If you live in or near one of these cities, I invite you to join us on a Film Simulation Summer Photowalk. This is going to be an epic experience, and just a ton of fun. Best of all, it’s free. I hope to see you soon!
It takes a lot of collaboration to pull this off, and I want to thank everyone involved—Fujifilm, Mike’s Camera, Nelson’s Photo & Video, Pixel Connection, Unique Photo, Tommy, Tom, Gabe, and Allen. Without all of them, this wouldn’t even be a thing. Thank you so much for your involvement and help!
Red Founders – Buckeye, AZ – Fujifilm X-T4 ES – Aerochrome v1
This “Aerochrome v1” Film Simulation Recipe is for full spectrum infrared cameras, and not “normal” cameras, which have an infrared filter over the sensor. Fujifilm briefly sold a limited number of Fujifilm X-T4 ES (“Extended Spectrum”) cameras, which are full spectrum infrared (no IR filter). I don’t know how many of these cameras were made, but I think it’s a very small number. I was quite lucky to get one.
While the X-T4 ES is the only infrared camera that Fujifilm has ever made available to the general public (typically, they reserve them for “forensic, scientific, and cultural preservation applications”), there are companies that will convert a normal camera into a full spectrum model by removing the IR filter over the sensor. It’s an invasive and expensive procedure, but one of the few options available. What I cannot confirm is whether or not the straight-out-of-camera results from a third-party full spectrum converted camera are identical to the Fujifilm X-T4 ES. I believe that they are likely to be identical, but there is a chance that they’re not. I hope that Fujifilm will make more native full spectrum cameras in the future, and sell them to the general public. I’m certain that there is enough demand to justify it.
Raspberry Palm – Buckeye, AZ – Fujifilm X-T4 ES – Aerochrome v1
Aerochrome was an infrared film produced by Kodak between 1942 and 2009. It’s definitely not the only infrared color film ever made, but it’s the most popular and recognizable. You could achieve various aesthetics from Aerochrome by using different filters, with red, pink, purple, or orange vegetation as the hallmarks of the emulsion (especially red and pink). As far as I’m aware, there are not currently any color infrared films in production, and the few rolls of Aerochrome that remain are extraordinarily expensive. This “Aerochrome v1” Recipe mimics Aerochrome film, but it’s definitely not perfect. I’m currently working on two other Aerochrome Recipes, but the exact aesthetic I’m after has been a bit elusive so far (I’m close, though), so expect several versions to be published.
Aside from a full spectrum infrared camera, you also need specific filters. Since you are seeing light beyond the visible spectrum, filters are used to control exactly how the light enters the camera, which greatly affects the results. For this particular Recipe, a Kolari Vision IR Chrome filter and Hoya G(XO) Yellow-Green filter are required (I don’t think it matters, but I have the G(XO) filter in front of the IR Chrome). In my opinion, the Kolari Vision IR Chrome filter doesn’t produces acceptable Aerochrome results straight-out-of-camera by itself (at least not on Fujifilm); however, when used in conjunction with other filters it can be quite good.
Painting the Town Red – Buckeye, AZ – Fujifilm X-T4 ES – Aerochrome v1
This “Aerochrome v1” Film Simulation Recipe is intended specifically for the Fujifilm X-T4 ES camera; however, I’m sure it can be used on any full spectrum converted X-Trans IV or X-Trans V camera. For the X-Pro3 and X100V, you should use Highlight +1 and Shadow 0 (since those cameras don’t have 0.5 adjustments); additionally, for the X-T3 or X-T30, ignore Color Chrome FX Blue and Grain size. You might be able to use it on older cameras, adjusting for the settings that aren’t available on your specific model, but it will definitely render differently. It likely will work on newer GFX models, but with a slightly divergent result. If you have a regular Fujifilm camera, this Recipe will not work, as it requires a full spectrum camera like the X-T4 ES (and not the X-T4). Also, I’m not including this in the Fuji X Weekly App because it requires special gear.
Filters: Kolari Vision IR Chrome & Hoya G(XO) Yellow-Green Film Simulation: Velvia Dynamic Range: DR400 Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome FX Blue: Weak White Balance: Daylight, +8 Red & +7 Blue Highlight: +1.5 Shadow: +0.5 Color: +4 Sharpness: 0 High ISO NR: -4 Clarity: 0 ISO: Auto, up to ISO 6400 Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured using this Aerochrome v1 Film Simulation Recipe on my Fujifilm X-T4 ES:
Bell Tower – Tumacacori, AZ – Fujifilm X-T5 – 1960 Chrome
This Film Simulation Recipe was created at the same time as Classic Color, Nostalgic Americana, Eterna Summer, and Astia Azure. These five Recipes were intended to work well together—could all be used in a single series or project—however, 1960 Chrome is the largest outlier of the group. It uses the Eterna Bleach Bypass film simulation, which has high contrast and low saturation, with a slight reddish tint.
The inspiration for 1960 Chrome came from several photographs in various vintage issues of Arizona Highwaysmagazine from the 1960’s. While sometimes the publication provided detailed information on the photographs, sometimes they did not; from the instances where information was provided, the film used appears to be Ektachrome, perhaps from the 1950’s—likely E2 or E3 process. I’m sure the printing process and the age of the magazine play a significant role in the aesthetic as it appears today. In any event, this Recipe has a strong vintage color film aesthetic.
Lake Bridges – Tempe, AZ – Fujifilm X-E4 – 1960 Chrome
This 1960 Chrome Film Simulation Recipe is compatible with all fifth-generation X-Trans cameras, which (as of this writing) are the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50, as well as “newer” X-Trans IV models—specifically, the X-T4, X-S10, X-E4, and X-T30 II. I’m sure it can be used on several GFX cameras, but will likely render slightly different (try it anyway). For X-Trans V, set Color Chrome FX Blue to Off, and for X-Trans IV set Color Chrome FX Blue to Weak.
Film Simulation: Eterna Bleach Bypass Dynamic Range: DR400 Grain Effect: Strong, Large Color Chrome Effect: Strong Color Chrome FX Blue: Off (X-Trans V); Weak (X-Trans IV) White Balance: Fluorescent 1, -2 Red & -4 Blue Highlight: -2 Shadow: -1 Color: +2 Sharpness: -1 High ISO NR: -4 Clarity: -2 ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs captured by my son, Jonathan, using this 1960 Chrome Film Simulation Recipe on a Fujifilm X-E4:
The Canal – Scottsdale, AZ – Fujifilm X-E4
Pipe Bridge – Scottsdale, AZ – Fujifilm X-E4
Hot Wheels – Scottsdale, AZ – Fujifilm X-E4
Yellow Porsche – Scottsdale, AZ – Fujifilm X-E4
The Cross(walk) Roads – Scottsdale, AZ – Fujifilm X-E4
The Lamp in the Tree – Scottsdale, AZ – Fujifilm X-E4
Gunslingin’ Martian – Scottsdale, AZ – Fujifilm X-E4
Strip Mall – Scottsdale, AZ – Fujifilm X-E4
The Back Rooms – Scottsdale, AZ – Fujifilm X-E4
Los Musicos – Scottsdale, AZ – Fujifilm X-E4
Tiled Ball – Scottsdale, AZ – Fujifilm X-E4
Phantom of Scottsdale – Scottsdale, AZ – Fujifilm X-E4
Example photographs, all camera-made JPEGs captured using this 1960 Chrome Film Simulation Recipe on my Fujifilm X-T5:
Yellow House, White Window – Bisbee, AZ – Fujifilm X-T5
Abandoned House & Palm Tree – Arlington, AZ – Fujifilm X-T5
Posts – Arlington, AZ – Fujifilm X-T5
Abandoned Mall Sign – Casa Grande, AZ – Fujifilm X-T5
Gas & Grocery – Casa Grande, AZ – Fujifilm X-T5
Old Hoop – Arlington, AZ – Fujifilm X-T5
Mission Gate – Tumacacori, AZ – Fujifilm X-T5
Bell & Cross – Tumacacori, AZ – Fujifilm X-T5
Shack on the Hill – Tucson, AZ – Fujifilm X-T5
Deer on the Rocks – Saguaro NP, AZ – Fujifilm X-T5
Palo Verde in the Rocks – Saguaro NP, AZ – Fujifilm X-T5
Tilted Saguaro – Tucson, AZ – Fujifilm X-T5
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Komorebi is a Japanese word that means sunlight filtering through the foliage. It’s much more than a technical description, it’s a feeling. It’s the emotions you experience from the shimmering light and dancing shadows created by the swaying of leaves in the wind. You often find komorebi under the canopy of a forest, especially in the early morning or late evening “golden hour” light.
My family and I watched a movie last night called Perfect Days. It was directed by Wim Wenders, and co-written by Wenders and Takuma Takasaki. I don’t want to spoil any of the film for those who haven’t seen it, so I will spare the details. It’s one of the best movies that I’ve seen in awhile, and well worth watching. A main and reoccurring theme of the movie is komorebi. If you decide to watch, stay until the end of the closing credits.
Wim Wenders, aside from being an accomplished movie director, is a talented photographer. His series (and book) Written in the West is a poetic depiction of southwestern Americana, and is a personal photographic influence. Generally speaking, I’m a bigger fan of his photographs than his movies; however, Perfect Days is a great movie. Below is an example of one of my images that has some similarities to Wenders’ Written in the West series.
As I watched Perfect Days, I found myself relating to Hirayama, the main character. He is drawn to that komorebi feeling of the light coming through the trees, and tries to photographically capture it. I oftentimes do that, although not usually with a lot of success. I don’t believe I realized that it’s a certain emotional response that I attempted to capture in those moments, or especially how difficult it is to communicate that feeling photographically. That’s the job of the photographer; however, it’s not an easy job, at least not for me. It’s one thing to capture the scene as I see it, but another to capture it as I feel it. Hopefully, the more I practice and the more I learn the better at it I will become. Photography is a life-long pursuit.
I spent a little time this morning going through my photographs captured over the last year, searching for examples of komorebi. There are certainly some, but not a lot that are actually any good. Now that I have a better understanding of what it is, I hope to do better moving forward.
Below are some of my komorebi photos. I hope that it somehow inspires you to create your own, or, at the very least, to watch Perfect Days sometime soon.
Service – Bisbee, AZ – Fujifilm X-T5 & Fujinon 56mm f/1.2 – Fujicolor PRO 160C Warm
I’m sitting in my new office in my new home typing out this article. After two weeks of packing, moving, cleaning, and unpacking… most everything is still in boxes; however, I’ve unpacked enough to get back to Fuji X Weekly.
