Just a quick update about tomorrow’s show: it will now be at 9:00 AM Pacific Time, 12:00 noon Eastern. This is one hour earlier (or 13 hours, if you count my mistake of using PM instead of AM… what an error!). So just to clarify, it will be 9:00 AM Pacific, 10:00 AM Mountain, 11:00 AM Central, and 12:00 noon Eastern. You can find the show on the SOOC Live YouTube channel, or by clicking here. I’ve also included it below. I hope that you can join us! And I apologize for the time mixups and changes.
Fujirumors just posted today that Fujifilm is working on “a dial that lets you choose an era-inspired look for your images.” This will be for some upcoming camera. It sounds like this new dial might be similar to the Film Dial, except instead of Film Simulations (and Film Simulation Recipes on FS1/FS2/FS3 for the X-E5 & X-T30 III), it will be aesthetics that mimic specific eras of photography, presumably something like 1950’s, 1980’s, etc.. So not a Film Dial, but a Film Era Dial.
My best guess is that this will be on the next X-Pro camera, which Fujifilm is working on. I suspect that this camera will be the next model that Fujifilm announces, and it will come early next year. This is simply the first of many rumors we can expect for the X-Pro4 (I’m predicting that it will be called X-Pro5) over the next few months. This is merely speculation, of course, and I have absolutely zero inside information. I do know that Fujifilm wants to do something unique and unexpected with the next X-Pro (they’ve said so a few times now), and this would certainly qualify as that.
I can only guess how the Film Era Dial might work, but it will likely be similar to the Film Dial on the X-E5. Perhaps it will have nine or ten or eleven “eras” plus an Off position. These eras, which will likely be divided by decades, will probably be similar to Recipes, except designed by Fujifilm and not customizable. In this way it could be more like Advanced Filters, which aren’t customizable—you get what you get—but probably more refined and sophisticated, something you’d definitely want to use (in other words: built-in—but not customizable—Recipes). Maybe it’s also a bit X half-ish, with the idea being that it’s super easy to get great retro-like looks straight-out-of-camera. If that’s all true, I’m disappointed to not have been invited to be a part of the creation process; however, I do trust that Fujifilm will do an excellent job with it.
So what does “Film Eras” look like on Fujifilm cameras? It can be different things, but I do have an idea. For example, Sepia prints were popular in the 1920’s; Faded Monochrome gives a nod to really old B&W prints; Vintage Kodachrome mimics an early version of Kodachrome film; Vintage Agfacolor has a 1950’s look; 1960’s Chrome resembles pictures found in magazines during that era; 1976 Kodak is similar to some Joel Meyerowitz photographs from the mid-’70’s; Kodacolor has a distinct ’80’s vibe; Kodachrome 64 was an extremely popular (and iconic) film in the 1990’s; Fujicolor Superia 800 has a 2000’s disposable-film-camera quality; Kodak Portra 400 v2 mimics a Portra 400 aesthetic, a popular film in the 2010’s; and the new Reala Ace film sim has been called the “negative for the new era” so it makes sense to use a Recipe like Fujicolor Film for the 2020’s. I could make probably four or five unique lists like this that demonstrates “photography through the decades” aesthetics using my different Film Simulation Recipes.
I like the general idea of a Film Era Dial, and if anyone can pull it off it’s Fujifilm. I’ll reserve my full judgement until it is released, presumably on the upcoming X-Pro5 early next year. I don’t anticipate it being perfect; the Film Dial isn’t perfect, but it is good, adding aesthetic versatility if you know how to get the most out of it (tune into SOOC Live this coming Monday, as this will be the topic of our conversation). I wonder if the Film Dial will be unique to fifth-generation cameras, and the Film Era Dial will be unique to sixth-generation models. Time will tell.
If you like the idea of the Film Era Dial, you don’t have to wait for it. Simply program into your C1-C7 Recipes for different decades. I gave you some ideas above; perhaps this could turn into a series of articles. Maybe I can give some specific recommendations for each era. What do you think? Is a Film Era Dial a good idea? Let me know your thoughts in the comments!
***Correction: Note the new times. The show will now be at 9:00 AM Pacific, 12:00 noon Eastern.***
Wow, it’s been 11 months since the last episode of SOOC Live! Time sure does fly. It’s not for lack of trying that so much time has passed; our schedules just didn’t work out for most of 2025. But, as a holiday gift to you, Nathalie Boucry and I will be hosting a live broadcast on Monday, November 24th, at 9:00 AM Pacific Time, 12:00 noon PM Eastern. I really hope you can join us!
In this episode, we’ll be discussing one of Fujifilm’s most controversial features: the Film Dial. We’ll talk about the good and the bad, and—much more importantly—how to get the most out of it. If you own a Fujifilm X-T50, X-M5, X-E5, or X-T30 III, this is a must-watch episode; if you don’t own one of those models, but are curious about the Film Dial, be sure to tune in. I look forward to chatting with you live on November 24th!
In other news, I just released an update to the Fuji X Weekly App on Android, which fixes the bug that the app will crash when tilted vertical (landscape) on some operating system versions. It was a weird bug that I believe may have been introduced on version 14. Basically, some coding that worked flawlessly on earlier versions no longer worked on newer operating systems. Usually when a new OS update is released, it screws something up unexpectedly. Sometimes it’s a little thing that’s not a big deal; other times it’s a major problem. It took some serious troubleshooting to find and fix this particular issue. This was only for Android, and did not affect iPhones. A special “thank you” to those who reported the problem and helped troubleshoot it!
I’m also working on a fairly significant app update that hopefully will be ready next month sometime. I can’t give away the details yet, but I think many of you will really appreciate aspects of it. I’m constantly working on updates to the Fuji X Weekly, Ricoh Recipes, and RitchieCam apps (even though it may not always seem like it)—between the apps and this website, I stay really busy. I have a lot of various things in the air, which I can’t wait to share when the time is right—hopefully some will be sooner than later. Some things may not ever work out, that’s the way it goes sometimes and that’s ok. Anyway, if you have time on Monday, be sure to join Nathalie and I on YouTube, I’m really looking forward to chatting with you!
I just got back into town from an epic 10-day trip. I’ve been up since 1:30 AM, so I apologize for the typos that will inevitably be found in this article. This is a followup to my last post, which I wanted to write while traveling, but it just didn’t work out. The basic premise of this is simple: if I were to design the ultimate Film Dial for Fujifilm, what would that look like?
Fujifilm introduced the Film Dial on the X-T50 about a year-and-a-half ago. They included one on the X-M5. The upcoming X-T30 III will apparently have one, too. The Fujifilm X-E5 also has one, although implemented slightly differently. It’s safe to say that the Film Dial is sticking around for awhile, and for good reason: it places one of Fujifilm’s most important and beloved features in a highly visible and easily accessible position on the camera. The initial implementation of it is good, but certainly not perfect. There’s room for improvement, and I believe Fujifilm is working towards that. As they make it better, don’t be surprised to find it on more and more models in the future.
