This new Recipe, which I’m calling Summer Sun, is bright and warm. If a hot summer day was a picture aesthetic, it’s this. It has a vintage film-like charm, maybe along the lines of Kodak Ultra Color 100UC used with a warming filter (maybe 81C). It’s not specifically modeled after that, but has some similarities nonetheless.
Death of a Chevy – Buckeye, AZ – Fujifilm X-E5 – Summer Sun Recipe
This Summer Sun Recipe is very warm, so it’s definitely not for every subject or light situation. It’s best on a bright sunny day, but can still be okay in partly-sunny situations. It’s compatible with all 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, specifically the GFX100 II, GFX100S II, and GFX100RF.
Film Simulation: Reala Ace Dynamic Range: DR200 Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome FX Blue: Weak White Balance: 7200K, -2 Red & +2 Blue Highlight: -1 Shadow: -2 Color: +4 Sharpness: -1 High ISO NR: -4 Clarity: -3 ISO: Auto, up to ISO 6400 Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured using this Summer Sun Film Simulation Recipe on a Fujifilm X-E5, X100VI & X-S20:
Manhattan from Hotel Window – NYC, NY – Fujifilm X100VI
Fruits & Vegetables – NYC, NY – Fujifilm X100VI
Building Backsides – Buckeye, AZ – Fujifilm X-E5
Spirits of the Past – Buckeye, AZ – Fujifilm X-E5
Green Mack – Buckeye, AZ – Fujifilm X-E5
It’s Corn – Buckeye, AZ – Fujifilm X-E5
Newly Planted Palms – Buckeye, AZ – Fujifilm X-E5
Evening Palm Tree – Buckeye, AZ – Fujifilm X-E5
Suburban Palm – Buckeye, AZ – Fujifilm X-E5
Flowering Tree – Buckeye, AZ – Fujifilm X-S20 – Photo by Jonathan Roesch
Brooklyn Bridge between Trees – NYC, NY – Fujifilm X100VI
Bridge, Runner – NYC, NY – Fujifilm X100VI
It’s All Greek to Me – Washington, D.C. – Fujifilm X100VI
Red Dumpster – Washington, D.C. – Fujifilm X100VI
Summer Joy – Buckeye, AZ – Fujifilm X-E5
Hidden Tower – Buckeye, AZ – Fujifilm X-S20 – Photo by Jonathan Roesch
Fireworks Stop – Buckeye, AZ – Fujifilm X-E5
Find this Film Simulation Recipe and 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.
I’m hesitant to write this review, because the Fujifilm X half is paradoxical. There’s a lot about it that’s conflicting. You can say this aspect of it is great for a certain group of people, but this aspect of it is not. This might be the most unique digital camera ever made, so it’s going to get a lot of attention, but also a lot of criticism. Trying to figure out who will most appreciate the X half (also called X-HF1) has been an intriguing endeavor.
To be completely transparent, it’s important for me to tell you upfront that Fujifilm sent me an X half to keep. Yea! Thank you, Fujifilm. I didn’t pay a dime for the camera. But I did have an X half preordered, so I was planning to spend money on one. I’m doing my best to not let my impressions be colored by Fujifilm’s kind generosity.
There are a few things that are unique about X-HF1. The headline is the vertically-mounted 1″ sensor. As far as I know, this is the very first camera to have a vertical sensor, all others are horizontal—that is, aside from cellphones. A lot of people—younger people especially—tend to photograph vertically on their cellphones, so it was just a matter of time before a camera would have a tall sensor. The X half is revolutionary because it’s the very first. I suspect there will be more in the future, and Fujifilm won’t be the only brand. Speaking of 1″ sensors, the name is a bit misleading. The surface area of a so-called 1″ sensor is the same as old 1″ Vidicon vacuum tube television cameras. So the name (“one inch”) has to do with the tube size of TV cameras from the ’50’s, ’60’s and ’70’s, and not the dimensions of the sensor.
The inspiration for the X half—and where the name comes from—are half-frame film cameras, like the Fujica Half, Olympus Pen, Kodak H35N, and Pentax 17. These cameras use half of a 35mm frame for each picture, orientated tall. Some medium-format cameras also are natively portrait orientated. Cameras that capture vertical photos are not new, but they are new in the digital age. Of course it has to be said that the X-HF1’s sensor isn’t half the size of a full-frame sensor, or even half the size of APS-C; no, the X half‘s “half” is not a mathematical term, but simply a nod to analog half-frame cameras. The 3:4 aspect ratio is also the same as half-frame cameras.
Like a half-frame film camera, the X half is capable of creating diptychs, which are two frames side-by-side combined into one image. You can do this easily in-camera using the Frame Advance Lever, or after-the-fact using the new X half app. It’s a heck-of-a-lot of fun, but I imagine that the novelty will wear off after awhile. While it will put a (customizable) bar in-between the two frames, I wish it had the option for a boarder around the whole image like in the examples above, which was done using a third-party app. Maybe Fujifilm will add this feature to the X half app in the future.
The X-HF1 is as minimalistic as it gets in the X-series. The menu has been simplified and streamlined, and a lot of settings have been left out. You cannot use Film Simulation Recipes with this camera, only the stock Film Simulations and Filters. Not all of the Film Sims made the cut, but most of them are there: Provia, Velvia, Astia, Classic Chrome, Reala Ace, Classic Negative, Nostalgic Negative, Eterna, Acros (include +Ye, +R & +G), and Sepia. I would rather have Eterna Bleach Bypass over Sepia, but it’s a good group overall. There are a whole bunch of Filters (called Advanced Filters on other X-series cameras), some of which are borrowed from the Instax Evo cameras. My favorites are Pop Color, Light Leak, Expired Film, and Retro. These cannot be used in addition to Film Simulations—it’s one or the other, and not both. The list of Filters is quite long, and I don’t have an interest in most of them, so I wish that you could customize which ones are available, to make it easier to find and select the ones you actually want to use.
Above: Pop Color Filter
Above: Light Leak Filter
Above: Expired Film Filter
Above: Retro Filter
Pop Color is reminiscent of Fujichrome Fortia. I’d actually like to see it graduate to Film Simulation status. Light Leak, as well as filters like Halation and Vignette, should become JPEG options on other X-series cameras, that can be added to any Film Simulation. Expired Film and Retro should be added as Advanced Filters. Of the three Expired Film options, Green and Neutral are my favorites.
The only customizations that are available are Grain, Portrait Enhancer (which I believe is just Smooth Skin Effect renamed), White Balance (but no WB Shift), and Long Exposure NR. One cool thing is that these are also applied to the Filters, and not just the Film Simulations—I’d love for that to make its way to other X-series cameras. Beyond that, the Film Simulations and Filters cannot be customized to achieve various looks, which is a real bummer for someone like me who uses Recipes extensively.
Top left: Weak / Small Grain. Top right: Strong / Large Grain. Bottom: Actual Ilford Delta P3200 film
I enjoy a little grain in my photos. It adds texture that’s been common in photography for much of its existence. The X-HF1 has faux grain, with four options: Weak/Small, Weak/Large, Strong/Small, and Strong/Large. Grain set to Weak/Small on the X half is a little more pronounced than Strong/Large is on (for example) the X100VI. I wish that there was a less strong option than Weak/Small, because it’s borderline too much; however, since there’s not, I used it almost exclusively. Strong/Large is a bit ridiculous, and is reminiscent of the grain of ultra-high ISO films like Ilford Delta P3200. If you want to achieve an Ilford Delta P3200 look, the X half isn’t far off at all when Grain is set to its maximum parameters.
Another word about Grain is that it slows the camera down, much like Clarity on other X-series cameras. I found this to be odd, and my theory is that when Grain is applied, so is Clarity (maybe -2). I tried to prove this, but couldn’t, so I might be completely wrong. I have another theory that—for Film Simulations, at least, and maybe for Filters—Color is increased as exposure is increased, and is reduced as the exposure is reduced. I also tried to prove this, but got mixed results, so I’m not certain if this is how the camera is programmed, or just a natural effect of over and under exposure.
Above: Classic Negative
The camera seems to apply a heavy-handed noise reduction, and then a heavy-handed sharpening to compensate. I would love to have some control over this, as it’s not my favorite approach. It might be necessary, though, since the X-HF1 has a Bayer sensor instead of X-Trans. One benefit of X-Trans that doesn’t get discussed enough is that it allows noise to be more easily identified and controlled; Fujifilm uses this to make it more film-grain-like, and less of a nuisance. Since this is a Bayer camera, it might require a little stronger noise reduction.
Another benefit of X-Trans is that it has more green pixels (55%, compared to 50% on Bayer), which allows for more luminosity information. This provides a little more dynamic range and high-ISO capabilities. On the X half, dynamic range is quite limited. I would say it’s roughly comparable to DR100 with Highlight and Shadow set to +0.5 on other X-series cameras. It’s fairly easy to clip highlights and/or block up shadows, and is a little like slide film in this regard. Since this camera is JPEG-only (no RAW), you have to be very careful about the exposure.
Above left: ISO 1600. Above right: ISO 4000
I found that I prefer ISO 400 and below on the X half, reminiscent of Sigma Merrill cameras, which has a similar limitation. In a pinch you can go higher, especially if the picture will only be shared to social media, but I tried my best to keep the ISO at or below ISO 400 whenever possible. Because the maximum aperture of the lens is “only” f/2.8, when the sun goes down it can be very challenging to use the camera.
The X-HF1 does have a built-in flash, albeit not a great one. It doesn’t have a hotshoe, only a coldshoe. Flash photography is, unfortunately, not ideal on this camera, which is too bad, since it has a leaf shutter. If Fujifilm someday makes a second version, I hope that it either has a proper flash or a hotshoe (or both), as this current setup is mediocre at best. I kept the flash off most of the time.
Above: Flash photography on the X half
One really cool feature is called Film Camera Mode. You select either 36, 54, or 72 shots, and you are dedicated to that mode until you’ve completed your “roll of film”—which is whatever Film Simulation you chose. I do wish that 24 was an option, as it takes awhile to finish a roll. You cannot review the photos until they’ve been “developed” in the X half app. In this mode, the X-HF1 functions similarly to point-and-shoot film cameras from the 1990’s. You have to use the Frame Advance Lever in-between shots. It’s a ton of fun, but also challenging, because you have no idea if you correctly exposed, focused, or even if you framed it well. I kept forgetting to take the lens cap off, too. My daughter coined the 72 shot roll as the 72 exposure challenge. I’d love for that to become a community-driven trend, where people post their best frames from their 72 exposure “roll” on social media, with the hashtag #72exposurechallenge.
It would be nice if you could use the various Filters in this mode, and not just the Film Simulations. ***Edit: I was on a pre-production firmware; however, after updating to the latest version, I can now use Filters in the Film Camera Mode. Yea! Sorry for the confusion.*** Another thing I’d appreciate is that whatever ISO you have selected is carried over to the Film Camera Mode. Unfortunately, you only get Auto ISO up to ISO 12800, which is totally unusable whenever it goes that high. Fortunately, your Grain and White Balance settings are carried over, so be sure to set those before starting.
Above: X half contact sheet and various frames
Once you develop your “roll” in the app, you get a contact sheet. It would be great if you could long-press on a frame, and it would give you the option of saving that frame with the sprockets, or that frame plus the one next to it (on either side, unless it’s the end of the strip), or the whole strip. Instead, you have to crop the contact sheet in order to accomplish that. But I’m a huge fan of the contact sheet in-general, it’s a really cool idea.
Overall, I enjoyed using the Film Camera Mode, but I found myself not using it as much as the regular shooting mode because you have to be in the mood for it. One of the challenges that I appreciate about the X-HF1 is finding the “right” Film Simulation or Filter, combined with the “best” White Balance, to convey the mood of the scene most appropriately. The X half is so simple that a three-year-old could use it, but to get the most out of it requires thinking a little more deeply about things that are easily taken for granted. It’s been one of the most simple yet most challenging cameras I’ve ever used—the paradox I mentioned in the opening sentence.
