Fuji blog | FUJI X WEEKLY

Creative Collective 056: FXW Zine — Issue 23 — October 2023

The October issue of FXW Zine is out now! Creative Collective subscribers can download it today. Not a Creative Collective subscriber? Join to gain access to this issue plus all pervious issues of FXW Zine and the many bonus articles.

Issue 23 explores the unexpected diversity of Arizona’s landscapes. There are 31 pictures (including the cover) over 24 pages. Enjoy!

Subscribe to get access

Read more of this content when you join the Fuji X Weekly Creative Collective today! Click here to learn more.

5 Amazing Film Simulation Recipes (that few are using…)

Posted on 2 Days Ago by Ritchie Roesch

There are some very popular Film Simulation Recipes that it seems like everyone is using, or has at least tried, on their Fujifilm cameras. Kodak Portra 400, Kodak Portra 400 v2, Reggie’s Portra, Kodachrome 64, Vintage Kodachrome, Vibrant Arizona, Reala Ace, Fujicolor Reala 100, Pacific Blues, and Kodak Tri-X 400 are currently the 10 most popular (based on article page views this month). Those particular Recipes are a lot of people’s favorites! But there are others that are less popular and, obviously, much less frequently used.

With over 300 Film Simulation Recipes on the Fuji X Weekly App, there are bound to be some that are underutilized. Several are intended for very specific scenarios and aren’t especially versatile, so it’s understandable why those are chosen less often than others. Some might just get lost in the crowd; perhaps my sample pictures weren’t strong enough to demonstrate the Recipe’s potential. There’s a group, however, that should be more popular than they are, but are underutilized because they’re not yet available to everyone. These are the Fuji X Weekly App Patron Early-Access Recipes.

My Film Simulation Recipes are free, and the Fuji X Weekly App is free; however, there’s a real expense to all of this, and I do want a little reward for all of my efforts. The best way to support this website is to become a Patron subscriber to my Apps (aside from the Fuji X Weekly App, there’s also the Ricoh Recipes App and the RitchieCam App). As a reward for supporting Fuji X Weekly, the Patron subscription unlocks the best App experience.

What, exactly, does “the best App experience” mean? For one, Filtering is unlocked. Want to see only the Recipes that are fully compatible with your specific camera model? Want to display only Recipes that use a certain film simulation, white balance type, or dynamic range setting? That’s the Filter feature, and it’s available to Patrons. Another is Favoriting. There are five different colored stars that can be used to organize Recipes into categories. For example, you can use red stars for Recipes that you found to be good options for portraits, yellow for golden hour, green for landscapes, etc.. Or, yellow stars for what is currently in C1-C7, blue for what you want to try next, green for ones you tried and liked, and red for ones you tried and didn’t like. You can use these however it makes the most sense for you, but only if you are a Patron. Oh, and if you’ve made your own custom Film Simulation Recipe, you can use blank Recipe cards to add them to your App.

Another perk of being a Fuji X Weekly App Patron is that you get early access to some new Film Simulation Recipes. These Early-Access Recipes will become available to everyone in time (as they are replaced by new ones), but for now only Patron subscribers can view them. Some aren’t publicly available for everyone for a short time—usually at least a few months—and others stay as Early-Access Recipes for a year or more. For example, Eterna Bleach Bypass was a Patron Early-Access Recipe for over a year, and just two days ago it became freely available to everyone after it was replaced by Expired Kodak Vision2 250D. Currently, there are 14 Early-Access Recipes in the Fuji X Weekly App.

Because not everyone can use these Early-Access Recipes, they’re not nearly as popular as the ones that are available free to everyone. Only App Patrons can use them. Some of these Recipes are really good, though, deserving of much greater attention than they’ve received. This article is simply shining a spotlight on five of them. If you are a Patron, I invite you to find them in the App and give them a try. If you are not a Patron, I ask that you consider supporting this website by becoming a Patron subscriber, which will in turn give you access to them. If you don’t have the Fuji X Weekly App on your phone, download it for free today!

Kodak Royal Gold 400

Royal Gold 400 was introduced by Kodak in 1994 as a replacement to the original Kodak Ektar 400 film (which is a little different from the Ektar that came later). The Royal Gold line, which also came in ISO 100 and 200 versions, was marketed as a “step up” from Kodak Gold, with finer grain and more vibrant colors. It was more-or-less an updated Ektar emulsion that was renamed for marketing reasons (Gold sold a lot more than Ektar). In the early 2000’s Royal Gold was replaced by the High Definition/Royal Supra line.

This Film Simulation Recipe wasn’t initially intended to replicate Royal Gold, but simply began as an attempt to achieve a “memory color” aesthetic of photographic prints from the 1990’s and early 2000’s; I wasn’t concerned about the specific films or processes. After shooting with this Recipe and reviewing the results, I was reminded of Kodak Royal Gold 400 film… sometimes. Of course, one film can produce many different aesthetics, depending on (among other things) how it was shot, developed, scanned and/or printed. Royal Gold 400 didn’t always or even usually look like this, but sometimes it did, and I found some examples in a photo-box and online that were quite similar—I’m not sure why, but my suspicion is that the film was mishandled, either from being stored improperly (possibly exposed to too much heat) or waiting too long to develop after exposing. Film can be finicky, but that serendipity is something that makes it special.

1981 Kodak

The 1981 Kodak Film Simulation Recipe was modeled after some old family pictures found in a photo box. These prints were made in July of 1981—a date stamped on the back—and printed on Kodak paper. The other technical details are unknown, but most likely they were captured with a cheap point-and-shoot of some sort (possibly even a 110 camera) with Kodacolor II color negative film, which was the most popular amateur emulsion of that era. Due to age and improper storage, the prints are fading, with a pronounced orange (sometimes yellow, sometimes red) cast, and colors overall less vibrant than they once were.

I thought that the aesthetic was interesting, so I began to develop a Recipe inspired by these photographs. It took a couple of days, and a few compromises, but I was able to create a look that mimics the general feel of those old pictures made in 1981 and printed on Kodak paper—the reason why I call this Recipe 1981 Kodak.

Vintage Cinema

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.

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. This Recipe mimics those too-blue scans of Kodachrome film.

Nostalgic Emulsion

This Nostalgic Emulsion Recipe was a collaboration between myself and my 15-year-old daughter, Joy. She wanted a certain look, which she described as “dark with deep greens” and similar to some music videos, including Daylight by David Kushner. “That’s the aesthetic I want to make,” she told me, while stopping on a forested scene.