Going forward, I believe there will be two variations of the Film Dial: knob and wheel. The knob version is found on the X-T50, X-M5, and the upcoming X-T30 III; the wheel version is currently only on the X-E5, but it could be included on the eventual X-Pro3 successor, as well as the someday X100VII. They’re similar, but not identical—the knob version has eight Film Simulations (plus three custom slots, as well as “C” which is Off), while the wheel version has only six Film Sims. The wheel Film Dial has the ability to save Recipes into FS1/FS2/FS3, and hopefully that functionality comes to the knob version at some point.
Fujifilm X-E5 & 23mm f/2.8 – Great Smoky Mountains NP, TN – Velvia Film (Film Dial Recipe)
Whether we’re talking about the knob or wheel Film Dial, very simply it could be made much better. Perhaps this is something Fujifilm will consider for X-Trans VI, which will likely debut next year. The Film Dial should have the ability to save Film Simulation Recipes for each Film Simulation, and not just FS1/FS2/FS3. Undoubtedly, it can be done. It could even be done retroactively for the X-T50, X-M5, X-E5, and X-T30 III via a firmware update, probably somewhat easily.
For the most ideal setup, though, I would take it a step further. Each Film Simulation should have the ability to store up to three Recipes. You could program three different Velvia Recipes into the Velvia slot, for example. To select which one of the three you want would be via a switch, maybe around the knob (for the knob version) or on the back of the camera (for the wheel version). It would have Recipe 1, 2, 3, Off as the options. Recipe Off would simply mean that the Film Dial would function as it does now, where it changes the Film Simulation and nothing else. Whatever JPEG parameters are programmed into the IQ Menu set is what it would default to, aside from (of course) the Film Simulation. Recipe 1, 2, 3 would be which of the three Recipes you want to use. If a Recipe hasn’t been programmed into that slot, the camera would prompt you to add one. These Recipes should have the ability of a custom name, so you can remember which is which.
FS1/FS2/FS3 would no longer need to take up three positions on the Film Dial; instead, you’d have FS-C, and the Recipe 1, 2, 3 switch would determine which FS1/FS2/FS3 you have selected (Recipe Off with FS-C selected would default to whichever Film Simulation you have set it to be within the camera’s menu). Also, the C position would no longer be necessary, opening up three Film Dial positions for Film Simulations that were previously left out. For the knob version, that might be PRO Neg (selecting either Hi or Std from within the menu), Eterna Bleach Bypass, and Monochrome; for the wheel version, it would likely be PRO Neg (again, selecting either Hi or Std from within the menu), Classic Negative, and Nostalgic Neg..
Fujifilm X-E5 & 23mm f/2.8 – Great Smoky Mountains NP, TN – Kodak Pro 400
Since this setup would allow users to program up to 30 Recipes on the wheel Film Dial, and up to 36 Recipes on the knob Film Dial, Custom Settings presets (C1-C7 on most cameras, C1-C6 on some, and C1-C4 on others) would no longer be necessary for Recipes. In other words, Fujifilm should not include the IQ Menu options within Custom Settings presets. You’d still have C1-C7, for example, but it would be focus settings and sound settings and things like that, and not Recipe settings. This would solve an issue that a lot of people have vocalized about how Custom Presets currently work, while also greatly increasing the number of Recipes that can be programmed into the camera at any one time. It’s a big win-win.
There are a few other things that Fujifilm should do. First, when it comes to Acros and Monochrome, there needs to be a way to switch between the +Ye, +R, and +G filter options quickly and easily when using the Film Dial. Maybe a customizable Fn button? Second, the camera should come factory-default with Recipes programmed into the Recipe 1 position for all of the Film Simulations (except, perhaps, for FS1). It could be Recipes that Fujifilm themselves have created, or they could tap into the community for this (I’d be happy to help). Lastly, there should be a way to transfer Recipes directly from your phone to the camera (again, I’d be happy to help).
That’s how I believe the Film Dial should most ideally be implemented. It would greatly increase the number of potential Recipes available in-camera, and it would solve a menu problem that many have complained about. Not everyone will love it (particularly the anti-Film Sim, RAW-only, JPEG-never types), but I’m confident that most people will appreciate it, and it would certainly be a major selling point for whichever cameras have the Film Dial.
Fujifilm’s Film Dial is probably the third most controversial design decision from the brand. First is the entirety of the X half camera, which has a vertically orientated sensor and frame advance lever. Second is the backwards-mounted rear LCD on the X-Pro3. Unlike the other controversies, the Film Dial is not just found on one model, but three (soon to be four) with certainly more to come in the future. With these contentious features, it’s understandable that people have mixed reactions.
Some people love the Film Dial. Some people could take-it-or-leave-it and its inclusion or exclusion is unimportant. Some people don’t mind it, but would prefer a different dial instead. And some people just loathe it.
Fujifilm had sent me an X-T50 to try out prior to its announcement. I didn’t know what the Film Dial was—it looked cool, but how do you use it? Initially, I didn’t really like it. I shoot with Film Simulation Recipes, and most Recipes work well with one specific Film Simulation and not nearly as well with others. Since the Film Dial (except on the X-E5… we’ll get to that later) only changes the Film Simulation and nothing else, it seemed like a useless feature to my photography. But then I had an epiphany: what if there was a “universal” Recipeor two, which was specifically designed for use with any and all Film Simulations? The Film Dial would become an important tool for maximizing in-camera picture aesthetics. So I went from disliking it to loving it rather quickly.
I think some of the criticisms are valid. Is a Film Dial more useful than a Drive Dial or ISO Dial? Fujifilm has never replaced an ISO Dial with a Film Dial, and I hope they never do. Complaining that a Film Dial was implemented instead of an ISO Dial is a little silly since the camera lines in question never had an ISO Dial in the first place. Still, of the two potential knobs, many people would prefer ISO over Film Simulation, and perhaps that is something Fujifilm should take into consideration. Fujifilm has replaced the Drive Dial with the Film Dial, and, for those who commonly use the Drive Dial, I can see how that might be annoying. Instead of a knob on top, Drive is now a button like on the X-E, X100, and X-Pro series. Most ideal might be to use a dual knob like the ISO/Drive dial on the X-T series (except Film Simulations instead of ISO), but Fujifilm hasn’t tried that yet—who knows, they might at some point. I don’t think this is a big deal for most people, but it is understandable. There was a similar sentiment when the four-way D-Pad was removed on most models, and it turned out that the majority acclimated without much heartache. My guess is that the lack of a Drive Knob on certain models will prove to be rather trivial in the long run.