In case you missed it, Fujifilm released Kaizen firmware updates for the X-H2s, X-H2, X-T5, and X-S20 (the X100VI also has a firmware update). The highlight is that the Reala Ace film simulation is now available for all fifth-generation X series models. If you haven’t updated your camera’s firmware, you may want to do so now.
Kaizen is a Japanese business philosophy that means continuous improvement or change for the better. It can be applied many different ways, but in the case of camera firmware updates, it is simply adding new features or improving existing features (not just bug fixes) for the sake of doing so. This builds customer trust and brand loyalty, because purchasers know that they’re not being left out in the cold whenever innovations occur right after they’ve just spent a bunch of money on a new camera. They can rest assured that the brand cares, which is probably the biggest ingredient for gaining repeat customers.
Fujifilm used to be the king of Kaizen (at least in the camera world), but then they pulled back from it significantly. Now, they’re back at it again—hurray! I would encourage Fujifilm to keep going. Next, they should add Eterna Bleach Bypass and 0.5 Highlight and Shadow adjustments to the X100V and X-Pro3. Then, give Classic Negative to the X-T3 and X-T30 (like the GFX50R and GFX50S have). Those shouldn’t be too hard for them to do. I’d also encourage Fujifilm to update the 40mp cameras with the XPan aspect ratio. Let me know in the comments what Kaizen ideas you’d like to see Fujifilm tackle.
For those who suddenly have a camera with Reala Ace, you might be searching for some Recipes with that film simulation. Well, below are five Film Simulation Recipes in the Fuji X Weekly App that use Reala Ace:
I believe the Fujicolor PRO 160C Warm Recipe is the one that Victor Ha, Vice President of the Electronic Imaging and Optical Devices Divisions of Fujifilm North America, recently mentioned in a live Adorama broadcast.
During my move, I received a “monthly content roundup” email from Fujifilm. Perhaps you received the same email. Buried near the bottom was an add for the Fujifilm X-T4 ES, an infrared “extended spectrum” version of the X-T4. Back in 2022, I suggested that Fujifilm should release an IR camera as a “wow” product. I’ve wanted to get into IR photography for some time now, so I ordered it.
While Fujifilm did make an IR version of the X-T1, it was not sold to the general public. I’m not sure if the X-T4 ES was intended to be sold to the general public or not, but I placed my order and was charged. If it was an accident by Fujifilm, I’m certain I will get a refund shortly; if it was, in fact, made available to the general public, it must already be sold out, because the link is no longer active. I’ll keep you updated either way.
If the Fujifilm X-T4 ES sold out so quickly, I think it goes to show that there is indeed some demand for natively infrared models. Also, it seems like an excellent way to clear the shelves of some cameras that were perhaps over-produced. I don’t think Fujifilm has that issue at the moment, as all the current models appear to be doing well, but, in the future, if the situation occurs where they have a bunch of parts for a particular camera sitting around waiting to be manufactured but without demand, converting them to IR might be a way to get them sold.
I think that’s it for now. I’ve got a lot more to write; however, I’ll save that for various articles that will be published over the next week or so. Right now I’ve got to get back to unpacking; specifically, somehow making room in the garage for a car. I’ve received a bunch of comments, messages, emails, etc., that I’ve yet to respond to—it might take me several days, but I hope to get to all of them soon. I appreciate your patience!
It’s so good to be back. I have a lot to share—some exciting news that I can’t talk about yet but hopefully I can very soon. You’ll definitely want to stay tuned!
Captured with a Fujifilm X-T30 using the Kodacolor Recipe
I was asked how to get an ’80’s look from Fujifilm cameras, similar to my articles explaining how to get a ’90’s look (here and here). Well, it’s actually quite easy! I have several Film Simulation Recipes that mimic a 1980’s aesthetic. Simply program one (or more) of those Recipes into your Fujifilm camera, and you’re good to go.
First, I want to share with you some pictures that I recently captured on my Fujifilm X-T30 using the Kodacolor Recipe, which is my favorite for replicating an ’80’s vibe. Take a look!
Using vintage lenses from the 1980’s, or perhaps inexpensive third-party lenses with character, will help with the overall aesthetic. For the pictures above, I used a TTArtisan 27mm f/2.8, which has strong vignetting when used wide open. Basically, you don’t want a clean digital image; some technical flaws are preferred, I think.
Below are my Top 7 Film Simulation Recipe suggestions for a 1980’s look. I’m sure there are others that could suffice, too, but these are the ones that I recommend the most.
This Recipe produces a distinct 1980’s Kodak color negative film rendering. Great for sunny daylight photography. Compatible with X-Trans III cameras, plus the X-T3 and X-T30. Click here for X-Trans II. There are also a couple other versions (here and here). To use this Recipe on “newer” X-Trans IV cameras, simply set Grain size to Small, Color Chrome FX Blue to Off, and Clarity to 0. This is my top suggestion for a 1980’s look.
This Kodacolor VR Recipe is similar to the Kodacolor Recipe above, but a little different—it is more reminiscent of slightly expired Kodacolor VR film. It also has a distinct 1980’s vibe. Compatible with X-Trans III cameras, plus the X-T3 and X-T30. For use on “newer” X-Trans IV cameras, simply set Grain size to Small, Color Chrome FX Blue to Off, and Clarity to 0.
Reminiscent of the quintessential Kodak color negative film, which was first introduced in the late-1980’s. This Recipe is great for sunny daylight photography. Compatible with X-Trans V cameras; for X-Trans IV (except the X-T3/X-T30), set Color Chrome FX Blue to Weak. For X-Trans III cameras, plus the X-T3 and X-T30, click here.
Fujicolor Super HG was a color negative film introduced by Fujifilm in the 1980’s. While it was never as popular as Kodak’s stocks, it still has a distinct ’80’s vibe. Best for sunny daylight conditions, although it can do well in other situations, too. This Recipe is compatible with X-Trans IV cameras (except the X-T3/X-T30); for use on X-Trans V, set Color Chrome FX Blue to Weak.
Similar to Fujicolor Super HG (“v1”), this version offers more versatility, and is great for nighttime and artificial light situations; however, I think v1 has a bit stronger ’80’s aesthetic. This is the X-Trans V version, for X-Trans IV (except the X-T3, X-T30, X100V & X-Pro3) click here.
This Easy Reala Ace Film Simulation Recipe comes from Nathalie Boucry, who shared it on her blog (click here — look at the very bottom, sample pictures within the article). Nathalie and I cohost a YouTube program called SOOC Live, which you should definitely check out if you haven’t yet. When Nathalie received her Fujifilm X100VI, there were not any Reala Ace Recipes for it yet. Now there are a few—PRO Negative 160C, Fujicolor 100 Industrial, Fujicolor PRO 160C Warm, and Kodak Gold 200 v3—but back then there weren’t any, so she made her own.
“I’m liking the new film simulation a lot,” Nathalie said. “I had to think out of the box when I first got the camera and was out in the bright South Africa sun. I enjoy the gentle, true color reproduction and the tonal contrast to make my images come alive.” I think that’s an excellent description of the Recipe: gentle yet true-to-life that makes images come alive. It’s also highly versatile, and can work well for many subjects, in many different conditions, and in a variety of light situations. It’s not a huge adjustment from factory-default Reala Ace, but it definitely does improve on it.
Waterfall over Tunnel – Anaheim, CA – Fujifilm X100VI – Easy Reala Ace
The Easy Reala Ace Film Simulation Recipe is currently only compatible with the Fujifilm X100VI and X-T50; however, once Fujifilm gives Reala Ace to the other fifth-generation X-Trans cameras—the X-H2s, X-H2, X-T5, and X-S20—later this year, it will be compatible with those models, too. I’m sure it can be used on the latest GFX cameras, but it will likely render slightly differently (try it anyway, though). Thank you, Nathalie, for creating and sharing this Recipe, and allowing me to publish it on Fuji X Weekly!
Film Simulation: Reala Ace Dynamic Range: DR400 Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome FX Blue: Weak White Balance: Auto, 0 Red & 0 Blue Highlight: -1 Shadow: 0 Color: 0 Sharpness: 0 High ISO NR: -4 Clarity: 0 ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs captured using this Easy Reala Ace Film Simulation Recipe on my Fujifilm X100VI:
The Power of Tree Leaves – Buckeye, AZ – Fujifilm X100VI
Abandoned Old Truck – Bisbee, AZ – Fujifilm X100VI
Find this Film Simulation Recipe and over 350 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
Pershing Square – Los Angeles, CA – Fujifilm X100VI – Appalachian Negative Recipe
This Appalachian Negative Film Simulation Recipe was sent to me by Logan Ballew. Like a lot of Fujifilm photographers, he really likes Classic Chrome Recipes, but one day he thought he’d like to try the Nostalgic Neg. film simulation. Instead of loading one of my Nostalgic Neg. Recipes into his camera, he simply used Nostalgic Neg. instead of Classic Chrome with my Kodak Portra 400 v2 Recipe; however, the results weren’t quite right, so he made a number of tweaks and adjustments until he got the look that he wanted. While this Recipe initially began as Kodak Portra 400 v2 but with Nostalgic Neg., it doesn’t much resemble that now, and produces a significantly divergent look.
Logan’s goal was an aesthetic reminiscent of home: the Appalachians near Asheville, North Carolina. “I spent most of my time as a kid hiking around the Blue Ridge Mountains or with my grandfather,” he told me. While his grandfather, Lanny Phillips, was an avid photographer (among other arts, including woodworking), it wasn’t until after college that he picked up a camera and began his own photographic journey; he’s been a hobbyist photographer for about five years now. This Recipe reminds him of his childhood memories in the Appalachians.
Breakfast Home – Anaheim, CA – Fujifilm X100VI – Appalachian Negative Recipe
“The foliage back home is super dense, and trying to capture that without blowing out the greens and messing up the saturation is somewhat of a task,” Logan said. “What’s nice about Nostalgic Negative is that it gives this amber color to your images.” While this Recipe is specifically intended for photography in the Appalachians, he found that it works well in many other environments, too. After using it in Los Angeles, California, I can attest that this one works quite well for urban scenes. I especially like the feelings of nostalgia that this Recipe infuses into the photographs.
Logan is enlisted in the U.S. Navy, and is currently stationed in Norfolk, Virginia. Joining the Navy allowed him to travel quite extensively—not just across the country, but internationally. However, he initially found Virginia to be photographically underwhelming; however, Logan says that Jason Hunter and other local photographers have been a huge help and inspiration, and now he spends a lot of time walking the boardwalks and driving around town capturing things that he would have overlooked before.