Fujifilm X half – Acros Film Simulation
The X half is capable of recording video, but it’s very mediocre. Someone will use it creatively just to prove the point that it can be done, but I think Fujifilm probably should have just left off video, which would have made an interesting statement. Or else, maybe do a faux 8mm thing with sprockets and light leaks and such—that would have been really cool. Food for thought for the next iteration, if there is one someday.
Who should consider buying this camera? I think there are a few obvious answers. First, the X-HF1 has a foot in both the X-series and the Instax world. For those unaware, Instax is bigger than X and GFX combined. I talked to a bunch of people—probably close to ten—who own an Instax camera yet don’t own any X-series model, and they were all highly interested in the X half. Six different people told me that it’s the only Fujifilm camera they want, aside from Instax. The X half is an obvious bridge into the X-series for these folks. Also, some people who shoot point-and-shoot film cameras but are tired of the cost of film will find this to be an intriguing option. At $25 to $50+ per roll (including development and scanning), it won’t take long for the X half to pay for itself. The X-HF1 is sort of like a digital 110 camera, and almost lomography-esque, so it’s not difficult to see the appeal. Third, digicams are all the rage right now among younger people, and this camera can be considered in that category, too.
Above: Various pictures captured with the Fujifilm X half
What about current X-series photographers? What about someone like me? The camera is a blast. It’s so much fun. But it’s a toy. It’s not a serious camera for serious photography (I’m sure someone will use it in a serious way just to prove the point that it can be). It’s great for casual snapshots. I used it extensively during nearly three weeks of travel, and it was my most-used camera during that time, even more than my Fujifilm X100VI. I have so many more pictures that I could share, this is only a small sampling. It’s so easy to always have on you, and I would rather use the X half than my iPhone, if only for the tactile experience and Fujifilm colors. If you think you’d enjoy it, it’s probably worthwhile to get. If you wonder why anyone would buy it, it’s probably not for you, and it’s easy to move on.
The biggest criticism is going to be the price. In America, the X half is a steep $850. Across the rest of the world, it’s roughly equivalent to $700 USD. Unfortunately, this was the first camera to include the new tariffs in the price (although Canon and Nikon have just implemented some price increases, and Sony will soon, too), so it’s a bit shocking. Some people will say it should be $200 or $300, and that’s highly unrealistic—just absurd and not even close to any level of reality. Some will say it should be $500, and I’d agree with that if it were pre-Covid; however, there’s been a lot of inflation since then. I believe that $650 to $700 is a fair price. $850 is a little much, but that’s largely not Fujifilm’s fault; hopefully the tariff situation will get resolved soon, and Fujifilm can drop the price to where it should be. I don’t know if that will happen, though, and if the camera sells really well at its current price, there may not be a reason to reduce it.
Above: Various diptych pictures captured with the Fujifilm X half
The last thing that I want to address is the inability to use Film Simulation Recipes with this camera. Recipes are a pretty big thing in the Fujifilm world—the brand-new X-E5 actually uses the word “Recipe” in the camera menu. I appreciate excellent straight-out-of-camera results. While I would love to be able to customize the looks more in the X half, you can still get good picture aesthetics with the limited tools available in the camera. The photography continuum has been leaning towards less editing for a few years now, and this camera is just a natural and seemingly inevitable expression of that.
There’s a lot to like about the Fujifilm X half, and a lot that can be questioned. You have to accept the camera for what it is and forgive it for not being what it’s not; otherwise, it might grind on your nerves. But, for certain, the camera is very enjoyable, and it offers a unique shooting experience not found anywhere else. If you want the X half experience, you have to have an X half. But that unique experience will not appeal to everyone, and maybe not even to most X-series photographers. I do believe this camera will be quite successful, and will bring many people into the X-series fold, mainly from groups that the camera industry has largely ignored. This will be the first X-series camera for a number of people, and someday some of those people will upgrade to a more premium model, perhaps an X-M5, X-E5, or X100VI. I think all of that is very good. It’s quite obvious to me that the Fujifilm X-HF1 will be a trendy camera, especially among younger photographers, and you’re soon going to see X half pictures all over TikTok and Instagram.
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
On Thursday in the early morning hours, Fujifilm announced the brand-new X-E5. I’ve been traveling in an RV up the east side of America, and just got home late last night. Preferably, I would have posted something about it on announcement day, but aside from being on the road, it was also my wife’s birthday. Because of that, I’m just now getting this typed out—I’m pretty much the last to the Fujifilm X-E5 party.
This upcoming Tuesday and Wednesday I will be at the B&H BILD Expo in New York City. A few weeks back Fujifilm invited me to be a part of their booth—specifically, to help with a “Film Simulation Station” (without any details of what that would be)—which, of course, I am honored to be a part of. Fast forward to a few days ago, just before the announcement of the X-E5, I had a conference call (while in the RV stopped in the middle of nowhere in Pennsylvania) that explained what my specific role was going to be: Fujifilm will have X-E5 cameras to touch-and-try, and I’m there to talk about Film Simulation Recipes with anyone who wants to. It’s going to be a great time, so I hope some of you can stop by. It was on that call that I first learned the camera not only has the ability to save three Recipes in the Film Simulation Dial, but that Fujifilm is using the term “Recipe” in the camera and manual.
Back in early 2017 (before I had even started Fuji X Weekly), I published two Film Simulation Recipes on a blog that I used to have prior to this one. When I showed my wife, she thought the term “Recipe” was a bit cringe, but I liked it, so I continued to use it, including when I launched Fuji X Weekly in August of 2017. Mostly by word of mouth, this website grew and grew (10 million page views two years in a row, and still growing), largely because people had an interest in my JPEG Recipes for Fujifilm cameras. Even though Fuji X Weekly began as a Fujifilm X100F journal, very quickly it became most known for Film Simulation Recipes.
In the summer of 2020, I received a message from a talented cinematographer, who had a funny conversation with Fujifilm North America that he wanted to share with me. They had loaned him an X100V for a few weeks; when he returned it, they asked for his feedback. He told them, “I really like shooting with Portra 400 and Tri-X.” They replied, “What do you mean? It’s a digital camera.” He was very surprised that Fujifilm had no idea about Fuji X Weekly, so he informed them.
Shortly after this, Fujifilm North America reached out to me. They were more curious about what I was doing than anything else. They wanted to know what a Recipe is. It was a very positive phone call, and I was thrilled to talk with someone at Fujifilm for the first time. A few emails went back-and-forth, and I was asked to write an article for them. Excitedly, I got it typed out and over to them quickly. They said it was great, and they would forward it up the chain. When it came back down, I was told that they liked my article, but they had to reject it because I had used competing brand names (like Kodak, Portra, Ilford, etc.). There wasn’t much communication after that, except that they wanted to use one of my pictures in an article. In December, Fujifilm sent me a coffee mug for Christmas.
A year later I was invited to be a guest on a Fujifilm tech webinar (did you know that Fujifilm does regular webinars?). The tech team is great. They’re all very knowledgable and helpful, and otherwise good people. They are big fans of Film Simulation Recipes, too. I enjoyed that experience. It was my last interaction with the brand until January of 2024, when Fujifilm North America called out of the blue, stating that they’d like to start working with me.
Dumbo Crowd – Brooklyn, New York City, NY – Fujifilm X-T50 – Reala Ace Recipe
Last year was epic. Fujifilm invited me to be a part of various things, including a release event for the X-T50 and GFX100S II, a creator retreat, and their annual Create With Us event. I traveled across the country from coast-to-coast, leading photowalks. Incredible! It was such an honor. I will always remember 2024 fondly.
During that time I noticed Fujifilm began to use the term “Recipe” occasionally on their website and social media accounts. A certain X-Photographer noted to me that after years of promoting Recipes with pretty much zero interest or help from Fujifilm, suddenly Recipes were “the thing” within the company. Now, in 2025, “Recipe” is an official Fujifilm feature, and the term is found within the camera menu.
Nikon beat Fujifilm to the punch when they began using the term Recipe a year ago for their JPEG settings. I’m not sure if it will catch on within that community or not (it will be interesting to see), but it is noteworthy that they are trying to capitalize on it. This whole Recipe concept—whether by name or not—is certainly growing and spreading across photography. I think we will see it more and more in the coming years.
I didn’t invent the word “recipe” and I certainly wasn’t the first to use it within the photo world. Apparently, user-created Capture One presets have been called recipes for some time now (I became aware of this last year, I had no idea). Specific darkroom chemicals and development times have been called recipes for many decades. I discovered that a couple people had used the word when describing their Fujifilm JPEG settings before I ever published my first Film Simulation Recipe. I’m not sure if I coined the term Recipe for JPEG camera setting combinations (I might have, but it doesn’t matter if I did or didn’t). What is certain is that if not for this website and the wonderful community that formed around using Recipes (which is the best community in all of photography, IMHO), the word would not be found in the Fujifilm X-E5 today (and it probably wouldn’t be used by Nikon, either). I’m still in disbelief at where we’re at today, I never imagined it would go this far. Some people will read that and think I’m bragging and taking too much credit, but believe me that I’m writing this in all humbleness.
I won’t get to see the Fujifilm X-E5 until Tuesday morning, about two hours before the BILD Expo doors open. Fujifilm tried to get me a loaner camera a little earlier, but due to travel, it just didn’t work out (it’s not their fault—they really did try). Right now I know as much about the X-E5 as the next person (maybe less), so I don’t have any real insights. I’m going to spend this weekend learning more so that I don’t sound completely ignorant at BILD. Once I’ve had a chance to touch it, and maybe even capture a couple of pictures (hopefully I’ll get an opportunity to do that), I’ll be able to speak more about it, so look for a more thorough article in a couple weeks.
What I can say is that the Fujifilm X-E5 is basically an interchangeable-lens X100VI. It’s not exactly that, but it’s as close as you’re going to get. There are advantages and disadvantages to both. The X100VI has an optical viewfinder, shutter/ISO combo dial, leaf shutter, flash, built-in ND-filter, and can be weather-sealed; the X-E5 has a Film Dial, selfie-capable LCD, and you can change lenses. Otherwise, the two cameras are a lot alike. For those that have asked for an interchangeable-lens X100VI, here it is! You are unlikely to get closer to that wish than this camera.
White Bridge across Pond – Charleston, SC – Fujifilm X-E4 – Pacific Blues Recipe
As a more premium iteration of the X-E line, it obviously has seen a price increase. Add to that inflation and tariffs, and you get a $1,700 price tag. That seems like a lot of money (because it is), but remember 1) every major camera maker has indicated that they will be raising their prices soon (Fujifilm is just the first, beginning with the X half and X-E5), and 2) cameras used to be a lot more expensive—for example, the Canon A-1 was $625 in 1978, which is over $3,000 when adjusted for inflation; the Pentax K-5 was $1,750 in 2010, which is nearly $2,600 in today’s money. The X-E1 was $1,000 in 2012, which is $1,400 today when accounting for inflation—add tariffs on top of that, and it’s the same cost as the X-E5. So maybe the price isn’t so unreasonable after all. People will say, “But I can get an X-T5 for the same money!” Or, “For just a few hundred dollars more, I can get [insert camera name here]!” That’s true, for now. Either the prices of those models will increase shortly, or something will happen with the tariffs, and Fujifilm will be able to reduce the price of the X-E5 to what it was intended to be. Those who wanted 40mp and IBIS and the camera to be more premium but didn’t want the cost to go up were not being realistic. Even the X-E4, when accounting for inflation would be over $1,000 today.
The final thing I’ll say about the Fujifilm X-E5 is that, with C1-C7, plus the “bonus 8th Recipe” that you can program into the IQ Menu, plus the three Recipe slots on the Film Dial, it’s possible to have up to 11 Film Simulation Recipes loaded into the camera at any given time. You can only name seven of them, so you’ll have to remember what the other four are. If you use one or both of my “universal” Recipes (here and here), that adds even more flexibility. Awesome! We’ll see if Fujifilm brings that functionality to the X-T50 and X-M5 via a firmware update—I hope they do.
