Film Simulation

15 Cool Film Simulation Recipes for Fujifilm Cameras

Posted on by Ritchie Roesch

Backlit Lupine – Sun City, AZ – Fujifilm X-T5 – Thommy’s Ektachrome

I get feedback sometimes that many of the Fuji X Weekly Film Simulation Recipes produce too strong of a warm, yellowish cast. Often this feedback is specific to artificial light photography. The majority of Recipes, like film, are intended for sunny daylight conditions, and when you use them in a different light scenario the results can be a mixed bag. My best suggestion is to—again, like film—use the most appropriate Recipe for the specific situation. Other feedback I get is that some Recipes are too warm even in the most ideal daylight situations. Of course, this is a personal taste situation—what one person might love, another might hate. We each have our own preferences and styles. With over 400 Recipes on this website and the Fuji X Weekly App, there’s bound to be at least one that fits your photography well.

This article is for those who are in search of cooler Recipes—ones that are less warm, and with a blueish cast and not yellow. Of course, it should be noted that Recipes which utilize Auto White Balance are much less prone to being too warm. That might be your best option, and if you are a Fuji X Weekly App Patron, you can find those really easily using the Filter by White Balance feature in the App. For this article, I wasn’t specifically considering AWB, and only one in this list uses it. These Recipes are specifically intended to produce (to varying degrees) a cool, blueish cast in sunny daylight conditions—some much more so than others. If you are trying to avoid yellowish results, the 15 Film Simulation Recipes below are ones to consider. This is not an exhaustive list, and there are many others worth trying that are not mentioned here.

Jeff Davenport Night

Illuminated Houses – Farmington, UT – Fujifilm X-T30 – Jeff Davenport Night

The Jeff Davenport Night Recipe, as the name implies, is for nighttime photography. When used during daylight, you get a strong blue cast. For sunny situations, I find that it works best during overly warm golden hour light, and especially when you want to convey that it’s literally cold outside. It should come as no surprise that it works especially well in artificial light conditions. This Recipe is compatible with the Fujifilm X-T3, X-T30, and GFX100.

CineStill 800T

Lake Grass – Buckeye, AZ – Fujifilm X100VI – CineStill 800T

Like the film of the same name, this Recipe is intended for nighttime and artificial light scenarios. It’s not nearly as blue during sunny daylight as Jeff Davenport Night, but it still has a strong cool cast. This Recipe is for the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF; there’s also a version for the X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, and GFX100S, a version for X-Trans III cameras plus the X-T3 and X-T30, and a version for X-Trans II.

Kodacolor VR 200

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

This Recipe, which was made by Thomas Schwab, resembles a version of Kodacolor film from the early 1980’s, especially prints that have begun to color-fade. This one still has a touch of warmth, but is cooler than a lot of daylight-balanced Recipes. Kodacolor VR 200 is for the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF; for the X-T4, X-S10, X-E4, X-T30 II, and GFX100S, set Color Chrome FX Blue to Strong.

Thommy’s Ektachrome

Old Man at the Vista – Tucson, AZ – Fujifilm X-T5 – Thommy’s Ektachrome

Another Recipe created by Thomas Schwab, this one is similar to Kodak Ektachrome images printed in classic magazines like National Geographic and Arizona Highways. It’s intended for daylight photography, and still has a touch of warmth, but has a cooler rendering than a lot of other Recipes. This is compatible with the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF.

Ektachrome E100

Terminal Passenger – Phoenix, AZ – Fujifilm X-T50 – Ektachrome E100

This Recipe also mimics Kodak Ektachrome film, but more specifically the new version of the emulsion. It was made with a little assistance from Dan Allen, and is currently an App Patron Early-Access Recipe (only available to FXW App subscribers, currently). Like the two previous Recipes, this one is also intended for sunny daylight situations, and it, too, has a touch of warmth, but less so than a lot of the other options. This Recipe is for the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF.

Chrome Slide

Elephant Seal Along Rocky Shore – San Simeon, CA – Fujifilm X-E4 – Chrome Slide

This is yet another Recipe that’s intended for sunny daylight situations, but will often produce a cool cast, with a bit of an Ektachrome-like quality to it. This Recipe is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, and GFX100S; for the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF, set Color Chrome FX Blue to Weak.

Kodachrome Blue

Bougainvillea Blue – Buckeye, AZ – Fujifilm X-E4 – Kodachrome Blue

The Kodachrome Blue Recipe mimics improperly scanned Kodachrome slides. Due to its unique design, Kodachrome is the most difficult slide film to accurately scan, and therefor there are a lot of examples of the film with a blue cast, including some of my own that the lab did a poor job scanning. This Recipe is daylight-balanced, but often produces a somewhat cool cast. The Kodachrome Blue Recipe is compatible with the Fujifilm X-T4, X-S10, X-E4, X-T30 II, and GFX100S; for the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF, set Color Chrome FX Blue to Weak.

Fujicolor Blue

Yellow Beanie – New York City, NY – Fujifilm X100VI – Fujicolor Blue

This Recipe is also intended for sunny daylight, but has a slight blue cast caused simply from removing some red that’s naturally in the Classic Negative film simulation. Fujicolor Blue is currently an App Patron Early-Access Recipe (only available to FXW App subscribers, currently). It’s compatible with the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF.

Nostalgic Print

A Sub Above the Dumpster – Pasadena, CA – Fujifilm X-E4 – Nostalgic Print

This Recipe mimics the aesthetic of prints from one-hour labs on Crystal Archive paper (at least one specific print). Like a lot of the Recipes in this list, it’s intended for sunny daylight photography, and can have a touch of warmth, but overall the photos have a slight cool cast. This Recipe is for the Fujifilm X-T4, X-S10, X-E4, X-T30 II, GFX100S, X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF.

Classic Slide

Winter Reeds – Farmington, UT – Fujifilm X-T30 – Classic Slide

Kind of roughly a Kodak Elite Chrome aesthetic, this is yet another daylight-balanced Recipe with a slightly cool cast. Classic Slide is compatible with the Fujifilm X-Pro2, X100F, X-T2, X-T20, X-E3, X-H1, X-T3, X-T30, and GFX100.

Standard Provia

Clearing Clouds Over Winter Ridge – Farmington, UT – Fujifilm X-Pro3 – Standard Provia

A slightly cooler, more contrasty, and more vibrant rendering than the Provia film simulation with everything set to factory defaults. This Recipe is for the Fujifilm X-T4, X-S10, X-E4, X-T30 II, GFX100S, X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF.

Fujichrome Provia 100F

Mushos for 5$ – Buckeye, AZ – Fujifilm X-E4 – Fujichrome Provia 100F

This Recipe mimics a popular Fujichrome slide film, and as such has a cooler cast than many that replicate Kodak emulsions. It’s compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, and GFX100S; for the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF, set Color Chrome FX Blue to Weak.

AgfaChrome RS 100

Park City Downtown – Park City, UT – Fujifilm X-E4 – AgfaChrome RS 100

More of a European color aesthetic, this Recipe is daylight-balanced, but isn’t nearly as warm as a lot of the other options. This is for the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, and GFX100S; for the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF, set Color Chrome FX Blue to Weak.

Agfa Ultra 100

Please Don’t – Salt Lake City, UT – Fujifilm X-Pro3 – Agfa Ultra 100

This Recipe is not too dissimilar from the one above. It’s for the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, and GFX100S; for the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF, set Color Chrome FX Blue to Weak.

Urban Vintage Chrome

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

This Recipe was also created by Thomas Schwab, and it has kind of a bleach bypass aesthetic. It has a tinge of warmth, but overall is not nearly as yellow as a lot of other Recipes, and the colors quite muted. This one is like a more contrasty version of the Nostalgic Print Recipe. It’s compatible with the Fujifilm X-Pro2, X100F, X-T2, X-T20, X-E3, X-H1, X-T3, X-T30, and GFX100.

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

Fujifilm X Half makes Unique Photos Instantly

Posted on by Ritchie Roesch

Discount Cigs – St. George, SC – Fujifilm X-HF1

While at Create With Us in Minneapolis last weekend, I struck up a conversation with a photographer who had a Fujifilm X half (also called X-HF1). My wife, Amanda, was there, and she made an interesting point about the camera. “With the X half, you get pictures that no other camera can make,” she said, “and you get them instantly.”

Now, technically speaking, you can achieve similar aesthetics without the Fujifilm X-HF1, whether it’s a 110 film camera, a half-frame film camera, or editing digital files to resemble X half images. On other X-series models, you can get pretty close because you have access to the various Film Simulations and some of the Filters (an Instax Evo is necessary for the Filters you don’t have—I hope Fujifilm brings these to the other X-series cameras in the future). The larger point is: these looks are easily and instantaneously achieved on the X half, and they’re at least a little more difficult to get—if not much more difficult—with other gear.

Now you might not like the look of X half images. While the colors are often quite similar to other X-series models, there’s an obvious quality difference. Photos from the X-HF1 are more lofi—more lomography-like—than those from (say) the Fujifilm X-E5. You might consider Fujifilm’s APS-C line to have a 35mm film quality, while the X half is more like 110 film. If you wince at X half pictures, that’s a big sign that you won’t like the camera, and it’s not for you—no single model is for everyone. Personally, I really like the photos.

The problem in my house is that we only have one X half; however, both my wife and I like it and use it. All four of my kids have been eyeing it, too. I think we’re going to need at least one more. It’s such a fun camera, especially for vacation snapshots and things like that. It won’t replace our other models, like the X-T5 or X-S20 (what Amanda is using now), and it certainly won’t replace my X100VI, but it is a pocketable tagalong that’s quite enjoyable and gives instant results that you just can’t get (at least not as easily) with anything else.

Above: Various pictures captured with the Fujifilm X half

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

Fujifilm X half in black:
Amazon, B&H, Nuzira
Fujifilm X half in silver:
Amazon, B&H, Nuzira
Fujifilm X half in charcoal:
Amazon, B&H

What’s in a Name (of Fujichrome films)?

Posted on by Ritchie Roesch

Clearing Clouds Over Winter Ridge – Farmington, UT – Fujifilm X-Pro3 – Standard Provia

Someone asked me an intriguing question at Fujifilm’s Create With Us event in Minneapolis this last weekend. “How did Fujifilm come up with their film names,” he wondered, “like Provia, Velvia, and Astia? I know they were slide films, but what do those names mean?” I didn’t have an answer, so I spent some time researching, hoping to find something concrete.

The short answer is that Fujifilm never said what those name mean, or how they originated. The etymology is unknown. If Fujifilm ever did say—perhaps way back in the past—it never made it onto the internet. All we can do now is guess, so let’s do just that.

Beach Chairs – Folly Beach, SC – Fujifilm X-E4 – Velvia Film

Fujifilm had four lines of Fujichrome color reversal (slide) film that were given brand names: Velvia, Provia, Astia, and Sensia. The other slide films that they produced over the years weren’t given fancy names, only more utilitarian designations like 100D or 64T. I always thought that the “Pro” in Provia was short for “Professional” and “via” meant route. In this assumption, Provia simply means the path that professional photographers should take, which seems logical. After digging deeper, I don’t think that’s correct (although, since Fujifilm never said, it certainly could be—who knows?).