I really like the moody and nostalgic feeling that this Film Simulation Recipe produces. It has a retro negative film look, maybe along the lines of Fujicolor Super HQ or Agfa XRG or something like that, but not exactly like any specific emulsion. You can expect dark shadows and a cool cast that leans green. I think it works best when there’s a lot of lush vegetation, and is good for toning down an overly warm scene.

Eterna Bleach Bypass — Fujifilm X-E4 (X-Trans IV) Film Simulation Recipe

Posted on 4 Days Ago by Ritchie Roesch

*Evening on Main* – Buckeye, AZ – Fujifilm X-E4 – Eterna Bleach Bypass Recipe

I was challenged by Thomas Schwab to create a Film Simulation Recipe that mimics the aesthetic of the picture in the background of Dan Bailey’s YouTube video discussing the Eterna Bleach Bypass film simulation. There were indeed some challenges, including limited samples (which were viewed on a YouTube video), and the fact that I now live in Arizona and not Utah (no access to majestic snow-capped mountain scenes), but I do believe that I got in the ballpark. This is essentially a “black-and-white” Recipe for color photography—capable of producing dramatic near-monochrome images.

This Film Simulation Recipe uses Eterna Bleach Bypass, and it does, in fact, produce a bleach-bypass look. Bypassing the bleach step is a darkroom technique that produces an aesthetic similar to a black-and-white image superimposed over a color image. It’s more common in motion picture cinematography than still photography, but it’s a technique that has been utilized in still photography for a very long time. It can be done with any color film, but is more frequently done with slide film than negative film. If you are desiring a bleach-bypass look, this Recipe will produce that for you.

*Pacific Photographer* – Pismo Beach, CA – Fujifilm X-E4 – Eterna Bleach Bypass Recipe

This Eterna Bleach Bypass Film Simulation Recipe was a Fuji X Weekly App Patron Early-Access Recipe since last year, but it has been replaced by a different Early-Access Recipe, so now it’s available to everyone. Because it uses the Eterna Bleach Bypass film simulation, it is only compatible with those X-Trans IV cameras that have it, which are the Fujifilm X-T4, X-S10, X-E4, and X-T30 II. For those with fifth-generation models—X-H2s, X-H2, X-T5, and X-S20—because blue is rendered more deeply on this film sim, you’ll want to set Color Chrome FX Blue to Weak instead of Strong. Those with newer GFX cameras can also use it, although it will likely render slightly different.

Film Simulation: Eterna Bleach Bypass
Grain Effect: Weak, Small
Color Chrome Effect: Off
Color Chrome FX Blue: Strong
White Balance: Daylight, 0 Red & 0 Blue
Dynamic Range: DR400
Highlight: +2.5
Shadow: -1.5
Color: -4
Sharpness: 0
High ISO NR: -4
Clarity: +2
ISO: Auto, up to ISO 6400
Exposure Compensation: -2/3 to -1 1/3 (typically)

Example photographs, all camera-made JPEGs captured using this “Eterna Bleach Bypass” on my Fujifilm X-E4:

*Waterless Fountain* – Buckeye, AZ – Fujifilm X-E4

*Lions in the Park* – Buckeye, AZ – Fujifilm X-E4

*Suburban Roof Abstract* – Buckeye, AZ – Fujifilm X-E4

*Climbing a Wall* – Buckeye, AZ – Fujifilm X-E4

*Wall Details* – Buckeye, AZ – Fujifilm X-E4

*Bougainvillea & Building Storm* – Buckeye, AZ – Fujifilm X-E4

*Clouds Above Mesa* – St. George, UT – Fujifilm X-E4

*Crashing Wave Along Coast* – San Simeon, CA – Fujifilm X-E4

*Backyard Garden Sunbeams* – Buckeye, AZ – Fujifilm X-E4

*Garden Trumpet* – Buckeye, AZ – Fujifilm X-E4

*Little Bug* – Buckeye, AZ – Fujifilm X-E4

*Saguaro Fingers* – Buckeye, AZ – Fujifilm X-E4

*Boardwalking* – Pismo Beach, CA – Fujifilm X-E4

Find this Film Simulation Recipe and over 300 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Help Support Fuji X Weekly!

Nobody pays me to write the content found on the Fuji X Weekly blog. There’s a real cost to running this website. I also put a lot of my own time into writing the posts. If you’ve found something on Fuji X Weekly helpful to you and you’d like to give back, this is a good place to do it. You can donate to this blog using PayPal by clicking below. I appreciate it! Thank you for your support! Please do not feel obligated to give, but do so only if you want to.

$5.00

Expired Kodak Vision2 250D — FXW App Patron Early-Access Film Simulation Recipe for X-Trans IV & X-Trans V

Posted on 4 Days Ago by Ritchie Roesch

*Dry Fountain Evening* – Buckeye, AZ – Fujifilm X-E4 – Expired Kodak Vision2 250D Recipe

A Fuji X Weekly reader shared with me some scans of expired Kodak Vision2 250D motion picture film that he shot on a Canon camera and had developed using the ECN-2 process. The pictures were very interesting, and I thought it would be fun to recreate the aesthetic for my Fujifilm cameras. I don’t feel that this is a 100% perfect match, but it’s pretty darn close, and definitely has the right vibe.

Kodak made Vision2 250D, a daylight-balanced color negative film, from 1997 to 2005. It was replaced by the very similar Vision3 250D. I have a Recipe already for Kodak Vision3 250D, which renders noticeably different than this Expired Kodak Vision2 250D Recipe. The Vision3 Recipe is one of my favorites, and you should definitely try it if you haven’t already. This Vision2 Recipe probably won’t be anyone’s go-to option, but it is fun to use on occasion, especially if you like warm pictures.

There are two versions: one for “newer” X-Trans IV cameras—specifically, the X-T4, X-S10, X-E4, and X-T30 II—and another for fifth-generation cameras, which are the X-H2s, X-H2, X-T5, and X-S20 (yes, the X-S20, even though it has an X-Trans IV sensor). Those with newer GFX models can use it, too, although it will render slightly different.

*Neighborhood Bougainvillea* – Buckeye, AZ – Fujifilm X-T5 – Expired Kodak Vision2 250D Recipe

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

Find this Expired Kodak Vision2 250D Film Simulation Recipe in the Fuji X Weekly App! If you are a Fuji X Weekly App Patron, it’s available to you right now.