Beware my Fuji X-Pro3 – Los Angeles, CA – Fujifilm X100VI – Appalachian Negative Recipe
Thank you, Logan Ballew, for sharing this Recipe with me, and allowing me to share it with the community! This Appalachian Negative Film Simulation Recipe is compatible with all fifth-generation X-Trans cameras, which (as of this writing) are the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50. I’m sure it can be used on newer GFX models, too, but will likely render slightly different (try it anyway, though). Logan encourages the use of a diffusion filter, such as a 5% or 10% CineBloom, with this Recipe. I used a 5% CineBloom for all of the photographs captured in Los Angeles.
Film Simulation: Nostalgic Neg. Dynamic Range: DR400 Grain Effect: Weak, Large Color Chrome Effect: Strong Color Chrome FX Blue: Weak White Balance: 5200K, +2 Red & -2 Blue Highlight: -1.5 Shadow: 0 Color: +4 Sharpness: +2 High ISO NR: -4 Clarity: 0 ISO: Auto, up to ISO 6400 Exposure Compensation: +2/3 to +1 1/3 (typically)
Example photographs, all camera-made JPEGs captured using this Appalachian Negative Film Simulation Recipe on my Fujifilm X100VI:
Yellow Pants, Blue Cart – Los Angeles, CA – Fujifilm X100VI
Urban Photographer – Los Angeles, CA – Fujifilm X100VI
Urban Flowerbed – Los Angeles, CA – Fujifilm X100VI
City Tree – Los Angeles, CA – Fujifilm X100VI
Urban Bougainvillea – Los Angeles, CA – Fujifilm X100VI
The Skateboarding Photographer – Los Angeles, CA – Fujifilm X100VI
Midair – Los Angeles, CA – Fujifilm X100VI
Push Cart – Los Angeles, CA – Fujifilm X100VI
Left Circles – Los Angeles, CA – Fujifilm X100VI
Local Metro – Los Angeles, CA – Fujifilm X100VI
Crossing – Los Angeles, CA – Fujifilm X100VI
Parking – Los Angeles, CA – Fujifilm X100VI
No Stopping Any Time – Los Angeles, CA – Fujifilm X100VI
Palms & Blue – Anaheim, CA – Fujifilm X100VI
Quintessential California – Los Angeles, CA – Fujifilm X100VI
Joe’s – Los Angeles, CA – Fujifilm X100VI
City Smoke – Los Angeles, CA – Fujifilm X100VI
Street Level View – Los Angeles, CA – Fujifilm X100VI
Hope the Light Changes – Los Angeles, CA – Fujifilm X100VI
Yellow Car – Los Angeles, CA – Fujifilm X100VI
Red Car – Los Angeles, CA – Fujifilm X100VI
Classic Chrysler – Los Angeles, CA – Fujifilm X100VI
Vehicle Exit – Los Angeles, CA – Fujifilm X100VI
Red Box – Anaheim, CA – Fujifilm X100VI
Careful Which Way You Go – Los Angeles, CA – Fujifilm X100VI
Bokeh Tree Lights – Anaheim, CA – Fujifilm X100VI
Fire Fountain – Anaheim, CA – Fujifilm X100VI
Jon in Golden Light – Anaheim, CA – Fujifilm X100VI
Paseo – Anaheim, CA – Fujifilm X100VI
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
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Flowers & Field – Buckeye, AZ – Fujifilm X100VI – Kodak Gold 200 v3
I ran across an image in a (pretty interesting) PetaPixel article, and was inspired to create a Film Simulation Recipe. The picture itself sent me down a long rabbit hole; while the photograph in the article served as one of the reference photos, it was far from the only. Actually, I couldn’t closely match that particle picture, but it served as inspiration nonetheless. After sleuthing, I discovered that the image was captured on Kodak Gold 200. But why was it so green? That question is what opened up the rabbit hole.
Kodak Gold 200 is particularly prone to a green cast, and there are a whole bunch of things that can cause it. Underexposure. Heat (such as left in a hot car). Expired. Waiting too long to develop after exposure. Fluorescent lights. Airport scanners. Improper development. Improper storage of negatives prior to scanning. Poor color correction of the scan. Those are the main reasons. That lead me to a trove of Kodak Gold 200 examples that had various levels of green casts.
Clearance Parking – Los Angeles, CA – Fujifilm X100VI – Kodak Gold 200 v3
This Kodak Gold 200 v3 Film Simulation Recipe is modeled after some of those Kodak Gold 200 photographs that have a green cast. Quite obviously I couldn’t match all of them, because there was so much variance. For most of the references pictures I’m not sure what exactly caused the cast. This definitely isn’t a “normal” Kodak Gold 200 Recipe; for that, I recommend this, this, or this. But, if you’d like an alternative aesthetic that is perhaps a bit more lomo, this is a fun Recipe to try.
Kodak Gold 200 v3 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. As of this writing, it is only compatible with the Fujifilm X100VI and X-T50; however, once Fujifilm brings Reala Ace to the other fifth generation cameras (supposedly this summer), it will be compatible with the X-H2s, X-H2, X-T5, and X-S20, too.
Example photographs, all camera-made JPEGs using this Kodak Gold 200 v3 Film Simulation Recipe on my Fujifilm X100VI:
Green Girl – Buckeye, AZ – Fujifilm X100VI
Yellow-Orange Flowers on a Green Bush – Buckeye, AZ – Fujifilm X100VI
Spring Trumpets – Buckeye, AZ – Fujifilm X100VI
Village Green Fountain – Buckeye, AZ – Fujifilm X100VI
Spitting Lion – Buckeye, AZ – Fujifilm X100VI
Lion Spewing Water – Buckeye, AZ – Fujifilm X100VI
Lion Fountain – Buckeye, AZ – Fujifilm X100VI
No, No – Scottsdale, AZ – Fujifilm X100VI
Oleander Parking – Buckeye, AZ – Fujifilm X100VI
Small Palm Frond – Buckeye, AZ – Fujifilm X100VI
Red Mustang – Buckeye, AZ – Fujifilm X100VI
Bumper Stickers – Surprise, AZ – Fujifilm X100VI
Red Chair with Flowers – El Segundo, CA – Fujifilm X100VI
Yellow Flower & Tree Trunk – Buckeye, AZ – Fujifilm X100VI
Tree Trunk at a Park – Buckeye, AZ – Fujifilm X100VI
Neighborhood Trees & Partly Cloudy Sky – Buckeye, AZ – Fujifilm X100VI
Parking Garage Reflected – Los Angeles, CA – Fujifilm X100VI
Photo Potential – Los Angeles, CA – Fujifilm X100VI
Paleta Cart – Los Angeles, CA – Fujifilm X100VI
Toyota – Los Angeles, CA – Fujifilm X100VI
First Order TIE Echelon – Anaheim, CA – Fujifilm X100VI
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Glimpse of a Fleeting Memory – Gilbert, AZ – Fujifilm X-T5 – “Vintage Cinema”
Awhile back I binge-watched a number of classic movies from the 1950’s, and I was really inspired by their picture aesthetics. After some research, I discovered that Kodak ECN 5248 25T motion picture film was used in several of these flicks. The problem, of course, with trying to replicate the look of a motion picture film stock is that not only is the aesthetic dependent on the usual factors of how shot and developed, but also on the lighting and filters used, which can be different movie-to-movie and even scene-to-scene. Instead of attempting to mimic the look of any particular movie or cinema film stock, I wanted to create a certain feel or mood—a “memory color” reminiscent of color movies from the 1950’s.
This Vintage Cinema Film Simulation Recipe was a Fuji X Weekly App Patron Early-Access Recipe, but now it’s been replaced by a different Early-Access Recipe, making this one available to everyone. Those who are App Patrons have had access to it for some time now.
Ball on a Wall – Buckeye, AZ – Fujifilm X-T5 – “Vintage Cinema”
The Vintage Cinema Film Simulation Recipe is compatible with the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50. I assume that those with the latest GFX cameras can also use this Recipe, but that it will render slightly different—I have not tested it to know for certain. This Recipe is best for sunny daylight conditions, and seems especially well-suited for golden hour photography, but can sometimes produce interesting results in cloudy, shade, and indoor situations, too. I believe this Recipe would pair especially well with vintage lenses and probably diffusion filters, but for these pictures I used Fujinon lenses, including the 27mm f/2.8, 35mm f/2, 90mm f/2, and 100-400mm, without any filters.
Film Simulation: Nostalgic Neg. Dynamic Range: DR400 Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome FX Blue: Off White Balance: 4900K, +3 Red & +3 Blue Highlight: +3 Shadow: -2 Color: -1 Sharpness: -2 High ISO NR: -4 Clarity: -4 ISO: Auto, up to ISO 6400 Exposure Compensation: -1/3 to -2 (typically)
Example photographs, all camera-made JPEGs using this Vintage Cinema Film Simulation Recipe on my Fujifilm X-T5 and X100VI:
Birds of a Feather – Gilbert, AZ – Fujifilm X-T5
Flipped Reflection – Gilbert, AZ – Fujifilm X-T5
Three Ducks in a Lake – Gilbert, AZ – Fujifilm X-T5
We All Live There – Anaheim, CA – Fujifilm X100VI
It’s Corn – Anaheim, CA – Fujifilm X100VI
Up – Anaheim, CA – Fujifilm X100VI
Bougainvillea Blooms & Blue – Buckeye, AZ – Fujifilm X-T5
Bougainvillea Beams – Buckeye, AZ – Fujifilm X-T5 – Photo by Jonathan Roesch
Side Gate Cracked Open – Buckeye, AZ – Fujifilm X-T5
Bougainvillea Bush in Bloom – Buckeye, AZ – Fujifilm X-T5
Hanging Bougainvillea Blossom – Buckeye, AZ – Fujifilm X-T5
Desert Bunny – Gilbert, AZ – Fujifilm X-T5
Jo on a Dirt Path – Gilbert, AZ – Fujifilm X-T5
Jo on the Patio – Buckeye, AZ – Fujifilm X-T5
Late Autumn Yellow – Buckeye, AZ – Fujifilm X-T5
Leafless Tree – Buckeye, AZ – Fujifilm X-T5 – Photo by Jonathan Roesch
Do Not Enter When Flooded – Buckeye, AZ – Fujifilm X-T5 – Photo by Jonathan Roesch
Dry Leaves on a Patio Chair – Buckeye, AZ – Fujifilm X-T5
Pruner & Gloves – Buckeye, AZ – Fujifilm X-T5
Fruit – Buckeye, AZ – Fujifilm X-T5
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
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Orange Twist – Buena Park, CA – Fujifilm X100VI – California Summer
This California Summer Film Simulation Recipe was so much fun to create! I’m a big fan of Preet (Instagram), a photographer from Dubai. I really like his photographic style and picture aesthetics. If you’ve never seen his images, definitely check out his work—you’re in for a treat! This Recipe was modeled after some of his recent photographs.