The commonality between the four slide film names is the “ia” ending, which (very likely) is Latin. In Latin, ia can be a feminine or abstract noun ending. It can be used to say the quality or condition of something, related to whatever is in front of the ia. So we have Velv -ia, Prov -ia, Ast -ia, and Sens -ia. Whatever the beginning is, the ia ending indicates that the film is the quality or condition of that.

Coastal Mist – Elk, CA – Fujifilm X-T5 – Velvia Film

Velvia has the most concrete information on the etymology. While Fujifilm never stated it, there are numerous sources (perhaps we’re in urban legend territory) that claim “Velv” is short for Velvet. The name Velvia is implying that the film has a velvety quality, which is to say that it is “richly colored with lush blacks.” The name seems to match the film fairly well.

Provia is another story. I couldn’t find anything to suggest what exactly “Prov” could be short for. Some possible options are Providential, Proven, Proverbial, Provide or Provision. None of those seem like strong candidates. I suppose Provia could mean the condition of being proven, although that would be an odd description for a brand-new film (when it was first released). Perhaps the purchase of a roll of Provia was a providential choice by the photographer—that’s definitely plausible. I think my original idea for the name meaning (Pro -via not Prov -ia) is also a possibility, but it doesn’t fit the pattern. This one is quite murky.

Lonely Desert Road – Tucson, AZ – Fujifilm X-T5 – Astia Azure

Astia has three likely options: Aesthetic, Astute, or Astral. The first one—Aesthetic—seems like the obvious answer; perhaps the original working name for the film was actually Aestia, but later shortened to Astia for marketing purposes. Astia would mean that the quality of the film is its aesthetic. Astute could imply a nuanced, perceptive rendering. Astral could be a reference to the sun. Those last two seem weaker than the first, but it could be anything, so who knows?

For Sensia, it obviously has something to do with Sense: Sensible, Sensitive, Sensory, Sensation, etc.. Since Sensia was a consumer film, Sensible seems like a solid answer—Sensia is a sensible choice, after all—but it could be any of them. To sense is to feel (emotion), so Sense could certainly be the word that the film was named after.

Hit – South Weber, UT – Fujifilm X-T30 – Fujichrome Sensia

I said there were four Fujichrome films, but actually there was a fifth: Fortia. This was a limited edition emulsion sold only in Japan, and only in the spring. It was more vibrant and bold than Velvia. The “Fort” in Fortia is likely from the Latin word Fortis, which is where we get the English word Fort, and it means strong or brave. That seems to fit the film well: you have to be brave to use it due to its strong colors.

For Velvia and Fortia, I think we have the answer: Velvet and Fortis, respectively. Fujichrome Velvia gives a velvety picture quality; Fujichrome Fortia has strong colors that only the bravest photographers will appreciate. For Provia, Astia, and Sensia, there’s a bit less clarity, as there are a number of potential options. Despite Fujifilm naming their “standard” Film Simulation after Fujichrome Provia, the etymology of Provia is the most murky. Astia is likely a reference to Aesthetic, and Sensia is likely a reference to either Sense or Sensible, but neither is certain. Since Fujifilm has never said, we only have our imaginations, and perhaps that is what they intended for their customers from the beginning—the names mean whatever we want them to.

Kodak Plus-X 125 — Fujifilm X-Trans IV & X-Trans V Film Simulation Recipe

Posted on by Ritchie Roesch

Coastal Photographer – San Francisco, CA – Fujifilm X100VI – Kodak Plus-X 125

This new Kodak Plus-X 125 Film Simulation Recipes comes to us curtesy of Dylan Van Matre. “The short story is that I’ve been a film shooter for a long time,” Dylan told me, “and one of my favorite films during that time has been Kodak Plus-X 125. When I moved to Fuji and discovered Film Simulation Recipes, one of the films I looked for was Kodak Plus-X 125. It was a favorite of mine during the early 90’s. I couldn’t find one published by someone else, so I endeavored to make my own. I enlisted the help of Anders Linborg to learn about Recipes and how to create them.”

“When I decided to try and create this Recipe,” Dylan continued, “I thought that I should try and learn from someone who has created ones that I enjoyed and felt were accurate. Anders with his Kodak Tri-X 400 Recipe (and others) immediately came to mind. I emailed him inquiring about his creation process. Anders was kind enough to respond, and he gave me a great check list on how to go about creating a Recipes. I download the specification sheet for Plus-X 125 film and found the spectrum analysis chart. I found the most prominent peak on the chart and made a note on the frequency that it’s located. That’s how I decide upon my white balance.”

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

“From there I picked the response curve that I felt was most appropriate,” Dylan said, “which led me to the Acros film simulation. After that I used the reference images I had, which were a bunch of Plus-X scans from the early 90’s, and I starting shooting with my Fujifilm camera. I’ve shot in all kinds of lighting conditions over the last couple years, making tweaks here and there. After some fine-tuning, I had created a Recipe that I feel most represents Plus-X 125 film. I want to thank Andors Linborg for his amazing advise, and I want to thank Ritchie for his amazing website.”

Included in the email was a private link to some of Dylan’s photos captured with this Kodak Plus-X 125 Film Simulation Recipe, as well as some of his scans of actual Kodak Plus-X 125 film. It was quite obvious to me comparing the two that this Recipe is a good match, and Dylan did an excellent job creating it. He certainly put in a lot of research and effort to get this right. Thank you, Dylan Van Matre, for creating and sharing this Recipe!

Cactus & Barbed Wire Fence – Rock Springs, AZ – Fujifilm X-E4 – Kodak Plus-X 125

Plus-X was a long-running classic B&W negative film by Kodak, known for its fine grain, sharpness, and moderate contrast that made it popular for both professional and amateur photographers. Originally introduced in 1938 as a motion picture film, it evolved over the decades. The ISO 125 version was released in 1954. After more than 70 years in production, Kodak discontinued Plus-X in 2010, with the last batch shipping in 2011, marking the end of an era for one of the company’s longest-running emulsions. This Recipe is compatible with X-Trans IV (except the X-T3/X-T30) and X-Trans V cameras, as well as newer GFX models.

Film Simulation: Acros (including +Ye, +R, or +G)
Monochromatic Color (Toning): WC 0 & MG 0 (Off)
Dynamic Range: DR200
Grain Effect: Weak, Large
Color Chrome Effect: Strong
Color Chrome FX Blue: Off
White Balance: Daylight, +9 Red & +9 Blue
Highlight: -1
Shadow: +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 Kodak Plus-X 125 Film Simulation Recipe on a Fujifilm X-T5, X100VI, X-E4 & GFX100S II:

Distant Dust Storm – Buckeye, AZ – Fujifilm X-T5
Estrella Mountains from White Tank Foothills – Buckeye, AZ – Fujifilm X-T5
Spewing Water – Buckeye, AZ – Fujifilm GFX100S II
Truck Junk Yard – Buckeye, AZ – Fujifilm GFX100S II
Table 18 – Avondale, AZ – Fujifilm X100VI
Sunlit Banister – Buckeye, AZ – Fujifilm X-T5
Saguaro & Dark Storm – Buckeye, AZ – Fujifim X-E4
Closed for Storm Damage – Navarro, CA – Fujifilm X100VI
Post in the Water – Bodega Bay, CA – Fujifilm X-T5
Coastal Cove – Elk, CA – Fujifilm X-T5
Desert Saguaro – Buckeye, AZ – Fujifilm X100VI
Wild at Heart – Buckeye, AZ – Fujifilm X-T5 – Photo by Amanda Roesch
Angled Doorway – Elk, CA – Fujifilm X-T5

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

10 Fujifilm Recipes for Street Photography (that don’t use Classic Chrome)

Posted on by Ritchie Roesch

St. Anthony’s Feast – Boston, MA – Fujifilm X-T50 – Superia Negative

A common question that I get asked is which Film Simulation Recipes are best for street photography. It’s a popular genre that a lot of people enjoy. I wouldn’t call myself a street photographer per se, but I’ve definitely done it. I dabble in it from time-to-time, but it’s not my primary photographic interest; however, I do believe I have enough experience to give some good suggestions.

With over 400 Fujifilm Recipes on this website and in the Fuji X Weekly App, there are tons of choices. Situationally specific, each one of those 400+ Recipes could be good options for street photography. I want to narrow it down a bit for you, though, by suggesting ten to consider trying. Probably all ten won’t be good options for your style, but perhaps one or maybe a few will be. I’m also skipping over some of the most obvious: Kodachrome 64, Reggie’s Portra, Kodak Portra 400, Kodak Portra 400 v2, and Kodak Gold 200. My assumption is that you have already tried those, or are already aware that those are good options for street photography. Actually, I didn’t choose any Recipes that use Classic Chrome, even though that particular film simulation is by far the most popular by those who use Recipes. This article highlights some Recipes that you might not otherwise consider.

The ten Recipes below are not a comprehensive list, and just because I didn’t include one doesn’t mean it’s not good for street photography. In fact, some that I didn’t list might be better than the ones that I did. Each person has different tastes and styles, so what I suggest might not be the best options for you personally. Feel free to comment below which Film Simulation Recipe—whether in this list or not—is your favorite for street photography. I do think, if you are unsure which to try, at least one of the ten Recipes below will be a good choice for you, and worth trying the next time you are out with your camera in an urban environment.

Appalachian Negative

Yellow Pants, Blue Cart – Los Angeles, CA – Fujifilm X100VI – Appalachian Negative

The Appalachian Negative Film Simulation Recipe is compatible with fifth-generation X-Trans cameras and the newer GFX models. Built on top of the Nostalgic Neg. film simulation, it’s produces a warm, amber-washed aesthetic with a distinct retro quality. It has an ability to transform the ordinary into something emotive. It’s good for retaining shadow detail, holding back blown highlights, and infusing everyday moments with a sense of timelessness. This Recipe works best in sunny daylight situations.

1976 Kodak

Bicyclist & Cinematographer – Austin, TX – Fujifilm X100VI – 1976 Kodak

The 1976 Kodak Film Simulation Recipe is compatible with fifth-generation X-Trans cameras, and the newer GFX models. It was inspired by the work of Joel Meyerowitz, particularly his mid-1970s street, coastal, small town, and landscape photography. This Recipe uses the Nostalgic Neg. film simulation, and combines richly warm colors with strong contrast, producing a vintage analog aesthetic. It’s great for street photography because it brings warmth and depth to mundane moments. Since this Recipe uses Auto White Balance, it works well across a variety of lighting conditions.

Kodak Vision3 250D

Working – Salt Lake City, UT – Fujifilm X-E4 – Kodak Vision3 250D

The Kodak Vision3 250D Film Simulation Recipe is made for X-Trans IV cameras (except the X-T3 and X-T30, which has its own version; there’s also a v2 version for fifth-generation models). It aims to evoke the look of the Kodak Vision3 250D motion picture film as used for still photography. The Eterna film simulation, which has a soft cinematic tonality, is the base; however, this Recipe adds significant contrast, producing a more dramatic aesthetic that still feels film-like. It works best in sunny daylight situations, but can sometimes be good in various light scenarios.

