower Reflection – Buckeye, AZ – Fujifilm X100VI
Coffee Cove – Buckeye, AZ – Fujifilm X100VI
Patriotic Neighborhood – Buckeye, AZ – Fujifilm X100VI
Lion Spitting Water – Buckeye, AZ – Fujifilm X100VI
Yellow Wall – Gila Bend, AZ – Fujifilm X100VI
Sunset out the Window – Buckeye, AZ – Fujifilm X100VI
Dusk Lamps – Goodyear, AZ – Fujifilm X100VI
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Bougainvillea Day – Buckeye, AZ – Fujifilm X-M1 – “Reminiscent Print”
This Film Simulation Recipe came about as an experiment after reading that film photographers weren’t meant to like the Provia film simulation because they’d find it to be too hard. So, I thought, maybe that’s true, and perhaps I can make it less hard, and more like something that film photographers might find to be “just right” (as Fujifilm put it). It took some trial-and-error, but I do believe that I have succeeded! This is a much, much better “standard” setting than default Provia, and, if you have a background in film photography, you’ll appreciate this recipe.
I find this new recipe to be reminiscent of cheap color negative film shot in point-‘n’-shoot cameras and printed at a one-hour lab, probably on Fujicolor Crystal Archive paper. It’s not intended to resemble that, but to me it does. I’m reminded of the 4″ x 6″ prints from 20+ years ago that are sitting in a box in the closet, or are carefully arranged in a photo album at my parent’s house. That’s why I call it Reminiscent Print.
Classic Car Denim – Goodyear, AZ – Fujifilm X-M1 – “Reminiscent Print”
This Reminiscent Print Film Simulation Recipe is compatible the Fujifilm X-Pro1, X-E1, and X-M1 cameras. Those with X-Trans II and Bayer cameras can also use it, although the results will be just a little different. This was a Fuji X Weekly App Patron Early Access Recipe, but now it’s available to everyone.
Provia Dynamic Range: DR400 Highlight: -2 (Low) Shadow: -2 (Low) Color: +1 (Medium-High) Sharpness: -1 (Medium-Soft) Noise Reduction: -2 (Low) White Balance: Auto, -4 Red & -1 Blue ISO: Auto, up to ISO 3200 Exposure Compensation: -1/3 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured using this Reminiscent Print Film Simulation Recipe on my Fujifilm X-M1:
Pier Post – Litchfield Park, AZ – Fujifilm X-M1– Photo by Jonathan Roesch
Light & Water – Litchfield Park, AZ – Fujifilm X-M1 – Photo by Jonathan Roesch
Fine Morning for Fishing – Litchfield Park, AZ – Fujifilm X-M1 – Photo by Jonathan Roesch
Line in the Lake – Litchfield Park, AZ – Fujifilm X-M1 – Photo by Jonathan Roesch
Pier Reflections – Litchfield Park, AZ – Fujifilm X-M1 – Photo by Jonathan Roesch
Better Days Behind – Litchfield Park, AZ – Fujifilm X-M1
Church Bells – Litchfield Park, AZ – Fujifilm X-M1
Unlit Canopy – Buckeye, AZ – Fujifilm X-M1
Red Bougainvillea Blossoms – Buckeye, AZ – Fujifilm X-M1
Backyard Bougainvillea – Buckeye, AZ – Fujifilm X-M1
Autumn Orange – Litchfield Park, AZ – Fujifilm X-M1
Oranges – Litchfield Park, AZ – Fujifilm X-M1
Bucket Blossom – Buckeye, AZ – Fujifilm X-M1
Pink Rose Bud – Buckeye, AZ – Fujifilm X-M1
Peace & Minecraft – Buckeye, AZ – Fujifilm X-M1
Ball Toss – Buckeye, AZ – Fujifilm X-M1
All the World’s a Stage – Buckeye, AZ – Fujifilm X-M1
Round Window – Pismo Beach, CA – Fujifilm X100V – Kodak Tri-X 400
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 (March 2024).
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—in fact, 17 of the 25 below are Classic Chrome Recipes. X-Trans IV Recipes, especially for the X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras, tend to be the most popular, although I see a spike in interest in X-Trans V.
Reflection of a Broken Door – Litchfield Park, AZ – Fujifilm X-E4 – Fujicolor 100 Gold
For the month of March, there weren’t too many surprises, but there were a few. Fujicolor Natura 1600 jumped right up into the Top 10 despite being new; Bright Summer doesn’t usually rank high enough to make these lists, but suddenly jumped all the way to number nine. Some Recipes dropped—for example, McCurry Kodachrome fell from number four to number sixteen. As usual, the rankings moved around compared to the previous month.
Without any further delay, below are the most popular Recipes of last month!
Top 25 Most Popular Film Simulation Recipes of March 2024
A Classic Chrome based Recipe for X-Trans IV cameras that is the long-time most popular Film Simulation Recipe for Fujifilm cameras. In February it was number two—a rare occurrence—but now it is back in the top spot.