The majority of complaints are from the loathers. They really hate the Film Dial and don’t even want to see it when they look at their camera. It bothers them deeply. Some even claim that they’ll leave the brand over its inclusion. It’s like kryptonite or something. I find this very, very strange. It’s weird. The main issue seems to be that the Film Dial is something they’d never, ever use. They dislike Film Simulations so much that they don’t want anyone to even think that they might (gasp!) use one. Of course the irony is that, outside of some drastic measures, they’re using one: Provia. That’s how their camera sees the world, and where their RAW edits begin. Yes, they can manipulate the files any which way and make any number of unique adjustments, but you have to admit that using Provia has at least a small influence over the final edited photo. Almost all of the Film Simulation haters are using a Film Simulation if they shoot a Fujifilm camera, but they’re either ignorant to that fact or they’re fully aware and are just being dishonest.
For (nearly) the last 15 years, many people have been buying and using Fujifilm cameras without digging into the menus, and as such never ventured beyond the Provia/STD Film Simulation. I’ve had a number of people tell me this. They’ve owned many Fujifilm cameras over the years, and never bothered to change the various IQ Menu items like Film Simulation, Dynamic Range, Color, etc., etc., until recently. When people say that they don’t use Film Simulations, what they often mean is that they’ve never tried anything other than Provia. They don’t know what they’re missing, and perhaps they don’t realize that it can be beneficial to their photography.
For example, a strictly RAW photographer might dismiss Film Simulations (and only use Provia), but not realize that a different Film Simulation might help them to better pre-visualize the shot. Perhaps a different Film Simulation is a closer aesthetic match to their style, and seeing the scene in those colors might help them, and maybe even improve their photography. I know of several photographers—some fairly well known—that use Recipes for this purpose. They’re not JPEG photographers—they RAW edit, and a couple even sell Lightroom presets—but the Recipes help them to visualize the finished photo while in the field, which helps them produce better pictures. Those who dismiss Film Simulations forfeit this great tool.
There’s no right or wrong way to do photography. There’s no right or wrong way to use Film Simulations or Recipes (I’m surprised sometimes how people use Recipes, occasionally in very unexpected ways). Do what works best for you, whatever that is. If you only ever want to use Provia and factory-default IQ settings, that’s cool. I just don’t understand the disdain that some have for the other Film Sims, and (more importantly) for those who appreciate them. There shouldn’t be such hate. There are some buttons that I never use on some of my cameras, and I don’t look at those buttons with disgust or think less than of people who do use them—it would be ridiculous of me to do so. How silly and strange would that be! Yet there are people who do just that when it comes to the Film Dial, and are very open about it, plastering it across the internet.
A long-time Fujifilm photographer told me recently that he never bothered with the various Film Simulations because he shoots RAW and didn’t see the point in trying them. Then he purchased a Fujifilm X-T50. Seeing the Film Dial on the top of the camera made him curious, so he began to try the different Film Sims, and he realized that he likes some more than Provia, especially Classic Negative. Eventually this led him to find Film Simulation Recipes, and he begun shooting JPEGs for the first time. He told me that none of this would have happened if the camera had a Drive Dial instead of a Film Dial. That’s why Fujifilm is putting one of their greatest assets—their amazing in-camera profiles—right on top of their cameras for all to see, and super convenient to use. It was such a great move by the brand.
The Film Dial isn’t perfect, though. First, the X-T50 and X-M5 (along with the upcoming X-T30 III) should have the ability to save Recipes into FS1, FS2, and FS3, just like the Fujifilm X-E5. I really hope Fujifilm does that. Second, why can’t all of the Film Simulations on the Film Dial have the ability to save Recipes? I should be able to program a Provia Recipe, a Velvia Recipe, an Astia Recipe, a Classic Chrome Recipe, etc., etc., into the various slots on the dial. That would be strongly welcomed by a large portion of Fujifilm’s customers. Third, Classic Negative was inexplicably left off the X-E5 Film Dial; I know that not every Film Simulation can make the cut, but Classic Negative should have been included. There’s room for improvement, and I think Fujifilm is working towards making it better.
Personally, I like the Film Dial and appreciate seeing it on more and more cameras. It can be quite useful, especially when paired with a “universal” Recipe. And it will only improve with time. Those who complain about the Film Dial, there’s validity to some of the criticisms and Fujifilm should ponder those; however, some criticisms are just plain silly. Those who say that it’s dumb or garbage or makes them feel sick or want to change brands—I just don’t get it. Nobody said that you have to use the Film Dial (simply keep it set to C), or even that you have to buy a camera with a Film Dial. Nobody is forcing you to do it. And the world doesn’t revolve around you, anyway. People use cameras in all sorts of ways, and all of those ways are valid. Fujifilm has no obligation to make a camera for your preferences and your preferences alone. To think otherwise is strange and narcissistic. The Film Dial is not kryptonite, and you’re not Superman. It can be a useful tool if you take a moment to figure out how to best utilize it for your photographic circumstances—even if you’re a strictly RAW shooter who dislikes Film Simulations, it can be used to your advantage. For the JPEG photographer, it adds significant straight-out-of-camera aesthetic versatility. In other words, the Film Dial is awesome! I think it’s quite smart for Fujifilm to prominently place it on particular cameras, like the X-T50, X-M5, and X-E5.
Fujifilm recently loaned me an X-E5 to try out for a week or so. I also got to play with one at the B&H BILD Expo last month, so I was already a bit familiar with the camera before it arrived in the mail. Included with the X-E5 was the brand-new Fujinon 23mm f/2.8 pancake lens, so I’ll also be discussing that in this review, too. Let’s dive right in!
The Fujifilm X-E5 is actually the sixth X-E camera. The X-E1, released in 2012, was the very first, and the third X-series model overall, with only the X100 and X-Pro1 predating it. The X-E2 came out only one year later, followed by the nearly identical X-E2s in 2016. A year after that, Fujifilm released the X-E3, which saw the first significant design change (although it was still pretty similar). The X-E4 came out in 2021, which was the most different, with an emphasis on minimalism, compactness, and affordability; however, it was still similar overall. We have another significant design change with the X-E5, yet it still retains the distinctive look of an X-E series model.
With the X-E5, Fujifilm quite noticeably improved the construction quality—for example, the top plate is a single piece of machined aluminum, and the camera seems less plasticky overall. It just feels more sturdy, more premium, more refined than the X-E4. With a pancake lens attached—like the new 23mm f/2.8—the camera closely resembles an X100VI, which was clearly intentional. The X-E5 is essentially an interchangeable-lens X100VI; for those who have asked for such a camera: here it is! The two models aren’t exactly the same, and they each have their advantages and disadvantages, but they’re certainly similar enough to justify the comparison.
I don’t want to dive too deeply into the specs, but some important notes are that the X-E5 has the same 40-megapixel X-Trans V sensor and processor as the X100VI, X-T50, and X-T5. Like those models, the X-E5 also has IBIS. This is a camera capable of capturing high quality photos and videos. Not surprising, the X-E5 is also much more expensive—plus a tad larger and heavier—than its predecessor.