If you are in New York City on Tuesday and Wednesday, be sure to stop by the Fujifilm booth and touch-and-try the X-E5. I’d love to chat Recipes with you, so be sure to look for me. If you are in Colorado Springs on June 28th, I’ll be leading a photowalk with Mike’s Camera (click here for the details and to register); while I won’t have an X-E5 with me, I’d still love to chat with you about it, or any other Fujifilm or photography related topics. I hope to see you soon!
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
Anyone who has ever used a Fujifilm X or GFX camera has used Film Simulations. No mater if you are a JPEG photographer or a strict RAW shooter, you use at least one Film Simulations. There’s no getting around it.
Those who claim “I don’t use Film Simulations” on their Fujifilm cameras are not being honest because it’s nearly impossible to disable them (we’ll get into that in a moment). What they are really stating is, “Film Simulations are for those JPEG people; I shoot RAW, so they don’t apply to me.” But, silly goose: they apply to the RAW photographer just as much as to those who shoot straight-out-of-camera. In some cases this may simply be ignorance, not realizing that Provia—the “standard” option—is one of the 20 Film Sims; however, I believe it can also be explained by arrogance: “Film Simulations are for JPEGs, and Real Photographers™ don’t shoot JPEGs.”
Interestingly enough, the most popular Film Simulation by far among strict RAW photographers is Provia, while the most popular Film Simulation by far among those who use Film Simulation Recipes is Classic Chrome. The Provia Film Simulation is intended to be broadly appealing, especially to those without a background in film photography. Classic Chrome is intended to appeal to those who want a film look. For those who use Recipes, Provia isn’t even one of the Top 5 most popular.
There are only two ways to disable the Film Simulations. The easiest and most obvious is to use the Advanced Filters, which, when activated, are in lieu of Film Simulations (although some of those are based on Provia); however, I don’t think the people who loathe Film Sims are using the Advanced Filter options. The second requires a camera with an OVF. Disable the EVF and turn off image playback. Only use the OVF. Then, in Lightroom, change the base color profile to your own or Lightroom’s neutral base. In that way, you never have to look at a Film Simulation.
The problem with saying “I don’t use Film Simulations” is that each time you look at the EVF or review on the LCD the photo you just captured, you are seeing it with a Film Simulation applied, most likely Provia. You are seeing the world through the lens of that Film Sim each time you use your camera. You may or may not use Lightroom’s or Capture One’s version of a particular Film Simulation when you edit your RAW photos (most probably do), but at the time of capture, you are absolutely using a Film Simulation.
Film Simulations are half the fun of Fujifilm cameras. Those who use Recipes already know this. My suspicion is that those who only ever use Provia haven’t tried the other options, or maybe only briefly did when their camera was brand-new before quickly dismissing them. In other words, they may not know what they’re missing. It’s quite possible that they’d like their cameras even more if they explored this feature.
Worn Out – Buckeye, AZ – Fujifilm X100VI – Classic Chrome – Kodak Portra 400 v2
My suggestion, if you are a strict RAW photographer who would never be caught dead shooting JPEGs, is to try the other Film Simulations. You might find one that better matches your vision more than Provia, which might help you to better visualize the final result at the time of capture. It can be a useful tool; you might find it to be less of a gimmick than you thought it was. Then, hopefully, we can move beyond the “I don’t use Film Simulations” nonsense, which is untrue. If you use a Fujifilm camera, you use Film Simulations. Period. Maybe you only use one, but you still use them.
As for the rest of us who find Film Simulations to be one of the defining features of our cameras, it’s ok to celebrate that. There’s no need to feel “less than” because some jerk talks down to you. If that person found what works best for him or her, that’s wonderful; if you found what works best for you, that’s equally as wonderful. There’s no right or wrong way to do photography, or one way that is superior. What I can say after meeting hundreds of you: these people might be common on the internet, but they are rare in real life. Most people are kind, friendly, and accepting. And, as it turns out, we have more in common than we thought, including that we all use Film Simulations.
Mountain Grass & Flowers – Boulder, CO – Fujifilm GFX100S II – Velvia Slide Recipe
Back in January, I published the Provia Summer Patron Early-Access Recipe, which was supposed to kick off a series of Early-Access Recipes to help clear out the backlog. I never intended for the Early-Access Recipes to be locked for as long as they have been, so I decided to fix that in 2025. My goal for this series was to publish a new Recipe every three to four weeks; however, it’s now May, and this is only the second one. I will try to do better moving forward.
My intention for the Velvia Slide Recipe was a replication of Velvia 100 color reversal (slide) film, which should not be confused with Velvia 50 or Velvia 100F (although Velvia 100 is pretty similar to Velvia 50). I never used Velvia 100 (I have used Velvia 50 many times), so I relied on online resources, as well as my Velvia 50 slides. I feel like, in the right light, this Recipe does quite well at mimicking it, but it’s not always correct. It’s sometimes really convincing and sometimes less so; however, either way, I really like the look of it.
Book & Fake Succulent – Buckeye, AZ – Fujifilm X-T4 – Velvia Slide Recipe
While there are many Film Simulation Recipes that use Velvia, this one is not quite like any that I’ve previously published. Perhaps Kodak Ektachrome E100VS and Improved Velvia are the closest. It works best in sunny daylight, but can also be good for natural light indoors. It’s especially well suited for colorful landscape photography.
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. With the exception of the X-T3 and X-T30, it is compatible with all fourth and fifth-generation X-Trans cameras, which (as of this writing) are the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, and X-M5. It can also be used on the newer GFX models, including the GFX100S, GFX100S II, GFX100 II, and GFZ100RF.
Example photographs, all camera-made JPEGs using this Velvia Slide Film Simulation Recipe on a Fujifilm X-T4, X-S20, and GFX100S II:
Bougainvillea in Spring – Buckeye, AZ – Fujifilm X-T4
Oleander Branch in Bloom – Buckeye, AZ – Fujifilm X-T4
Garden Flowers – Charleston, SC – Fujifilm X-S20 – Photo by Jonathan Roesch
Blooming Bougainvillea – Buckeye, AZ – Fujifilm X-T4
Yellow Bougainvillea Backlit – Buckeye, AZ – Fujifilm X-T4
Palm Branch Curve – Buckeye, AZ – Fujifilm X-T4
Toyotires – Buckeye, AZ – Fujifilm X-S20 – Photo by Jonathan Roesch
Palm Trunk – Buckeye, AZ – Fujifilm X-T4
Spring Sun – Buckeye, AZ – Fujifilm X-T4
Setting Sun – Buckeye, AZ – Fujifilm X-S20 – Photo by Jonathan Roesch
Hawk Perched on Desert Rocks – Rock Springs, AZ – Fujifilm X-T4
Old Dog – Buckeye, AZ – Fujifilm X-T4
Lake Waves – Buckeye, AZ – Fujifilm X-T4
Flatirons – Boulder, CO – Fujifilm GFX100S II
Mohawk Mountain – Boulder, CO – Fujifilm GFX100S II
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.
American Paint Horse – Litchfield Park, AZ – Fujifilm X-E4 – Kodachrome Blue
Kodak made Kodachrome color-reversal (slide) film from 1935 through 2009. There are three era’s of Kodachrome: 1935-1960, 1961-1973, and 1974-2009. Each era has its own look; the second and third eras are probably the most similar. Kodachrome is actually a B&W film, with color dyes added during development. It was a unique and complicated process. Because of how the film works, it’s the most difficult emulsion to scan, often producing a blue cast that doesn’t exist when viewing the slides through a projector or on a light table.
Professional labs will have a profile to color correct Kodachrome scans, but even that’s not usually a 100% match. As it used to be said, “There’s nothing like projected Kodachrome!” If the scans aren’t carefully corrected, the results are often significantly more blue than the slides. The feeling that all the world’s a sunny day (as Paul Simon sang) is completely gone. Once you know what to look for, it’s easy to spot these incorrectly color corrected Kodachrome images, and they’re prevalent.
Rebels – Buckeye, AZ – Fujifilm X-E4 – Kodachrome Blue
Over the last few weeks I’ve stumbled across several sets of these incorrectly color corrected Kodachromes while perusing the web, mostly from the second era of the film. I thought that the look was interesting, so I set out to recreate it on my Fujifilm X-E4; however, the process was more challenging than I had anticipated. I had assumed that Classic Chrome would be the best film simulation to base this new Film Simulation Recipe on—it was the obvious choice, right?—but I couldn’t get it to look right. It was actually the fifth film sim I tried before I decided that I was finally on the right track.
After four different modifications, I felt I got it as close as I could, and had a reasonable facsimile of the film when not appropriately color corrected. Interestingly, I compared my Recipe to some incorrectly colored Kodachrome 64 film scans in my collection—some frames I captured on a Canon AE-1 back in 1999 that (when I later had them scanned) the lab rendered too blue—and the resemblance was striking. I made one more small change to the Recipe to get it even closer, and called it good. One thing that I wish was possible is a little more color saturation, but +4 is the highest option; if +5 or maybe +6 were available, I’d have bumped Color just a tad higher.
Actual Kodachrome 64 film — improperly color-corrected scan
Actual Kodachrome 64 film — improperly color-corrected scan
Actual Kodachrome 64 film — improperly color-corrected scan
This Kodachrome Blue Film Simulation Recipe is compatible with the Fujifilm X-T4, X-S10, X-E4, and X-T30 II cameras, as well as the GFX100S. For fifth-generation X-Trans models, as well as the GFX100 II, GFX100S II, and GFX100RF, set Color Chrome FX Blue to Weak instead of Strong. This isn’t a Recipe that I suspect will be anyone’s go-to for everyday use—I’d look at Kodachrome 64 or Kodachrome II for general photography—but it’s a fun one that I think some of you will really appreciate in certain circumstances. I personally like the retro feelings that Kodachrome Blue produces. Note: this was an App Patron Early-Access Recipe, but now it is available to everyone.
Film Simulation: Eterna Bleach Bypass Dynamic Range: DR200 Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome FX Blue: Strong White Balance: 6500K, -6 Red & +9 Blue Highlight: +2.5 Shadow: -0.5 Color: +4 Sharpness: +1 High ISO NR: -4 Clarity: +3 ISO: Auto, up to ISO 6400 Exposure Compensation: -2/3 to 0 (typically)
Example photographs, all camera-made JPEGs captured using this Kodachrome Blue Film Simulation Recipe on my Fujifilm X-E4:
Play Garden Tools on a Wall – Buckeye, AZ – Fujifilm X-E4
Stormy Day Bougainvillea – Buckeye, AZ – Fujifilm X-E4
Growing Bougainvillea – Buckeye, AZ – Fujifilm X-E4
Bougainvillea Day – Buckeye, AZ – Fujifilm X-E4
Bougainvillea Blue – Buckeye, AZ – Fujifilm X-E4
Building Storm over Street Lamp – Buckeye, AZ – Fujifilm X-E4
Three Palms over Building – Buckeye, AZ. -Fujifilm X-E4
Palm Lights – Buckeye, AZ – Fujifilm X-E4
Corner Tower – Buckeye, AZ – Fujifilm X-E4
Neighborhood Roof – Buckeye, AZ – Fujifilm X-E4
Concrete Roof Tiles – Buckeye, AZ – Fujifilm X-E4
Sunlight From Above – Buckeye, AZ – Fujifilm X-E4
Little Blue Rainbow – Buckeye, AZ – Fujifilm X-E4
Red Umbrella on a Sunny Day – Buckeye, AZ – Fujifilm X-E4
Water Angels – Buckeye, AZ – Fujifilm X-E4
Shoda – Buckeye, AZ – Fujifilm X-E4
Fake Flowers on a Table – Buckeye, AZ – Fujifilm X-E4
Potted Palm Plant – Buckeye, AZ – Fujifilm X-E4
Fresh Flowers – Buckeye, AZ – Fujifilm X-E4
Two Way Stop – Avondale, AZ – Fujifilm X-E4
Underpass – Avondale, AZ – Fujifilm X-E4
Taillight – Avondale, AZ – Fujifilm X-E4
Two Shoes – Buckeye, AZ – Fujifilm X-E4
Unexpected Portrait – Buckeye, AZ – Fujifilm X-E4
Guitarist – Buckeye, AZ – Fujifilm X-E4
Peace – Buckeye, AZ – Fujifilm X-E4
Attic Window – Buckeye, AZ – Fujifilm X-E4
Yellow Honeysuckle Trumpet – Buckeye, AZ – Fujifilm X-E4
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.