Nostalgic Americana

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

The Nostalgic Americana Film Simulation Recipe is compatible with fifth-generation X-Trans cameras and newer GFX models. It draws its inspiration from vintage issues of Arizona Highways magazine from the ’60’s and ’70’s during the American New Color era. This Recipe uses Nostalgic Neg. as its base, and produces a warm yet slightly muted color rendering combined with softened tonality. The result is a distinctly retro rendering that feels sun-warmed and aged. It works especially well for sunny daylight scenes, but can also be good in overcast conditions.

Eterna Summer

Moving Circles – Tempe, AZ – Fujifilm X-E4 – Eterna Summer

The Eterna Summer Film Simulation Recipe is compatible with “newer” X-Trans IV and all X-Trans V models, plus newer GFX cameras. Specifically, this Recipe, which uses the Eterna film sim., is intended to fit well in a photo series that also contains Classic Chrome-based Recipes. It produces a cinematic aesthetic with warm summertime vibes, and works best in sunny daylight situations.

Reala Ace

Dumbo Crowd – New York City, NY – Fujifilm X-T50 – Reala Ace

The Reala Ace Film Simulation Recipe is intended for fifth-generation X-Trans cameras, and can also be used on newer GFX models. It mimics Fujicolor Reala Ace film, but uses Auto White Balance for maximum versatility. Despite the name, it uses Classic Negative and not the new Reala Ace film simulation. It has a 4th-layer Fujicolor negative film aesthetic, and offers a lot of versatility for various light conditions.

Pacific Blues

Pouring Rain – Philadelphia, PA – Fujifilm X-T50 – Pacific Blues

The Pacific Blues Film Simulation Recipe is for fifth-generation X-Trans cameras, plus newer GFX models; there’s also a version for X-Trans IV cameras. It uses the Classic Negative film simulation, and was inspired by Lucy Laucht’s Spirit of Summer series, and especially the Positano Blues images.
It’s specifically intended for a sunny day at the beach, but it can work well in many other scenarios, including dreary overcast and fog. It’s great for street photography because it can turn everyday scenes into something dramatic without being over-the-top.

Superia Negative

Art Mart – Boulder, CO – Fujifilm X100VI – Superia Negative

The Superia Negative Film Simulation Recipe is for fifth-generation X-Trans cameras, plus newer GFX models. It uses the Classic Negative film simulation, and has a similar aesthetic to Fujicolor Superia film. It belongs to the Film Dial Recipe set, which means that the underlying settings work well with all of the different film simulations. This Recipe uses the Auto White Priority White Balance, and is especially versatile.

Fujifilm Negative

Friendly Conversation – Philadelphia, PA – Fujifilm X-T5 – Fujifilm Negative – by Amanda Roesch

The Fujifilm Negative Film Simulation Recipe is compatible with Fujifilm’s fifth-generation X-Trans cameras, plus newer GFX models. It uses the new Reala Ace film sim., and draws inspiration from Fujicolor PRO 160NS film. It feels restrained and natural, but with a distinct analog aesthetic. Because it does so well with skin tone rendering, this Recipe might be the best of these ten options for street portraits. It’s best for sunny daylight situations, but can also do well in a variety of light situations.

Kodak Tri-X 400

Sailer on Sumter – Fort Sumter, SC – Fujifilm GFX100S II – Kodak Tri-X 400

The Kodak Tri-X 400 Film Simulation Recipe has compatibility with X-Trans III, IV, and V cameras, plus all GFX models. It uses the Acros film simulation, and is the most popular B&W Recipe on Fuji X Weekly. For some reason, B&W Recipes are not nearly as popular as color. If you have not tried this one, whether for street photography or other situations, now is the time. It’s my personal favorite monochromatic Recipe, and one of my favorites out of all the Recipes.

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

A Quick Trip to Los Angeles — First Time Using My Fujifilm X-E5

Posted on by Ritchie Roesch

This last Saturday I had a quick adventure to Los Angeles, and it was my first time using my brand-new Fujifilm X-E5. In fact, the picture below, Sky Harbor Tower, was frame 0001. I had plenty of experience with the X-E5 already because Fujifilm had loaned me one shortly after it was announced, but I had to give it back after a couple of weeks. While I’ve had my X-E5 for a week, I didn’t have an opportunity to use it until this trip.

I charged the battery the day before, and set the camera up, programming 11 Recipes into it. The ones I chose for C1-C7 are Kodak Portra 400 v2, Kodak Pro 400, Kodachrome 64, Kodak Tri-X 400, Superia Negative (Film Dial Recipe), Reala Ace, and 1970’s Summer. I set Xpro ’62 as the “Nothing Selected” Recipe in the IQ Menu. On the Film Dial, I programmed Pacific Blues into FS1, Kodak Vericolor VPS into FS2, and 1960 Chrome into FS3. I don’t know if I’ll keep those 11 for awhile or switch some of them out—I’m still deciding—but those are the ones I had available in the camera on this trip. I didn’t use all of them this time around, only five.

Sky Harbor Tower – Phoenix, AZ – Fujifilm X-E5 – 1970’s Summer

The purpose of this trip was to lead a Fujifilm X half photowalk with Samy’s Camera and Fujifilm. If you follow me on Instagram, you’ve already seen the X half pictures. I flew in that morning from Phoenix and flew out of LA that night. It was a quick adventure. I had a lot of fun, and it was great to meet some of you in person and photograph with you.

A lot of times when I travel I take way too much gear with me. I go back-and-forth, actually. I’ll take a ton of gear and feel overwhelmed and burdened by it, so I’ll slim it back to a real minimal kit, but it will slowly get larger and larger and larger over time as I think I might need this or that, then the cycle repeats. I’m at the minimal kit spot right now. The only gear I brought along was the X half and the X-E5 with the 23mm f/2.8 pancake lens, plus one spare battery. Everything else stayed home. This seemed to work out quite well, but I’m sure pretty soon I’ll pack more gear into the bag before heading off on an outing somewhere, and it will once again begin to get bulkier and heavier. I have to remind myself: oftentimes, less is more.

Can – Phoenix, AZ – Fujifilm X-E5 – 1970’s Summer
Marshaller – Phoenix, AZ – Fujifilm X-E5 – 1970’s Summer
Tempe Aerial – Tempe, AZ – Fujifilm X-E5 – 1970’s Summer
Inversion – Ontario (?), CA – Fujifilm X-E5 – Kodak Tri-X 400
Marine Layer – Bell Gardens (?), CA – Fujifilm X-E5 – Kodak Tri-X 400
SoFi Stadium – Inglewood, CA – Fujifilm X-E5 – Kodak Tri-X 400
Fabez – Los Angeles, CA – Fujifilm X-E5 – Kodachrome 64
Pro Writing Tool – Los Angeles, CA – Fujifilm X-E5 – Kodachrome 64
7614 – Los Angeles, CA – Fujifilm X-E5 – Pacific Blues
Dripping Happiness – Los Angeles, CA – Fujifilm X-E5 – Pacific Blues
Fuji – Los Angeles, CA – Fujifilm X-E5 – Pacific Blues
Morning Sun – Los Angeles, CA – Fujifilm X-E5 – 1970’s Summer
Multiple Exposures – Los Angeles, CA – Fujifilm X-E5 – 1970’s Summer – This photo by Tom Baumgaertel (@bewaremyfuji) is on the wall of Samy’s Camera
Level Flight – Los Angeles, CA – Fujifilm X-E5 – Superia Negative
Final Approach – Los Angeles, CA – Fujifilm X-E5 – Superia Negative
Southwest Sunset – Los Angeles, CA – Fujifilm X-E5 – Superia Negative
Landing – Los Angeles, CA – Fujifilm X-E5 – Superia Negative
Flight Watch – Los Angeles, CA – Fujifilm X-E5 – Superia Negative
Into the Sunset – Los Angeles, CA – Fujifilm X-E5 – Superia Negative
Tying Shoe – Los Angeles, CA – Fujifilm X-E5 – Kodak Tri-X 400
Airport Night – Los Angeles, CA – Fujifilm X-E5 – Kodak Tri-X 400

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

Fujifilm X-E5 in black:
Amazon, B&H, Moment, Nuzira
Fujifilm X-E5 in silver:
Amazon, B&H, Moment, Nuzira

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

Nostalgic Negative makes your photos feel like memories

Posted on by Ritchie Roesch

Cold Rim, Warm Light – Grand Canyon NP, AZ – Fujifilm X-T5 – Kodak Vision3 250D v2 Recipe

Fujifilm has 20 Film Simulations on their latest cameras, and one of my favorites is Nostalgic Negative (also called Nostalgic Neg.). I thought it would be worthwhile to discuss this Film Simulation and compare a few different Recipes. Let’s jump right into this.

Nostalgic Negative is one of Fujifilm’s most recent Film Sims, first appearing in 2021 on the GFX100S, and now found on all of the fifth-generation X-series cameras. Inspired by American New Color photographs of the 1970’s from William Eggleston, Stephen Shore, and Joel Sternfeld (among others), it aims to replicate the look of prints from that era. The result is an aesthetic that feels like a warm memory pulled from your grandparent’s photo album or a shoebox full of old pictures.

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

In practice, Nostalgic Neg. sits somewhere between Classic Chrome and Eterna. It carries some of the subtle tonal gentleness of Eterna while achieving a Kodak-esque palette kind of similar to Classic Chrome, but with a unique shadow rendering and warmth. This Film Simulation doesn’t aim for true-to-life results; it’s more like a memory, giving your photos an instant sense of history and emotion.

So far, I’ve published 22 Film Simulation Recipes that use Nostalgic Negative as the base. You can achieve various looks with this Film Sim., and you may not know which one is right for you. I thought it would be a good idea to compare a handful of them directly, which might help you to decide which one(s) to program into your Fujifilm camera. The images below are all camera-made JPEGs from my Fujifilm GFX100S II, reprocessed in-camera using various Recipes, plus one with factory-default settings (no Recipe). I’m considering publishing a whole bunch of similar articles, so let me know if you appreciate this type of comparison.

Factory-default Nostalgic Negative (without Recipe)
Nostalgia Negative Recipe
Kodak Vericolor Warm Recipe
Kodak Vericolor VPS Recipe
Agfa Ultra 100 v2 Recipe
Kodak Negative Recipe
Nostalgic Americana Recipe
1970’s Summer Recipe

Film Simulation Comparison

Posted on by Ritchie Roesch

This last Saturday I taught a class at Nuzira called Fujifilm’s Film Simulations & Fuji X Weekly Recipes — Film-like Photos Without Editing. Overall the class went well; however, for those who couldn’t attend in-person, the first 30 minutes of it did not livestream. I’m not sure what went wrong. But, if you want to catch the last hour, it’s on Nuzira’s YouTube channel. My apologies for the technical trouble.

A request that I had from someone in the class was to share the image that’s at the top of this article, which directly compares Fujifilm’s 20 Film Simulations. The other IQ settings in those photos are factory default (without Recipes). It’s a good way to see how the various Film Sims render the scene differently. If you are not sure what the different Film Simulations do and which ones you might like best, you can probably get a good idea by studying that image.