Like the X-T50 and X-M5, the X-E5 has a Film Dial, although it’s implemented a bit differently. Instead of a knob, it’s a wheel on the back, with a little window on the top plate. This is a really cool design; however, there is a downside: it has fewer Film Simulations. The X-T50 and X-M5 have only eight of the 20 Film Sims on the knob, with three customizable slots for your favorites that were left out; the X-E5 has only six Film Simulations, with three customizable slots. The six Film Sims on the dial are Provia, Velvia, Astia, Classic Chrome, Reala Ace, and Acros. Somehow—shockingly and inexplicably—Classic Negative was left out, as was Nostalgic Negative. I know that not all of them could make the cut, but I definitely question why Classic Negative was not included—seems like a sin.
The three customizable slots—called FS1, FS2, and FS3—can be set to any Film Simulation. In addition to that, they can also be customized into Film Simulation Recipes (functionality that should be—and hopefully will be—brought to the X-T50 and X-M5 via a firmware update). This is the very first time that Fujifilm has used the term “Recipe” in a camera—amazing! You can have 11 different Recipes programmed into the X-E5: seven within the C1-C7 Custom Settings presets, one in the IQ Menu set, and three on the Film Dial. The Film Dial also works well with my Universal Negative and Film Dial Recipes, providing extra aesthetic versatility. Only the C1-C7 Recipes can be custom named, so you have to remember what the other four are.
While this is certainly a welcome evolution of this feature, it could be made even better. For example, all of the Film Simulations should have the option for Recipes, and not just FS1/FS2/FS3. One issue with this UI, though, is that Recipes are scattered: some in Custom Settings presets, some on the Film Dial, and one in the IQ Menu. I think, more ideally, you’d find them all in one place. A lot of Fujifilm users would appreciate a Custom Settings Dial instead of a Film Dial, with maybe C1-C9 or C1-C12 (more is better). There are a lot of different ways that this could be addressed, and it’s something that should be addressed for future models. Still, the opportunity to have three extra Recipes programmed into the camera at any one time is quite nice, and I’m thankful for it. This is the main reason why I preordered this camera, even though I own an X-E4 that I really like.
Included with the X-E5 was the new Fujinon XF 23mm f/2.8 R WR pancake. This lens is very similar to the Fujinon 27mm f/2.8 R WR, which happens to be one of my absolute favorite lenses. I’ve been saying for years that Fujifilm should have more pancake lenses in their lineup, since a major selling point of Fujifilm cameras are their compact size and minimal weight. A camera like the X-E5 paired with a handful of tiny pancakes is ideal for traveling. This particular camera and lens combo is especially great for everyday walk-around photography.
The lens is sharp with minimal flaws. It has great close-focus capabilities; it’s not a macro-lens by any means, but with 40mp to crop from, it’s possible to use it for near-macro photography. From a technical point-of-view (and mind you, I didn’t do any serious testing), it’s pretty darn good for what it is, a marvel of engineering; from an artistic point-of-view, it seems to lack a little of the magic (a.k.a. character) that the 27mm f/2.8 and 23mm f/2 lenses are known for. Like the 27mm, it isn’t the quietest Fujinon lens. If you are trying to decide between the 23mm f/2.8 and the 27mm f/2.8, that’s going to be a tough call—personally, I like the 27mm just a bit more; however, the close-focus capabilities of the 23mm is certainly a significant plus. If you are trying to decide between the 23mm f/2.8 and 23mm f/2, that’s also going to be difficult, and your decision might come down to just how small is small enough for you. If you are buying the Fujifilm X-E5, it seems like an easy choice to get it bundled with the 23mm f/2.8, since it’s only $200 more when the lens itself is $500—if you have no intentions of keeping it, just turn around and sell it for $450, which makes the camera more affordable.
Ants & Funyun – Tucson, AZ – Fujifilm X-E5 & 23mm f/2.8 – Kodachrome 64
Getting back to the X-E5, the camera has a couple of really cool features, but you can only use one of them, and not both. The first, which is borrowed from the GFX100RF, is called Surround View Mode. It allows you to see outside of the frame when using an aspect ratio other than 3:2, giving a faux optical viewfinder experience (sort of). This is particularly nice when using the 1:1 aspect ratio. The XPan ratio would have been a great addition, but (sadly) it’s still missing on X-series models. The second feature is called Classic Display Mode, which turns the EVF into a really cool retro 1980’s-inspired display. I like both, but I couldn’t figure out how to activate the Classic Display Mode for some time—eventually I asked a Fujifilm tech rep for help. As it turns out, if Surround View Mode is activated, even when using the 3:2 aspect ratio, Classic Display Mode is disabled (and vice versa). Fujifilm: I suggest that Surround View Mode be automatically disabled when in the 3:2 aspect ratio, so that Classic Display Mode can be used; when changing aspect ratios to anything other than 3:2, if Surround View is activated, it would automatically disable Classic Display. This way, you don’t have to jump through hoops to use both of these cool new features.
While the X-E4 saw a lot of buttons removed in the name of minimalism, Fujifilm gave them to the X-E5 in spades. Just the new front control lever alone allows for five customizable functions. The inclusion of the rear command wheel and M/C/S switch means that you shouldn’t be short of camera controls, no matter how many functions you need quick access to. Those who disliked the direction of the X-E4 should especially appreciate its successor.
What else can I tell you about the Fujifilm X-E5? It isn’t weather-sealed (although it seems to have some level of weather resistance—I wouldn’t put it under a faucet, though). It uses the “old” NP-W126S battery. I expected that, as those things would have increased the size, weight, and cost even more. The X-E5 is definitely more premium than previous X-E cameras. I had suggested that Fujifilm prioritize size, weight, and cost by keeping it nearly the same as the X-E4; however, my opinion was clearly in the minority. Most people asked for an interchangeable-lens X100VI, and the X-E5 is as close to that as you’re likely ever going to get. It’s a very nice camera.
It comes with a “nice” price tag, too. In America, it’s $1,700 for the body-only, and $1,900 when bundled with the new 23mm pancake lens. That’s pretty shocking, especially when it’s double the price of the X-E4; however, keep in mind that inflation and tariffs have impacted the price in addition to the more expensive components that Fujifilm used in the camera. Interestingly enough, the X-E1 was $999 in 2012, which is about $1,400 in today’s dollars; add to that tariffs, and you’ve pretty much got the X-E5 price tag, never mind the 40mp sensor, IBIS, and better build quality. While it seems expensive, it is not an entry-level model. And with Fujifilm raising the price (in America) of the X100VI to $1,800, the X-T50 to $1,600, the X-T5 to $1,900, the MSRP of the X-E5 makes a little more sense. I do think it’s worthwhile to buy at $1,700, which is why I have it preordered bundled with the 23mm f/2.8 lens.
Mission San Xavier del Bac – Tucson, AZ – Fujifilm X-E5 & 23mm f/2.8 – Kodak Vericolor VPS
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This article pits the Fujifilm X-T50 and Fujifilm X-T30 head-to-head on an autumn photowalk in Ann Arbor, Michigan. Just to warn you, this will likely be the most unfair camera comparison anywhere on the internet. Nonetheless, I hope that you find it worthwhile, or at least enjoyable.