Southwind – Litchfield Park, AZ – Fujifilm X-T4 – Kodak Portra do Sol
This new Film Simulation Recipe comes courtesy of Gilson Teixeira. “It started with your Bright Kodak Recipe, which I loved for its energy and vibrancy. But I was looking for something softer—still warm and colorful, but a bit more cinematic and relaxed. I imagined a Recipe that could bring out a golden, mellow vibe even on grey days. That’s how Kodak Portra do Sol came to life: my go-to point-and-shoot simulation for capturing a little warmth wherever I am.”
“As a Brazilian living in London,” Gilson told me, “the long, grey winters can be tough—and this past winter hit particularly hard. I wanted to create something that could bring a bit of Brazil’s tropical spirit into my everyday life. The name is a nod to my mother tongue: do sol means ‘of the sun,’ and I liked the play between Portra and porta—as if it were a ‘Door of the Sun.’ At the same time, something shifted creatively. After years away from photography, I picked up the camera again—not just to escape the grey, but to reconnect with something I thought I’d left behind. Photography has now become part of my self-care. During my 45–60 minute daily walks, I focus on light, angles, composition, and Recipes. That attention clears my mind and helps me recharge—especially through winter, it helped me stay grounded. If anyone reading this is struggling, I truly recommend reaching out to Samaritans—they’re there to listen, wherever you are.”
“Surprisingly, it was AI that brought me back to photography,” he continued. “I work in IT and focus on AI at Microsoft. I noticed how naturally my prompts leaned toward light and composition—photography had quietly stayed with me all along. I studied digital imaging back in 1994 at the New England School of Photography in Boston, so that knowledge was still there, waiting to be revived.”
Back at the Ranch – Litchfield Park, AZ – Fujifilm X-T4 – Kodak Portra do Sol
“Bright Kodak is bolder and more punchy,” Gilson replied when asked what differentiates Kodak Portra do Sol from Bright Kodak. “I wanted something calmer. I removed Grain, reduced Color from +4 to +3, and softened Clarity from -3 to -1. I switched to Auto White Balance, with a gentler Shift (+2R, -6B) for a warm, flexible look, and added Color Chrome Effect Strong to deepen tones without over-saturation.”
“I see recipes as creative tools,” he added, “not shortcuts. They help set the mood in-camera, so I can focus on light and storytelling. With Kodak Portra do Sol, I’m not just capturing images, I’m capturing how those moments feel.”
I want to give a special “thank you” to Gilson Teixeira for sharing this Recipe and the story behind it, and for allowing me to publish some of his photographs. Please check out his Instagram, and leave a kind note for him in the comments. Thank you, Gilson!
Photo by Gilson Teixeira — Fujifilm X-T30 II — Kodak Portra do Sol
This Kodak Portra do Sol Film Simulation Recipe is compatible with the Fujifilm X100V, X-Pro3, X-T4, X-S10, X-E4, and X-T30 II cameras, as well as the GFX100S. You can use it on newer cameras, too, but blue will render slightly deeper (try it anyway).
Film Simulation: Classic Chrome Dynamic Range: DR400 Grain Effect: Off Color Chrome Effect: Strong Color Chrome FX Blue: Off White Balance: Auto, +2 Red & -6 Blue Highlight: -2 Shadow: -2 Color: +3 Sharpness: -2 High ISO NR: -4 Clarity: -1 ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 1/3 (typically)
Example photographs, all camera-made JPEGs captured by Gilson Teixeira using this Kodak Portra do Sol Film Simulation Recipe on a Fujifilm X-T30 II:
Photo by Gilson Teixeira — Fujifilm X-T30 II
Photo by Gilson Teixeira — Fujifilm X-T30 II
Photo by Gilson Teixeira — Fujifilm X-T30 II
Photo by Gilson Teixeira — Fujifilm X-T30 II
Photo by Gilson Teixeira — Fujifilm X-T30 II
Photo by Gilson Teixeira — Fujifilm X-T30 II
Photo by Gilson Teixeira — Fujifilm X-T30 II
Photo by Gilson Teixeira — Fujifilm X-T30 II
Photo by Gilson Teixeira — Fujifilm X-T30 II
Photo by Gilson Teixeira — Fujifilm X-T30 II
Photo by Gilson Teixeira — Fujifilm X-T30 II
Example photographs, all camera-made JPEGs captured using this Kodak Portra do Sol Film Simulation Recipe on my Fujifilm X-T4 and X-E4:
Easter Egg Hunting – Buckeye, AZ – Fujifilm X-E4
Easter Swim – Buckeye, AZ – Fujifilm X-E4
Tractor Back – Litchfield Park, AZ – Fujifilm X-T4
Feed Silo – Litchfield Park, AZ – Fujifilm X-T4
Horse Walker – Litchfield Park, AZ – Fujifilm X-T4
Seabee – Litchfield Park, AZ – Fujifilm X-T4
Horse, Fence – Litchfield Park, AZ – Fujifilm X-T4
Ready – Litchfield Park, AZ – Fujifilm X-T4
Horse Walker Detail – Litchfield Park, AZ – Fujifilm X-T4
Harkins at Night – Goodyear, AZ – Fujifilm X-E4
Find this Film Simulation Recipe and nearly 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.
Mike’s Camera is hosting a Spring Photo and Video Expo in Colorado over Mother’s Day weekend. I’ll be at the Boulder location on Sunday, May 11th, from 11:00 AM to 1:00 PM for a free class and photowalk. If you live in the area, please come out and join me—we’re going to have a great time! If your mom or mother-in-law has an interest in photography, bring her along, too.
The class is called Fujifilm Film Simulation & Fuji X Weekly Recipes. We’re going to learn how Fujifilm’s 20 Film Simulations and Fuji X Weekly Recipes can transform your photography, achieving the results you want quickly and easily while making photography more fun. The class will be about 30-40 minutes long, followed by a photowalk on Pearl Street. You don’t need to register, you just need to show up on May 11th at 11:00 AM. Click here for directions.
A picture of last year’s photowalk in Denver
Last year I co-lead a photowalk in Denver with Mike’s Camera, and it was a huge success. About 60 people came out for it—one as far away as Italy!—and we had a great time. It’s a real honor to be invited out again. I want to express my appreciation to Mike’s Camera and Fujifilm USA for including me in this event—thank you!
If you are in the Denver area, I’d love to meet you. It’s a great opportunity for camaraderie and to just chat cameras. It’s awesome that a local camera store is facilitating this community-building event, so definitely take advantage of it. I hope to see you in Boulder!
Coastal Arches – Charleston, SC – Fujifilm X-S20 – Kodacolor VR 200 – Photo by Jonathan Roesch
Kodak used the Kodacolor brand name for various emulsions going back to the 1940’s and continuing through the 1980’s. This new Film Simulation Recipe mimics a version called Kodacolor VR 200 (not to be confused with Kodacolor VR Plus 200, the predecessor to ColorPlus 200) that was introduced in 1982 and discontinued in 1986. It has a bit of a faded color aesthetic, like old prints from 40 years ago not quite stored correctly in a photo album. It’s not a Recipe for everyday use, but it’s great for specific situations where you want strong contrast, low saturation, and a retro look. In the right settings, this Recipe produces striking results with a distinct analog feel.
The Kodacolor VR 200 Recipe was emailed to me by Thomas Schwab, who has created or co-created a number of Film Simulation Recipes on this website. My Kodacolor 200 Recipe for X-Trans II cameras was his starting point; however, he modified it quite extensively using the newer options to get these results. I want to give a special thank you to Thomas for creating the Kodacolor VR 200 Recipe, and allowing me to share it will you all. Both myself and my son, Jonathan, had a lot of fun using Recipe on our Fujifilm cameras. Thank you, Thomas!
Toyota – Buckeye, AZ – Fujifilm GFX100S II – Kodacolor VR 200
The Kodacolor VR 200 Recipe is compatible with all fifth-generation X-Trans cameras, which (as of this writing) are the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, and X-M5. It’s also compatible with the latest GFX models, which (as of this writing) are the Fujifilm GFX100 II, GFX100S II, and GFX100RF. You can use this on some fourth-generation X-Trans cameras, namely the X-T4, X-S10, X-E4, and X-T30 II (not the X-T3, X-T30, X-Pro3 and X100V, unfortunately), as well as the GFX100S, by setting Color Chrome FX Blue to Strong.
Film Simulation: Classic Chrome Dynamic Range: DR200 Grain Effect: Weak, Large Color Chrome Effect: Strong Color Chrome FX Blue: Weak White Balance: 3000K, +8 Red & -8 Blue Highlight: +1.5 Shadow: +2.5 Color: -4 Sharpness: +1 High ISO NR: -4 Clarity: -2 ISO: Auto, up to ISO 6400 Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured using this Kodacolor VR 200 Film Simulation Recipe on a Fujifilm X100VI, X-S20, and GFX100S II:
Shell Gas Station – Bisbee, AZ – Fujifilm X100VI
Old Yellow Car – Bisbee, AZ – Fujifilm X100VI
Blue & Rust Chevy – Bisbee, AZ – Fujifilm X100VI
Old Lady Truck – Bisbee, AZ – Fujifilm X100VI
Old Truck, Old Town – Bisbee, AZ – Fujifilm X100VI
Arizona Thunder – Bisbee, AZ – Fujifilm X100VI
Parked on Erie St – Bisbee, AZ – Fujifilm X100VI
Water – Buckeye, AZ – Fujifilm GFX100S II
Old Television – Bisbee, AZ – Fujifilm X100VI
Mannequin – Bisbee, AZ – Fujifilm X100VI
Evergreen Under Bridge – Charleston, SC – Fujifilm X-S20 – Photo by Jonathan Roesch
Construction Corner – Goodyear, AZ – Fujifilm X100VI
Cardinal – Buckeye, AZ – Fujifilm X-S20 – Photo by Jonathan Roesch
Concrete Pipes – Buckeye, AZ – Fujifilm X-S20 – Photo by Jonathan Roesch
Cross Here – Goodyear, AZ – Fujifilm X100VI
Air/Water – Goodyear, AZ – Fujifilm X100VI
Hot Air Balloon at Night – Goodyear, AZ – Fujifilm X-S20 – Photo by Jonathan Roesch
Find this Film Simulation Recipe and nearly 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.
When Fujifilm released the X-T50 last year, it had a new feature: a Film Dial. In my pursuit of figuring out how to use it effectively, I created the Film Dial Recipe set, a group of 14 Recipes that are really just one “Universal Recipe” (set of settings) that work well with any of the 20 film simulations (I grouped all four Acros options together, as well as all four Monochrome; hence 14 Recipes and not 20). This technique makes the X-T50—and now the X-M5, which also has the Film Dial—more versatile than the other X-series cameras for the straight-out-of-camera photographer. At least so I thought.