I don’t have a comparison of Film Simulations with and without Recipes, other than a quick side-by-side from a couple of years ago. It might be worthwhile to do something like that again, but perhaps more robust. With over 400 Recipes, it would be impractical to do all of them, or even most. Still, it might be beneficial to tackle such a project, so that’s something I’ll try to work on. I’m sure it will need to take place over a whole series of articles.

Fujifilm X-E5 & 23mm f/2.8 – Captured with a GFX100S II & 80mm f/1.7 – Reala Ace Recipe

While I was at Nuzira, I picked up a Fujifilm X-E5 with the 23mm f/2.8 that I had preordered. I didn’t get my name on the list quick enough to be in the first batch, but (thankfully) the second batch wasn’t far behind. I haven’t set up the camera yet, but I’m hoping I can get to that today. Not unrelated to the previous paragraphs, I plan to write some articles about the X-E5. After all, this is Fujifilm’s very first Recipe camera.

If you are in the Los Angeles area this coming weekend, please join me on a Fujifilm X half photowalk with Samy’s Camera, as part of their 49th Anniversary three-day event. Spaces are limited and won’t likely last long, so be sure to register today! It’s $25 per-person ($27.13 after taxes), but each participant will receive a $25 Samy’s gift card, essentially making it free. Please bring an SD Card so you can take your photos home. 

I’ll also be in Minneapolis on September 28th. Details to come, but it’s a don’t-miss kind of event, so if you live in the area, be sure to mark your calendars.

Kodak Pro 400 — Fujifilm X-Trans V Film Simulation Recipe

Posted on by Ritchie Roesch

Hillside – Elk, CA – Fujifilm X-T5 – Kodak Pro 400

One film can produce many various looks depending on a whole host of factors. How was it shot: overexposed (and by how much), box speed, or underexposed (and by how much)? What gear was used, especially which lens? Were any filters used? What was the exact light situation? How was the film stored and handled? How was it developed, including how fresh were the chemicals, and what was the temperature and pH of the water? If it was printed, how was that handled and what paper was used? If it was scanned, which scanner was used, what were the settings, and what post-processing was done? How are you viewing the photo: print, light table, computer monitor, cellphone screen? There are a thousand factors that can affect the outcome—some a little, some a lot.

Sometimes I’ll get contradicting feedback on a certain Film Simulation Recipe. One person will say, I’ve shot with that film, and the Recipe matches almost exactly; another will say, I’ve shot with that film, and the Recipe is way off. That shouldn’t be surprising for the reasons pointed out in the last paragraph—both statements are probably quite true. There are other factors, of course, that are worth considering. One is called “memory color” (which is often mentioned by Fujifilm), in which we remember a film looking a certain way, but in reality our memory of it is a little off. I’ve experienced this personally, where I thought a certain group of settings looked exactly like some emulsion, but when I actually compared them side-by-side it was not such a close match after all. Which is preferable: memory color accuracy or technical accuracy? There’s no correct answer to that question, but you may prefer one over the other. Another significant factor is that, although Fujifilm does provide a fair amount of tools to customize aesthetics in-camera, there’s only so much that you can do with the options available to achieve a certain look. You can only get so close, and not a 100% match; however, it is surprising how close a Recipe will get sometimes. Also worth mentioning is that digital sensors and silver film behave quite divergently sometimes.

Fujifilm modeled the Classic Chrome Film Simulation after (non-specific) Kodak slide films from the 1980’s and ’90’s. Classic Chrome has some obvious similarities to both Kodachrome and Ektachrome; however, it’s not an exact facsimile of either (think of it more like a fictitious Kodak slide film). It does have a distinct Kodak-esque color palette, so it is a great Film Simulation to build Kodak Recipes on. The Nostalgic Neg. Film Simulation also has a Kodak-like palette, but it is intended to resemble prints from the 1970’s, and not projected slides or scanned film. Eterna and (to a lesser extent) PRO Neg. Std can be modified into Kodak aesthetics; however, they’re not modeled after any Kodak stocks. Circling back to Classic Chrome, I want to emphasize that it is primarily intended to replicate color reversal (slide) film, and not negative film.

Garden Lake – Avondale, AZ – Fujifilm X100VI – Kodak Pro 400

The newest Film Simulation, called Reala Ace, is modeled after color negative film, and most closely resembled Fujicolor PRO 160C. Despite its name, it’s quite obviously inspired by the ISO 160 Fujicolor PRO line of films; basically, it’s a new-and-improved PRO Neg. Film Simulation—a similar yet better iteration of PRO Neg. Std and PRO Neg. Hi (kind of like when Kodak replaced the NC and VC versions of Portra and introduced a new iteration of the films in 2011, except we still have the two PRO Neg. options…). Reala Ace doesn’t have a distinct Kodak palette, but, like PRO Neg. Std, it can be made into a Kodak-like look. The advantage of using Reala Ace instead of Classic Chrome is that it retains that “print film” quality of the Film Simulation.

This new Kodak Pro 400 Recipe came about after some feedback that Reala Ace might be a better foundation for a Kodak Portra 400 look than Classic Chrome. I had previously considered the possibility, but hadn’t put any effort into creating it. So I researched pictures and fiddled with the camera settings. I made a few different versions, which matched some certain examples but were notably off from others. I had to narrow it down to which specific Kodak Portra 400 look I wanted to replicate, and get as close to that as I could, with some compromises. It was definitely a process, and sometimes quite frustrating, but I settled on these settings. One disadvantage of using Reala Ace, obviously, is that, at its core, it’s a Fujicolor look, and sometimes that still comes through. You could think of it as printing Kodak film on Crystal Archive paper instead of Endura or Ektacolor. That’s not what this Recipe mimics, but it is a way to make peace with the issue. Most of these pictures were reprocessed in-camera using this Recipe, and not directly captured with it; however, I do have a bunch of other pictures (that are perhaps “less inspiring”) that were actually captured with the Recipe, but I only included a couple of them.

In the end, I feel that I got close-but-no-cigar. I think, in certain situations with certain subjects and lighting, this Recipe can be quite convincing at mimicking Kodak Portra 400 film. There are pictures in this article that you could put side-by-side with certain Kodak Portra 400 frames, and it would be difficult to distinguish which was the film and which was the Recipe. But there are other images that are so far off that I could not find a matching Portra 400 look (trust me, I tried). So I would say that this Recipe is hit-or-miss, and that’s why I didn’t name it Kodak Portra 400 v3 (although that’s what it’s named in my cameras right now). It’s definitely Portra 400 related. The full name of the film is Kodak Professional Portra 400, so I’m calling this Recipe Kodak Pro 400. There’s also Pro Image 100, another Kodak negative film, and this Recipe by chance isn’t terribly far off from that, either; however, it’s not intended to resemble that emulsion, and isn’t quite as good of a match. Either way, like the other Portra Recipes, how close it is or isn’t depends on which pictures you are looking at.

Walking the Museum Grounds – Savannah, GA – Fujifilm X100VI – Kodak Pro 400

I included a lot of sample pictures in this article, which will hopefully help to determine when this Recipe works well and when maybe it’s less than ideal. Like the film, it thrives in daylight, but this might be a better choice than some others in overcast situations. I also included a comparison of this Kodak Pro 400 Recipe with Reggie’s Portra, Kodak Portra 400, and Kodak Portra 400 v2 at the bottom of this article (for Reggie’s Portra and Kodak Portra 400, I set Color Chrome FX Blue to Off). I find it interesting that there are some common settings between this and the Kodak Portra 400 v2 Recipe, and also some opposite settings—that’s unintentional, just the way it worked out. Because this Recipe uses Reala Ace, it’s compatible with fifth-generation models, which (as of this writing) are the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, and X-E5. It’s also compatible with the latest GFX cameras: GFX100 II, GFX100S II, and GFX100RF. Those who have been dissatisfied with the Portra 400 Recipes may find that they like this one better; those who love the Portra 400 Recipes might not be convinced that this is an improvement. Personally, I really like it, and I might keep both this and Kodak Portra 400 v2 in my C1-C7, as there are times when one might be preferable over the other.

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

Example photographs, all camera-made JPEGs captured using this Kodak Pro 400 Film Simulation Recipe on a Fujifilm X-T5 and X100VI:

Birthday Boy – Buckeye, AZ – Fujifilm X-T5
(Not) Riding a Trolley – Washington, D.C. – Fujifilm X100VI
We’re on a Roll – New York City, NY – Fujifilm X100VI
AMC – New York City, NY – Fujifilm X100VI
Electric Sunset – Elk, CA – Fujifilm X-T5
California Sunset – Elk, CA – Fujifilm X-T5
Full Moonrise – Elk, CA – Fujifilm X-T5
Light, Reflected Light – Elk, CA – Fujifilm X-T5
Canon Camera – Buckeye, AZ – Fujifilm X100VI
Sunset in the Mirror – Avondale, AZ – Fujifilm X100VI
Terminally Waiting – Phoenix, AZ – Fujifilm X100VI
Warm Wood – Elk, CA- Fujifilm X-T5
Stairs – Elk, CA – Fujifilm X-T5
Underground Station – New York City, NY – Fujifilm X100VI
Roundhouse Locomotive – Savannah, GA – Fujifilm X100VI
Shop Interior – Savannah, GA – Fujifilm X100VI
The Tides – Bodega Bay, CA – Fujifilm X-T5
Bodega Bay – Bodega Bay, CA – Fujifilm X-T5
Greenwood Cove – Elk, CA – Fujifilm X-T5
Turquoise Pacific – Elk, CA – Fujifilm X-T5
Fog over Wild Brush – Elk, CA – Fujifilm X-T5
Fog Rolling In – Elk, CA – Fujifilm X-T5
Highway 1 – Elk, CA – Fujifilm X-T5
Coastal Fog – Elk, CA – Fujifilm X-T5
Magnolia – Savannah, GA – Fujifilm X100VI
Wet Sidewalk – Savannah, GA – Fujifilm X100VI
Wet Alley – Savannah, GA – Fujifilm X100VI
Red Bull – Savannah, GA – Fujifilm X100VI
Squirrel Box – Washington, D.C. – Fujifilm X100VI
Turn Arrow – Washington, D.C. – Fujifilm X100VI
Corridor – Arlington, VA – Fujifilm X100VI
Gravestones – Arlington, VA – Fujifilm X100VI
Empty Trail – Navarro, CA – Fujifilm X-T5
Southwest Sky – Arlington, VA – Fujifilm X100VI
Pilot Paused – New York City, NY – Fujifilm X100VI
Bus Stop – San Francisco, CA – Fujifilm X100VI
Box Truck – South San Francisco, CA – Fujifilm X100VI
Jackpot – New York City, NY – Fujifilm X100VI
Bike, Parking – New York City, NY – Fujifilm X100VI
Blue Car – San Francisco, CA – Fujifilm X100VI
99 – San Francisco, CA – Fujifilm X100VI
No Parking, unless it’s an RV – Fort Bragg, CA – Fujifilm X100VI
Tall Saguaro – Buckeye, AZ – Fujifilm X100VI

Comparison

Kodak Pro 400 Recipe
Reggie’s Portra Recipe
Kodak Portra 400 Recipe
Kodak Portra 400 v2
Kodak Pro 400 Recipe
Reggie’s Portra Recipe
Kodak Portra 400 Recipe
Kodak Portra 400 v2 Recipe

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

Fujifilm X-T5 in black:
Amazon, B&H, Moment, Nuzira
Fujifilm X-T5 in silver:
Amazon, B&H, Moment, Nuzira
Fujifilm X100VI in black:
Amazon, B&H, Moment, Nuzira
Fujifilm X100VI in silver:
Amazon, B&H, Moment, Nuzira

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

Aerochrome v2 — Fujifilm X-T3/X-T30 Full Spectrum Infrared Film Simulation Recipe

Posted on by Ritchie Roesch

Red Coast – Fort Bragg, CA – Fujifilm X-T4 ES – This new Aerochrome v2 Recipe

Last year, I started my infrared photography journey when I purchased a Fujifilm X-T4 ES full-spectrum IR camera. Since then, I’ve published seven infrared Film Simulation Recipes for the X-T4 ES, which can also be used on full-spectrum converted X-Trans IV (except the X-T3 & X-T30) and X-Trans V cameras. You must have a full-spectrum model to use these Recipes, which requires an expensive and invasive procedure from a third-party vendor; otherwise, the X-T4 ES (“Extended Spectrum”) is a full-spectrum camera briefly offered by Fujifilm to the general public (it’s very difficult to find, but in my opinion totally worth owning). If you have a “normal” (non-converted) camera, these Recipes will not work.