Fujifilm introduced the X-T30 in February of 2019. It features a 26mp X-Trans IV sensor, and was Fujifilm’s mid-tier SLR-styled camera until it was replaced by the nearly identical X-T30 II in November of 2021. Fujifilm announced the X-T50 in May of this year. It features a 40mp X-Trans V sensor and IBIS, as well as the contentious Film Dial. While it is not the X-T30 II’s successor (I assume that means an X-T30 III is a possibility in the future), the two models are clearly in the same family. They are similar in size and design, but the X-T50 is slightly larger and heavier (to accommodate IBIS), with rounded corners and is more expensive. According to the spec sheets, the X-T50 is better in pretty much every aspect, but not necessarily by leaps and bounds. Overall, these two cameras are pretty similar for stills photography; however, for video, the X-T50 is the winner.
This last Saturday, Bryan Minear and I cohosted a photowalk in Ann Arbor in conjunction with PROCAM and Fujifilm. We had an excellent turnout: I counted 48 people, including myself and Bryan. The weather was nice—a nearly perfect crisp autumn morning—and the scenery beautiful. It was a massive success, and just a ton of fun. It was so great to meet those who came out!
One especially great aspect of this photowalk for me is that my seven-year-old daughter, Johanna, was able to join us. I gave her my Fujifilm X-T30 to photograph with, set with the Kodak Portra 400 v2 Film Simulation Recipe. I’ve let her use some of my old digicams before, but not a “nice” camera like the X-T30. I wasn’t sure how well she would do with it, but gave her a quick tutorial and let her have at it. Honestly, she stole the show.
Above left: Johanna with an X-T30, captured by me with an X-T50 using the Fujicolor PRO 160C Warm Recipe; Above right: me with an X-T50, captured by Bryan Minear with a GFX100S II.
I bet you can already see where this article is going. Yes, this totally unfair camera shootout is between myself with a Fujifilm X-T50 and Fujinon 27mm f/2.8 lens and my seven-year-old daughter with a Fujifilm X-T30 and TTArtisan 27mm f/2.8 lens. Even though I had the better gear, I had absolutely no chance of winning. Johanna—with an X-T30—won in a landslide. We’ll get to the pictures in just a moment.
The Fujifilm X-T30 has a few fewer film simulations and JPEG options than the X-T50, but it is still a very, very capable camera. Even in the hands of a child, it can capture excellent images. Between the two, I’ll grab the X-T50 every time; however, if I were trying to decide to buy an X-T50 or X-T30 II, that would be a much tougher decision—the X-T30 II is a better value, while the X-T50 is a little more capable. I don’t think you can go wrong either way. Between a used X-T30 and brand-new X-T30 II, I would lean towards the X-T30 II due to Classic Negative and other firmware upgrades.
Above, top-left: by Rickey White. Above, bottom-right: by Bryan Minear. Above, all others: by my wife, Amanda Roesch. Amanda used a Fujifilm X-T5 + Fujinon 56mm f/1.2 lens + Fujicolor Negative Recipe.
The reason why I declared Johanna the winner is because I’m her dad (she was always going to win… I never had a chance—all the dads out there understand), and also because young children are oftentimes good photographers. They are naturally curious and creative. They don’t think about all the “rules” and what they “shouldn’t” do; instead, they’re just having fun. Also, their perspective is so much different—quite literally, because they are smaller, but also figuratively—so it’s a completely different take from what most adults see—they notice things that others completely overlook. If you have a child, I definitely recommend allowing them to photograph with you sometimes. Don’t be afraid to let them borrow one of your cameras (I know, it’s a risk… my oldest son dropped and broke one of mine when he was little). Those experiences might be pivotal for them, and at the least it’s something you both will remember and cherish for many years.
Below are straight-out-of-camera JPEGs captured during the Ann Arbor photowalk by Johanna using a Fujifilm X-T30 and the Kodak Portra 400 v2 Recipe and by me using a Fujifilm X-T50 and the Film Dial Recipes.
The Film Dial, which was introduced on the Fujifilm X-T50 and is now also found on the Fujifilm X-M5, is a lot of fun. Some people don’t like it, and that’s ok. Not every camera is for everyone, and not every feature is for everyone. It’s one of Fujifilm’s most contentious features. Personally, I like the Film Dial—it’s very useful when combined with my universal Film Dial Recipe, but, perhaps more important, it’s enjoyable.
A few days ago was Halloween. My four kids dressed up, and we went to a nearby family member’s house to pass out candy and trick-or-treat. My oldest daughter was Wednesday from The Addams Family. My oldest son was Waldo. My youngest son was a Fortnight character. And my youngest daughter was Cinderella. We passed out candy before walking around the neighborhood. It was a ton of fun!
Since it was going to be dark—starting right at sunset and continuing into the night—I wanted to use a fast lens, so I borrowed my wife’s Fujinon 56mm f/1.2 (the new version). That’s one of my favorite lenses—it has such fantastic image quality—but since it’s not mine, I don’t always get to use it. I debated between cameras, but went for the Fujifilm X-T50 because it is more lightweight and compact than the X-T5, and has IBIS, which the X-E4 does not. For this particular purpose, it seemed Goldilocks.
I only used the Film Dial Recipe that night, and turned the knob to different film simulations depending on the light, subject, and situations. The great thing is that you get a real-time preview of what the picture will look like, so you can quickly change the film sim to better match the scene, and see what each will produce. I used Classic Negative the most, but also Classic Chrome, Reala Ace, Eterna, Nostalgic Neg., and Acros+R. It worked out really well for documenting our spooky Halloween celebration.
A couple days ago pal2tech posted a YouTube video explaining the Film Dial on the Fujifilm X-T50 (which, apparently, will also be found on the upcoming X-M5). To my surprise, Chris gave a very kind shoutout to Fuji X Weekly, and he even included a link to one of my YouTube videos in the description of his video. I’m really honored to be mentioned by Chris; I’m a big fan of pal2tech—it’s one of my favorite YouTube channels, and one that every Fujifilm photographer should subscribe to, in my humble opinion. If you haven’t seen his video, go ahead and give it watch.
The Film Dial is one of the most controversial design decisions Fujifilm has implemented, right up there with the X-Pro3’s backwards LCD screen. I actually really like the dial, personally. It’s a lot of fun to use, and adds versatility for the SOOC photographer. But not every camera is for everyone, and not every camera feature is for everyone, so it is understandable when some don’t like it; however, I think a lot of the negativity surrounding the Film Dial is simply a misunderstanding of how useful it can be.
NAB Photowalk Group 3 – New York City, NY – Fujifilm X100VI – Nostalgic Americana
I was just at the NAB Show in New York City, because Fujifilm brought me out to lead three photowalks around Manhattan. Fujifilm loaned cameras to those on the photowalks, and some folks were handed a Fujifilm X-T50. Before beginning, I took a few moments to help set up these loaner cameras, and for those with the X-T50, I programmed my universal Film Dial Recipe, and explained how to use it.