Example photographs, all camera-made JPEGs using this Expired Kodak Vision2 250D Film Simulation Recipe on my Fujifilm X-E4 and Fujifilm X-T5:

X-Trans IV

*Sun Below the Trees and Above a Building* – Buckeye, AZ – Fujifilm X-E4

*Waterless Fountain Detail* – Buckeye, AZ – Fujifilm X-E4

*Fountain Corrosion* – Buckeye, AZ – Fujifilm X-E4

*Reflection & Leaves* – Buckeye, AZ – Fujifilm X-E4

*Architectural Abstract* – Buckeye, AZ – Fujifilm X-E4

*Four Trumpets* – Buckeye, AZ – Fujifilm X-E4

*Sunlight through Tree Leaves* – Buckeye, AZ – Fujifilm X-E4

*End of the Road* – Buckeye, AZ – Fujifilm X-E4

*Cactus Moon* – Buckeye, AZ – Fujifilm X-E4

X-Trans V

*Fresh Blooms, Fading Blooms* – Buckeye, AZ – Fujifilm X-T5

*Electric Wheels* – Buckeye, AZ – Fujifilm X-T5

*Empty Pathway, Empty Chairs* – Buckeye, AZ – Fujifilm X-T5

*Indoor Joy* – Buckeye, AZ – Fujifilm X-T5

*Concrete Shapes* – Buckeye, AZ – Fujifilm X-T5

*Sun-Kissed Shrub Leaves* – Buckeye, AZ – Fujifilm X-T5

*Garden Wall* – Buckeye, AZ – Fujifilm X-T5

*Stucco & Spanish Tiles* – Buckeye, AZ – Fujifilm X-T5

*CVS Pharmacy* – Buckeye, AZ – Fujifilm X-T5

*Sunlit Bulb* – Buckeye, AZ – Fujifilm X-T5

*Red Vans* – Buckeye, AZ – Fujifilm X-T5

*Watering Pot* – Buckeye, AZ – Fujifilm X-T5

*Backyard Girl* – Buckeye, AZ – Fujifilm X-T5

*Happy Boy* – Buckeye, AZ – Fujifilm X-T5

*Bougainvillea & Blurry Tree* – Buckeye, AZ – Fujifilm X-T5

*Pink Oleander Blossoms* – Buckeye, AZ – Fujifilm X-T5

*Cactus Spikes* – Buckeye, AZ – Fujifilm X-T5

*Curious Dog* – Buckeye, AZ – Fujifilm X-T5

*Enjoying the Outdoors* – Buckeye, AZ – Fujifilm X-T5

*Sunstar through Leaves* – Buckeye, AZ – Fujifilm X-T5

*Arizona Sunset & Saguaro* – Buckeye, AZ – Fujifilm X-T5

The Film Simulation Recipe Wrench

Posted on 5 Days Ago by Ritchie Roesch

*Red Rocks Among Green Trees* – Sedona, AZ – Fujifilm X-T5 – Kodak Gold 200 Recipe

Peter McKinnon’s recent YouTube video entitled The Valley really struck me. It was highly relatable, and not just because it was filmed in Arizona and Utah. There were several interesting takeaways, and a lot that could be discussed. For now, I want to focus on one thing in particular: the wrench.

I think it’s important to feel a little uncomfortable sometimes. “The enemy of art is the absence of limitations,” Orson Welles famously stated. Oftentimes restricting ourselves in some way will propel us forward or allow us to achieve what we otherwise could not, as we have to approach the situation differently than we are comfortable doing. That perspective shift is where growth happens. Wrenches are good.

If you haven’t yet seen the video, go ahead and watch it now.

“I mentioned I’ve been shooting for 20 years,” Peter McKinnon states at about the eight-minute mark. “Digital gets a bit—maybe not even digital, it’s not even the way to say it—just photography itself just gets a bit monotonous after two decades. There’s a formula that you can follow, and it works—you’ve got a style and you’re used to it and you’re used to everything. So it’s nice to throw a wrench into that mix, and that wrench—for me—that’s film. Really needing to understand what feels like an entirely new craft in so many ways with so many facets to it—it really puts you on your toes. It takes you out of the comfort zone and forces you to see the world through a new perspective.”

“There’s something that connects you with nature,” he continues. “There’s something that connects you to the landscapes you’re standing in when you’re out there loading a roll of film that you’re going to shoot [but] that you can’t see after. There’s something that just feels like true photography. And that feeling I plan on chasing for as long as I can.”

Initially, I saw this through the eyes of a long-time film photographer. Yeah, there is something about loading the roll of film and not knowing what you’ve got until much later that connects you with the scene. But then I saw it through my eyes when I neared the 20-year mark (there’s something about that date…), which was a handful of years back. I desperately needed a wrench, as I was feeling burnt out and uninspired. That wrench for me was Film Simulation Recipes. Shooting straight-out-of-camera was the limitation that I needed to be propelled forward. It’s what rejuvenated and inspired me (still does!), and what I plan to chase as long as I can. For Peter it’s film, for me it’s JPEG Recipes—which, incidentally, do have some similarities.

*Mitchell Mesa* – Monument Valley, AZ – Fujifilm X-T1 – Velvia Recipe

Of course, Peter McKinnon still edits his film photographs. He spot-removed the horse poop, for example. He very obviously used masks to brighten up the subjects. Nothing wrong with that, as it’s his art. For me, though, post-editing just sucks the life out of me. It’s just not my thing anymore, after having done it for so long without any enjoyment. Thankfully, using Film Simulation Recipes allows me to not worry about editing, and focus more on capturing.

I also saw Peter’s video through my current eyes. For several months now I have been feeling that I need some new limitation—a brand new wrench—to force myself to see through a new perspective. And this video was the aha moment. I grabbed my Fujifilm X100V, turned off the EVF so that it was just the optical viewfinder (no image preview), and turned off the rear LCD. Then I determined not to review my pictures until later, sometime after I was done photographing. This would emulate to an extent that film experience Peter talked about, and that I kind of miss (now that I don’t shoot much film anymore). Doing this, I load the Film Simulation Recipe that I want to use into the camera (or, choose one of the seven that I already have saved), capture some photographs, and then I don’t know what I have until sometime later. It’s definitely a different approach than what I’ve been doing, but so far so good. I think I’m going to appreciate this new wrench.