Nearly four years ago I created a Recipe called Bright Summer that was inspired by Preet. That Recipe was the sixth most used last month (May 2024), so it’s quite popular. Funny enough, Preet himself called it Preetra 400, and I see that nickname used from time-to-time on social media. Preet doesn’t utilize camera-made JPEGs (as far as I’m aware, anyway), but prefers to edit RAW files; he even offers Lightroom Presets, should you wish to RAW-edit your pictures similarly to his (or just to support him as an artist).
Original Chop Shop – Scottsdale, AZ – Fujifilm X100VI – California Summer
The specific photographs that inspired this California Summer Recipe were from Preet’s recent trip to America—specifically, Texas. You can find these pictures on his Instagram. Obviously this Recipe doesn’t resemble all of his pictures, just certain ones; however, I think you can spot those pretty easily, because this Recipe is a pretty good match. Not 100%, but definitely very close. It would be a great honor if he ever tried this one someday.
I wasn’t sure what to name this Recipe. I called it “Preet Texas” in my camera, and initially “Texas Summer” for the article title. After carefully reviewing the pictures that I captured with this Recipe, I really felt that it produces a quintessential California summertime vibe. So at the last moment I renamed it to California Summer. I think that name matches the picture aesthetic well.
Colorful Shell – Anaheim, CA – Fujifilm X100VI – California Summer
For best results, use this Recipe in sunny daylight situations. It does well in harsh midday light and especially golden hour. It can be alright in shade. I would avoid it for indoor artificial light and nighttime photography, although under the right conditions I’m sure it can be ok for that, too. This California Summer Recipe is compatible with fifth-generation X-series cameras, which (as of this writing) are the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50 cameras. You can probably use this with newer GFX models, but I’ve not tested it for that, and it will likely render slightly different (don’t be afraid to try, though).
Film Simulation: Nostalgic Neg. Dynamic Range: DR400 Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome FX Blue: Weak White Balance: 6700K, -1 Red & -6 Blue Highlight: -2 Shadow: -1 Color: +4 Sharpness: -2 High ISO NR: -4 Clarity: -4 ISO: Auto, up to ISO 6400 Exposure Compensation: +2/3 to +1 1/3 (typically)
Example photographs, all camera-made JPEGs captured using this California Summer Film Simulation Recipe on a Fujifilm X100VI & X-T50:
Palm Tops – Scottsdale, AZ – Fujifilm X100VI
Information – Buena Park, CA – Fujifilm X100VI
A Sign to Drink Coffee – Buena Park, CA – Fujifilm X100VI
Four Carts – Buena Park, CA – Fujifilm X100VI
Squares & Fronds – Anaheim, CA – Fujifilm X100VI
Food Mart – Anaheim, CA – Fujifilm X100VI
Yellow Apartments – Scottsdale, AZ – Fujifilm X100VI
STK – Scottsdale, AZ – Fujifilm X100VI
Yellow Wall – Anaheim, CA – Fujifilm X100VI
Rooftop – Anaheim, CA – Fujifilm X100VI
Pacific Coast – Buena Park, CA – Fujifilm X100VI
Fiesta Flags – Buena Park, CA – Fujifilm X100VI
Flying Ace – Buena Park, CA – Fujifilm X100VI
Loop – Buena Park, CA – Fujifilm X100VI
Xcelerator – Buena Park, CA – Fujifilm X100VI
Pines – Buena Park, CA – Fujifilm X100VI
Wood – Buena Park, CA – Fujifilm X100VI
Coaster Tracks – Buena Park, CA – Fujifilm X100VI
Spinning Dog – Buena Park, CA – Fujifilm X100VI
Wheel Through Glass – Buena Park, CA – Fujifilm X100VI
Rock Wall – Sedona, AZ – Fujifilm X-T50
Tree in a Meadow – Sedona, AZ – Fujifilm X-T50
Forest Sunstar – Sedona, AZ – Fujifilm X-T50
Colorful Rock – Sedona, AZ – Fujifilm X-T50
Last Light on Tall Rocks – Sedona, AZ – Fujifilm X-T50
Fast Car – Scottsdale, AZ – Fujifilm X100VI
Horse Fountain – Scottsdale, AZ – Fujifilm X100VI
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Manhattan from Pulaski Bridge – New York City, NY – Fujifilm X-T50 – PRO Negative 160C
I get asked fairly regularly which Film Simulation Recipes are the most popular. For me, this is a fascinating topic, but it’s definitely hard to know definitively. While I get a glimpse on social media, my best gauge is the Fuji X Weekly website statistics; specifically, which Recipe articles are viewed the most. I don’t collect any data on the Fuji X Weekly App, so that’s no help—although, if I did, it would likely offer the most accurate picture; however, it would still be impossible to know which Recipes people programmed into their Fujifilm cameras, or how often they used each. Perhaps a survey would be particularly useful, yet even it has its limitations. While certainly a flawed method, page-view website statics offer the best glimpse at which Film Simulation Recipes are the most popular, so that’s what I’m using for this article. These are simply the Top 25 most-viewed Recipes on the Fuji X Weekly website last month (May 2024).
There was a lot of movement for May, especially in the bottom 80% of this list—the top five Recipes are pretty predictable. Those with Kodak brand names in the title—Kodachrome, Portra, Gold, Tri-X, etc., etc.—are usually the most popular. Classic Chrome is the king of film simulations, as the majority of the most-viewed Recipes are based on that film simulation.
Bright Summer has been on a rollercoaster lately, and its jump to number six is quite surprising. A lot of upward and downward movements overall. A couple Recipes that usually rank in the Top 25 didn’t make the cut. There are three Nostalgic Negative Recipes in this list, which is a bit unusual, two Classic Negative Recipes, one each of Eterna, Reala Ace, and Acros; otherwise, all the rest are Classic Chrome.
Without any further delay, below are the most popular Recipes of last month!
Top 25 Most Popular Film Simulation Recipes of May 2024
A Classic Chrome based Recipe for X-Trans IV cameras that is the long-time most popular Film Simulation Recipe for Fujifilm cameras. This is the king of Recipes!
Bright Summer—another Classic Chrome based Recipe for X-Trans IV—is sometimes called Preetra 400, because it is modeled after Preet’s aesthetic (Preet himself is the one who gave it that nickname, btw). It doesn’t usually crack the Top 25, but in March it suddenly jumped to #9, for April it fell to #23, and now in May it up all the way to #6!
This is a recently published Recipe that uses Classic Chrome, and has similarities to Kodak Portra. It’s compatible with both X-Trans IV and X-Trans V. This Recipe moved up one position from April.
This version of Kodak Portra 400 was commonly the third most popular Film Simulation Recipe on Fuji X Weekly for a long time. It fell one spot compared to last month.
Pacific Blues used to be the highest-ranked Classic Negative based Recipe, but Reala Ace has left it in the dust. This particular one is compatible with X-Trans IV models, but there is also an X-Trans V version. In April it was ranked #16, so it is definitely on the rise.
By far the most popular B&W Recipe, Kodak Tri-X 400 is based on the Acros film simulation, and has compatibility X-Trans III, X-Trans IV, and X-Trans V models. It was ranked #17 last month.
Vintage Kodachrome, which is based on Classic Chrome, is one of the older Film Simulation Recipes on Fuji X Weekly, and is compatible with X-Trans III cameras. It was ranked #11 last month.
This is a fairly recently Recipe, and the very first to use the new Reala Ace film simulation. At the moment, it is only compatible with the Fujifilm X100VI and X-T50. In April it ranked #12.
This is a newly published Recipe that uses Nostalgic Negative as the base, which means that it is for X-Trans V cameras. This Recipe is what I used for my two pictures that are found on Fujifilm’s new film simulation page.
1976 Kodak doesn’t typically crack these lists, but it is a very good Recipe that I’m happy to see being used by more people. The base film simulation is Nostalgic Negative, so it is only compatible with X-Trans V cameras.
This is a recently published Eterna-based X-Trans V CineStill 800T Recipe; however, it’s simply an adaptation of the X-Trans IV version that has been around awhile. This is the highest ranking Eterna-based Recipe; however, it fell significantly, from #10 in April.
This is a Recipe that I’m surprised doesn’t rank higher; typically, it’s not even in the Top 25. This version is for X-Trans IV cameras, but there are also versions for X-Trans II, X-Trans III + X-T3/X-T30, and X-Trans V.
Kodachrome II is an older Recipe made for X-Trans III cameras. It used to often be in the Top 10, but has been falling for awhile. Last month it ranked the same.
The weather is getting hotter, so it’s not a huge surprise that 1970’s Summer is on the rise. This is a Nostalgic Negative Recipe for X-Trans V cameras.
As you are probably aware, the Fujifilm X-T50 has a new Film Dial, which allows you to quickly and easily switch between different film simulations. It’s a contentious design feature, and I think a lot of people were surprised that I actually like it.
To be honest, I didn’t care for the Film Dial at first, as it initially seemed to be something that I’d never use. But after thinking about it and playing with it, I discovered a way to get the most out of the Film Dial, which I wrote about here. Now, I love the new knob!
Afterwards, I received a number of requests to demonstrate what the article stated. Some people are visual learners, and it can be difficult to fully grasp the meaning of something that’s written. A number of messages and comments asked, “Can you show me what you mean?” That’s the entire point of my new YouTube video, which I’ve included below.
If you are a visual learner and are interested in or curious about the new Fujifilm X-T50, definitely give the video a watch. I hope that it is helpful to some of you—if so, let me know! If you’d like more of this type of content in the future, let me know that, too.
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
All of the double-digit X-T series models are especially good for travel, thanks to their compactness. What I like about the X-T50 in particular is the slightly larger grip (compared to the X-T30), which helps when using bulkier lenses, the new Film Dial, which adds some SOOC versatility, and IBIS, which is great for low-light situations. While any of the double-digital X-T cameras are good options, including the original X-T10, the X-T50 is my personal favorite.
Fujifilm sent me a preproduction X-T50 to try out for a few weeks, and during that time I was able to take it on a couple of trips. There are a number of excellent travel cameras in the Fujifilm lineup, and you can’t go wrong with any of them—for example, the X100VI is also a personal favorite, and I like my X-E4 for travel, too. If you are in the market for an interchangeable-lens model that is really good for a roadtrip or cross-country adventure, the Fujifilm X-T50 is one to strongly consider. It worked really well for me, anyway.