As the photowalks were wrapping up, I asked those with an X-T50 what they thought of the Film Dial. One person answered that it was a lot of fun. Another said that they really liked it. Another showed me some images they captured with Eterna, a film simulation they had never tried before but now love. Only one person gave negative feedback, and their complaint is completely understandable.
Could the Film Dial have been implemented better? Absolutely! An easy way for Fujifilm to improve it would be to allow each film simulation to be customized into a Recipe. In other words, make it possible to custom set Highlight, Shadow, Color, White Balance, etc., etc., with each slot on the Film Dial. When the Film Dial is set to C, that’s when the C1-C7 presets would work. This could be done with a Firmware update someday in the future. Even though it’s not perfect, that doesn’t mean the Film Dial isn’t a fun and useful feature, because in its present state it very much is.
I’m looking forward to the Film Dial being included on more models. I think putting a much-loved feature of the camera front-and-center on the top plate is a smart move by Fujifilm. I’m also looking forward to seeing how it might evolve in the future, and possibly become even better.
NY Photographer in IR – New York City, NY – Fujifilm X-T4 ES – Aerochrome v2
In other news, while at the NAB Show, I spoke with someone at B&H, and they told me that the Fujifilm X-T4 ES (“Extended Spectrum”) infrared camera is available from them right now. It’s not something that can be purchased online, so you either need to call them or drop by in-person to buy it. So if you want to try my Aerochrome v2 Recipe—which I love so much, personally—you may want to contact B&H and inquire about the Fujifilm X-T4 ES. For those who wanted to get one, it’s not too late.
There’s one last thing I want to mention. I was walking around Central Park recording some content to help promote the new Evergreen + Fuji X Weekly Protective Case for Fujifilm X100-series cameras. I had my case, and Alex from Evergreen also had one with him. While meandering, we ran across someone with a Fujifilm X100VI, so we said hi to him and had a short conversation. He told us that he had ordered the camera when it was first announced, but his copy had just arrived, and this was one of his first opportunities to use it. We were very happy to gift him one of the two cases to go along with his new camera. The protective case is a great way to keep your X100VI, X100V, X100F, etc., safe while traveling or out on an adventure.
New Fujifilm X100VI & New Case – New York City, NY – Fujifilm X100VI – PRO Negative 160C
I’m still traveling, but as soon as I’m back home I have a lot more to share with you, so stay tuned!
The new Film Dial on the Fujifilm X-T50 has become one of the most controversial features ever included on a Fujifilm camera. There’s been a lot of hate for it expressed on the internet. There seems to be two camps who dislike it: those who shoot RAW, and those who use Film Simulation Recipes. I believe that the Film Dial has been largely misunderstood, and that it will become more appreciated over time.
The RAW-only group dislikes the Film Dial because they don’t care much for in-camera film simulations. Some will say that they don’t use film simulations at all (of course, they say this while using Provia… film simulations cannot be disabled, so they’re always using one…), and some will say that they apply the film simulations in-post using Lightroom or Capture One, and not in-camera. For this group, the Film Dial is a complete waste of space, they say.
The Film Simulation Recipe group dislikes the Film Dial because you cannot program it with Recipes; it only changes the film simulation and nothing else. They would prefer that each “film” on the Dial could be custom set as a Recipe. That would be really cool, actually, and think that’s a great idea—maybe Fujifilm could do it in the future. Also, a C1-C7 Dial (or increase it to 10 or 12 or more) would have been most ideal. Still, the Film Dial can be useful for this group by utilizing a “universal Recipe” technique, which I used extensively in August traveling across the country. So I think there are two parts to this: 1) a frustration that it could have been implemented better, and 2) not fully realizing the potential that it does have in its current iteration. Nothing can be done about the first point (aside from Fujifilm changing it either with a firmware update, or how it is implemented on future models), but for the second point its a matter of getting the word out—once people try my solution (or something similar… Reggie’s Portra works pretty well for this, too), I think it will be much more liked.
This year I’ve traveled quite a bit, and met hundreds of fellow Fujifilm photographers across the country, and even some from other countries. In doing so, I’ve learned that there are a variety of ways that people are using film simulations and Recipes. Some of these things I would have never even thought of. It’s truly amazing! I want to briefly share them with you.
The number one way that Film Simulation Recipes are being utilized is for straight-out-of-camera photography. This is how I use Recipes, personally, for my own pictures. Basically, the JPEG produced by the camera is the finished photo, aside from sometimes cropping/straightening and maybe some small/minor adjustments occasionally. This saves so much time, and can make the processes more enjoyable—I could list a whole bunch of benefits, but that’s not the point of this article. Straight-out-of-camera photography was once highly shunned by the photographic community at large, but now it is much more acceptable and common, and I believe that—as a pendulum swing response to years of over-editing and now AI—photography as a whole is moving in this direction; authenticity is a big buzzword right now. Another approach is to shoot RAW+JPEG and utilize X RAW Studio or the in-camera RAW reprocessing to change the Recipe after-the-fact.
Another way that people use Recipes is similar to above, just in-conjunction with more robust editing. The SOOC JPEG isn’t the end, it’s the starting point. Camera-made JPEGs have a lot more tolerance for manipulation than they used to, and a light-to-moderate amount of editing is perfectly ok. So the camera gets you a significant distance to the finished picture, and a little editing finishes the job. Sometimes this group will shoot RAW+JPEG and edit the RAW instead of the JPEG when faced with a challenging light situation.
Some people use Recipes, but they shoot RAW+JPEG and don’t usually utilize the camera-made JPEG. If a picture needs to be shared quickly, the JPEG is there, but otherwise the RAW is used. Since software can/will apply its version of its interpretation of some (but not all) of the JPEG data to the RAW file, the Recipe provides a shortcut to a finished RAW-edited picture. It shaves off a little time at the computer, while also producing a ready-to-share JPEG whenever that is needed.
A much less common use—which I was actually quite surprised by but it makes a lot of sense—is Recipes for pre-visualization. JPEGs are rarely or never used; instead, the Recipe allows the RAW photographer to get a better idea of what the finished picture will look like while in-the-field. Utilizing a Recipe that is similar to the photographer’s aesthetic, they can basically see the end result even before opening the shutter. It’s such a great tool for the RAW photographer, but it seems to be highly underutilized, likely because it just never occurred to most to try it.
One last method, which might surprise a lot of you, is the combination of RAW and JPEG photography. There’s an extraordinarily talented photographer (there’s a good chance you’ve seen his pictures) who told me that one of his techniques is to shoot RAW+JPEG with Recipes, edit the RAW file, then blend the SOOC JPEG overtop of the edited RAW. He told me that he does this because the camera-made JPEG has a certain quality or soul that can’t be replicated with RAW-editing and he doesn’t want to lose that, but he needs a certain level of control for his style of photography, and by combining the two, he has the best of both worlds. Amazing!