As it turns out, this technique can be used on any Fujifilm camera, simply by assigning one of the customizable knobs, wheels, rings, or buttons to activate the film simulation menu. The X-S10 and X-S20 have an unmarked knob on top that are factory-default set for this purpose. On other cameras, the rear command dial (R-Dial in the Fn settings menu) can be set to activate the film simulation menu. On my Fujifilm X100VI, I programmed the Control Ring to adjust the film simulation. On one hand the Film Dial is preferable: you can see what the film simulation is set to just by looking at the camera, it can be adjusted with the camera powered off, and it won’t reset when the camera is powered on. On the other hand, the non-Film Dial cameras are preferable: you have quick access to all 20 film simulations, and not limited by the 12 slots found on the Film Dial. There are advantages and disadvantages to both, and I prefer the Film Dial personally. But the light bulb moment for me was realizing that the Film Dial Recipe can be used on many cameras, and not just those with the Film Dial—I use it regularly on several different models, including my X100VI, X-T5, and GFX100S II.
Fujifilm’s film simulations are good straight-out-of-the-box, but with some parameter adjustments, they can become great. To get the most out of the various film simulations, you need to make changes to the factory-default settings (a.k.a. use Film Simulation Recipes). However, the Film Dial becomes problematic when you do this because rarely do multiple film simulations look good with the same Recipe settings. Sometimes they do, such as with Kodak Portra 400 v2, Vintage Vibes, and Ferrania Solaris FG 400, which require the same exact settings (note: set Color Chrome FX Blue to Off on X-Trans V), but use three different film simulations: Classic Chrome, Classic Negative, and Eterna Bleach Bypass. Most of the time, however, whenever you use a different film sim than what the Recipe calls for, the results are less than spectacular, such as when Omar Gonzalez accidentally used Classic Chrome instead of Classic Negative with the Agfa Vista 100 Recipe. Creating a “Universal Recipe” like the Film Dial Recipe is not an easy task.
Not content with having just one “Universal Recipe”, I set out to create another. I’ve been working on this one for more than three months now, and I’m excited to share it with you. It can be used in conjunction with the Film Dial on the X-T50 and X-M5; however, it can also be used on any fifth-generation X-Trans camera or even the latest GFX models. I created this Recipe on my Fujifilm X100VI, and all of the photos below were made using that camera. Also, if you don’t want to use it as a “Universal Recipe” but you like the results of just one of them—such as Classic Negative (a.k.a. “Fujicolor Superia 200”) below—simply use that one standalone. Or pick your favorite three and use it in conjunction with the Film Simulation Bracket feature.
I wanted this new universal option, which I’m calling Universal Negative, to be different than the Film Dial Recipe set. I didn’t want to merely repackage a small adjustment to it; I wanted something significantly divergent, and maybe a tad more film-like. Hopefully that’s what I accomplished here. My plan is to have both this Universal Negative Recipe set and the Film Dial Recipe set programmed into at least one of my cameras (right now it’s my X100VI), which really just opens up the opportunity to achieve various looks in-camera. It’s kind of like having C1-C35, instead of just C1-C7. While this is intended for fifth-generation models (currently: X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, and X-M5), it can also be used on X-Trans IV (except the X-T3 and X-T30); however, blue will render slightly less deeply on Classic Chrome, Classic Negative, Eterna, and Eterna Bleach Bypass, and some film sims won’t be available.
Film Simulation: Any (See Below) Dynamic Range: DR400 Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome FX Blue: Strong White Balance: 4000K, 0 Red & -5 Blue Highlight: 0 Shadow: -2 Color: -2 Sharpness: -2 High ISO NR: -4 Clarity: 0 ISO: Auto, up to ISO 6400 Exposure Compensation: -1/3 to +2/3 (typically)
Additionally, for Acros and Monochrome, set Monochromatic Color to WC 0 & MG 0 (a.k.a. Off). Also, Color will be disabled for Acros, Monochrome, and Sepia. For Eterna and Acros, ISO can be up to ISO 12800.
Provia/STD — “Universal Provia”
This “Universal Provia” Recipe doesn’t much resemble real Provia film, but that doesn’t mean it doesn’t produce an appealing aesthetic. It is true-to-life with a slight analog vibe, perhaps reminiscent of a Fujicolor Crystal Archive print. It’s kind of a Goldilocks Recipe—not too vibrant or muted, not too contrasty or flat, not too warm or cool. For best results, use in sunny daylight; however, it can do well in shade, indoor natural light, and even blue-hour with artificial light.
Velvia/Vivid — “Velvia 100F”
Velvia was the go-to film for vibrant landscape photography. If you wanted the colors to pop, Velvia 50 slide film is what you’d want to use. There were multiple versions of Velvia, and Velvia 100F (not to be confused with Velvia 100) was the least saturated of them all. This “Velvia 100F” Recipe isn’t strictly modeled after the emulsion, but it is in the ballpark, and close enough to name this after the film. This is an excellent option for colorful pictures that are not over-the-top vibrant. Great for sunny daylight landscapes, golden hour, sunrise/sunset, and even some nighttime situations.
Astia/Soft — “Indoor Astia”
This “Indoor Astia” Recipe is my favorite of all these for indoor natural light photography. It’s also good for sunny daylight, dreary overcast, and nighttime pictures. While this Recipe is more similar to actual Astia 100F film than the film simulation is when set to the factory default settings, it’s not necessarily a good match for the emulsion.
Classic Chrome — “Elite Chrome”
Elite Chrome was Kodak’s consumer-grade version of Ektachrome color slide film, produced in the late-1990’s and early-2000’s. While this “Elite Chrome” Recipe wasn’t modeled after the emulsion, surprisingly it does resemble Elite Chrome 100 film to a degree. For best results, use in sunny daylight; however, it does do well in overcast and blue hour light.
Reala Ace — “Retro Negative”
Reala Ace is Fujifilm’s newest film simulation. It’s purportedly based on Reala film, but it’s not a very close replication of that emulsion, which is in the Superia line, and more similar to Classic Negative. Instead, Reala Ace is nearer to the Fujicolor PRO 160 line, and shares similarities with PRO Neg. Std and PRO Neg. Hi. Reala Ace probably should have been named PRO Neg. C, since it is most similar to Fujicolor PRO 160C film. Of the three “PRO Neg.” film sims, Reala Ace is my personal favorite. This “Retro Negative” Recipe is reminiscent of color negative film from the 1980’s and ’90’s, and might even remind you of some photos printed in magazines from that time frame. I found it is quite excellent for golden hour and blue hour photography; however, it’s good for a lot of different subjects and situations, including rainy days, natural light indoors, and portrait photography.
PRO Neg. Hi — “Fuji Negative”
This “Fuji Negative” Recipe is generally similar to various Fujicolor negative films, without mimicking any one specifically. This is probably my favorite of this group for overcast light, but it also does well in sunny daylight and blue hour.
PRO Neg. Std — “Pulled Negative”
Pulling film means to overexpose a little, then reduce the development time to compensate. The results are lower contrast photos with less pop. You could consider this “Pulled Negative” Recipe a one-stop pulled version of the “Fuji Negative” Recipe above. This Recipe is one of the best of this group for artificial light situations, such as nighttime and indoors.
Classic Negative — “Fujicolor Superia 200”
This “Fujicolor Superia 200” Recipe is probably my favorite of this group. Inadvertently, it’s reminiscent of Fujicolor Superia 200 color negative film, which was introduced in 1998 and discontinued in 2017. I especially like this Recipe for indoor natural and artificial light situations; however, it’s good for many subjects and light scenarios.
Nostalgic Neg. – “Americana Film”
Nostalgic Neg. is the second most recent addition to the film simulation lineup, and is modeled after American New Color images from the 1970’s. The Nostalgic Neg. film simulation has a strong Kodak aesthetic, particularly photographic prints from five decades ago. This is the warmest film sim, which means that this “Americana Film” Recipe is the warmest of this group. It’s great for portraits or any situation where you want a retro rendering.
Eterna/Cinema — “Eterna Film”
This “Eterna Film” Recipe is the second lowest saturated and least contrasty of all the color options in this series. It has a lovely soft cinematic quality that is especially great for taming high-contrast scenes; however, it has a limited use-case where it does well. I had trouble finding scenarios where it was the most appropriate option for the situation, but occasionally I did.
Eterna Bleach Bypass — “Chrome City”
Eterna Bleach Bypass has the lowest saturation and highest contrast of all of the film simulations. Bleach bypass is a development technique where the bleach step is reduced or eliminated, resulting in a high-contrast, low-saturation image that almost appears like a B&W picture over a color picture. It can be used in still photography, but is more commonly found in motion pictures (think Saving Private Ryan). This “Chrome City” Recipe is reminiscent of LomoChrome Metropolis film, which is an emulsion by Lomography that mimics the aesthetic of the bleach bypass technique. The results from this Recipe can be spectacular, and it’s one of my favorites from this group; however, it’s definitely not for every subject or situation.
Fujifilm introduced Neopan Acros black-and-white negative film back in 1952. Neopan Acros came in four versions: ISO 100, ISO 400, ISO 1600, plus an ISO 400 version for C41 development that was actually repackaged Ilford XP2 Super 400. Neopan Acros was briefly discontinued in 2018, and reintroduced in 2019 as Neopan Acros 100 II. Curiously, the new version is actually manufactured by Harman (the parent company of Ilford), although it behaves quite similarly to the original.
Typically, I prefer contrasty black-and-white pictures; however, this “Acros Negative” Recipe is fairly low-contrast. It has to be used thoughtfully, or else the pictures will look slightly muddy. The Acros filter options (+Y, +R, +G) are your friend, and this Recipe thrives on high-contrast scenes. In the right situations, the results can be wonderful. For grainer pictures, use higher ISOs, as the Acros film sim has built-in Grain that increases with the ISO. If I could only pick one Acros option for the “Acros Negative” Recipe, I’d go with Acros+R.
The Monochrome film simulation is simply Provia with the color turned off. It was the standard B&W film sim until the introduction of Acros on X-Trans III. Generally speaking, I like Acros much more than Monochrome, as Acros has more of an analog feel to it; however, Monochrome does have a slightly harsher tonality, so there are times that the Monochrome film simulation could be preferable, and you might choose this “B&W Negative” Recipe. Similar to the “Acros Negative” Recipe above, this one thrives in high contrast light, and the filter options (+Y, +R, +G) are your friends.
Sepia — “B&W Sepia”
Last and least is Sepia. This film simulation has been around for a long time, but very few use it. If Fujifilm discontinued it, most probably wouldn’t even notice. Sepia is a darkroom technique where you bathe B&W prints in a chemical for archival and artistic purposes. Most commonly, Sepia baths are quick, and the toning subtle; however, the prints can be left in longer, resulting in a pronounced reddish/brown tone (this film simulation replicates that), which was popular a hundred or more years ago. For a more subtle effect, simply use either “Acros Negative” or “Monochrome Negative” with Monochromatic Color set to WC +2 MG -2. Most likely you’ll skip this one, but if you’re looking for something different, maybe give it a try.
Find these 14 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.
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
Fujifilm cameras are special. With 20 Film Simulations (on the latest models) that are crafted using Fujifilm’s vast experience with analog film, and the ability to fine-tune them into Recipes, you can achieve incredible straight-out-of-camera results. I’ve published nearly 400 Film Simulation Recipes, most of which are modeled after the aesthetics of classic film stocks. Some Recipes get all the attention, particularly those that are Classic Chrome-based, like Kodachrome 64 and Kodak Portra 400 v2. In this article, I’m going to suggest some lesser-used gems.
If you’re looking for something new to try—maybe one that is less commonly used—these five underrated Film Simulation Recipes deserve a spot in your camera’s Custom Settings. Give them a try, and you might just find your next go-to look!
Camera Conversation – Philadelphia, PA – Fujifilm X-T5 – Fujifilm Negative – by Amanda Roesch
Fujifilm has a long history of producing amazing film stocks, and this Fujifilm Negative Recipe is inspired by their color negative films of the past, particularly Fujicolor PRO 160NS. With soft contrast, balanced colors, and a subtle vintage warmth, it creates a beautiful everyday look. Whether you’re shooting portraits, street photography, landscapes, or travel, Fujifilm Negative delivers a timeless feel that works in a variety of lighting conditions. Since this Recipe uses the new Reala Ace film sim, it is only compatible with fifth-generation X-series cameras, plus the newest GFX models.