One camera that people have commonly converted (as common as it gets, anyway) is the Fujifilm X-T3. While the X-T3 is X-Trans IV, it has JPEG options more similar to X-Trans III—it’s missing some that are available on later X-Trans IV models. Because of this, my seven infrared Recipes won’t work on a full-spectrum converted X-T3 or X-T30. Dan Allan has a full-spectrum X-T3, and he really wanted to use my Aerochrome v2 Recipe, so he modified it to be compatible with his camera. It’s not 100% the same, but pretty close, and quite nice. Those with a full-spectrum converted X-T3 or X-T30 can now join the infrared Recipe fun!

Above Left: Original Fujifilm X-T4 ES Aerochrome v2 Recipe; Above Right: This new Aerochrome v2 Recipe for the X-T3/X-T30.

Dan was kind to share his modification with me (and all of you), and also allowed me to publish his wonderful photos in this article, which you’ll find below (thank you, Dan!). If you have an X-Trans III full-spectrum model, this Recipe will work by ignoring Color Chrome Effect, but it will render a little different (feel free to try, though). If you have a Fujifilm X-T4 ES—or an X-Trans IV (other than the X-T3 & X-T30) or X-Trans V camera that has been full-spectrum modified—this Recipe will work by choosing Grain size Small, Color Chrome FX Blue set to Off, and Clarity set to 0. Depending on your preferences, you might actually like this version a bit better. The blue sky is the most obvious difference (interestingly, it seems slightly less divergent in Dan’s pictures than in the set above), but there are other more subtle variances; however, the overall vibe is the same between the original Aerochrome V2 Recipe and the new version. This Recipe requires three filters: Kolari Vision IR Chrome filter, Hoya G(XO) Yellow-Green filter and Tiffen Yellow 2 #8 filter. The IR Chrome filter is intended for infrared photography, while the Yellow-Green and Yellow filters are for B&W film. I’m not sure if the order matters, but I have the Yellow filter first (closest to the lens), the IR Chrome next, and the Yellow-Green last (furthest from the lens).

Edit: Dan informed me that he has the IR Chrome filter first (closest to the lens), followed by the G(XO), and then the Yellow 2 #8 (furthest from the lens). He isn’t sure if the order matters, but it might. He also wanted to mention that his conversion was with Kolari, with their anti-reflection glass, which might have a minimal impact on the outcome vs the X-T4 ES.

Filters: Kolari Vision IR Chrome, Hoya G(XO) Yellow-Green & Tiffen Yellow 2 #8
Film Simulation: Velvia
Dynamic Range: DR400
Grain Effect: Strong
Color Chrome Effect: Strong
White Balance: 5000K, +7 Red & +7 Blue
Highlight: +2
Shadow: 0
Color: +4
Sharpness: 0
High ISO NR: -4
ISO: Auto, up to ISO 6400
Exposure Compensation: 0 to +2/3 (typically)

Example photographs, all camera-made JPEGs captured by Dan Allen using this Aerochrome v2 Film Simulation Recipe on his full-spectrum converted Fujifilm X-T3:

Full-Spectrum Fujifilm X-T3 & Aerochrome v2 Recipe — Photo by Dan Allen
Full-Spectrum Fujifilm X-T3 & Aerochrome v2 Recipe — Photo by Dan Allen
Full-Spectrum Fujifilm X-T3 & Aerochrome v2 Recipe — Photo by Dan Allen
Full-Spectrum Fujifilm X-T3 & Aerochrome v2 Recipe — Photo by Dan Allen
Full-Spectrum Fujifilm X-T3 & Aerochrome v2 Recipe — Photo by Dan Allen
Full-Spectrum Fujifilm X-T3 & Aerochrome v2 Recipe — Photo by Dan Allen
Full-Spectrum Fujifilm X-T3 & Aerochrome v2 Recipe — Photo by Dan Allen
Full-Spectrum Fujifilm X-T3 & Aerochrome v2 Recipe — Photo by Dan Allen
Full-Spectrum Fujifilm X-T3 & Aerochrome v2 Recipe — Photo by Dan Allen
Full-Spectrum Fujifilm X-T3 & Aerochrome v2 Recipe — Photo by Dan Allen
Full-Spectrum Fujifilm X-T3 & Aerochrome v2 Recipe — Photo by Dan Allen
Full-Spectrum Fujifilm X-T3 & Aerochrome v2 Recipe — Photo by Dan Allen
Full-Spectrum Fujifilm X-T3 & Aerochrome v2 Recipe — Photo by Dan Allen
Full-Spectrum Fujifilm X-T3 & Aerochrome v2 Recipe — Photo by Dan Allen
Full-Spectrum Fujifilm X-T3 & Aerochrome v2 Recipe — Photo by Dan Allen
Full-Spectrum Fujifilm X-T3 & Aerochrome v2 Recipe — Photo by Dan Allen
Full-Spectrum Fujifilm X-T3 & Aerochrome v2 Recipe — Photo by Dan Allen
Full-Spectrum Fujifilm X-T3 & Aerochrome v2 Recipe — Photo by Dan Allen
Full-Spectrum Fujifilm X-T3 & Aerochrome v2 Recipe — Photo by Dan Allen
Full-Spectrum Fujifilm X-T3 & Aerochrome v2 Recipe — Photo by Dan Allen

Find this Aerochrome v2 and other IR Recipes in the Fuji X Weekly App, available for both Android and Apple.

See also:
10 Frames: Infrared in the Desert — White Sands National Park with Aerochrome v2
Philadelphia in Aerochrome — Infrared Photography in the City of Brotherly Love

The Destination is the Look — Buying Cameras for the Aesthetic

Posted on by Ritchie Roesch

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

A reader messaged me recently with a confession: while camera shopping the other day, the top factor wasn’t megapixels, ergonomics, battery life, AF speed, size, or any other spec sheet headline. It was how the JPEGs look straight-out-of-camera—the aesthetics of the pictures—and how easy or difficult it is to get that look. Five years ago that might have sounded odd. Today it’s normal.

Fujifilm grasped years ago that “look” is a feature, not a garnish. Their Film Simulations aren’t just color presets; they’re carefully engineered tonal behaviors—contrast, colors, hues—that feel intentional, and are cohesive across the lineup. Fujifilm used their vast experience with film to create their Film Simulations, which is why their camera-made JPEGs are so good. Photographers talk about “Fuji color” like it’s a place you can visit, not just a slider position in a photo editor.

Coastal Mist – Elk, CA – Fujifilm X-T5 – Velvia Film

Film Simulation Recipes fine-tune those Film Simulations into aesthetics that oftentimes replicate classic film stocks. By adjusting the various JPEG settings, you can achieve many different looks straight-out-of-camera: Kodachrome 64, Kodak Gold 200, Fujicolor Superia 100—these are just a few examples. I’ve published over 400 Film Simulation Recipes, found on this website and in the Fuji X Weekly App. Most likely there’s a Recipe that matches your style. As my newest catchphrase says: Shoot more, edit less, and let your camera be your darkroom.

Fujifilm makes it easy to achieve a lot of great (often analog-like) looks. You can reduce or even eliminate post-processing, which saves a lot of time (and quite literally changed my life—no hyperbole). A computer is no longer required. While Fujifilm is head-and-shoulders above the competition when it comes to in-camera JPEG processing, there are other brands that are also good, and worth considering. Ricoh GR cameras, for example, are capable of some excellent straight-out-of-camera looks. There are Nikon Recipes, and Panasonic has LUTs. Leica added a few more profiles, and Sony recently added two more FL (“Film Look”) options. Each has advantages and disadvantages.

Fujifilm is clearly in the lead, but since other brands have taken notice, they shouldn’t feel too comfortable. They need to continue to innovate, with more in-camera looks, more customization, but also more simplicity. Remember: our friend was just as interested in the ease of achieving looks as much as the looks themselves, and to an extent some of the competition actually has a leg up on Fujifilm. It’s easy to overlook the importance of simplicity, but it’s just as critical as robustness—those might seem like contradictory terms, but they’re not.

White Bridge across Pond – Charleston, SC – Fujifilm X-E4 – Pacific Blues

There’s another aspect to all of this that needs to be discussed, and that’s the point of diminishing returns. Eventually, spec increases mean less and less. At some point, a camera is more than fast enough, and speed increases are unimportant to most people. The megapixels are more than enough, and increases in resolution are meaningless to the majority of customers. Etc., etc.. There might even be negative side effects to these improvements, which could make them seem regressive to some. This is known as the Inverted U Curve. I think a lot of aspects of digital camera technology are nearing (or have already reached or even surpassed) the peak of the curve, which means that they’ll be less effective as marketing ploys. This provides the opportunity for other things that have traditionally been ignored to take center stage. This is why more and more, the JPEG output is a deciding factor—and in some cases, the deciding factor—in new camera purchases.

If you catch yourself picking a camera because you love how it renders the world, don’t feel silly. That’s not laziness; it’s clarity. It’s normal. Specs used to be the destination; today, for many, they’re just the road—the destination is the look. With Fujifilm’s Film Simulations and my Film Simulation Recipes, it’s never been easier to reach your destination.

A Roadtrip with the Fujifilm X-E5 using 11 Recipes

Posted on by Ritchie Roesch

I’m really excited, because I just published my first YouTube video in over a year! You might not be aware that Fuji X Weekly has a YouTube channel, but it does. I published two videos (not including Shorts) in 2024 (here and here), and three in 2023 (here, here and here). Those were a lot of fun, but YouTube videos are so much work. They take hours and hours and hours to create from start-to-finish. A good estimation—for those channels without a team of people—is one or two (or sometimes more) hours of editing for every minute of video published. That’s not including the time it takes to record the clips.