There’s no right or wrong way to use film simulations and Recipes, there’s only what works for you and your photography. It’s your art, so do it however you want to. My point, though, is that the Film Dial, which I suspect will make its way onto more Fujifilm cameras in the future, can actually be quite useful to both groups who have decried it. I think the potential has yet to be fully explored or understood.
I bring all of this up because Fujirumors posted an article entitled Reframing the Debate: Fujifilm Film Simulations as a RAW Photographer’s Ally and with the subtitle Stop Hating Film Simulations. This is my two cents. There was such a big (and generally unfair) stigma towards JPEGs for such a long time; since film simulations have been heavily associated with SOOC photography, some people look down on them and their use. They see it as being beneath them or for amateurs-only. In doing so, they might be overlooking something that could actually be much appreciated. So I think it’s important to bring awareness to how film simulations and Recipes are being used—perhaps they can be helpful to your photography, but maybe you’ve never tried or have never considered how they might be. My hope is that this article will be enlightening to some of you, and that someone reading this will give Film Simulations Recipes a try for the first time.
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.
Fujirumors posted a poll today asking whether people would prefer the (someday upcoming) Fujifilm X-E5 to have the same Shutter Knob as the X-E4, or replace the Shutter Knob with a Film Dial, or use a Shutter/ISO combo Knob like the X100/X-Pro cameras. As of this writing, a little over 70% would prefer the Shutter/ISO Knob, according to the poll.
Way back in March of 2021 when the X-E4 was brand-new, I said “It would have been a nice touch if Fujifilm had included an ISO ring around the shutter knob.” It should not surprise anyone that my vote is for the Shutter/ISO combo. In my opinion, if the X-E4 had had that combo Knob, had kept the M/C/S switch, and had kept the rear Command Dial, the camera would have been pretty much perfect. I understand that the Shutter/ISO combo Knob is much more complicated and more expensive, but it would be worthwhile to include it on X-E series cameras, in my opinion.
There’s a vocal group of people who didn’t like the X-E4, but prefer the X-E3 instead, and want the X-E5 to be more similar to the X-E3 than the X-E4. That’s because the X-E4 was slimmed down with a minimalistic approach, but perhaps just a bit too minimalistic. It’s completely understandable that not everyone appreciated it. The reason why the X-E5 is much more likely to have more in common with the X-E4 than the X-E3 is simple: the Fujifilm X-E3 did not meet sales expectations, while the X-E4 exceeded them. Fujifilm had to steeply discount the already affordable X-E3 just to clear the warehouse, and even then had trouble selling them (the X-E3 could be found rather easily a year after it was discontinued, and for a discount). The X-E4 was difficult to find in-stock throughout its production life, and had months-long backorder lists when it was suddenly discontinued, presumably because Fujifilm ran out of parts and couldn’t secure enough to justify keeping the assembly line open. Now, the X-E4 sells for a few hundred more used than it did brand-new. I’m not saying that the X-E3 is a lesser camera, only that Fujifilm had trouble selling it and had trouble meeting the demand of its successor, so it is logical that they’d follow the formula that worked well for sales.
The less that Fujifilm changes from the X-E4, the better in my opinion. If it ain’t broke, don’t fix it. Give it the X Processor 5, an improved EVF, the M/C/S switch, rear Command Dial, and that combination Shutter/ISO Knob, and you’ve got a really compelling camera. But, who knows, Fujifilm might do a complete overhaul. I have no idea.
While I actually really like the Film Dial on the Fujifilm X-T50, and I found a way to make it work quite well, I would not replace the Shutter or Exposure Compensation Knobs with it. That just doesn’t make any sense. If Fujifilm really wants to include the Film Dial on the X-E5, it would need to be an additional feature, and not a replacement of something already existing. Maybe similar to how Leica integrated the ISO Dial into the M11?
It will be interesting to see how Fujifilm evolves the X-E line. It’s much beloved by those who have owned them, but always on the chopping block, it seems. Apparently it’s not mainstream enough to have a secure spot in the X-series lineup, but the passionate fanbase prevents Fujifilm from axing it. If the X-E5 existed today, it would sell like hotcakes; heck, if the X-E4 was still being manufactured, it would be selling like hotcakes right now. Whenever the X-E5 is eventually released, perhaps next year, it will likely do very well for Fujifilm. But, I do think it’s important to strike while the iron is hot, and it’s hot at this very moment—so the sooner the better.
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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As you are probably aware, the Fujifilm X-T50 has a new Film Dial, which allows you to quickly and easily switch between different film simulations. It’s a contentious design feature, and I think a lot of people were surprised that I actually like it.
To be honest, I didn’t care for the Film Dial at first, as it initially seemed to be something that I’d never use. But after thinking about it and playing with it, I discovered a way to get the most out of the Film Dial, which I wrote about here. Now, I love the new knob!
Afterwards, I received a number of requests to demonstrate what the article stated. Some people are visual learners, and it can be difficult to fully grasp the meaning of something that’s written. A number of messages and comments asked, “Can you show me what you mean?” That’s the entire point of my new YouTube video, which I’ve included below.
If you are a visual learner and are interested in or curious about the new Fujifilm X-T50, definitely give the video a watch. I hope that it is helpful to some of you—if so, let me know! If you’d like more of this type of content in the future, let me know that, too.
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
The brand-new Fujifilm X-T50 was just announced! It’s both surprising and intriguing. This might be Fujifilm’s most contentious model since the X-Pro3, but it shouldn’t be controversial at all. What exactly is the X-T50? Is it the right camera for you? I’ll try to answer those questions in this article.
The double-digit X-T line has traditionally been Fujifilm’s mid-level, enthusiast-grade, interchangeable-lens, SLR-styled models (that’s a mouthful!). It’s the little brother of the single-digit X-T cameras, like the X-T2 and X-T3. With the discontinuation of the low-end triple-digit X-T series, the double-digit X-T cameras have become Fujifilm’s de facto entry-level option. The Fujifilm X-T30 II, which was released in November of 2021, is the current base model, although it’s neither cheap in quality or price—it’s still a mid-tier APS-C camera.
The X-T50 is not the successor to the X-T30 II, but a whole new (yet highly similar) line. Fujifilm plans to sell the X-T30 II alongside the X-T50, similarly to what they did with the X-T3 and X-T4 a few years back. This also means that there is a potential future successor to the X-T30 II, perhaps called the X-T30 III or X-T40; I don’t know that for sure, but I think it is a fair assumption. The main thing for you to know is that the X-T50 is not a replacement for any previous model, but a whole new camera.