Saguaro & Abandoned Building – Vulture City, AZ – Fujifilm X-T5 – Kodak Ektachrome E100VS v1
If you love vibrant colors, the Kodak Ektachrome E100VS v1 Recipe is a fantastic choice. With an aesthetic similar to the slide film of the same name, which was one of my favorites 20 or 25 years ago, this Recipe produces deep blues, rich reds, and strong contrast that make images pop with its bold colors (thanks to the Velvia film sim that it uses). It’s perfect for colorful urban scenes, sunsets, landscapes, and travel photography. Since it uses Auto White Balance, it’s quite versatile; however, just like the film, it’s not a good choice for portrait photography. This Recipe is compatible with X-Trans IV (except the X-T3/X-T30) and X-Trans V cameras, plus newer GFX models.
The Eterna Film Simulation is often associated with soft, low-contrast tones, but the Eterna Summer Recipe adds warmth, vibrancy, and contrast. Sunlit scenes have a dreamy, vintage, and almost cinematic feel, with soft shadows and bright highlights. It’s especially great for roadtrips, urban scenes, portraits, and hot summer afternoons when you want to capture the golden essence of the season. For best results, use in sunny daylight situations. This Recipe is compatible with “newer” X-Trans IV cameras, all X-Trans V, and many GFX models.
City of Grace Tower – Phoenix, AZ – Fujifilm X-T5 – CineStill 400D v2
The CineStill 400D v2 Recipe is inspired by CineStill 400D film, which is known for its cinematic feel and warm tones. This Recipe produces soft highlights, slightly punchy colors, and a dream-like quality, making it a good choice for both daytime and blue-hour photography. CineStill 400D v2 uses the Astia Film Simulation, and is great for landscapes and street photography, especially during golden-hour. This Recipe is compatible with X-Trans IV (except the X-T3/X-T30) and X-Trans V cameras, plus the 100mp GFX models.
Fall at Boulder Lake – Clinton, CT – Fujifilm X-T5 – Kodak Negative
The Kodak Negative Recipe, which is reminiscent of some vibrant negative film stocks by Kodak, is quite versatile, thanks to the use of Auto White Balance. It has the right amount of warmth, saturation, and contrast for many subjects and situations. Because it uses the Nostalgic Neg. Film Simulation, it has a vintage feel that is easy to appreciate. This Recipe is only compatible with the fifth-generation X-series cameras, plus the newest GFX models.
Final Thoughts
Rock Rings – Saguaro National Park, AZ – Fujifilm X-T5 – Eterna Summer
These five underrated Film Simulation Recipes are waiting to be discovered! Whether you’re after a nostalgic analog look, a punchy slide film aesthetic, or a dreamy cinematic feel, there’s something here for your next photographic adventure. The best way to find out which Recipes are your favorites is to get out and try them—so load one of these Recipes into your Fujifilm camera and see what magic you can create!
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.
Fujifilm has the best JPEG output in the camera industry, in my opinion. That’s not to say the others are garbage, because some brands are pretty good (Ricoh, for example); however, they are not all equal, and—in my view—Fujifilm is at the very top when it comes to straight-out-of-camera photography. Leaning into their long history of making analog film, they’ve crafted Film Simulations and various JPEG options (which together make Film Simulation Recipes) that achieve authentic aesthetics that don’t require editing.
Over the years Fujifilm has added many new Film Simulations and JPEG settings so that photographers can get a wider variety of looks straight-out-of-camera. Nostalgic Negative and Reala Ace are found on the latest generation of models. Eterna Bleach Bypass and .5 Highlight and Shadow adjustments were introduced with the Fujifilm X-T4. Classic Negative, Grain size, Color Chrome FX Blue, and Clarity were first found on the X-Pro3. So what should Fujifilm introduce next? What new Film Simulations and JPEG settings should be added to future cameras?
Fujifilm X100V & Pop Color Advanced Filter
There are a number of Film Simulations that Fujifilm could make. Probably the easiest would be Fortia, which would simply require moving Pop Color from Advanced Filters to the Film Simulation set. Another easy option would be a new B&W Film Simulation (maybe called Neopan) that would essentially be a higher contrast and grainer version of Acros. A Film Simulations that I believe would be a big hit is one modeled Fujicolor PRO 400H that turns pastel when overexposed, like the film was famous for. Another option that I would like to see is Cross Process, modeled after Velvia 50 developed in C41 chemistry. A fifth potential future Film Simulation is Instax, mimicking instant film.
As for JPEG settings, one option might be Split-Tone, where a certain color cast could be selected for the shadows, and a different color cast could be selected for the highlights (for example, blue for the shadows, yellow for the highlights). This could be available for both color and B&W images. Another one might be Faded Blacks, where deep shadows are rendered lighter. A third potential option could be vignette. For those last two, it could simply be Off, Weak, or Strong. To demonstrate what Faded Black and Vignette might look like, I edited some pictures using the Photos App in my iPhone, simply setting the Black Point to -50 and Vignette to +10, which might be similar to Faded Black Strong and Vignette Weak, if such settings existed. You can see the before and after below:
Now it’s your turn! What would you like the next Film Simulation to be? Should Pop Color be moved from Advanced Filters to the Film Simulation set? What new JPEG option would you prefer be introduced next? Do you like the idea of Faded Blacks and/or Vignette? Let me know in the comments!
If there’s one film simulation that perfectly captures the nostalgia of family vacations and everyday moments, it’s Classic Negative. Modeled after the Fujicolor Superia line of film, Classic Negative has a way of making images feel like cherished memories straight-out-of-camera. With its unique color palette and strong contrast, this film simulation is ideal for those who want their snapshots to have analog character.
Because of its distinctive colors—with a familiar retro aesthetic—Classic Negative works quite well for family and travel photography. Skin tones are rendered with a touch of warmth. Greens are subdued, while reds lean orange. Classic Negative is unique among the film simulations in that the exposure—whether brighter or darker—affects how the pictures are rendered, similar to how Superia film behaves to overexposure and underexposure. This produces photos that are reminiscent of prints from the ’90’s and 2000’s, evoking nostalgic emotions.
When you use Classic Negative, you get pictures that feel like instant memories. If you’ve ever flipped through an old photo album—perhaps filled with pictures from your childhood—you’ll recognize the charm. The colors and tones are reminiscent of one-hour photo lab prints. For many, this film simulation isn’t just about the colors—it’s about the built-in nostalgia.
Spooner Cove – Montaña de Oro SP, CA – Fujifilm X100V – Fujicolor 100 Gold
The last thing you want to do upon returning from vacation is to spend hours and hours at a computer editing hundreds or even thousands of RAW files. Classic Negative ensures that your images have a timeless quality right from the camera. It’s well-suited for candid moments, like kids running through the ocean waves, grandparents smiling at a birthday party, or lunch along a quiet street in a new city. Whether you’re on a roadtrip, at a amusement park, or simply documenting everyday family life, Classic Negative is a storytelling tool with a film-like aesthetic.
This film simulation turns everyday snapshots into pictures filled with emotion and nostalgia. Whether you’re documenting a once-in-a-lifetime vacation or a quiet moment at home, Classic Negative ensures that your photos feel as special as the memories themselves. The next time that you’re out with your Fujifilm camera, try a Classic Negative Film Simulation Recipe—watch your photographs come to life with timeless charm. There are nearly 60 Classic Negative Recipes in the Fuji X Weekly App; if you’re unsure which ones to try, below are 10 Recipes that are quite excellent for everyday moments and vacation snapshots.
Across the Grand Expanse – Grand Canyon, AZ – Fujifilm X-T5 – Kodachrome 64
When it comes to travel photography, nothing quite matches Fujifilm’s Classic Chrome film simulation. Inspired by Kodak’s color slide films—such as Kodachrome and Ektachrome—that were commonly used for documentary photography, Classic Chrome delivers muted tones, rich contrast, and a subtle warmth that evoke the look of classic photojournalism. Whether you’re exploring bustling cities, vast landscapes, or quiet villages, this film simulation brings a distinct analog feel reminiscent of past eras to your images.
The magic of Classic Chrome for travel photography is that it adapts well to various lighting environments, from golden-hour sunsets to harsh midday light to dreary overcast scenes to neon nightscapes. The balance of true-to-life yet expressive colors and rich contrast make it perfect for unpredictable travel conditions, enhancing the mood of a scene, and producing images with a timeless and immersive feel. Classic Chrome doesn’t exaggerate colors—it enhances them in a way that lets the subject take center stage.
Whether you’re capturing a quaint coastal town, the details of a historic city, the vastness of a dusty desert, the vibrancy of a street market, or the bustle of an urban sidewalk, Classic Chrome adapts beautifully. It provides a vintage, editorial look that is just as effective for street photography as it is for landscapes. This film simulation enhances the story within the image, where emotion and authenticity matter more than exaggerated aesthetics.
Classic Chrome is the most popular film simulation among those who use Film Simulation Recipes, and it’s easy to understand why. With 90 Classic Chrome Recipes in the Fuji X Weekly App, there’s bound to be a few that match your style. If you’re unsure which ones to try, below are 10 Recipes that are quite excellent for travel photography.
The Red Desert – Buckeye, AZ – Fujifilm X100VI – RedScale
Redscale is an analog film technique where you load a roll of color film into the camera backwards. The film is exposed from the wrong side—through the plastic backing—exposing the red layer first. The results are photographs with a predominately red color cast. Sometimes it’s yellow-ish, sometimes it’s orange-ish, sometimes it’s peach-ish, sometimes it’s purple-ish, but mainly it is red. Results can very from film-to-film, and also how the film is exposed and developed/scanned; however, a redscale photo is unmistakable—you know it when you see it.
You can buy film preloaded for redscale photography. Lomography has Redscale XR, which is an unknown Kodak emulsion loaded into the canister backwards (some have speculated it’s Ultramax 400). On Valentine’s Day, Harman released Red 125, which is backwards-loaded Phoenix 200. Harman Red 125 is what this RedScale Recipe was inspired by. Because the film is new, there aren’t a lot of examples yet. I’m not convinced that this Recipe is perfectly accurate, but it seems to be pretty close from the limited number of pictures I found online.
Light on a Dark Wall – Buckeye, AZ – Fujifilm X-E4 – RedScale
Redscale photography isn’t for everyone or every situation—it’s a niche lomo-esque aesthetic. But if you want to get that look straight-out-of-camera, this RedScale Film Simulation Recipe will do that very convincingly. This is compatible with Fujifilm X-Trans IV (excluding the X-T3 and X-T30; use this Redscale Recipe instead) and X-Trans V cameras. While Classic Negative renders blue more deeply on X-Trans V than on X-Trans IV, because the color blue doesn’t really come through with this Recipe, it looks the same on both sensor generations. You can also use it on most GFX cameras.
Film Simulation: Classic Negative Dynamic Range: DR200 Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome FX Blue: Off White Balance: 10000K, +9 Red & -9 Blue Highlight: 0 Shadow: +2 Color: +4 Sharpness: -2 High ISO NR: -4 Clarity: -3 ISO: Auto, up to ISO 6400 Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured using this RedScale Film Simulation Recipe on a Fujifilm X-E4, X100VI & GFX100S II:
Classic Circles – Buckeye, AZ – Fujifilm X-E4
The Very Best – Buckeye, AZ – Fujifilm X-E4
Disc – Buckeye, AZ – Fujifilm X-E4
Tall Chair – Litchfield Park, AZ – Fujifilm X-E4
Red Fan – Buckeye, AZ – Fujifilm X-E4
Hat Rack – Buckeye, AZ – Fujifilm X-E4
b – Buckeye, AZ – Fujifilm X-E4
Nature & Structure – Buckeye, AZ – Fujifilm X100VI
Chairs & Cart – Buckeye, AZ – Fujifilm X-E4
Promenade – Buckeye, AZ – Fujifilm X100V
CVS Sign – Buckeye, AZ – Fujifilm X-E4
YJack – Buckeye, AZ – Fujifilm X-E4
Two Bikes – Buckeye, AZ – Fujifilm X100VI
Suburban Bike – Buckeye, AZ – Fujifilm X-E4
Son, Shadow – Buckeye, AZ – Fujifilm X-E4
Reflected Structure – Tempe, AZ – Fujifilm X-E4
Red Hen – Buckeye, AZ – Fujifilm X-E4
Unlikely Friends – Buckeye, AZ – Fujifilm GFX100S II
Palm Canopy – Buckeye, AZ – Fujifilm X100VI
Suburban Tree – Buckeye, AZ – Fujifilm X-E4
Palm Abstract – Buckeye, AZ – Fujifilm X-E4
Closed for the Evening – Buckeye, AZ – Fujifilm X-E4
Fire Flowers – Buckeye, AZ – Fujifilm X-E4
K81 – Buckeye, AZ – Fujifilm X-E4
Red Hair – Buckeye, AZ – Fujifilm X-E4
Red Saguaro Fingers – Buckeye, AZ – Fujifilm X100VI
Find this RedScale Film Simulation Recipe and nearly 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.