I just started doing this. Below are a few of the first handful of exposures captured using this technique. The Recipe is one that’s not yet been published, but is coming soon, so stay tuned for that. I can only do this on my X100V and X-Pro1, and not my other models, since it requires an optical viewfinder. Maybe this will be a good excuse to buy the X-Pro4 whenever Fujifilm decides to release that someday in the future. In the meantime, this is how I will approach photography whenever I’m out with my X100V. I think it’s the wrench I need right now.

*Pink Arm* – Buckeye, AZ – Fujifilm X100V

*Empty Cage* – Buckeye, AZ – Fujifilm X100V

*Twin Palms & Concrete* – Surprise, AZ – Fujifilm X100V

Creative Collective 055: Serendipity of Accidental Noise

Posted on 6 Days Ago by Ritchie Roesch

*Dark Cloud Over The Dark Mountain* – South Weber, UT – Fujifilm X-T30 – Ilford HP5 Plus 400 Push Process Recipe – ISO 25600

Most people don’t use ultra-high ISOs like 25600 on their Fujifilm cameras. But maybe it’s underutilized? Perhaps it’s not appreciated nearly as much as it should be. While I have utilized ISO 25600 and higher on purpose in the past, a couple of recent accidental uses of this ultra-high ISO has made me pause and reconsider if I should be using it more often than I do.

So let’s take a look at some ultra-high ISOs!

Subscribe to get access

Read more of this content when you join the Fuji X Weekly Creative Collective today. Click here to learn more!

Is Full Frame Actually Better than APS-C?

Posted on 10 Days Ago by Ritchie Roesch

*Gold Coast Blooms* – Laguna Beach, CA – Fujifilm X100V – upcoming Film Simulation Recipe

The announcement of the Nikon Zf seems to have rekindled an old adage: full frame is better than APS-C. Some are saying that full frame cameras have the minimum sensor size necessary for serious photography, and APS-C and smaller are for amateurs. But is this actually true? Is full frame superior to APS-C? Can APS-C cameras be just as good or perhaps even better than full frame? Does the size of the sensor actually matter all that much? Why even buy a Fujifilm APS-C camera now that Nikon has the full frame Zf?

At the core is the physical size of the sensor. Full-frame is 50% larger than (most) APS-C. The size of a full frame sensor is the same as a 35mm film frame, while the size of an APS-C sensor is the same as an Advanced Photo System Classic film frame. In the film days, no respectable pro or enthusiast photographer used Advanced Photo System cameras. Why should they in the digital age?

*Misty Saguaro* – Buckeye, AZ – Fujifilm X-T5 – Pacific Blues Recipe

Back in the early days of digital, when dynamic range and noise control were much more critical than nowadays, full frame had a clear advantage, as one needed to squeeze the absolute most out of their files and full frame allowed that. APS-C was more affordable and smaller, so it was popular with amateurs and enthusiasts on a budget. This is where the stigma originated that APS-C is not for those who are serious, and to an extent it unfortunately remains to this day, despite so many incredibly talented and successful photographers utilizing APS-C models.

Since APS-C sensors are smaller than full frame, there is less physical room for light sensitive sensor elements (pixels). There are two options: smaller pixels or fewer pixels. Smaller pixels will allow for increased resolution, but at the expense of low-light capabilities and dynamic range. Fewer pixels allows for better low-light capabilities and dynamic range, but at the expense of resolution. Resolution is resolution, and 24mp on full frame is the same as 24mp on APS-C, yet the pixels on the APS-C will be smaller than those on the full frame sensor. 61mp on full frame is more resolution than 40mp on APS-C, yet their pixels are similarly sized. It’s easy to see the advantage of full frame! Except that most photographers don’t actually need 40mp of resolution, let alone 61mp. It looks good on paper, and it’s great for pixel-peeping and bragging rights, but in practical use, the majority of photographers don’t actually need more than 20mp, and everything above that is overkill. Yes, there are some who do need more, because they crop deeply or print huge, but most people who say they need that much resolution don’t actually need it. Megapixels sell cameras, though, so camera makers keep pushing higher and higher. My argument is simply that there is plenty of real estate on an APS-C sensor; while the increased room on full-frame sensors does offer advantages, those advantages find themselves on a diminishing returns segment of an inverted U curve.

Improved dynamic range and high-ISO are often overstated on full frame. The dynamic range of, say, the APS-C Fujifilm X-T5 and the full frame Canon EOS 5DS R are quite similar, and not much different at all in real world use. There are some APS-C cameras with more dynamic range and some with less dynamic range than the X-T5; likewise, there are some full frame cameras with more dynamic range and some with less dynamic range than the 5DS R. But even if we’re talking about an APS-C camera with less and a full frame with more, in practical use, that difference is fairly insignificant (outside of some extreme circumstances). Same with digital noise. Full frame might be cleaner with less noise—particularly as the ISO climbs—but a camera like the X-T5 has a film-grain-like rendering to the digital noise that is much more tolerable than the noise from the 5DS R. In other words, the more noisy X-T5 might be preferable to the less noisy 5DS R at the same ISO. For the most part, full frame does have the advantage with both dynamic range and high-ISO, but it isn’t nearly as big nowadays as many might think.

Now let’s talk crop factor, which is often given as a reason to choose full frame. Because full frame sensors are 50% larger than APS-C, there is a 1.5x crop factor for APS-C focal lengths. For example, a 50mm lens on an APS-C camera will have the same focal length as a 75mm lens on a full frame camera. If you are trying to reach far, it’s a little easier on APS-C than full frame, and if you are trying to go wide, it’s a little easier on full frame than APS-C; however, there are plenty of long telephoto and ultra-wide lens options for both sensor sizes. Crop factor also affects depth-of-field, as f/2 on APS-C has a larger depth-of-field than an f/2 on full frame. If you want a shallow depth-of-field, it’s a little easier to achieve on full frame than APS-C, but if you want a large depth-of-field, it’s a little easier to achieve on APS-C than full-frame; however, it’s still very much possible to get a small depth-of-field on APS-C and a large depth-of-field on full frame. One often-overlooked advantage of APS-C is that, to achieve that shallow depth-of-field, you’re likely to use a larger aperture, allowing more light to reach the sensor, which means shooting at a lower ISO.

Perhaps the biggest advantages that APS-C has over full frame—and likely the main reasons why most choose APS-C instead of full frame—are size and price. APS-C cameras are often smaller and weigh less than full frame. Smaller gear can be preferable, especially when traveling, and it can potentially provide a better user experience. Because the sensor is smaller, the price is often lower, sometimes much lower. Your money often goes further with an APS-C system than full frame.