Below are some photographs that I captured on a Fujifilm X-T50 while traveling. They’re all camera-made JPEGs that are unedited (aside from minor cropping/straightening).
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Panasonic just announced a new camera: Lumix S9. I’ve never touched or seen the Panasonic Lumix S9 in person. I’ve only seen reviews of it, such as the Chris Niccolls writeup on PetaPixel. I have a few quick thoughts that I want to share with you, before returning to the regularly scheduled programming.
Many years ago I used to own a Panasonic camera, but only briefly, because I didn’t care for it. It was one of their low-budget models, so maybe if I had something higher-end I would have liked it better. I’m sure I would think much differently about the S9; however, I don’t have much of a personal interest in the brand. If they ceased making cameras, I probably wouldn’t even notice. The S9 only crossed my radar because I might be the reason that it exists.
I captured this on a Panasonic in 2016
The Lumix S9 is specifically intended to appeal to those waiting for a Fujifilm X100VI, but are on a really long waitlist. There’s a vague retro rangefinder styling that might from a distance look similar to the Fujifilm X-E4. It has a 24mp full-frame sensor. More interestingly, it has LUTs, a LUT button, and a LUT app. Panasonic intended this camera for those who want straight-out-of-camera film-like results. We’ll get to that in just a moment.
There are some serious design issues that make the camera a compromise. I think they wanted it to be in a certain size and price point to appeal to potential Fujifilm customers, but they had to strip it down in order to do so. There’s no viewfinder—optical or electronic—which means you’ll have to compose everything on the LCD. That’s ok sometimes—Ricoh GR cameras are that way—but it’s definitely not ideal. There’s no grip—not even a small one—which is ok if the lens is small and lightweight, but not for most of the lenses available for the camera. You won’t find a joystick. Most severely, the S9 doesn’t have a mechanical shutter, so it isn’t a good option for artificial light or quickly moving objects. I don’t like the PASM mode dial, and wish it had retro controls.
The Fujifilm X-A3 was the X-A5’s predecessor, but quite similar overall
Like I said, I have not seen or touched the S9 in person, but it seems like a full-frame version of the Fujifilm X-A5; however, it has IBIS, while the X-A5 doesn’t. Still, there are enough similarities that, in my opinion, the X-A5 is the model people should be focusing their comparisons towards, and not the X100VI. Between the X-A5 and the S9, the S9 wins, but you can buy the old Fujifilm for less than $500, while the S9 will cost you $1,500.
Now back to the LUTs, perhaps the defining feature of the Lumix S9. Those who edit videos are probably quite familiar with LUTs; however, it’s not nearly as well-known or well-understood in the still photography world (and it’s not the same as a film simulation, either). LUTs are presets that overlay (preferably flat) videos or images. Let’s say you captured a photograph using the Eterna film simulation with Highlight, Shadow, and Color all set to -4, then later added a filter to that JPEG to add in contrast and color—that’s what a LUT does. The S9 has the ability to store and apply LUTs to both videos and still photographs in-camera.
This isn’t a new feature for Panasonic, but what is new is that the LUTs can now be added to the camera wirelessly via an app (Fujifilm should do this with Recipes). There’s a library of LUTs available on the app, plus you can create your own. A button on the camera activates the on-camera LUT library. This is a bold move by Panasonic, one that takes direct aim at Fujifilm, and is intended to lure potential (or maybe even current) Fujifilm customers. They want a Recipe-like movement for their own brand.
There are a few reasons why, in my opinion, it won’t catch on. First, the S9 is too stripped down to be taken seriously. Sure, people will buy it, but it won’t be a trendy camera. Second, “LUT” is far less imaginative and romantic than “film simulation”—aside from that, Panasonic doesn’t have the vast experience manufacturing analog emulsions like Fujifilm does. Third, creating your own Film Simulation Recipe is far less complicated (but can still be complicated) than creating your own LUT. Fourth, there are more Recipes available for Fujifilm cameras than there are LUTs available for Panasonic.
With all of that said, I think it’s great that Panasonic is trying this out. More and more, photographers are relying on camera-made JPEGs, and are editing less and less. I think that’s wonderful! The stigma of “you must shoot RAW; only amateurs use JPEGs” is rightfully melting away. I think it’s only a matter of time before camera companies team up with RNI, Alien Skin, VSCO, etc., and offer film-like presets in-camera. Fujifilm has a film heritage that allowed them to build it from the ground up and achieve convincing results. They’re pioneers and leaders in all this, and now it’s catching on.
However—and I had a conversation with someone about this today—would film simulations be the big deal that they are today if not for Fuji X Weekly and Film Simulation Recipes? Would the Panasonic Lumix S9 exist without this community? Probably not. That’s an incredible honor! It goes to show that there’s something to all this—a rising tide that is affecting all of photography, and not just those with X-series models. It will definitely be interesting to see what happens in the next few years: with Fujifilm, Panansonic, and all the other brands who are sure to try their own take on film simulations and Recipes.
The brand-new Fujifilm X-T50 was just announced! It’s both surprising and intriguing. This might be Fujifilm’s most contentious model since the X-Pro3, but it shouldn’t be controversial at all. What exactly is the X-T50? Is it the right camera for you? I’ll try to answer those questions in this article.
The double-digit X-T line has traditionally been Fujifilm’s mid-level, enthusiast-grade, interchangeable-lens, SLR-styled models (that’s a mouthful!). It’s the little brother of the single-digit X-T cameras, like the X-T2 and X-T3. With the discontinuation of the low-end triple-digit X-T series, the double-digit X-T cameras have become Fujifilm’s de facto entry-level option. The Fujifilm X-T30 II, which was released in November of 2021, is the current base model, although it’s neither cheap in quality or price—it’s still a mid-tier APS-C camera.
The X-T50 is not the successor to the X-T30 II, but a whole new (yet highly similar) line. Fujifilm plans to sell the X-T30 II alongside the X-T50, similarly to what they did with the X-T3 and X-T4 a few years back. This also means that there is a potential future successor to the X-T30 II, perhaps called the X-T30 III or X-T40; I don’t know that for sure, but I think it is a fair assumption. The main thing for you to know is that the X-T50 is not a replacement for any previous model, but a whole new camera.
There are some key things that set the X-T50 apart from the X-T30 II. First is the 40mp X-Trans V sensor, the same sensor found in the X-H2, X-T5, and X100VI; the X-T30 II has the 26mp X-Trans IV sensor. Second, like the other 40mp cameras, the X-T50 has IBIS; the X-T30 II doesn’t. Perhaps the biggest difference—and the one that is most contentious—is the Film Dial. The X-T30 II has a Drive Dial on top, but in its place on the X-T50 is a brand new knob for switching between the film simulations (Drive is a button on the X-T50, like on the X100VI and X-E4). Aside from that, the X-T50 is a tad bigger than the X-T30 II, has a more rounded design, and costs quite a bit more ($1,400 for the body-only). The X-T50 is more premium than the X-T30 II, but, unsurprisingly, it’s not at the same level as the X-T5. I’d call it an upper-mid-tier model, higher than the X-T30 II but lower than the X-T5.
The Film Dial is a brilliant move by Fujifilm. I know that some may not “get it” and that’s ok; not every camera is for every person. Film simulations are such an intrinsic part of the Fujifilm experience for many users. Placing it on top of the camera in a position of importance makes film simulations a more immersive experience, one that invites exploration. The Film Dial alone will sell the X-T50; 40mp, IBIS, 6K video, etc., are merely bonuses. By simply taking an already existing and loved feature, and moving it from an Fn button or Menu position to the top plate, Fujifilm reinvented the functionality of their camera.
It’s not that the X-T50 does something that the X-T5 (or any other Fujifilm camera) doesn’t, it’s only how it is presented to the photographer. You can use the exact same Film Simulation Recipes on the X-T50 that you can on the X-T5, X100VI, and X-H2, and the analog-like output is identical between each of those models. What is unique about the X-T50 is that a turn of the Film Dial will instantly change the film-like aesthetic. That experience differentiates this cameras from all the others—not just other Fujifilm models, but from every brand. The Film Dial makes the X-T50 a “digital film” camera.
I don’t want to get too deeply into what the Film Dial is and how to get the most out of it, because I have a whole article that explains it in detail (click here). What’s important to know is that the knob only changes the film simulation and nothing else. On the dial, there are eight (out of the 20) hard-set film sims (Provia, Velvia, Astia, Classic Chrome, Reala Ace, Classic Negative, Nostalgic Neg., and Acros), plus three customizable positions for your favorites that were left out. The “C” position simply disables the Film Dial.
If Fujifilm had asked for my input, I would have suggested a couple of changes. First, a C1-C7 Dial (or, better yet, a C1-C11 Dial, since there are 12 positions) would have been most ideal for those who use Film Simulation Recipes. That would’ve been less contentious, and I think a lot of current Fujifilm users would be excited for that; however, I understand why Fujifilm didn’t choose that route: a Film Dial is more inviting and less intimidating to the uninitiated. My advice to Fujifilm is to release an X-T55, which would be the exact same camera, but with a C1-C7 (or C1-C11) Dial in lieu of the Film Dial. Second, since they didn’t do that, I think it would have been really cool if each film simulation on the Film Dial could be customized into a Recipe. If Highlight, Shadow, Color, Dynamic Range, Grain, etc., etc., etc., could be custom set to each film sim on the Film Dial, that would be awesome. While Fujifilm could make that change with a Kaizen firmware update (and I very much hope they do), it would be surprising if they did. But, no worries, because I’ve figured out a good strategy for how to use the Film Dial as-is, and it’s highly enjoyable.
There are probably a number of people who are concerned that the X-T50 uses the “old” NP-W126 battery, and not the new NP-W235. I took this camera with me on multiple trips, and shot with it literally all day several times, and only once did I actually have to use a spare battery. So as long as you have two NP-W126 batteries, you should be good-to-go. Perhaps a second spare is a good idea if you record a lot of video footage.
So who is the Fujifilm X-T50 for? Is it worth buying? Should a different camera be considered instead? There are a few groups that the X-T50 makes a lot of sense for, and a couple of groups that I think it could potentially be a good option for.
First, the Fujifilm X-T50 is great for those who shoot film, but want to get into digital photography. With film prices so high right now, there are a number of analog photographers who are seriously considering their first digital camera. Or perhaps they haven’t picked up a digital camera in a long time because they didn’t appreciate the experience of it, and are searching for something that is more reminiscent of film photography. I can relate to this, personally. I have no doubts that it will be highly appealing to this group of people—after all, the X-T50 is Fujifilm’s “digital film” camera.