Orange Desert– Phoenix, AZ – Fujifilm X-T4 ES – CitrusChrome
CitrusChrome is a brand new Infrared Recipe for full spectrum (sensitive to light outside the visible gamut) X-Trans IV or X-Trans V cameras, like the Fujifilm X-T4 ES (“Extended Spectrum”). It’s not for “normal” cameras. The Fujifilm X-T4 ES is a full spectrum camera briefly offered by Fujifilm to the general public—as of this writing, I believe that you can still buy the Fujifilm X-T4 ES from B&H, but it requires a phone call or in-person visit, and cannot be ordered from the internet. Otherwise, you’ll have to do a full spectrum conversion—an expensive and invasive procedure—from a third-party vendor like LifePixel, Kolari Vision, or Spenser’s Camera (to name a few).
This Infrared Film Simulation Recipe produces orange, red, pink, and peach false colors. What you get depends on the exact light situation and the specific materials—cloth or organic (leaves)—being photographed. As far as I know, none of the infrared films that were sold over the years produced the false colors seen here; however CitrusChrome can be in the ballpark of Aerochrome sometimes, so situationally specific it can be somewhat convincing as an Aerochrome facsimile. What this Recipe more resembles is modern (digital) IR photography, which has a much wider array of possible outcomes. With that said, I don’t believe that I’ve seen this exact look before, so it might be a brand-new aesthetic.
Light, Color, Texture– Buckeye, AZ – Fujifilm X-T4 ES – CitrusChrome
Aside from having a full spectrum camera (like the X-T4 ES), this Recipe requires two filters: True Color Infrared Autumnizer (Turquoise) and True Color Infrared Crimson (Light Blue), which can be found on AliExpress. The True Color Infrared Autumnizer (Turquoise) filter is simply a QB19 Blue filter and LB18 Green filter combined into one, while the True Color Infrared Crimson (Light Blue) filter is simply a QB19 and GRB3 (heat) filter combined into one. You probably could use a QB19, LB18, and GRB3 combination instead of the two True Color Infrared filters, but I have not tested that personally. I was a little hesitant to buy the Autumnizer (Turquoise) and Crimson (Light Blue) filters because I had never purchased anything from AliExpress before, and saw mixed reviews regarding the platform; however (and thankfully), the process turned out to be smooth. I’m not sure if the order matters, but I have the Crimson (Light Blue) filter first (closest to the lens) and the Autumnizer (Turquoise) last (furthest from the lens).
Filters: True Color Infrared Crimson (Light Blue) & True Color Infrared Autumnizer (Turquoise) Film Simulation: Astia Dynamic Range: DR400 Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome FX Blue: Strong White Balance: 9000K, +9 Red & -4 Blue Highlight: -0.5 Shadow: -1.5 Color: +4 Sharpness: -1 High ISO NR: -4 Clarity: -2 ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs captured using this CitrusChrome Film Simulation Recipe on my Fujifilm X-T4 ES:
Photography Ideas – Buckeye, AZ – Fujifilm X-T4 ES
Curtains and Blinds – Buckeye, AZ – Fujifilm X-T4 ES
Book & Fake Succulent – Buckeye, AZ – Fujifilm X-T4 ES
Red Blanket – Buckeye, AZ – Fujifilm X-T4 ES
Red Shoes – Buckeye, AZ – Fujifilm X-T4 ES
Toilet Trash – Buckeye, AZ – Fujifilm X-T4 ES
Cyber – Buckeye, AZ – Fujifilm X-T4 ES
House Behind Wall – Tempe, AZ – Fujifilm X-T4 ES
Stripes – Buckeye, AZ – Fujifilm X-T4 ES
Wall Shrub – Buckeye, AZ – Fujifilm X-T4 ES
CVS Exit – Buckeye, AZ – Fujifilm X-T4 ES
Garages – Buckeye, AZ – Fujifilm X-T4 ES
Main Street Market – Buckeye, AZ – Fujifilm X-T4 ES
Corner – Buckeye, AZ – Fujifilm X-T4 ES
Evening Palm Tree – Buckeye, AZ – Fujifilm X-T4 ES
Tempe Palm – Tempe, AZ – Fujifilm X-T4 ES
Palm Tree & Contrail – Buckeye, AZ – Fujifilm X-T4 ES
Craftsman – Buckeye, AZ – Fujifilm X-T4 ES
Forked Tree – Buckeye, AZ – Fujifilm X-T4 ES
Yellow Bougainvillea Blooms – Buckeye, AZ – Fujifilm X-T4 ES
Moon Palms – Buckeye, AZ – Fujifilm GFX100S II – Kodachrome 64
I get asked fairly regularly which Film Simulation Recipes are the most popular. For me, this is a fascinating topic, but it’s definitely hard to know definitively. While I get a glimpse on social media, my best gauge is the Fuji X Weekly website statistics; specifically, which Recipe articles are viewed the most. I don’t collect any data on the Fuji X Weekly App, so that’s no help—although, if I did, it would likely offer the most accurate picture; however, it would still be impossible to know which Recipes people programmed into their Fujifilm cameras, or how often they used each. Perhaps a survey would be particularly useful, yet even it has its limitations. While certainly a flawed method, page-view website statics offer the best glimpse at which Film Simulation Recipes are the most popular, so that’s what I’m using for this article. These are simply the Top 25 most-viewed Recipes on the Fuji X Weekly website last month (January 2025).
I didn’t make a list for December’s statistics, but instead did a recap of the whole year. From month-to-month there’s not usually a lot of surprises, as these types of lists are pretty predictable. Skipping a month tends to reveal more interesting trends. It is unsurprising to see Kodachrome 64 in the first position, as it is the long time most popular Recipe on Fuji X Weekly. Reggie’s Portra seems to now be the second most popular, surpassing Kodak Portra 400 v2, which has notably slipped. There are, of course, a number of other position changes between November and January.
Window Ladder – Buckeye, AZ – Fujifilm X-T4 – Pacific Blues
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. Eterna is fourth, followed by Acros and Nostalgic Neg., for fifth and sixth.
Without any further delay, below are the most popular Recipes of last month!
Top 25 Most Popular Film Simulation Recipes of November 2024
A Classic Chrome based Recipe for X-Trans IV cameras that is the long-time most popular Film Simulation Recipe for Fujifilm cameras. In November it was #2, but for all of 2024 it was the number one most popular Recipe.
Reggie’s Portra is a popular Classic Chrome based Recipe for X-Trans IV cameras. Reggie Ballesteros created it by modifying my Kodak Portra 400 Recipe to better suit his style and needs. It usually ranks high, but I’m confident to say that it’s officially the second most popular Recipe on Fuji X Weekly. Of the various Portra Recipes, this is the most versatile, and the most popular for portrait photography. It was ranked #3 in both the month of November and in all of 2024.
A Wes Anderson inspired Recipe based on Classic Chrome for X-Trans IV and X-Trans V cameras. It moved up two spots since November; in 2024 it was ranked #4.
This is a new Recipe published on December 31st. It uses the Reala Ace film simulation as the base, which means it is compatible with X-Trans V cameras. I’m not surprised to see it make this list, but I’m a little surprised to see it so high.
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), but has been slipping lately. It moved down one position since November.
Reala Ace, which is for X-Trans V cameras, is the most popular Classic Negative Recipe. It’s in the same position as November, and two spots below its 2024 ranking.
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. It’s in the same position as November, and was ranked #24 in 2024.
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. It climbed six spots since November, and was ranked in the same position in 2024.
This version of Kodak Portra 400, which is compatible with X-Trans IV cameras, was commonly the third most popular Film Simulation Recipe on Fuji X Weekly for a long time; however, now it is more typically found in the 10-15 range. It fell one spot compared to November, and was #6 for 2024.
This Recipe is reminiscent of scanned Kodachrome 64 slides, and is compatible with X-Trans IV cameras. It rose four spots since November, and was ranked #12 in 2024.
This is a fairly new Recipe, published on October 31st. It uses the Reala Ace film simulation, which means that it is compatible with X-Trans V cameras. Surprisingly, it was ranked #1 in November.
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. In November it was ranked #8, and in 2024 it was #18. I have no idea which of the 14 Recipes are the most used.
At one time this was the most popular Classic Negative Recipe, but now it’s second (if you don’t include Superia Negative from the Film Dial Recipe set). This particular version of Pacific Blues is compatible with X-Trans IV models, but there is also an X-Trans V version. It fell five spots since November, and was ranked #8 in 2024.
Another Classic Chrome based Recipe, for use on X-Trans III models, plus the X-T3/X-T30. It rose one position since November, and was ranked #14 for 2024.
Vintage Kodachrome, which is based on Classic Chrome, is one of the older Film Simulation Recipes on Fuji X Weekly, and is compatible with X-Trans III cameras. It usually cracks the Top 15, and sometimes the Top 10, but this month it barely made it into the Top 20. In November it was #14, and in 2024 it was #11.
This is currently the highest-ranked Recipe that uses the Nostalgic Neg. film simulation (aside from Nostalgic Film in the Film Dial set). It’s compatible with X-Trans V cameras. It didn’t crack the Top 25 list for November or for 2024.
This was an App Patron Early Access Recipe that recently became available to everyone. It uses the Eterna film simulation, and is compatible with X-Trans IV cameras.
This Recipe was published in June, and uses the Reala Ace film simulation, which means it is compatible with X-Trans V cameras. It fell three spots since November.
The very first Film Simulation Recipe on Fuji X Weekly, this Recipe is compatible with X-Trans III cameras. It fell three positions since November, and was ranked #16 for 2024.
When I first picked up a Fujifilm camera, I didn’t expect it to transform the way I approached photography. Like many others, I’d grown accustomed to shooting RAW, spending hours editing, and often feeling overwhelmed by it all, which can zap the joy right out of creating images. But then I discovered that Fujifilm’s straight-out-of-camera JPEGs are actually really good. I realized that I didn’t need to spend so much time tethered to a screen to create the photographs I loved. It wasn’t just a convenience; it was a revelation.
A lot of people are surprised to learn that Ansel Adams—the master of the darkroom—was a big fan of Polaroid cameras. He wrote a whole book about it, and dedicated a chapter to the concept of what he called one-step photography. Typically, the first step is image capture, and the second is image development, but Polaroids only required the first step (hence, one-step photography). Adams wrote, “The effect of one-step processing on both amateur and professional creative photography has been revolutionary.”
That’s exactly what Fujifilm cameras have achieved with their camera-made JPEGs. It’s the modern version of one-step photography. It’s not just about convenience (although it is certainly convenient); it’s a transformative approach to how we think about photography. It was a game-changer for me, and it might be for you, as well.