While APS-C cameras can have some advantages over full frame, and some of the strengths of full frame can be overstated, bigger sensors obviously do allow for more and/or bigger light sensitive sensor elements, which generally speaking is better. My point is not to diminish full frame, because they serve important purposes, and can be preferable; instead, my point is only that the stigma that APS-C is “less than” and isn’t for serious photographers is outdated and inaccurate. Full frame has advantages, and APS-C has advantages, and you might find one more preferable than the other, but they are both very capable sensor sizes. My personal preference is Fujifilm X-Trans APS-C, as it works quite well for my photography. You have to decide for yourself what works best for you. I just hope that the stigma can finally be put to rest, as it’s simply not true.

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

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

Reala Ace — Fujifilm X-T5 (X-Trans V) Film Simulation Recipe

Posted on 16 Days Ago by Ritchie Roesch

*Luxury Among Palms* – Laguna Hills, CA – Fujifilm X-T5 – Reala Ace Recipe

Fujifilm introduced a new film simulation with the GFX100 II called Reala Ace. Fujifilm says that it “combines faithful reproduction with hard tonality,” showing it with a little higher vibrancy than Classic Negative paired with a tonality more similar to Provia. Some have described it as being true-to-life. Photographs that I have found captured with the new film simulation have a Classic Negative look, but with an increase in color, a reduction in contrast, and significantly more blue. I think this new film sim could have been called Classic Negative v2, but Fujifilm named it Reala Ace instead.

Fujicolor Reala 100 was Fujifilm’s first Superia film, even though initially it did not have Superia in the name. Superia films shared Fuji’s “4th layer technology” and Reala was the first to have it, but Reala was marketed towards “pro” photographers while Superia was marketed towards “consumer” photographers. Eventually, though, Fujifilm added Superia to Reala’s name. There were several different versions of Reala manufactured, including a high-ISO Tungsten one made for motion pictures, but Reala 100 was the most popular. Reala was very similar to Superia, but Superia was intended for “general purpose” photography while Reala was intended for portrait and wedding photography. Colors are rendered a little differently between the two films, especially blue, which is deeper and more saturated on Reala, despite Reala being overall slightly less saturated than Superia 100. Fujifilm discontinued Reala in 2013. I have a Film Simulation Recipe that replicates Fujicolor Reala 100, which uses Classic Negative as the base, since Classic Negative is closely modeled after Superia film.

On occasion, Fujifilm named certain film stocks differently in Japan than the rest of the world, and there were several film stocks made available only in Japan. Fujicolor Reala Ace 100 was a color negative film sold only in Japan. Some speculated that it was the exact same thing as Fujicolor Superia Reala 100 just sold under a slightly different name, while others said that Fujicolor Reala Ace 100 was a unique film similar to the Reala sold worldwide except fine-tuned for Japanese skin tones. There doesn’t seem to be any consensus on which is correct, but I’d bet that the latter is true. It was said for decades that Fujifilm kept their best emulsions in Japan. For whatever reason, Fujifilm went with the name Reala Ace for their new film simulation, and not simply Reala. Not all film sims are accurate reproductions of the emulsions that they’re named after, but Reala Ace seems to have the right vibe for replicating actual Reala film.

*Red Cliffs* – Sedona, AZ – Fujifilm X-T5 – Reala Ace Recipe

I have never used the new Reala Ace film simulation. There aren’t a lot of examples of it, but there are some; however, it’s impossible to know if those images are straight-out-of-camera factory-default Reala Ace JPEGs, or if the photographer adjusted some parameters or post-edited the pictures in some way. Trying to emulate new film simulations when there’s not a lot known about it is tricky, and the results are often wrong. For example, my attempt at Classic Negative was way off, and I stated that it would likely be—I was hesitant to publish it for that reason. Nostalgic Negative was a near identical story, and I stated, “…this Recipe will likely turn out to be an inaccurate facsimile to the real Nostalgic Negative film simulation.” I was right about that. This time, though, is different, as I am confident that this Reala Ace film simulation is a close approximation of the real thing. It might not be perfect, but it is definitely in the ballpark. I bet that it is a 95% match—if not closer—but it’s impossible to know for certain until more samples come out, and (even better) it trickles out to other models and I have a chance to try it myself. It’s definitely close enough that I feel quite good calling it Reala Ace.

Fujifilm said of the new film sim, “As an approach to rich gradation expression, the new sensor for the GFX100 II is the best fit for it. Without this sensor, we are not able to realize the Reala film simulation in it.” They talked about silver halide and signal-to-noise ratios and stuff. You might think this means that Reala Ace won’t make its way to the X-series; however, Fujifilm said something very similar about Nostalgic Neg., yet it is now available for X-Trans V generation models, including the X-S20, which has an X-Trans IV sensor. I think this is just Fujifilm’s way of saying that it’s not coming to X-Trans right away. I, of course, believe that this is a big mistake, because the majority of GFX users don’t use Film Simulation Recipes and won’t really care about this new film sim, while a whole lot of X-series owners do use Recipes and do care a lot about new film simulations. Fujifilm is letting what could be a big promotional opportunity just slip through their fingers, which is exactly what they did with Nostalgic Negative. I hope someday they learn this lesson, and stop making the same mistake over and over. Fujifilm: seriously, and I cannot state this any louder or more clearly, you need to introduce new film simulations with significant X-Trans releases, and not GFX. We can all see through the bogus it-has-to-be-100mp excuse, because I did in three days (and with much more limited resources) what you said wasn’t possible, and made Reala Ace available to all those with X-Trans V cameras. Please don’t hate me for rectifying your mistake, as this Recipe will likely influence more people to buy an X-series camera than Reala Ace will cause people to buy the GXF100 II. For those looking for an excuse to upgrade to an X-Trans V model, this Reala Ace Film Simulation Recipe might just be it for you, because it is that good.