Next up are those who succumbed to the Fujifilm X100VI hype but cannot secure a camera due to the unprecedented demand. Specifically, I’m talking about those who are not current Fujifilm users—those who have a different brand of camera or perhaps no “real” camera at all currently. They will see the X-T50 as an alternative that they have a better chance at actually getting their hands on. Since most of the specs are exactly the same, it won’t take much to convince someone in this group to buy it instead of the X100VI. Obviously, there are some significant differences between the two models, but there are enough similarities that the X100VI’s demand (and Fujifilm’s inability to fulfill it) will notably fuel X-T50 sales. The X100VI’s hype is real, and, in my opinion, well deserved; the X-T50 is not an X100VI, but certainly close enough for many people.
Third, the X-T50 will be appealing to video content creators who desire streamlined color grading. The Film Dial works in video mode, and film simulations can reduce or even eliminate some editing steps. This is an underrated and underutilized aspect of Fujifilm cameras that I think will be employed more on the X-T50 simply because of the Film Dial.
Then there are Fujifilm X-T5 owners who want a smaller and lighter option—but with an identical output—to be a companion camera. Some might appreciate the divergent shooting experience, while others might not. I think, for this group, the X-T50 is contentions, and either you’re intrigued by it or put off, and your opinion has likely already been made.
The last group are those who have an older double-digit X-T camera, or perhaps even a triple-digit model, and are eager to upgrade to something brand-new. The X-T5 is a little too big, heavy, and/or expensive for you, while the X-T30 II doesn’t have the latest two film simulations or features like 6K video and IBIS. If you appreciate the Film Dial, the X-T50 could be perfect; otherwise, this might not be the double-digital X-T camera that you were wishing for.
I really like the Fujifilm X-T50, personally. It’s fun, and offers a divergent experience from the other retro-inspired models. But, no camera is perfect, and none are for everyone. Each person has their own preferences. I think the X-T50 will, generally speaking, appeal more to non-Fujifilm photographers than current Fujifilm owners. On one hand, that’s really good. The X-T50 will be a lot of people’s gateway into Fujifilm. On the other hand, there are plenty of people who will complain that Fujifilm should have designed it another way. I do wish that the new knob had been implemented just a little differently, but I completely understand why they did it. Just because this camera might be more well-received by those buying their first Fujifilm model, doesn’t mean that current Fujifilm enthusiasts can’t or won’t like it, too, because I think many will (I enjoyed it); however, there are some who definitely won’t.
The Fujifilm X-T50 is brilliant, as it blurs the line a little between digital and analog, and gives users a unique photography experience. I have no doubts that the Fujifilm X-T50 will be a huge success, and the new Film Dial will be a big reason for it.
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The brand-new Fujifilm X-T50 has a Film Dial! It’s their very first model with a Film Dial, actually. Turn the knob to give your photos a different analog aesthetic. The “films” are simply the various film simulations, which Fujifilm has been including in their cameras for a couple of decades now; originally there were only a few, but they’ve routinely added more over the years, and now there are 20 different film simulations to choose from. I really like the Film Dial, and I think it’s wonderful that Fujifilm has decided to make film simulations a prominent part of the X-T50 experience.
The Film Dial is great for exploration. Many photographers never venture outside of Provia/STD, or perhaps they try a few different options but end up sticking with just one, and they don’t really know what they’re missing out on with the other film simulations. Even though it is such an intrinsic part of the Fujifilm experience for many, you have to dig through the menu (or select the correct Fn shortcut) in order to change the film simulation. Now, it’s as easy as changing the shutter speed or aperture, and is placed in a prominent position of equal importance.
Fujifilm’s film simulations are good straight-out-of-the-box, but with some parameter adjustments, they can become great. To get the most out of the various film simulations, you need to make changes to the factory-default settings (a.k.a. use Film Simulation Recipes). However, the Film Dial becomes problematic when you do this because rarely do multiple film simulations look good with the same Recipe settings. Sometimes they do, such as with Kodak Portra 400 v2, Vintage Vibes, and Ferrania Solaris FG 400, which require the same exact settings (note: use Color Chrome FX Blue Off on X-Trans V), but three different film simulations: Classic Chrome, Classic Negative, and Eterna Bleach Bypass. Most of the time, however, whenever you use a different film sim than what the Recipe calls for, the results are less than spectacular, such as when Omar Gonzalez accidentally used Classic Chrome instead of Classic Negative with the Agfa Vista 100 Recipe.
Initially, I wasn’t sure how to best implement the Film Dial into my workflow. I figured that it makes the most sense if you have the Kodak Portra 400 v2 Recipe programmed into one of the C1-C7 custom presets—turn the knob to NC and now you’ve got Vintage Vibes, and set Eterna Bleach Bypass to one of the three FS custom positions and you’ve got Ferrania Solaris FG 400. It’s like having two extra custom presets! While that in-and-of-itself is great, I wondered if I could come up with an even better strategy to get the most out of the Film Dial.
Before jumping into that, let’s talk a little about the Film Dial, which sits just above the words “X-T50” and in place of the Drive Dial that the X-T30 has (Drive is now a button like on the X100 and X-E series). There are 20 film simulations, and only 12 positions on the Film Dial, which means that some film sims got left out. There are eight “films” on the knob: Provia (STD), Velvia (V), Astia (S), Classic Chrome (CC), Reala Ace (RA), Classic Negative (NC), Nostalgic Neg. (NN), and Acros (A). Acros can be customized to +Y, +R, or +G, if you prefer one of those over standard Acros. For those keeping score, PRO Neg. Hi, PRO Neg. Std, Eterna, Eterna Bleach Bypass, Monochrome (including +Y, +R, and +G), and Sepia have all been left out.
Fujifilm does provide three customizable options (FS1, FS2, FS3), so you can add some of the left-out film sims back to the dial. Personally, I found Acros+Y, Acros+R, and Acros+G to be excellent contenders for this. If you don’t do much black-and-white photography, maybe PRO Neg. Std, Eterna, and Eterna Bleach Bypass could be good options. There’s also the “C” position on the knob, which is what you want the dial to be set to when using your C1-C7 custom presets. You can program a bonus 8th Recipe into the IQ Menu set; when you don’t have a C1-C7 selected (a.k.a. P, A, S, M, Off, or Nothing Selected, just depending on where you’re viewing it from), this bonus Recipe is activated, and you’ll want to use “C” for this, too. If this bonus Recipe is programmed with a film simulation that’s not otherwise on the Film Dial, you can have 12 (of the 20) film sims at your disposal.
That was all a little convoluted, so just to be clear: the “C” position simply disables the Film Dial; if the knob is set anything other than “C” it will use that film simulation, no matter what you may have otherwise programmed into your camera. There were several times that I forgot to check what the Film Dial was set to (not verifying that it was in the “C” position), and I accidentally used the wrong film simulation with my Recipe for some pictures, until I caught my mistake. It’s important to check the position of the Film Dial—make it a habit—when using the X-T50. Once you are used to how this all works, the camera is so much fun to use, and it feels like there are a massive number of Recipes available to you on the camera at any given time.
A couple other quick points that I want to make about the Film Dial is that it isn’t just for straight-out-of-camera JPEG photographers. Obviously those who use film simulations regularly are the most obvious beneficiaries of the new knob, but there are two other groups of people who might unexpectedly appreciate it. The first is those who shoot RAW but oftentimes apply a film simulation to their pictures in Lightroom or Capture One; now, you can know while your making your exposure what it will look like with a certain film simulation, instead of waiting until later while at your computer. Having a clearer vision of the finished picture at the moment the image has been snapped will only improve one’s photography. The other group is videographers who don’t (yet) realize that they can reduce or even eliminate color grading by using film simulations—the Film Dial works in video mode, too.
If you’re not sure what analog aesthetic a certain film simulation is replicating or how it behaves, pressing the Q-button while browsing via the Film Dial will provide you with a brief synopsis of each. I think these need to be taken with a small grain of salt, though, because a bit of liberty was taken by Fujifilm when writing some of them out. With that said, this is a good starting point for learning about the various options, if this is new to you.
The Film Dial only changes the film simulation. All of the other settings remain the same when you turn the knob. This is, of course, the problematic situation that I mentioned before. While contemplating a solution, I remembered the “different approach” that Anders Lindborg came up with a few years back, and how he was able to get good results when using the various film simulations with the same base settings. I wanted to try my hand at something similar: have one set of settings, which could be programmed into a C1-C7 slot or in the IQ Menu, and simply turning the Film Dial will produce good results no matter the film simulation that you’ve selected. In other words, I set out to create one Film Simulation Recipe that works well with all of the film simulations. It was definitely difficult to do, because (like I already said) one set of settings doesn’t often work well with multiple film simulations.
I desired these settings—this new Recipe—to be generically analog-like, and also versatile. Sunny, rainy, indoors, outdoors—whatever situation you find yourself in, and whatever subject you are photographing, this Recipe will produce good results. You just have to find the film sim that is most ideal for whatever it is that you are photographing, and how you want it to render—your own personal tastes and styles will largely dictate which one is most ideal for you, and the best way to find out is to give them a try. Turn the Film Dial until you get to the one that you want to use.
Just to be completely clear, the way this works is that you program the Recipe (that’s found below) into either a C1-C7 slot, or (as I did it) into the IQ Menu set. Then, when this Recipe is selected, simply rotate the Film Dial to choose the film simulation that you want to use. There are eight built-into-the-knob film sims, plus three custom, plus “C” (which is whatever you have programmed into the Recipe). My recommendation is to choose—for the programmed Recipe—a film sim that is not available on the knob (I chose Eterna). Carefully consider which three film simulations you want to custom set in addition to the standard eight; unfortunately, you cannot have all 20, but you can have most of them.
Only the Fujifilm X-T50 has a Film Dial, but all Fujifilm cameras have an Fn shortcut to the film simulation menu. If yours doesn’t, or you don’t like the specific button that it is set to, you can customize it yourself pretty easily. Even though your camera doesn’t have a Film Dial, you can do pretty much the same thing using an Fn button—the advantage you have is quick access to all of the film simulations and not just some, but the disadvantage is that it takes an extra step and isn’t as instinctive or obvious. Even though the technique in this article is specifically for the Fujifilm X-T50, you can do this on any Fujifilm camera; however, the Recipe below is intended for fifth-generation X-Trans cameras (as of this writing: X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50), and not the older models, although you’re probably alright using it on some fourth-generation X-Trans cameras (X-T4, X-S10, X-E4 & X-T30 II), and newer GFX.