A Classic Chrome based Recipe for X-Trans IV cameras that is almost always number two in these types of lists. In February it briefly slipped to number three; however, for March it returned to its usual second place.
Reala Ace is the most popular Classic Negative based Recipe, and the most popular Recipe for X-Trans V cameras. It was ranked number one in February, but slipped to third place for March.
Published at the very end of February, Fujicolor Natura 1600 was quite surprisingly the second most popular Classic Negative based Recipe in March. This one is for X-Trans V models, but there is a version for X-Trans IV.
This version of Kodak Portra 400 was commonly the third most popular Film Simulation Recipe on Fuji X Weekly for a long time; however, it’s been slowly slipping over the last half a year or so. Last month it was ranked one spot higher.
Bright Summer—another Classic Chrome based Recipe—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, so it’s surprising that it is suddenly in the Top 10.
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 number nine last month.
Pacific Blues used to be the highest-ranked Classic Negative based Recipe, but in March it was third. This particular one is compatible with X-Trans IV models, but there is an X-Trans V version. It fell one spot compared to February.
This had been an App Patron Early-Access Recipe for a long while, but in March it became available to everyone, and quickly shot up to number fourteen. It is the fourth most popular Classic Negative based Recipe currently.
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 #10 last month—this is the first time that I remember it not being in the Top 10.
This is a fairly 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 #4, so it fell quite a bit in March.
This is the original Kodak Portra 400 Recipe, and is compatible with X-Trans III cameras. This used to be commonly in the Top 10, but has been very slowly falling over the last year. It was number fourteen in February.
A Classic Negative based Recipe that’s compatible with X-Trans V cameras (there’s also an X-Trans IV version). It was ranked #21 last month, and has been slowly rising.
Closed – Litchfield Park, AZ – Fujifilm X-T5 – PRO Negative 160C
After discovering that the new Reala Ace film simulation is a version of PRO Neg., and is similar to both PRO Neg. Hi and PRO Neg. Std, I decided that I wanted to replicate as closely as possible my first Reala Ace-based Film Simulation Recipe—PRO Negative 160C—for those camera that don’t have the new film simulation. Right now Reala Ace is only available on the Fujifilm X100VI (and GFX100 II), but Fujifilm has stated that they will be bringing it to the other fifth-generation models (X-H2s, X-H2, X-T5, and X-S20) sometimes this summer.
For whatever reason, PRO Neg. Std seems to work easier for replicating the Reala Ace film sim than PRO Neg. Hi, but they are both in the general neighborhood. Obviously Fujifilm didn’t make Reala Ace identical to either, and it is its own unique profile. With that said, it’s possible to get fairly close to it using either PRO Neg. Hi or especially PRO Neg. Std; however, the PRO Negative 160 Film Simulation Recipe has Color set to +4, which meant that only PRO Neg. Hi could be used, as Std doesn’t have enough vibrancy.
Blossom Vine – Buckeye, AZ – Fujifilm X-E4 – PRO Negative 160C
This PRO Negative 160C Film Simulation Recipe, which uses PRO Neg. Hi, is not a perfect match to the original version that uses Reala Ace, but is probably 90-95% similar. I like the Reala Ace one just a little more, but if your camera doesn’t have that as an option, this is a good alternative. This new version is compatible with (as of this writing) the Fujifilm X-T4, X-S10, X-E4, X-T30 II, X-H2s, X-H2, X-T5, X-S20, and X100VI. For the X100VI, I recommend using the Reala Ace version and not this one, but you can choose whichever you personally prefer.
Film Simulation: PRO Neg. Hi Dynamic Range: DR400 Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome FX Blue: Weak White Balance: Auto, +1 Red & -3 Blue Highlight: +0.5 Shadow: -1.5 Color: +4 Sharpness: -1 High ISO NR: -4 Clarity: -2 ISO: Auto, up to ISO 6400 Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured using this PRO Negative 160C Film Simulation Recipe on my Fujifilm X-E4 & Fujifilm X-T5:
Mountain Sunset from a Car Window – Patagonia, AZ – Fujifilm X-T5
Patagonia Lake – Patagonia, AZ – Fujifilm X-T5
Lake Boat – Patagonia, AZ – Fujifilm X-T5
Pigeon in a Tree – Bisbee, AZ – Fujifilm X-T5
Josh at the Park – Buckeye, AZ – Fujifilm X-E4
Rolling – Tempe, AZ – Fujifilm X-E4
Abandoned Trailer Home – Arlington, AZ – Fujifilm X-T5
Abandoned Home in the Desert – Arlington, TX – Fujifilm X-T5
I Spy With My Little Eye… a Cat – Palo Verde, AZ – Fujifilm X-T5
No Parking, One Way – Buckeye, AZ – Fujifilm X-E4
End of the Road – Litchfield Park, AZ – Fujifilm X-T5
Hall’s – Arlington, AZ – Fujifilm X-T5
Four Palm Trees – Palo Verde, AZ – Fujifilm X-T5
Spiky Arms – Saguaro National Park, AZ – Fujifilm X-T5
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