*Dodge Van Steering Wheel* – Buena Park, CA – Fujifilm X-T5 – Reala Ace Recipe

I love this new Reala Ace Film Simulation Recipe, and for me it’s an instant favorite! It is kind of like a cross between the Fujicolor Reala 100 and Fujicolor NPS 160 Pulled Recipes—you could consider it a “v2” of either of those two, although it has a much stronger Reala vibe than NPS 160. The Recipe is soft yet colorful, highly versatile, and has a clear analog-like aesthetic. It’s just as Fujifilm put it: suitable for all subjects and situations. If you have a fifth-generation X-Trans camera, which (as of this writing) are the X-H2s, X-H2, X-T5, and X-S20 (yes, the X-S20!), I invite you to try this Reala Ace Recipe today! If you have a fourth-generation X-Trans camera with Classic Negative and half-point Highlight/Shadow adjustments, which are the X-T4, X-S10, X-E4, and X-T30 II, you can also use this Recipe, but know that blues will be render slightly less deeply (try it anyway). For the X-Pro3 and X100V, consider Highlight set to -1 in low contrast situations and -2 in high contrast situations.

Film Simulation: Classic Negative
Grain Effect: Weak, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Strong
White Balance: Auto, -1 Red & +1 Blue
Dynamic Range: DR400
Highlight: -1.5
Shadow: -2
Color: +2
Sharpness: 0
High ISO NR: -4
Clarity: -2
ISO: Auto, up to ISO 6400
Exposure Compensation: -1/3 to +1 (typically)

Example photographs, all camera-made JPEGs using this Reala Ace Film Simulation Recipe on my Fujifilm X-T5:

*Amaricana Equestrian* – Litchfield Park, AZ – Fujifilm X-T5

*Bougainvillea Blooms & Blue Sky* – Buckeye, AZ – Fujifilm X-T5

*Sunlit Bougainvillea Blossom* – Buckeye, AZ – Fujifilm X-T5

*Twin Trumpets* – Buckeye, AZ – Fujifilm X-T5

*Little Vibrant Blooms* – Riverside, CA – Fujifilm X-T5

*Fish Out of Water* – Riverside, CA – Fujifilm X-T5

*Fake Fern* – Buckeye, AZ – Fujifilm X-T5

*Potted Palm* – Buckeye, AZ – Fujifilm X-T5

*Morning Johanna* – Buckeye, AZ – Fujifilm X-T5

*Flowing Fountain* – Riverside, CA – Fujifilm X-T5

*China in America* – Riverside, CA – Fujifilm X-T5

*Hill Houses* – Laguna Hills, CA – Fujifilm X-T5

*Setting Sun over the Pacific Ocean* – Laguna Beach, CA – Fujifilm X-T5

*Young Surfer* – Laguna Hills, CA – Fujifilm X-T5

*Golden Ocean* – Laguna Hills, CA – Fujifilm X-T5

*Jon on the Gold Coast* – Laguna Hills, CA – Fujifilm X-T5

*Rainbow & Palms* – Buena Park, CA – Fujifilm X-T5

*Hazy Paifang* – Riverside, CA – Fujifilm X-T5

*Evening Hoop* – Buckeye, AZ – Fujifilm X-T5

*Evening Palms & Clouds* – Buckeye, AZ – Fujifilm X-T5

*Rays from Behind a Big Cloud* – Surprise, AZ – Fujifilm X-T5

*Clouds & Coaster* – Buena Park, CA – Fujifilm X-T5

*Cup Ride* – Buena Park, CA – Fujifilm X-T5

*Happily Anticipating the Thrill Ride* – Buena Park, CA – Fujifilm X-T5

*Bumper Cars* – Buena Park, CA – Fujifilm X-T5

*Blacksmith Working* – Buena Park, CA – Fujifilm X-T5

*Faux Tree Branch* – Buckeye, AZ – Fujifilm X-T5

*Three Bathtub Ducks* – Buckeye, AZ – Fujifilm X-T5

*Red Comb* – Buckeye, AZ – Fujifilm X-T5

*Dog Resting in the Shade* – Riverside, CA – Fujifilm X-T5

*Paseo Avila* – Riverside, CA – Fujifilm X-T5

*Illuminated Dilapidation* – Litchfield Park, AZ – Fujifilm X-T5

*Permanently Opened Door* – Litchfield Park, AZ – Fujifilm X-T5

*Hole in the Wall* – Litchfield, Park, AZ – Fujifilm X-T5

*Sonoran Saguaro* – Buckeye, AZ – Fujifilm X-T5

*Cholla Cactus* – Buckeye, AZ – Fujifilm X-T5

*Unlit Headlamp* – Buena Park, CA – Fujifilm X-T5

*Tattoo & Turkish Pizza* – Tempe, AZ – Fujifilm X-T5

*Thunderbird Tire* – Surprise, AZ – Fujifilm X-T5

*Thunderbird Taillight* – Surprise, AZ – Fujifilm X-T5

*Inside Dodge Travel Van* – Buena Park, CA – Fujifilm X-T5

*Summer Season in the Suburbs* – 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.

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

Find this Film Simulation Recipe and over 300 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Help Support Fuji X Weekly!

$5.00

New: Reala Ace Film Simulation

Posted on 19 Days Ago by Ritchie Roesch

Now that the X Summit is over and the GFX100 II has been officially announced, we have a little bit better idea of what exactly Fujifilm’s new film simulation is. First, the name is not Reala like was previously rumored, but Reala Ace. Not a huge difference, but different nonetheless.

Fujifilm has sometimes named certain film stocks differently in Japan than the rest of the world, and several film stocks were only made available in Japan. Fujicolor Reala Ace 100 was a color negative film sold only in Japan. Some speculated that it was the exact same thing as Fujicolor Superia Reala 100 (initially, Superia wasn’t in the emulsion name, but was added later) just sold under a slightly different name, while others said that Fujicolor Reala Ace 100 was a unique film similar to the Reala sold worldwide except fine-tuned for Japanese skin tones. For whatever reason, Fujifilm went with the name Reala Ace for their new film sim.

Prior to today’s announcement, I had speculated that “…the new film simulation will [not] be an accurate replication of Reala film, since Classic Negative is so close already; instead, I think Fujifilm is simply going to use the brand name for a film sim that has a neutral and natural rendering (true-to-life or real-like, yet leaning towards soft tonality and muted colors).” I also said, “I’m crossing my fingers that the Reala film simulation will be a tweak of Classic Negative that will more closely mimic Reala emulsions.”

I was half right and half wrong, but I’m quite happy to be half wrong. I was right that the film sim would lean towards soft tonality and have a true-to-life rendering. I was wrong that it wouldn’t look like Reala film or Classic Negative, because it does. You could call the new film sim Classic Negative v2, but Fujifilm named it Reala Ace.