I’ve lumped all four Acros options into one category; ditto for Monochrome. That means, technically speaking, I have 14 Film Simulation Recipes below. You can use as many as 12 of them on your X-T50, so you’ll have to decide which ones (PRO Neg. Hi, PRO Neg. Std, Eterna, Eterna Bleach Bypass, Monochrome, or Sepia) you want available in addition to the standard eight (Provia, Velvia, Astia, Classic Chrome, Reala Ace, Classic Negative, Nostalgic Neg., and Acros).
It would be absurd to include all 14 versions of this Recipe in the Fuji X Weekly App; even adding eight to the App is too much, but (with hesitation) that’s what I’ve done. Hopefully it will make this approach discoverable, because I can imagine many X-T50 owners utilizing it, and maybe even some who have other cameras. This doesn’t take the place of C1-C7, but can be used in addition to it, basically giving you 19 different Film Simulation Recipes at your disposal, and, if you have Kodak Portra 400 v2 as one of the seven custom presets, you can actually have 21 Recipes! Additionally, you could choose three of these for use with the Film Simulation Bracket feature.
Film Simulation: Any (See Below) Dynamic Range: DR400 Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome FX Blue: Weak White Balance: Auto White Priority, +2 Red & -4 Blue Highlight: -1.5 Shadow: -1 Color: +3 Sharpness: -1 High ISO NR: -4 Clarity: -2 ISO: Auto, up to ISO 6400 Exposure Compensation: 0 to +1 (typically)
Additionally, for Acros and Monochrome, set Monochromatic Color to WC 0 & MG 0 (a.k.a. Off). Also, Color will be disabled for Acros, Monochrome, and Sepia.
Provia/STD — “Standard Film”
This “Standard Film” Recipe is bright, colorful, and slightly warm. Unintentionally, it’s more like actual Fujichrome Provia 100F slide film (especially if an 81B warming filter had been used) than the Provia film simulation with factory-default settings. It’s a good option for landscape photography, but some might find it to be a tad too vibrant for portraits. “Standard Film” is kind of similar to the Provia Slide Recipe, or perhaps a less warm KodaNeg VC.
Velvia/Vivid — “Velvia Film”
Velvia was the go-to film for vibrant landscape photography. If you want the colors to pop, this “Velvia Film” Recipe is what you want to use. There’s definitely some resemblance to Fujichrome Velvia 50 reversal film with a warming filter. This is a great option for landscapes; however, don’t use this Recipe for portraits, unless you want your subjects to look like they have a sunburn. Vibrant Velvia is probably the most similar Recipe, but this one is warmer and a little less punchy.
Astia/Soft — “Astia Summer”
Fujichrome Astia 100F was a lower-contrast, lower-saturation slide film with a slight red/purple hue that was specifically intended for portraits. Divergently, the Astia film simulation has high saturation that sits somewhere in-between Provia and Velvia, but with a flatter tonality (yet with deep blacks). I think the “Soft” description is in reference to the tonality. The film and the film simulation are significantly divergent from each other; Fujifilm has stated that the film simulation is the ideal of what the Astia film was intended to be, but wasn’t possible due to the limitations of the emulsion. This “Astia Summer” Recipe is more similar to Kodak Ektar 100 than Fujichrome Astia 100F, but is not a great match for either. It’s good for landscapes—especially when Velvia is too strong—but possibly too vibrant for portraits. The closest Recipe to this one is CineStill 400D v2, but it’s noticeably different.
Classic Chrome — “Kodak Film”
Classic Chrome has a distinct Kodak color palette, but Fujifilm won’t ever use the name of their long-time competitor. It’s more contrasty and less saturated than many of the other film simulations. Unsurprisingly, Classic Chrome is by far the most popular film simulation among those who use Film Simulation Recipes. This “Kodak Film” Recipe is by chance kinda-sorta similar to the (discontinued) Kodak Portra 160VC emulsion (but it’s certainly not a perfect match). This one is good for a lot of different subjects and situations, including portraits. With similarities to Reggie’s Portra, this Film Simulation Recipe will likely become the most popular of all of these.
Reala Ace — “Fujicolor PRO 160C Warm”
Reala Ace is Fujifilm’s newest film simulation. It’s purportedly based on Reala film, but it’s not a very close replication of that emulsion, which is in the Superia line, and more similar to Classic Negative. Instead, Reala Ace is nearer to the Fujicolor PRO 160 line, and shares similarities with PRO Neg. Std and PRO Neg. Hi. Reala Ace probably should have been named PRO Neg. C, since it is most similar to Fujicolor PRO 160C film. Of the three “PRO Neg.” film sims, Reala Ace is my personal favorite. Essentially, Fujifilm has “replaced” both PRO Neg. Hi and PRO Neg. Std with Reala Ace; yes, both of those film sims still exist, but Reala Ace is on the Film Dial instead. This Recipe is reminiscent of Fujicolor PRO 160C film used with a warming filter. It’s good for a lot of different subjects and situations, including portraits. The closest Film Simulation Recipe to “Fujicolor PRO 160C Warm” is PRO Negative 160C.
Classic Negative — “Superia Negative”
Classic Negative is closely modeled after Fujicolor Superia film, which Fujifilm introduced in 1998. It is one of the less saturated and most contrasty film simulations. Classic Negative has some unique color shifts, and behaves differently to under and over exposure, much like the emulsion. This “Superia Negative” Recipe isn’t modeled after any Superia film, but it does have a general Superia Xtra 400 vibe. It’s good for a lot of subjects and situations, especially in low-contrast light. The Film Simulation Recipe that is most similar to this is Superia Xtra 400. The picture above looks extremely similar to one that I saw as wall art inside of an AirBnB.
Nostalgic Neg. – “Nostalgic Film”
Nostalgic Neg. is the second most recent addition to the film simulation lineup. It’s modeled after American New Color images from the 1970’s. Nostalgic Neg. has a strong Kodak quality, particularly photographic prints from five decades ago. This is the warmest film sim, which means that “Nostalgic Film” is the warmest Recipe of this group. In my opinion, it might be slightly too vibrant and amber for portraits, but your milage may vary. If you want a retro rendering, the “Nostalgic Film” Recipe is your best bet from these 14. The closest Film Simulation Recipes to this are maybe Kodak Vericolor Warm and 1976 Kodak.
Fujifilm introduced Neopan Acros black-and-white negative film back in 1952. Neopan Acros came in four versions: ISO 100, ISO 400, ISO 1600, plus an ISO 400 version for C41 development that was actually repackaged Ilford XP2 Super 400. Neopan Acros was briefly discontinued in 2018, and reintroduced in 2019 as Neopan Acros 100 II. Curiously, the new version is actually manufactured by Harman (the parent company of Ilford), although it behaves quite similarly to the original.
Typically, I prefer contrasty black-and-white pictures; however, this “Neopan Negative” Recipe is fairly low-contrast. It has to be used thoughtfully, or else the pictures will look slightly muddy. The Acros filter options (+Y, +R, +G) are your friend, and FS1, FS2, and FS3 are a great place to put them. This Recipe thrives on high-contrast scenes. For grainer pictures, use higher ISOs, as the Acros film sim has built-in Grain that increases with the ISO. If I could only pick one Acros option for the “Neopan Negative” Recipe, I’d go with Acros+R. There’s not really any Film Simulation Recipe that’s similar to this one, but perhaps B&W Superia is the closest.
That covers the “standard” eight film simulations found on the Fujifilm X-T50’s Film Dial. The above Film Simulation Recipes can be found in the Fuji X Weekly App. The six Recipes below can also be used, but you won’t find them in the App; however, if you have an X-T50, I recommend choosing one of them as the base, since their film sim is not on the Film Dial. Also, you can program up to three of them into the FS1, FS2, and FS3 positions if you’d like.
PRO Neg. Hi — “Fujicolor PRO Film”
This “Fujicolor PRO Film” Recipe is fairly similar to the Reala Ace version (called “Fujicolor PRO 160C Warm”) higher up in this article. You’ll find it to be a decent all-around option; however, I like Reala Ace more than PRO Neg. Hi. It’s a solid choice to serve the “base” film sim or for FS1, FS2, or FS3, but also slightly redundant. The Film Simulation Recipe that this one is most similar to is PRO Negative 160C.
PRO Neg. Std — “Fujicolor PRO 160S”
For pictures of people, this is my favorite of these Film Simulation Recipes—followed closely by the Classic Chrome (“Kodak Film”), Eterna (“Cinematic Film”), and Classic Negative (“Superia Negative”) options. PRO Neg. Std is nearly identical to PRO Neg. Hi, just lower-saturated and with less contrast. This “Fujicolor PRO 160S” Recipe is a strong contender for the “base” film sim or for FS1, FS2, or FS3. It’s not especially similar to any other Recipe, but perhaps Fujicolor Pro 160NS is the closest.
Eterna/Cinema — “Cinematic Film”
This “Cinematic Film” Recipe is the second lowest saturated and least contrasty of all the color options in this series. It has a lovely soft quality that is especially great for high-contrast scenes. It’s one of my personal favorites, and the one that I personally used for the base film simulation. Eterna is the name of Fujifilm’s line of motion picture films. The most similar Recipes to “Cinematic Film” are Indoor Angouleme, Timeless Negative, and Eterna Low-Contrast.
Eterna Bleach Bypass — “Reduced Bleach”
Eterna Bleach Bypass has the lowest saturation and highest contrast of all of the film simulations. Bleach bypass is a development technique where the bleach step is reduced or eliminated, resulting in a high-contrast, low-saturated image that almost appears like a B&W picture over a color picture. It can be used in still photography, but is more commonly found in motion pictures. Think Saving Private Ryan. This “Reduced Bleach” Recipe is somewhat similar to cinema film that has had the bleach step decreased (but not skipped). It’s a great option for results that are significantly different from the other options. The closest Recipe to this one is probably Ferrania Solaris FG 400, although it’s notably divergent.
The Monochrome film simulation is simply Provia with the color turned off. It was the standard B&W film sim until the introduction of Acros on X-Trans III. Generally speaking, I like Acros much more than Monochrome, as Acros has more of an analog feel to it; however, Monochrome does have a slightly harsher tonality, so there are times that the Monochrome film simulation could be preferable. Similar to the “Neopan Negative” Recipe, this one thrives in high contrast light, and the filter options (+Y, +R, +G) are your friends. The only way to use all four Monochrome options are to have one as the base Recipe, then set the other three to FS1, FS2, and FS3. The Film Simulation Recipe that’s closest to the “Monochrome Film” Recipe is Ilford FP4 Plus 125.