The video that just went live is a roadtrip to the Mission San Xavier del Bac in Tucson. This is the oldest still-used building in Arizona, and the oldest church. It’s where the city started (even though now it’s a little outside of town). The mission is a popular location for photography, and even Ansel Adams photographed it. I used 11 different Film Simulation Recipes on a Fujifilm X-E5. The adventure gets a bit wild, so hang onto your proverbial hats. I’ve included the video below—be sure to watch!

We tried a little different style for this new video. It’s a bit more relaxed, but hopefully entertaining. It gets a bit silly at times. Amanda (my wife) filmed it all using her Fujifilm X-S20 and Fujinon 16-50mm f/2.8-4.8 lens and an upcoming Recipe for video (look for more details on that in the near-ish future). She also did almost all of the editing. There were some technical difficulties; hopefully a new mic will help alleviate some of the issues on future projects. This is also the longest video we’ve ever published, nearly three times longer than the previous longest. A big hurray for Amanda and all the work she put into it!

Even though I have published videos very infrequently over the last few years, the channel has (surprisingly) grown and grown. There are over 17,000 subscribers currently. Four of the last five videos have over 10,000 views, and two have over 16,000. That’s not bad for a barely-there channel. My hope with this new upload is to kick-off a restart of sorts. While I can’t promise anything, my goal is to publish new videos regularly, and not let so much time pass between them. But, in the meantime, I hope that you enjoy this one.

Classic B&W Film Simulation Recipe

Posted on by Ritchie Roesch

Old Church – Tucson, AZ – Fujifilm X-E5 – Classic B&W

I love black-and-white photography. Kodak Tri-X 400 is my favorite monochromatic option, and (unsurprisingly) it’s by far the most popular B&W Recipe. For whatever reason, color Film Simulation Recipes tend to be a lot more popular than monochrome, so there are quite a few more of them; however, I really enjoy publishing a good B&W Recipe, and I’m quite excited about this one in particular. It’s really good, in my humble opinion.

The story behind this Classic B&W Recipe is unusual. While leading a photowalk in Manitou Springs, Colorado, with Mike’s Camera, someone asked me to explain the process of creating a Recipe. So I walked him through the process right there in Manitou Springs on a Fujifilm X-E5, and created this JPEG settings combo while doing so. I remember thinking that it looked nice, but pretty much forgot about it until after I returned home and reviewed the photos. After using it a little more, it quickly became one of my favorite B&W Recipes. Kodak Tri-X 400 still ranks a little higher in my book, but this one is easily a Top 5 for me.

Coffee – Tucson, AZ – Fujifilm X-E5 – Classic B&W

While I only used this Classic B&W Recipe on a Fujifilm X-E5 and X100VI, it is fully compatible with X-Trans IV (except the X-T3 and X-T30) and X-Trans V cameras. For those keeping score, that’s (as of this writing) the X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, and X-E5. You can also use this on the latest GFX cameras, including the GFX100S, GFX100 II, GFX100S II, and GFX100RF. For the Fujifilm X-T3, X-T30, and X-Trans III models, consider trying the Analog Monochrome Recipe, which isn’t too dissimilar.

Film Simulation: Acros+G
Monochromatic Color (Toning): WC 0 & MG 0 (Off)
Dynamic Range: DR200
Grain Effect: Strong, Large
Color Chrome Effect: Off
Color Chrome FX Blue: Off
White Balance: Incandescent, -9 Red & +9 Blue
Highlight: +3
Shadow: +4
Sharpness: +1
High ISO NR: -4
Clarity: +3
ISO: Auto, up to ISO 12800
Exposure Compensation: 0 to +2/3 (typically)

Example photographs, all camera-made JPEGs captured using this Classic B&W Film Simulation Recipe on a Fujifilm X-E5 and X100VI:

Monochrome Umbrella – Buckeye, AZ – Fujifilm X100VI
Empty Chair in a Dark Room – Litchfield Park, AZ – Fujifilm X100VI
Lonely Chair – Buckeye, AZ – Fujifilm X-E5
Hanging Shadows – Buckeye, AZ – Fujifilm X-E5
Grey Odadiuc – Buckeye, AZ – Fujifilm X-E5
Shadow Abstract – Litchfield Park, AZ – Fujifilm X100VI
Suburban Palm Shadow – Buckeye, AZ – Fujifilm X100VI
Coffee Cups – Tucson, AZ – Fujifilm X-E5
In the Raw – Tucson, AZ – Fujifilm X-E5
Facing North – Tucson, AZ – Fujifilm X-E5
Horse on a Ledge – Buckeye, AZ – Fujifilm X-E5
Baldwin 2 – Manitou Springs, CO – Fujifilm X-E5
Mission Church – Tucson, AZ – Fujifilm X-E5

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

Review: Fujifilm X-E5 — Pancakes & Recipes

Posted on by Ritchie Roesch

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.

Neighborhood Fireworks – Buckeye, AZ – Fujifilm X-E5 & 23mm f/2.8 – Kodak Vericolor VPS

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

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

Fujifilm X-E5 in black:
B&H, Moment, Nuzira
Fujifilm X-E5 in silver:
B&H, Moment, Nuzira

Example photographs, all camera-made JPEGs (with various Recipes) captured using a Fujifilm X-E5 & Fujinon 23mm f/2.8 lens:

Retro Color — FXW App Patron Early-Access Recipe for Fujifilm X-Trans V

Posted on by Ritchie Roesch

Savannah Central 7069 – Savannah, GA – Fujifilm X100VI – Retro Color

When Fujifilm released the X half last month, it included some brand-new filters, including Light Leak, Expired Film, Halation, and many more. One of my personal favorites is called Retro. Fujifilm doesn’t say exactly what the Retro Filter is supposed to resemble, but it’s an obvious vintage aesthetic. It reminds me a bit of Ormond Gigli’s color work of the late 1960’s and early 1970’s, although I’m sure the similarities are coincidental. I do think the filter was inspired by 1960’s era Ektachrome, especially when push-processed, something Kodak began offering in 1968.

The one and only X-series camera that has the Retro Filter is the X half. You won’t find it on the X100VI or X-E5 or any other model; however, it is on Instax Evo cameras. This filter, plus a number of others on the X half, were inherited from the Instax department. In my opinion, Fujifilm should add the Retro and Expired Film Filters to the Advanced Filters section of X-series cameras. Light Leak and Halation should be added as JPEG options that can be applied to Film Simulation Recipes. I hope they do.

Above: Retro Filter on the Fujifilm X half

While the Retro Filter on the X half was the initial inspiration for this new Recipe, I leaned more heavily into a different (yet similar) picture aesthetic that I really like: the Retro Style Smart Filter on my Samsung ST76 digicam. This little pocket point-and-shoot is from 2012, and it’s not particularly great, but I really like the Retro Style Smart Filter on it, which is pretty much the only reason why I use that old digicam. The filter is intended to produce a vintage ’60’s and ’70’s look, although (again) the specifics aren’t identified. While it has some similarities to the Retro Filter on the X half, it is notably divergent—a bit softer, less bold, and more subtle (yet still pronounced). To me, it looks more like prints from that era, more so than push-processed slides.

I did consider both of these picture aesthetics when created this Retro Color Film Simulation Recipe, but I spent more time comparing my X100VI and X-E5 photos to the Samsung ST76 than the X half. That was the vibe that I wanted to emulate, more so than the X half images. I think this Recipe nails the look in certain situations, and is pretty close (but not perfectly matched) in others. I’m pretty satisfied with the end result.

Above: Retro Style Smart Filter on a Samsung ST76

You might ask why I replicated the Retro look from a cheap digicam over the Retro look from the X half. Initially, I was attempting to replicate the X half aesthetic, but I encountered some difficulties early in that process. If I kept at it, perhaps those things could have been overcome. My hope is that Fujifilm brings the Retro Filter to X-series cameras, which might make the Recipe obsolete if I made it. Aside from that, while the Retro aesthetic from the Samsung ST76 and Fujifilm X half both have their positive and unique characteristics, overall I prefer Samsung’s version, as Fujifilm’s can be a little too strong sometimes for my tastes. I like both, and they’re both somewhat similar, but the one that I like best is what I ended up mimicking.

This Recipe produces an aesthetic reminiscent of some photo prints from the 1960’s and ’70’s, maybe captured using Ektachrome X or Ektachrome 200. I did find a few examples of Ektachrome prints from the 1970’s (for example, this one), which aren’t terribly dissimilar, and maybe sit halfway in-between the Retro Color Film Simulation Recipe and the X half‘s Retro Filter. As with anything in film photography, there are a lot of variables that can significantly affect the outcome. I would say that it is the “general aesthetic” that the Recipe recreates more so than a specific film or process.

Triton – Tonopah, AZ – Fujifilm X100VI – Retro Color

This Retro Color Recipe looks great on sunny days, and can be especially nice during golden hour. Try both a slight underexposure and overexposure—the results are notably different, and you might prefer one over the other. It produces a certain look with overcast sky, which you could either love or hate (most people probably won’t like it). I would avoid this for nighttime situations, but early blue hour is fine. This Recipe wouldn’t be my first choice for portrait photography, although situationally specific, it might be ok for that. If you appreciate a warm, vintage aesthetic, give the Retro Color Recipe a try, as you might really like it.

This is a Patron Early-Access Recipe. If you are a Fuji X Weekly App Patron, you have access to it right now. If not, no worries, as it will eventually be made available to everyone, once it is replaced by a new Early-Access Recipe. It 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, X-T50, X-M5, and X-E5. It can also be used on the latest GFX models, including the GFX100 II, GFX100S II and GFX100RF.

Example photographs, all camera-made JPEGs using this Retro Color Film Simulation Recipe on a Fujifilm X100VI and X-E5:

7 Eleven – Phoenix, AZ – Fujifilm X100VI
Dusty Steering Wheel – Buckeye, AZ – Fujifilm X-E5
Sparkless Plug – Buckeye, AZ – Fujifilm X-E5
Eye Closed – Buckeye, AZ – Fujifilm X-E5
Inspection – Arlington National Cemetery, VA – Fujifilm X100VI
The Porter Machine – Savannah, GA – Fujifilm X100VI
2715 – Savannah, GA – Fujifilm X100VI
Mission Arch – Tucson, AZ – Fujifilm X-E5
Storm over Mission San Xavier – Tucson, AZ – Fujifilm X-E5
Treasury Department – Washington, DC – Fujifilm X100VI
Big Flag – Phoenix, AZ – Fujifilm X100VI
Bashas on Main Street – Buckeye, AZ – Fujifilm X-E5
Vacancy at the Motor Hotel – Buckeye, AZ – Fujifilm X-E5
Afternoon Palm – Buckeye, AZ – Fujifilm X-E5
Craftsman – Buckeye, AZ – Fujifilm X-E5
Bougainvillea Sunset – Buckeye, AZ – Fujifilm X-E5
Tire Pile – Waddell, AZ – Fujifilm X-E5
Fireplace – Scottsdale, AZ – Fujifilm X100VI
Fading Sunset – Somewhere over Arizona (I think) – Fujifilm X100VI

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

Pro Neg — Fujifilm X-T3 & X-T30 (+ X-Trans III) Film Simulation Recipe

Posted on by Ritchie Roesch

Small Clouds Above the Roof – Buckeye, AZ – Fujifilm X-T30 – Pro Neg Recipe

I worked on this Film Simulation Recipe for some time. It wen’t through a lot of iterations, with small tweaks here and there over a few month period, before I landed on the final settings. The idea was to create a generic Kodak-ish color negative film aesthetic, perhaps something similar to ColorPlus 200 or Pro Image 100. While I did look at both of those emulsions a number of times during the development of this Recipe, I didn’t set out to strictly emulate either of them. I think there can be similarities at times to both of those film stocks, but generally speaking this Recipe isn’t a replication of either—or any—film. I hope that makes sense. I do think it does a good job at producing a generic color negative film aesthetic that is by-and-large Kodak-esque, with occasional similarities to both ColorPlus 200 and Pro Image 100.