*Leaving the Water* – Laguna Beach, CA – Fujifilm X-T5 – Fujicolor Reala 100 Recipe

How accurate is the Reala Ace film simulation to Reala film? It definitely has the right vibe, from the small number of samples I’ve found online. It isn’t all that dissimilar to my Fujicolor Reala 100 Film Simulation Recipe, either—in fact, I think just a few small adjustments to my Recipe brings the results closer to the new film simulation. Of course, I have no idea if those Reala Ace examples are unedited, and what parameter adjustments the photographer might have done, or if they’re all factory defaults.

Fujifilm has a graph demonstrating how the different film simulations fit on a tonality and saturation scale. It should be taken with a grain of salt. For example, there’s no way that Nostalgic Neg. is the second most vibrant film sim, because it’s not. PRO Neg. Hi has a little more saturation than PRO Neg. Std, yet they’re the same on the chart. Still, we can extrapolate that Reala Ace has softer tonality yet a tad higher vibrancy than Classic Negative.

Even though Reala Ace is essentially Classic Negative, I’m quite thrilled that this new film sim has an obvious analog aesthetic. Classic Negative is one of my favorite film simulations, and I’m sure Reala Ace will be, too, once I get a chance to use it someday in the future. My guess is that the upcoming Fujifilm X100Z (or whatever Fujifilm calls it… maybe they’ll name it X100Ace?) will be the first X-series camera to get Reala Ace. I won’t buy the GFX100 II (it’s way outside of my budget), so it might be awhile before I get to try it. From what I can tell, the new film sim will be found right below Classic Chrome and right above PRO Neg. Hi in the camera’s film simulation list.

Interestingly enough, there seems to be a lot of interest in this new film sim, but not necessarily by folks who will buy the GFX camera. The ones most excited seem to be those who anticipate that it will trickle to the X-series. Most of those who have reviewed the camera (who received a pre-production model from Fujifilm) barely mentioned it, and mainly as a passing thought. One did talk a little more about it (and right at the beginning), but otherwise the enthusiasm for Reala Ace seems to be much stronger from the X crowd than the GFX, despite it only found (for now) on GFX. This makes a lot of sense to me because most of those who shoot GFX cameras don’t use Film Simulation Recipes (yet there are some); however, many who have X-Trans cameras do use Recipes. Fujifilm should introduce new film sims on X-series models where they can better capitalize on that excitement, and not on GFX where it’s unimportant (generally speaking) to those buyers, essentially wasting the opportunity (hey, maybe Fujifilm should consult with me??!!).

I modified the Fujicolor Reala 100 Film Simulation Recipe on my Fujifilm X-T5, reprocessing in-camera some recent pictures on the SD Card, to more closely resemble the Reala Ace film simulation. You can find the Reala Recipe on this website (here) and on the Fuji X Weekly App. The modifications I made to the Fujicolor Reala 100 Recipe are: White Balance Shift set to 0 Red & +1 Blue (using Daylight WB… I also tried Auto White Balance with that same shift), Color Chrome FX Blue Strong, Color +1, Highlight -1.5, Sharpness 0, and Clarity -2. There are only a small number of examples of the new film sim, and it’s impossible to know if they’re 100% default Reala Ace or if they have been modified or edited in some way, but I think I’m in the ballpark with these settings. It’s pretty close. Below are some examples.

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

Fujifilm X-T5 in black:  Amazon  B&H  Moment
Fujifilm X-T5 in silver:  Amazon  B&H  Moment
Fujifilm GFX100 II:  B&H

Do 7 out of 10 Fujifilm Photographers Prefer PASM?

Posted on 20 Days Ago by Ritchie Roesch

*More Than Double Wide* – Arlington, AZ – Fujifilm X-T5 – 1970’s Summer Recipe

Once the upcoming GFX100 II is announced tomorrow, seven of the last 10 Fujifilm models will have been PASM cameras. First was the X-S10 in fall 2020, then the GFX100S in early 2021, followed by the GFX 50S II in mid-2021, then the X-H2s in mid-2022, followed closely by the X-H2, then the X-S20 back in May, and now the GFX100 II. The three non-PASM cameras released during that time are the X-E4 (which has since been discontinued despite more demand than supply), the X-T30 II (which was mostly just a firmware update to the X-T30, and has also been discontinued), and the X-T5, which has been out for a little over nine months now.

PASM cameras have a shooting-mode dial on top for Program, Aperture-Priority, Shutter-Priority, and Manual modes—most cameras by other brands have this dial. Traditionally, most Fujifilm cameras don’t have a PASM dial because the retro tactile controls found on most Fujifilm models make it unnecessary. It used to be that only the low-end entry-level models had PASM, and the rest did not. Beginning with the X-S20, Fujifilm began placing PASM dials (in lieu of the traditional knobs) on cameras that weren’t entry-level. Now, the highest-end models all have PASM.

When Fujifilm began to do this, a lot of the long-time loyal customers sensed a philosophy shift within the brand. Others insisted that, by offering more options, Fujifilm could attract new users, which would only be good, and those who prefer non-PASM had nothing to be concerned about. Well, actions speak louder than words, and it is clear that the shift has happened, even if it hasn’t been publicly spoken by Fujifilm (although I do believe that they have hinted at it several times).

What does all this mean? What exactly is this shift? What’s Fujifilm’s new focus?

Canikony brands—Canon, Nikon, and Sony—are focusing less on APS-C and more on full-frame. They haven’t abandoned APS-C, but are clearly spending much more R&D time and money on their higher-end products. I believe that Fujifilm sees an opportunity to position themselves as the clear leader and king of APS-C. While Canikony brands are aiming their attention towards full-frame, Fujifilm is putting their attention towards higher-end APS-C, along with the GFX line.

*Evening Charge* – Santa Rosa, NM – Fujifilm X-E4 – Kodak Portra 400 v2

A camera like the X-H2 can compete not just against the competition’s top APS-C models, but pretty well against their low-end full-frame and arguably even against mid-range full-frame models. A camera like the GFX100 II can compete well not only against other medium-format models, but also against high-end full-frame models. Fujifilm is clearly trying to gain market share by competing against the full-frame options from Canikony brands, both from below and above. In order to do this, Fujifilm clearly believes that they need to become more like those brands, instead of embracing what has made them successful in the past. In my opinion, Fujifilm should double-down on what is unique about their brand, and focus on better communicating why those unique characteristics are desirable. Instead, Fujifilm seems to be moving towards becoming a part of Canikony… Canikonyfilm?