Sepia — “Sepia Print”
Last and certainly least is Sepia. This film simulation has been around for a long time, but very few use it. If Fujifilm discontinued it, most probably wouldn’t even notice. Sepia is a darkroom technique where you bathe B&W prints in a chemical for archival and artistic purposes. Most commonly, Sepia baths are quick, and the toning subtle; however, the prints can be left in longer, resulting in a pronounced reddish/brown tone. This film simulation replicates that. For a more subtle effect, simply use either “Neopan Negative” or “Monochrome Film” with Monochromatic Color set to WC +2 MG -2. The only Film Simulation Recipe that is similar to this “Sepia Print” Recipe is Sepia. Most likely you’ll skip this one, but if you’re looking for something different, maybe give it a try.
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Yesterday’s Fuji X Weekly + Nuzira collaborative Fujifilm photowalk in Scottsdale, Arizona, was a huge success! Altogether, 16 people showed up, including myself and Lucas White of Nuzira. It was a great group of photographers, and I think everyone had a good time. Most were local to the Phoenix metro area, but three came from Ohio and one from South Dakota—they were in the area, and it just happened to work out that they could attend. It was such an honor to co-lead everyone through Old Town Scottsdale!
The weather cooperated wonderfully, but it didn’t initially seem like it was going to. May is typically a hot month—the average high temperature right now is 90° Fahrenheit; however, a cool-front passed through shortly before the photowalk, which kept it at a more reasonable 82° at the start, and 77° by the end. Because of the frontal system, the wind howled most of the day, and clouds covered the sky. Just as the photowalk was about to begin, the wind calmed and the clouds cleared, revealing endless blue. Really, it couldn’t have been better.
Most people had an X100-series camera, ranging from an X100T to the new X100VI. The other cameras I saw were an X-T100, X-T20, X-E4, X-S10, X-S20, X-Pro3, and X-T5. The camera I brought was my X100VI, which is perfect for walk-around photography. Lucas had a bag full of gear, which he graciously let anyone try out if they wanted. Fujifilm provided some stickers and pins to give away, and Sigma provided multi-use tools (screwdriver/wrench/bottle-opener, etc., combo) with their logo.
The Film Simulation Recipes that I used for the photowalk were Kodak Portra 400 v2, Kodachrome 64, Kodak Tri-X 400, and two upcoming Recipes that have not yet been published, one based on Nostalgic Neg. and the other on Reala Ace. As we were walking around, I was stopped by someone who recognized that I had a Fujifilm camera, but seemed only vaguely familiar. “I’ve heard about those,” he stated. “Can I see some of the pictures?” So I showed him the images I had just captured on the photowalk. “It’s just like the Reels!” He took note of the camera name, said “thanks” and walked away.
It was great to meet everyone who attended, and have some face-to-face conversations about Fujifilm gear, Film Simulation Recipes, and photography. Every time I looked around, I noticed that those in attendance were talking with each other; it was great to help facilitate community. Fujifilm cameras and Recipes seem to bring people together.
I want to give a big “thank you” to those who came out and joined us! I appreciate you taking time out of your busy day to meet up, chat, and photograph. I hope to see everyone again sometime in the future!
There are 20 different film simulations on the new Fujifilm X100VI. Since there are likely many newcomers to Fujifilm who aren’t all that familiar with the various film sims (and Film Simulation Recipes), I thought it would be worthwhile to discuss each one in more detail, and offer my personal favorite Recipes for each. The new Reala Ace film simulation will be excluded from this because there aren’t many Recipes available for it yet. Also, I’m combining the four Acros film sims into one article (this one!), and the four Monochrome film sims (and probably Sepia, too) into another (the next one).
The Acros film simulation is modeled after Neopan Acros black-and-white negative film, which Fujifilm introduced back in 1952. Neopan Acros came in three ISOs: 100, 400, and 1600. Neopan Acros was briefly discontinued in 2018, and reintroduced in 2019 as Neopan Acros 100 II. Curiously, the new version is actually manufactured by Harman (the parent company of Ilford), although it behaves quite similarly to the original. Acros is one of the most analog-like film sims, and one of my absolute favorites. One unique aspect about it is that it has built-in Grain that increases with the ISO. For grittier pictures, simply use higher ISOs. If you are unsure what the +Y, +R & +G filter options do, I wrote about it here.
Playing with Waves – Cambria, CA – Fujifilm X100V – Kodak Tri-X 400
While there are a number of Acros-based Film Simulation Recipes, which produce a variety of results, there’s only one that I use regularly: Kodak Tri-X 400. It’s always programmed into at least one of my cameras. I often tell people that it is my all-time favorite Film Simulation Recipe, and if I could only ever use just one Recipe for the rest of my life, it would be Kodak Tri-X 400.
The five Film Simulation Recipes below are my favorites that use Acros as the base. Everyone has different tastes, so you might like other ones more. I count 22 Recipes in the Fuji X Weekly App that use Acros, so you have some choices. But, if you are unsure which Acros Recipe to try, let me suggest picking one from my list below.
Not only is this, by far, the most popular black-and-white Film Simulation Recipe, it’s also my personal favorite. I use it all of the time, and it’s an easy one to recommend for you to try. There’s compatibility with X-Trans III, X-Trans IV, and X-Trans V cameras.
This Recipe has some similarities to Kodak Tri-X 400, so—unsurprisingly—it is quite excellent, too. It has compatibility with X-Trans IV (except the X-T3 & X-T30) and X-Trans V.
This used to be my favorite B&W Recipe before Kodak Tri-X 400. You have to be careful with the exposure, and watch the highlights carefully so that they don’t clip. It’s compatible with X-Trans III and the X-T3/X-T30; for use on newer cameras, set Color Chrome Effect and Color Chrome FX Blue to Off, Grain size Small, and Clarity 0.
This is the original B&W Recipe published on this website, and one that helped convince me that camera-made JPEGs can actually be good. It’s intended for X-Trans III cameras, but can also be used on the X-T3 and X-T30.
This is the newest B&W Film Simulation Recipe. It’s actually quite excellent—I personally like it a lot—and is a good alternative to the ones above. It’s compatible with X-Trans IV (except the X-T3 & X-T30) and X-Trans V cameras.
I get asked fairly regularly which Film Simulation Recipes are the most popular. For me, this is a fascinating topic, but it’s definitely hard to know definitively. While I get a glimpse on social media, my best gauge is the Fuji X Weekly website statistics; specifically, which Recipe articles are viewed the most. I don’t collect any data on the Fuji X Weekly App, so that’s no help—although, if I did, it would likely offer the most accurate picture; however, it would still be impossible to know which Recipes people programmed into their Fujifilm cameras, or how often they used each. Perhaps a survey would be particularly useful, yet even it has its limitations. While certainly a flawed method, page-view website statics offer the best glimpse at which Film Simulation Recipes are the most popular, so that’s what I’m using for this article. These are simply the Top 25 most-viewed Recipes on the Fuji X Weekly website last month (April 2024).
I was quite surprised by the rankings for April. Most of the time these lists are pretty predictable. Those with Kodak brand names in the title—Kodachrome, Portra, Gold, Tri-X, etc., etc.—are the most popular. Classic Chrome is the king of film simulations, as the majority of the most-viewed Recipes are based on that film simulation. This time there was a lot of movement, and even some surprises (at least to me, anyway).
Gen Reflection – Tempe, AZ – Fujifilm X-E4 – Classic Color
Vibrant Arizona jumped up to number two, surpassing Kodak Portra 400 v2, which almost always occupies that spot. There are five newcomers to the list. A lot of upward and downward movements. Several Recipes left the Top 25. Some of these Film Simulation Recipes have only been published for a few months or less. Two of these are only currently compatible with one camera: the Fujifilm X100VI.
Without any further delay, below are the most popular Recipes of last month!
Top 25 Most Popular Film Simulation Recipes of April 2024
A Classic Chrome based Recipe for X-Trans IV cameras that is the long-time most popular Film Simulation Recipe for Fujifilm cameras. This is the king of Recipes!
Typically, Classic Chrome dominates these lists, Classic Negative makes a few appearances, and Acros will occupy one spot, as well as some other film sim sometimes, such as PRO Neg. Std. The new Reala Ace film sim makes two appearances this time, and Fujicolor 100 Industrial takes the lead among them. Right now, this Recipe is only compatible with the X100VI, so #6 is incredibly (and surprisingly) high, all things considered.
This version of Kodak Portra 400 was commonly the third most popular Film Simulation Recipe on Fuji X Weekly for a long time. It moved up one spot from March.
This is a newly published Eterna-based X-Trans V CineStill 800T Recipe; however, it’s simply an adaptation of the X-Trans IV version that has been around awhile. Eterna makes two surprise appearances this month, and this one ranks the highest, just reaching the Top 10.
Vintage Kodachrome, which is based on Classic Chrome, is one of the older Film Simulation Recipes on Fuji X Weekly, and is compatible with X-Trans III cameras. It was ranked #15 last month; oftentimes it’s in the Top 10.
This is a fairly recently published Recipe, and the very first to use the new Reala Ace film simulation. At the moment, it is only compatible with the Fujifilm X100VI. In March it ranked #22.
This is a somewhat new Recipe, published in January of 2024. It is based on Classic Chrome, and is compatible with X-Trans IV cameras. Last month it was ranked one spot lower.
Pacific Blues used to be the highest-ranked Classic Negative based Recipe, but Reala Ace has left it in the dust. This particular one is compatible with X-Trans IV models, but there is an X-Trans V version. In March it was ranked #12.
By far the most popular B&W Recipe, Kodak Tri-X 400 is based on the Acros film simulation, and has compatibility X-Trans III, X-Trans IV, and X-Trans V models. It was ranked #11 last month.
Provia Slide is a newly published Recipe, and the first in awhile to reach the Top 25 that uses the Provia film sim. It’s compatible with X-Trans III cameras, plus the X-T3 & X-T30.
Bright Summer—another Classic Chrome based Recipe for X-Trans IV—is sometimes called Preetra 400, because it is modeled after Preet’s aesthetic (Preet himself is the one who gave it that nickname, btw). It doesn’t usually crack the Top 25, but in March it suddenly jumped to #9, and for April fell to #23.
Kodachrome II is an older Recipe made for X-Trans III cameras. It used to often be in the Top 10, but has been falling for awhile. Last month it didn’t even crack the Top 25, so I’m happy to see it return.