Fujifilm’s film simulations are at the heart of the SOOC JPEG magic. Drawing on their rich history in film photography, they’ve poured decades of analog expertise into their digital cameras. These film simulations—such as Classic Negative, Velvia, and Nostalgic Neg.—were inspired by iconic film stocks that once defined entire eras of photography. Each film simulation carries its own personality—Classic Chrome has muted tones and punchy contrast, Acros has rich monochrome depth, Eterna has cinematic softness—that give photographers a starting point that already feels curated and intentional, as if they were post-processed. The connection to Fujifilm’s film heritage makes their JPEGs feel authentic, reminiscent of analog photography—a nostalgic yet modern blend, fusing the convenience of digital with the soul of film.
While Fujifilm’s film simulations are good on their own, what really sets the images apart is how customizable the JPEGs are. You can tweak the settings to create Film Simulation Recipes, which empowers photographers to achieve their style straight from the camera. It’s like having a personal darkroom built into your gear, which enables you to spend less time in front of a computer and more time actually making pictures. I have published nearly 400 Recipes for Fujifilm cameras, so there’s bound to be at least one that is a match for your personal style.
Fujifilm’s SOOC JPEGs encourage photographers to slow down and think more intentionally about their craft. Choosing a Recipe for the scene that is in front of you forces you to consider your creative choices upfront. This process brings a sense of mindfulness that some find refreshing. Getting the image right in-camera is a liberating shift. You can shoot with intent, knowing that the aesthetic you’re aiming for is baked into the photo as you press the shutter. Instead of relying on post-processing to fix an image, photographers are encouraged to get it right in-camera, which is a return to the ethos of film photography, where each frame mattered, and decisions were made before the shutter clicked.
Sign on the Roof – Gila Bend, AZ – Fujifilm X100VI – Classic Color
This one-step philosophy—made possible by Fujifilm and Film Simulation Recipes—is sparking conversations about the value of simplicity, the importance of craft, and the joy of photography as an experience rather than a chore. While technology can sometimes complicate photography, Fujifilm has managed to simplify it without compromising quality. In my opinion, the results speak for themselves: more time spent shooting, less time stuck behind a computer screen, and photographs that feel authentic and look great. It challenges the “RAW is best” mindset. Beginners, who might feel intimidated by the complexities of editing software, can achieve excellent results right out of the gate, while seasoned photographers are finding new inspiration in the simplicity and authenticity of this approach.
Camera-made JPEGs are more than just a convenience; they represent a shift in how to think about photography. Fujifilm has created a system that celebrates the art of getting it right in-camera by leveraging their film heritage with creative customization, which allows users to focus on intentionality. Because of this, many Fujifilm photographers are rediscovering the pure joy of making photographs. The revolution may be quiet, but—as more and more choose this approach—its impact is undeniable.
Pacific Poppies – Montaña de Oro SP, CA – Fujifilm X-E4 – Pacific Blues
Find Film Simulation Recipes for your Fujifilm cameras in the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
One of the first things that I hoped to accomplish after buying a Fujifilm GFX100S II camera last month is to understand how compatible X-series Film Simulation Recipes are with GFX, and what adjustments should be made, if any. I had anticipated this being a fairly easy task, and in a sense it was, but I really struggled with this project.
Fujifilm has made a number of GFX models since February of 2017: GFX50S, GFX50R, GFX100, GFX100S, GFX50S II, GFX100 II, and GFX100S II. There are a few different sensors and processors, and the cameras can be separated into different generations. The GFX50S, GFX50R and GFX50S II share the same sensor, but the GFX50S II falls into a different generation than the original two. The GFX100 and GFX100S share the same sensor, but are different generations. The GFX100 II and GFX100S II share the same sensor, but not the same sensor as the first two 100mp GFX models. It’s a bit of a puzzle. The only GFX camera that I own is the GFX100S II, and I briefly had the opportunity to borrow a GFX50S four years ago. My GFX experience is very limited at this point.
One issue that I found when comparing Recipes captured on X-Trans vs GFX is that the lenses are not the same. Different lenses can produce slightly different results depending on the micro-contrast and coatings. While not a big deal, it would have been preferable to have used the same lens across all the tests; however, even if I could, the focal length wouldn’t be the same. For example, when I adapt my vintage Helios 44-2 lens, the focal length on X-Trans is 87mm while it is 46mm on GFX; aside from that, the Helios is noticeably softer on the GFX. So the comparisons I made were never fully 1:1, unfortunately.
I did make a number of comparisons between the photos captured with the GFX100S II and those made on an X-T5 and X-E4, utilizing the same Recipes. The main difference between X-Trans IV and X-Trans V rendering is that blue is a little deeper on X-Trans V with the Classic Chrome, Classic Negative, Eterna, and Eterna Bleach Bypass film simulations—there are some other minor differences, but the blue rendering is the main one. On the GFX100S II, blue behaves more like X-Trans V. The overall rendering is very similar to X-Trans V, but not 100% identical. For example, Grain is scaled differently on GFX. There are several insignificant differences that I noticed upon close side-by-side comparisons, but without carefully studying deep crops, the GFX images look pretty identical to the X-Trans V photos. Except they also don’t.
This is the paradox I discovered: the pictures look so similar when comparing colors, tints, shadows, etc., etc., but there is something that’s clearly different. But what? I couldn’t put my finger on it.
I asked a few people I know who have a GFX camera, and one suggested color fidelity, that the same exact colors just seem more alive (or maybe more lifelike) on GFX. My wife, Amanda, suggested that it’s depth, that it feels like you can step into the GFX photos, while the X-series photos seem a little flat in comparison. This could simply be the depth-of-field or the micro-contrast of the GFX lenses (or both). As I thought about it, I was reminded of the Sigma DP2 Merrill camera I used to own that similarly had a (so-called) “3D pop” to the pictures. High-ISO digital noise looks different on GFX, with splotchy colors that are typical from a Bayer sensor (and not the more film-grain-like noise from X-Trans); however, it’s not particularly obvious, buried in all that resolution. It’s probably a combination of all of those things and more that make the nearly identical colors and contrast appear different in a way that is difficult to describe, but it’s all so subtle that it’s easy to miss and dismiss, so perhaps it doesn’t matter.
With that information, I made a decision regarding Film Simulation Recipes in the Fuji X Weekly App. I added the GFX100 II and GFX100S II as compatible cameras to all X-Trans V Recipes, as well as X-Trans IV Recipes (excluding those for the X-T3/X-T30) that don’t use Classic Chrome, Classic Negative, Eterna or Eterna Bleach Bypass (the same Recipes as the X-T5, for example). Use those Recipes on the GFX100 II and GFX100S II, as they look great. I updated the App yesterday to show those Recipes as compatible with those two cameras. For the other (non-X-T3/X-T30) X-Trans IV Recipes, dropping Color Chrome FX Blue down one spot (Weak instead of Strong, Off instead of Weak) also makes them compatible.
After that, I thought about the other GFX models. Shouldn’t they be in the App, too? Why should they be left out? I don’t own any of those other GFX models, so I dug through the manuals—plus did several Google searches—to try to piece together how they should be categorized in the Fuji X Weekly App. That took a few verified and unverified assumptions. Also, I realized an assumption I made several years back was incorrect.
I categorized GFX100S the same as the newer X-Trans IV cameras; Recipes that are compatible with (for example) the X-T4 are also compatible with the GFX100S. I categorized the GFX100 the same as the X-T3 and X-T30.
The 50mp GFX cameras are a bit of a problem because shadows are rendered slightly lighter, and a .5 Shadow increase is necessary for those models (the GFX50S and GFX50R don’t have .5 Highlight and Shadow adjustments). A few years ago when I had the GFX50S for a few weeks, I created three Recipes for 50mp GFX. I made an assumption that those Recipes would also be compatible with the GFX100, but I believe that camera has deeper shadow rendering like the other 100mp cameras, so that assumption was incorrect; however, I left it alone in the App. If not for the shadow rendering, X-T3/X-T30 Recipes would be compatible with the GFX50S and GFX50R—you can still use those Recipes, just know that it will look slightly different (try them anyway, you might like the results). The one camera that was left out of the App is the GFX50S II. You can use X-Trans IV Recipes the same as the GFX100S; however, a .5 Shadow adjustment should be made. If a Recipe calls for -1 Shadow, use -0.5 instead, and if a Recipe calls for +2 Shadow, use +2.5 instead.
This isn’t a perfect categorization of the GFX models, but I think it’s good. If I made a mistake in this, please let me know—like I said, my GFX experience is quite limited. For those with GFX cameras, I hope this provides a little clarity as to which Recipes to use. I’m sure that having these cameras in the App will be helpful to some photographers with GFX models, so if you have a GFX camera, open up the Fuji X Weekly App and take a look.
Find Film Simulation Recipes for your Fujifilm cameras in the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
This Provia Summer Film Simulation Recipe kicks off a new series. Each Recipe in this series will use a different film simulation, beginning with Provia and ending with Sepia. None of them will be modeled after any specific emulsions, but more simply will be aesthetics that I like, that I want to create photographs with. Even though they won’t be mimicking specific films, I do intend for them to have an analog vibe. My goal is to publish a new Recipe in this series every three or four weeks. Lastly, they will each begin as an App Patron Early-Access Recipe.
I never wanted the Early-Access Recipes to be unavailable to non-subscribers for so long. Some have been 18 months or longer, most over a year. My initial idea was that they would be Patron-only for about six months or so, and then be made available to everyone; however, I’ve only reached that goal a few times. This series of Recipes will hopefully clear out the backlog, and the Recipes that some of you have long been waiting for will be available soon.
Golden CVS – Buckeye, AZ – Fujifilm X-S20 – Provia Summer – Photo by Jonathan Roesch
Provia Summer is in a similar neighborhood as Bright Summer, Bright Kodak, Eterna Summer, Summer of ’59, 1970’s Summer, and I’m sure a few others. Obviously it’s not exactly like any of them, as it has its own unique aesthetic. This Recipe is warm and colorful, producing images that have a summer-like feel. It’s not the most ideal option for artificial light indoors or nighttime photography, but in the right situations it can be alright for that; for best results, use on a sunny day.
This is an App 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. With the exception of the X-T3 and X-T30, it is compatible with all fourth and fifth-generation X-Trans cameras, which (as of this writing) are the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, and X-M5. It can also be used on the newer GFX models, and I’ve included a few examples of that at that bottom.
Example photographs, all camera-made JPEGs using this Provia Summer Film Simulation Recipe on a Fujifilm X-E4 and X-S20:
Vibrant Bougainvillea – Buckeye, AZ – Fujifilm X-E4
Dying Frond – Buckeye, AZ – Fujifilm X-E4
Sunlit Window – Buckeye, AZ – Fujifilm X-E4
Golden Arch – Buckeye, AZ – Fujifilm X-E4
Bright Bougainvillea – Buckeye, AZ – Fujifilm X-E4
Palm Grove – Buckeye, AZ – Fujifilm X-E4
Tower Window – Buckeye, AZ – Fujifilm X-S20 – Photo by Jonathan Roesch
Duel Window View – Buckeye, AZ – Fujifilm X-E4
Welcome to Wellness – Buckeye, AZ – Fujifilm X-E4
Water Drops – Buckeye, AZ – Fujifilm X-S20 – Photo by Jonathan Roesch
Faux Beauty – Buckeye, AZ – Fujifilm X-E4
Dusk Steeple – Litchfield Park, AZ – Fujifilm X-E4
Electric Open – Buckeye, AZ – Fujifilm X-S20 – Photo by Jonathan Roesch
Red Tree Trunk – Buckeye, AZ – Fujifilm X-E4
Yellow Fountain – Buckeye, AZ – Fujifilm X-S20 – Photo by Jonathan Roesch
Example photographs, all camera-made JPEGs using this Provia Summer Film Simulation Recipe on a Fujifilm GFX100S II:
Bougainvillea Trestle – Buckeye, AZ – Fujifilm GFX100S II
Broken Palm Bark – Buckeye, AZ – Fujifilm GFX100S II
Jonathan in the Desert – Buckeye, AZ – Fujifilm GFX100S II
Find this Film Simulation Recipe and over 350 more in the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