There are some key things that set the X-T50 apart from the X-T30 II. First is the 40mp X-Trans V sensor, the same sensor found in the X-H2, X-T5, and X100VI; the X-T30 II has the 26mp X-Trans IV sensor. Second, like the other 40mp cameras, the X-T50 has IBIS; the X-T30 II doesn’t. Perhaps the biggest difference—and the one that is most contentious—is the Film Dial. The X-T30 II has a Drive Dial on top, but in its place on the X-T50 is a brand new knob for switching between the film simulations (Drive is a button on the X-T50, like on the X100VI and X-E4). Aside from that, the X-T50 is a tad bigger than the X-T30 II, has a more rounded design, and costs quite a bit more ($1,400 for the body-only). The X-T50 is more premium than the X-T30 II, but, unsurprisingly, it’s not at the same level as the X-T5. I’d call it an upper-mid-tier model, higher than the X-T30 II but lower than the X-T5.
The Film Dial is a brilliant move by Fujifilm. I know that some may not “get it” and that’s ok; not every camera is for every person. Film simulations are such an intrinsic part of the Fujifilm experience for many users. Placing it on top of the camera in a position of importance makes film simulations a more immersive experience, one that invites exploration. The Film Dial alone will sell the X-T50; 40mp, IBIS, 6K video, etc., are merely bonuses. By simply taking an already existing and loved feature, and moving it from an Fn button or Menu position to the top plate, Fujifilm reinvented the functionality of their camera.
It’s not that the X-T50 does something that the X-T5 (or any other Fujifilm camera) doesn’t, it’s only how it is presented to the photographer. You can use the exact same Film Simulation Recipes on the X-T50 that you can on the X-T5, X100VI, and X-H2, and the analog-like output is identical between each of those models. What is unique about the X-T50 is that a turn of the Film Dial will instantly change the film-like aesthetic. That experience differentiates this cameras from all the others—not just other Fujifilm models, but from every brand. The Film Dial makes the X-T50 a “digital film” camera.
I don’t want to get too deeply into what the Film Dial is and how to get the most out of it, because I have a whole article that explains it in detail (click here). What’s important to know is that the knob only changes the film simulation and nothing else. On the dial, there are eight (out of the 20) hard-set film sims (Provia, Velvia, Astia, Classic Chrome, Reala Ace, Classic Negative, Nostalgic Neg., and Acros), plus three customizable positions for your favorites that were left out. The “C” position simply disables the Film Dial.
If Fujifilm had asked for my input, I would have suggested a couple of changes. First, a C1-C7 Dial (or, better yet, a C1-C11 Dial, since there are 12 positions) would have been most ideal for those who use Film Simulation Recipes. That would’ve been less contentious, and I think a lot of current Fujifilm users would be excited for that; however, I understand why Fujifilm didn’t choose that route: a Film Dial is more inviting and less intimidating to the uninitiated. My advice to Fujifilm is to release an X-T55, which would be the exact same camera, but with a C1-C7 (or C1-C11) Dial in lieu of the Film Dial. Second, since they didn’t do that, I think it would have been really cool if each film simulation on the Film Dial could be customized into a Recipe. If Highlight, Shadow, Color, Dynamic Range, Grain, etc., etc., etc., could be custom set to each film sim on the Film Dial, that would be awesome. While Fujifilm could make that change with a Kaizen firmware update (and I very much hope they do), it would be surprising if they did. But, no worries, because I’ve figured out a good strategy for how to use the Film Dial as-is, and it’s highly enjoyable.
There are probably a number of people who are concerned that the X-T50 uses the “old” NP-W126 battery, and not the new NP-W235. I took this camera with me on multiple trips, and shot with it literally all day several times, and only once did I actually have to use a spare battery. So as long as you have two NP-W126 batteries, you should be good-to-go. Perhaps a second spare is a good idea if you record a lot of video footage.
So who is the Fujifilm X-T50 for? Is it worth buying? Should a different camera be considered instead? There are a few groups that the X-T50 makes a lot of sense for, and a couple of groups that I think it could potentially be a good option for.
First, the Fujifilm X-T50 is great for those who shoot film, but want to get into digital photography. With film prices so high right now, there are a number of analog photographers who are seriously considering their first digital camera. Or perhaps they haven’t picked up a digital camera in a long time because they didn’t appreciate the experience of it, and are searching for something that is more reminiscent of film photography. I can relate to this, personally. I have no doubts that it will be highly appealing to this group of people—after all, the X-T50 is Fujifilm’s “digital film” camera.
Next up are those who succumbed to the Fujifilm X100VI hype but cannot secure a camera due to the unprecedented demand. Specifically, I’m talking about those who are not current Fujifilm users—those who have a different brand of camera or perhaps no “real” camera at all currently. They will see the X-T50 as an alternative that they have a better chance at actually getting their hands on. Since most of the specs are exactly the same, it won’t take much to convince someone in this group to buy it instead of the X100VI. Obviously, there are some significant differences between the two models, but there are enough similarities that the X100VI’s demand (and Fujifilm’s inability to fulfill it) will notably fuel X-T50 sales. The X100VI’s hype is real, and, in my opinion, well deserved; the X-T50 is not an X100VI, but certainly close enough for many people.
Third, the X-T50 will be appealing to video content creators who desire streamlined color grading. The Film Dial works in video mode, and film simulations can reduce or even eliminate some editing steps. This is an underrated and underutilized aspect of Fujifilm cameras that I think will be employed more on the X-T50 simply because of the Film Dial.
Then there are Fujifilm X-T5 owners who want a smaller and lighter option—but with an identical output—to be a companion camera. Some might appreciate the divergent shooting experience, while others might not. I think, for this group, the X-T50 is contentions, and either you’re intrigued by it or put off, and your opinion has likely already been made.
The last group are those who have an older double-digit X-T camera, or perhaps even a triple-digit model, and are eager to upgrade to something brand-new. The X-T5 is a little too big, heavy, and/or expensive for you, while the X-T30 II doesn’t have the latest two film simulations or features like 6K video and IBIS. If you appreciate the Film Dial, the X-T50 could be perfect; otherwise, this might not be the double-digital X-T camera that you were wishing for.
I really like the Fujifilm X-T50, personally. It’s fun, and offers a divergent experience from the other retro-inspired models. But, no camera is perfect, and none are for everyone. Each person has their own preferences. I think the X-T50 will, generally speaking, appeal more to non-Fujifilm photographers than current Fujifilm owners. On one hand, that’s really good. The X-T50 will be a lot of people’s gateway into Fujifilm. On the other hand, there are plenty of people who will complain that Fujifilm should have designed it another way. I do wish that the new knob had been implemented just a little differently, but I completely understand why they did it. Just because this camera might be more well-received by those buying their first Fujifilm model, doesn’t mean that current Fujifilm enthusiasts can’t or won’t like it, too, because I think many will (I enjoyed it); however, there are some who definitely won’t.
The Fujifilm X-T50 is brilliant, as it blurs the line a little between digital and analog, and gives users a unique photography experience. I have no doubts that the Fujifilm X-T50 will be a huge success, and the new Film Dial will be a big reason for it.
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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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