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

Beautiful Bougainvillea Blooms – Buckeye, AZ – Fujifilm X-T30 – Pro Neg Recipe

This Pro Neg Film Simulation Recipe is compatible with the Fujifilm X-T3 & X-T30, plus all X-Trans III cameras, which are the X-Pro2, X100F, X-E3, X-T2, X-T20, and X-H1. For newer cameras, you’ll have to decide on a Grain size (Small or Large), set Color Chrome FX Blue to Off, and Clarity to 0. This Recipe is also compatible with the GFX100; it can be used on “older” GFX models (50R and 50S), but will render slightly differently (try it anyway).

Film Simulation: PRO Neg. Hi
Dynamic Range: DR400
Grain Effect: Weak
Color Chrome Effect: Off/NA
White Balance: 9100K, -7 Red & +7 Blue
Highlight: +1
Shadow: +1
Color: +1
Sharpness: -1
High ISO NR: -4
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs captured using this Pro Neg Film Simulation Recipe on my Fujifilm X-T30:

Empty Schoolyard – Buckeye, AZ – Fujifilm X-T30
Backyard Wall View – Buckeye, AZ – Fujifilm X-T30
Hidden Triangle – Buckeye, AZ – Fujifilm X-T30
Gila River Hat – Buckeye, AZ – Fujifilm X-T30
Tree by Field 4 – Buckeye, AZ – Fujifilm X-T30
Bougainvillea Petals – Buckeye, AZ – Fujifilm X-T30
Little Cloud Between the Trees – Buckeye, AZ – Fujifilm X-T30
Twin Palms – Buckeye, AZ – Fujifilm X-T30
Palm Behind Bougainvillea Blossoms – Buckeye, AZ – Fujifilm X-T30
Suburban Colors – Buckeye, AZ – Fujifilm X-T30
Bougainvillea in the Sky – Buckeye, AZ – Fujifilm X-T30
Basketball Hoop at Dusk – Buckeye, AZ – Fujifilm X-T30
Hoop & Tree – Buckeye, AZ – Fujifilm X-T30
Court Cycle – Buckeye, AZ – Fujifilm X-T30
Dusk Saguaro – Buckeye, AZ – Fujifilm X-T30
One Fallen, One Standing – Buckeye, AZ – Fujifilm X-T30
Window Reflection – Buckeye, AZ – Fujifilm X-T30
Yellow Trumpet – Buckeye, AZ – Fujifilm X-T30
Backyard Rose Blossom – Buckeye, AZ – Fujifilm X-T30
Backlit Bud – Buckeye, AZ – Fujifilm X-T30

My Five Favorite Fujifilm Film Simulations

Posted on by Ritchie Roesch

Fujifilm’s Film Simulations are not mere digital filters. Harnessing more than 70 years of knowledge and experience making photographic and cinematic films, Fujifilm set out to infuse their X and GFX cameras with an analog soul. With a combination of complex elements, these Film Simulations provide a wide variety of looks inspired by film or darkroom techniques. There are 20 different Film Simulations on the latest models, and it can be overwhelming to know where to begin. I like some more than others, but which are best is personal—my preferences might be different than yours. For me, five Film Simulations have emerged as iconic, and are my personal favorites. There are others that didn’t make this cut that I also appreciate and use regularly. Each Film Simulation has its moment when it works really well.

My five favorites are Acros, Classic Chrome, Classic Negative, Nostalgic Neg., and Reala Ace. We’ll take a look at each of them. I will also recommend a few Film Simulation Recipes, selected for those who want to experience the full power of Fujifilm’s renown JPEG engine. Recipes use the various JPEG parameters made available by Fujifilm to customize the aesthetic of the Film Simulations, producing a variety of looks that are often based off of classic film stocks.

Acros – The Soul of Black & White

Top: Fujifilm GFX100S II & Kodak Tri-X 400; Bottom Left: Fujifilm X-T5 & Kodak T-Max P3200; Bottom Right: Fujifilm X100F & Agfa Scala

Acros is Fujifilm’s crowning achievement in monochrome photography. This Film Simulation replicates the tonal response and grain structure of real panchromatic film. It features smooth gradation, deep blacks, and beautiful highlight roll-off. Acros is unique because Grain is applied algorithmically and varies depending on ISO and exposure, giving it an organic analog-like feel. Fujifilm offers three filter variants: Acros+R (simulates the use of a red filter), Acros+Ye (simulations the use of a yellow filter), and Acros+G (simulates the use of a green filter), further mimicking the tonal rendering of black-and-white film.

This Film Simulation shines in genres where texture and tone are essential, especially street photography, portraits, documentary, and minimalism. Acros is ideal when you want to eliminate the distraction of color and focus purely on light and form. When paired with the right Recipe, it can evoke the gritty spirit of classic film stocks like Tri-X, or deliver a softer tonality for quieter moments. The Acros Recipes below are some of my personal favorites.

Kodak Tri-X 400
Kodak T-Max P3200
Agfa Scala

Classic Chrome – A Kodak Aesthetic

Top: GFX100S II & Kodachrome 64; Bottom Left: Fujifilm X100VI & Kodak Portra 400 v2; Bottom Right: Fujifilm X-T4 & Reggie’s Portra

Classic Chrome was modeled after classic photojournalism photographs, and produces a documentary-style look. The reference pictures were emulsions like Kodachrome and Ektachrome. While Fujifilm will never say Kodak, Classic Chrome has a distinctive Kodak-like color palette. With a slightly lower saturation and stronger contrast than many other Film Simulations, it can be used for a bold-yet-somehow-subdued look.

Classic Chrome is great for many genres. It can be adapted for landscapes, portraits, travel, street and urban scenes, or storytelling photography. It’s the most popular Film Simulation for those who use Recipes, and the most iconic Recipes use Classic Chrome as their foundation. Below are the most popular Film Simulation Recipes—not only that use this Film Sim., but out of all Recipes.

Kodachrome 64
Reggie’s Portra
Kodak Portra 400 v2

Classic Negative – Fujicolor Superia Film

Top: Fujifilm X100VI & Fujicolor Superia 800; Bottom Left: Fujifilm X-E4 & Pacific Blues; Bottom Right: Fujifilm X100V & Fujicolor Reala 100

Classic Negative is based on Fujicolor Superia, a line of consumer films known for rich colors and its 4th layer technology, which provided versatility in a variety light situations. It’s a bold Film Simulation with a unique ability: the way it renders is dependent on the brightness of the picture, behaving somewhat similar to the film when overexposed or underexposed—delivering complex, sometimes unpredictable color shifts. Greens can appear silvery, reds can pop or fade depending on the lighting, and skin tones have a nostalgic rendering. The results are reminiscent of pictures found in many photo albums from the 1990’s and early 2000’s.

Classic Negative is especially well suited for snapshots of daily life and family vacations—really, any subject where you want a stylized, analog-inspired aesthetic. It exaggerates contrast in a way that feels emotionally driven, almost like how memory transforms color and mood. It’s one of the most fun Film Simulations to experiment with, and the Recipes built on it often have strong personalities.

Pacific Blues
Fujicolor Superia 800
Fujicolor Reala 100

Nostalgic Neg. – Classic Americana

Top: Fujifilm X-E5 & Kodak Vericolor VPS; Bottom Left: Fujifilm GFX100S II & 1970’s Summer; Bottom Right: Fujifilm X-T50 & Nostalgic Americana

Introduced with the GFX100S and later made available in fifth-generation X-Trans V cameras, Nostalgic Neg. was designed to mimic the aesthetic of New American Color prints from the 1970’s. It was inspired by the works of William Eggleston, Stephen Shore, Joel Sternfeld and Richard Misrach, among others. Like Classic Chrome, Nostalgic Neg. has a strong Kodak-like rendering, albeit from a different era. Nostalgic Neg. gives the feeling of looking through an old photo album filled with warm memories, especially prints from the ’60’s and ’70’s.

This Film Simulation excels in storytelling, and is especially great for travel and documentary photography. Nostalgic Neg. is an emotional Film Simulation, and Recipes built on it often lean into the sentimental, creating photos that feel more like visual poetry than true-to-life renderings.

1970’s Summer
Nostalgic Americana
Kodak Vericolor VPS

Reala Ace – Negative for a New Era

Top: Fujifilm X100VI & Fujicolor PRO 160C Warm; Bottom Left: Fujifilm X-E5 & Summer Sun; Bottom Right: Fujifilm X-T50 & Pushed Analog

Reala Ace is the newest Film Simulation in Fujifilm’s lineup. It blends natural color fidelity with enhanced contrast and shadow depth, aiming to strike a balance between documentary realism and artistic expression. The tones are clean and accurate, but never sterile—just enough pop to give photographs life without looking overly processed. It’s most similar to PRO Neg. Std, but isn’t exactly like it, either, with an obvious nod to Fujicolor PRO 160C color negative film.

Reala Ace is an excellent choice for all-purpose photography—whether you’re shooting travel, street, portraits, or landscapes. It can be adapted to a wide range of subjects, lighting, and moods. As a base for Recipes, it can be made to produce a variety of different looks. It’s not surprising to me that Reala Ace is becoming a go-to Film Simulation for many photographers.

Fujicolor PRO 160C Warm
Pushed Analog
Summer Sun

These five Film Simulations—Acros, Classic Chrome, Classic Negative, Nostalgic Neg., and Reala Ace—represent the heart of Fujifilm’s JPEG magic. Each offers a unique way to see the world. They allow you to create finished straight-out-of-camera photographs that look great and don’t need to be edited, especially when combined with Film Simulation Recipes. Film Simulations and Recipes are tools of expression, just like film stocks. Shoot more, edit less, and let your camera become your darkroom. Wow, I need to use that last sentence as a tagline or something.

Are the Fujifilm X-M5 and X-S20 X-Trans IV or V? Yes.

Posted on by Ritchie Roesch

Coastal Arches – Charleston, SC – Fujifilm X-S20 – Kodacolor VR 200 – Photo by Jonathan Roesch

I’ve received a lot of questions lately about the Fujifilm X-M5 and X-S20. Specifically, people want to know what generation these two cameras fall under, and which Film Simulation Recipes they should use on their model. I’m not sure why this question has been asked so much lately, but there has definitely been a noticeable spike. Let’s get right into the answer, which is simple and complicated.

Both the X-M5 and X-S20 feature the same 26-megapixel X-Trans IV sensor found in the previous-generation models, such as the X-Pro3, X100V, X-T4, and X-T30 II. So it might seem obvious: they must be fourth-generation cameras, right? Not quite. Despite the sensor, both the X-M5 and X-S20 have the new X-Processor 5, the same as the X-T5, X100VI, X-H2, and X-T50, among others. In other words, these two cameras have a foot in both the X-Trans IV and X-Trans V worlds.

While sensor generation typically defines the era of Fujifilm cameras, it’s not just about the sensor itself—it’s also about the image processor, the firmware, and the JPEG engine. The X-Processor 5 brings with it some new Film Simulations, and a slightly divergent rendering (namely, the color blue on Classic Chrome, Classic Negative, Eterna, and Eterna Bleach Bypass). Even though the sensor on the X-M5 and X-S20 are from the prior generation, the JPEG options and rendering are more in line with the latest generation.

Flowering Tree – Buckeye, AZ – Fujifilm X-S20 – Summer Sun – Photo by Jonathan Roesch

The most appropriate Film Simulation Recipes for the X-M5 and X-S20 are X-Trans V and not X-Trans IV. Recipes designed for X-Trans IV that use Classic Chrome, Classic Negative, Eterna, and Eterna Bleach Bypass might not look quite right, and will need a Color Chrome FX Blue adjustment. If the X-Trans IV Recipe (that uses one of those four Film Sims) calls for Color Chrome FX Blue set to Strong, use Weak instead; if it calls for Weak, use Off instead. With that simple adjustment, those X-Trans IV Recipes are fully compatible with the X-M5 and X-S20, as are all X-Trans IV (except those intended for the X-T3/X-T30) that aren’t based on those four Film Simulations.

While it’s a bit convoluted, the answers aren’t terribly complicated. Even though the X-M5 and X-S20 are a bit both X-Trans IV & V, they are indeed fifth-generation models. The Recipes that are most appropriate for these two cameras are the ones intended for X-Trans V cameras, like the X-H2s, X-T5, X100VI, etc., etc., but some X-Trans IV Recipes—those that don’t use Classic Chrome, Classic Negative, Eterna, and Eterna Bleach Bypass—are also fully compatible, and some are made compatible simply by reducing Color Chrome FX Blue down by one. Clear as mud? I hope this makes sense for those wondering which Recipes to use on their camera.

Kodak Vericolor VPS — Fujifilm X-E5 (X-Trans V) Film Simulation Recipe

Posted on by Ritchie Roesch

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

Kodak introduced Vericolor color negative film in 1974. It was their professional emulsion for portrait, wedding, and studio photography, and was designed to work well with flashes. Vericolor was a predecessor of Portra, intended to produce pleasing skin tones. There were a handful of different versions produced in the 1970’s and 1980’s, and the line was discontinued in the late-1990’s with the introduction of Portra.

While this Film Simulation Recipe is called Kodak Vericolor VPS, which was an ISO 160 version released in 1979, I think it’s actually more similar to Vericolor II, released in 1977. I had a difficult time finding examples to model this after, and a couple of old photography magazines were my best source. This Recipe definitely has the right vibe for late-1970’s Vericolor, particularly printed pictures from the film. I found it to be quite versatile—excellent for sunny daylight, golden hour, overcast, natural light indoors, and even certain nighttime situations. This could definitely be the go-to Recipe for some of you, especially if you appreciate a late-1970’s or early ’80’s aesthetic.

Manitou & Pike’s Peak – Manitou Springs, CO – Fujifilm X-E5 – Kodak Vericolor VPS

Because this Kodak Vericolor VPS Recipe uses the Nostalgic Neg. film simulation, it is only compatible with fifth-generation X-Trans cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, and X-E5. It’s also compatible with the latest GFX models: GFX100 II, GFX100S II, and GFX100RF.

Film Simulation: Nostalgic Neg.
Dynamic Range: DR400
Grain Effect: Strong, Large
Color Chrome Effect: Strong
Color Chrome FX Blue: Strong
White Balance: 4500K, +2 Red & -5 Blue
Highlight: -1
Shadow: +2
Color: +3
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 using this Kodak Vericolor VPS Film Simulation Recipe on a Fujifilm X-E5:

Pick Here – Manitou Springs, CO – Fujifilm X-E5
Tree Ghost – Manitou Springs, CO – Fujifilm X-E5
North Pole – Manitou Springs, CO – Fujifilm X-E5
Alleyway Photography – Manitou Springs, CO – Fujifilm X-E5
Handheld Camera – Manitou Springs, CO – Fujifilm X-E5
Fujifilm Photographer – Manitou Springs, CO – Fujifilm X-E5
Mission – Tucson, AZ – Fujifilm X-E5
Pikes Peak Inn – Manitou Springs, CO – Fujifilm X-E5
Gas Tanks – Buckeye, AZ – Fujifilm X-E5
Suburban Home – Buckeye, AZ – Fujifilm X-E5
Yellow Bougainvillea Blossoms – Buckeye, AZ – Fujifilm X-E5
Potted Leaves – Buckeye, AZ – Fujifilm X-E5
Cactus & Wall – Tucson, AZ – Fujifilm X-E5
Sunlit Leaves – Buckeye, AZ – Fujifilm X-E5
Odadiuc – Buckeye, AZ – Fujifilm X-E5
Indoor Flag – Buckeye, AZ – Fujifilm X-E5
Superguard – Waddell, AZ – Fujifilm X-E5
Moon over Sedona – Sedona, AZ – Fujifilm X-E5
In-N-Out – Surprise, AZ – Fujifilm X-E5
Neighborhood Fireworks – Buckeye, AZ – Fujifilm X-E5

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

Fujifilm X-E5 in black:
B&H, Nuzira
Fujifilm X-E5 in silver:
B&H, Nuzira

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25 Most Popular Film Simulation Recipes of 2025 (So Far…)

Posted on by Ritchie Roesch

Mennonite Plow – Ronks, PA – Fujifilm GFX100S II – Nostalgic Film

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 so far in 2025.

It’s been awhile since I did one of these articles—the last time was for January. There’s always some movement from month-to-month, but overall it’s pretty predictable. Taking a six-month view offers more clear picture than a 30-day snapshot. For this reason, I might wait until the end of the year before I do another.

Subway Stability – NYC, NY – Fujifilm X100VI – Kodak Tri-X 400

Those Recipes with Kodak brand names in the title—Kodachrome, Portra, Gold, Tri-X, etc., etc.—are usually the most popular. Classic Chrome is the king of film simulations, as the majority of the most-viewed Recipes are based on that film simulation. Classic Negative and Reala Ace are battling for the second and third positions. Acros, Eterna, and Nostalgic Neg. are neck-in-neck-in-neck for fourth, fifth, and sixth places.

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

Top 25 Most Popular Film Simulation Recipes of 2025 (so far…)

#1:

Reggie’s Portra

Reggie’s Portra is now the number one top Film Simulation Recipe on Fuji X Weekly! It’s always been popular, but interest in this Recipe has soared this year. Reggie Ballesteros created it by modifying my Kodak Portra 400 Recipe to better suit his style and needs. Of the various Portra Recipes, this is the most versatile, and the most popular for portrait photography. This is for X-Trans IV cameras; for X-Trans V, set Color Chrome FX Blue to Off.

#2:

Kodachrome 64

A Classic Chrome based Recipe for X-Trans IV cameras that was the long-time most popular Film Simulation Recipe for Fujifilm cameras on this website. It’s one of my personal favorites.

#3:

Vibrant Arizona

A Wes Anderson inspired Recipe based on Classic Chrome for X-Trans IV and X-Trans V cameras.

#4:

Kodak Portra 400 v2

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

#5:

Kodak Portra 400 v2

This is the X-Trans V version of Kodak Portra 400 v2. This is one of my personal favorites.

#6:

Kodak Gold 200

This is the X-Trans V version of Kodak Gold 200. The X-Trans III/IV version is found later in the list.

#7:

Kodak Portra 800 v3

A Classic Chrome based Recipe for X-Trans IV and X-Trans V cameras.

#8:

Pacific Blues

Pacific Blues and Reala Ace go back-and-forth for which is the most popular Classic Negative Recipe; currently, it’s Pacific Blues. This particular version is compatible with X-Trans IV models, but there is also an X-Trans V version that’s further down the list. This is another of my personal favorite Recipes.

#9:

Kodak Portra 400

This version of Kodak Portra 400, which is compatible with X-Trans IV cameras, was once commonly the third most popular Film Simulation Recipe on Fuji X Weekly. While it doesn’t rank as high as it once did, it’s still quite popular.

#10:

Kodak Tri-X 400

This is the long-time most popular B&W Recipe on Fuji X Weekly. It’s based on the Acros film simulation, and has compatibility with X-Trans III, X-Trans IV, and X-Trans V models. This is one of my absolute top-favorite Recipes.

#11:

Kodachrome 64

This is the X-Trans V version of Kodachrome 64.

#12:

Kodak Gold 200

Another Classic Chrome based Recipe, for use on X-Trans III models, plus the X-T3/X-T30.

#13:

Fujifilm Negative

This is a somewhat newish Recipe, published on October 31st. It uses the Reala Ace film simulation, which means that it is compatible with X-Trans V cameras.

#14:

CineStill 800T

This is an Eterna-based Recipe for X-Trans V cameras; however, it’s simply an adaptation of the X-Trans IV version that has been around awhile.

#15:

Reala Ace

Reala Ace, which is for X-Trans V cameras, predates the Reala Ace film simulation, and is based on Classic Negative.

#16:

California Summer

This is currently the highest-ranked Recipe that uses the Nostalgic Neg. film simulation. It’s compatible with X-Trans V cameras.

#17:

14 Film Dial Recipes

It is probably unfair to include the Film Dial Recipes in this list because it is not one Recipe, but 14. When it showed up in the Top 25, I was faced with the choice to included it (as unfair as that might be) or not. The Vibrant Arizona article is technically four Recipes, so there is a precedence for its inclusion. I have no idea which of the 14 are the most used.

#18:

McCurry Kodachrome

This Recipe is reminiscent of scanned Kodachrome 64 slides, and is compatible with X-Trans IV cameras.

#19:

Universal Negative

Like the Film Dial Recipe set, this is actually 14 Recipes and not just one. Its inclusion is a little unfair, but here it is. I have no way of knowing which of the 14 are the most used.

#20:

Easy Reala Ace

This Recipe uses the Reala Ace film simulation, which means it is compatible with X-Trans V cameras.

#21:

Classic Color

This Recipe uses Classic Chrome and is compatible with both X-Trans IV and X-Trans V models. Interestingly enough, Fujifilm has displayed two of my images at events over the last year, and both were created using this Classic Color Recipe.

#22:

Vintage Kodachrome

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.

#23:

PRO Negative 160C

This was the first Recipe I published that uses the new Reala Ace film simulation.

#24:

Classic Chrome

The very first Film Simulation Recipe on Fuji X Weekly, this Recipe is compatible with X-Trans III cameras.

#25:

Pacific Blues

This is the X-Trans V version of the Pacific Blues Recipe.

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