I personally don’t care that GFX has gone fully PASM, as I’m not in that system. I have no skin in the game. I don’t think as many X-series photographers jumped into the GFX line as Fujifilm first thought would; the majority of those who have bought into the new system are first-time Fujifilm photographers—in other words, photographers largely coming from Canon, Nikon, and Sony. They’re used to PASM—many of them prefer it, actually—so it made sense for Fujifilm to make that change. Those hoping for a GFX 50R successor might be waiting a really long time.

I do care about X-series cameras, since I’m deeply invested into that system (more than most, I assume). Traditional tactile dial models have taken a backseat to PASM cameras. Yes, there’s the X-T5, but Fujifilm “cheapened” it just a little by not offering the battery grip like all the previous iterations of that series. The X100V replacement is supposed to be announced early next year, once the X100V is four-years-old. The X-Pro4 isn’t even visible on the horizon, despite that line being due for a successor. The X-T00 and X-E series are both in limbo, with their current versions being discontinued while the new ones are possibly far off, if they come at all (the X-T40 has been long anticipated—some people thought for sure it would come out sometime in 2022). If you want one of the two flagship models that offer the best-of-the-best, you’d better be happy with PASM. If you want IBIS but not PASM, the X-T5 is your only options (…for brand new, the X-T4 and X-H1 can be purchased used), while currently there are four PASM options with IBIS: X-S10, X-S20, X-H2, and X-H2s. Yes, the X-S10 hasn’t been discontinued, even though the two models released afterwards—one of which had a long backorder list—are no longer available.

A rumor has floated around for months that Fujifilm will announce a new X-series model sometime before the end of the year, probably in November. There’s been a lot of speculation that it will be an X-Pro4, since the X-Pro line is overdue for a new iteration, but there have been zero X-Pro leaks, so either Fujifilm is being historically tight-lipped about it, or it’s not coming until summer 2024 or sometime beyond. What, then, could this upcoming camera be? Whatever it is, it’s either inconsequential enough that it’s not worth leaking, or Fujifilm is keeping the lid on super tightly. My guess is the former. I think it will be an X-T30 III, which will be the same exact thing as the X-T30 II (which is basically the same thing as the X-T30), except with the X-Trans V processor (but still the X-Trans IV sensor), allowing for some autofocus and video spec improvements (plus Nostalgic Neg., and maybe Reala, but probably not), yet still keeping it under $1,000. Like the X-T30 II, it will probably just say “X-T30” on the body, skipping the roman numerals, because it’s basically the same camera.

*Golden Light in Abandoned House* – North Salt Lake, UT – Fujifilm X100V – Fujicolor Reala 100

2024 might be the year of the traditional dials. I suspect we’ll see an X100V and X-Pro4. It could be that the X-T0, X100, and X-Pro series are the last remaining without PASM. If, in fact, Fujifilm releases an X-T30 III in November, that will probably be the very last iteration of that series. If an X-E5 is ever made, it won’t likely be until 2025 sometime. I’ve heard that the X-T5 has been a smashing sales success, which I’m relieved about. I think if sales had sputtered, Fujifilm would have considered putting that series on the chopping block, too. So we’ll definitely get an X-T6 at some point. I don’t think Fujifilm will keep both the X-T00 and X-E lines, or, if they do, they won’t be available simultaneously. By the time we get to “20 years of X mount” there’s a strong possibility that only three lines remain with retro dials and styling.

Markets change. Goals change. Leadership changes. Vision changes. There are some (mostly those who own a PASM model) who will argue that Fujifilm had to pivot to survive. Maybe so. There are some (mostly those who have been in the system for less than three years) who say that no such pivot has happened, that all this is much ado about nothing. Perhaps. There are some (mostly those with PASM and who have been in the system only a short time) who will say I’m just too old and I complain too much, and that Fujifilm camera’s are now for a whole new generation of photographers with different wants and needs. That could be true, too. I’m just saying that I’ve noticed a shift, and I’m personally less excited and optimistic about Fujifilm’s direction. It’s the elephant in the room that I’ll be criticized for mentioning, but literally everyone who has been shooting with Fujifilm cameras for a long time notices.

The good news is that I already own the cameras that I need. As long as they’re operational, I don’t have a need for anything brand new. If Fujifilm releases something exciting, I’ll eagerly buy it, I’m sure. But if they never do, it’s not the end of the world. I can happily play with the toys I already have.

Interestingly, Nikon is supposedly announcing a retro-designed camera in about a week and a half. Maybe Nikon will position themselves as the next Fujifilm? I doubt it, but if they play their cards right and Fujifilm plays them wrong, it could happen. Either way, the more cameras with tactile controls the better. Unfortunately, the Nikon Zf will likely still have PASM, as Nikon won’t play their cards right. This is all, of course, my personal opinions. You might disagree with all of them, and that’s ok. I’m sure that most of us—and all of the regular readers of this website—can agree that Fujifilm cameras produce wonderful straight-out-of-camera JPEGs. Fujifilm has that right, no doubt about it! I just highly doubt that seven out of 10 Fujifilm photographers prefer PASM cameras, but maybe the user demographics have shifted by that much? I think it’s more of a reflection of who Fujifilm wants their customers to be rather than who their customers actually are, but in doing this they’ve created a self-fulfilling prophecy—if you build it, they will come. They have come and will continue to come, which is great. But I will remember when Fujifilm—back before they were a part of Canikonyfilm—made some exciting cameras that were much different and more beautiful than those from other brands—in fact, I’ll be reminded each time I open my camera case.

Why the Upcoming Nikon Zf won’t be a “Fujifilm Killer”

Posted on 26 Days Ago by Ritchie Roesch

Apparently, Nikon is about to announce a new retro-style full-frame camera called the Zf. The phrase “Fujifilm killer” has been floated around as if this camera will strike at the heart of Fujifilm’s market share. Let me give you a few reasons why this won’t be the case.

Before I begin, I want to applaud Nikon for creating a new retro-style camera. I believe the Zfc—their APS-C retro-looking model—has been a commercial success. I own one, although I almost never use it (the last time was on a trip to Sedona in May). Nikon hopes to build on the success of the Zfc with the upcoming Zf. Most camera companies don’t have the guts to create a beautifully designed body, so it’s great to see Nikon do it. I probably won’t buy a Zf personally (Nikon, if you want to send me one, I won’t say no!), but I’m sure it will be a very tempting camera for many.

Supposedly, the Zf will be a 24mp full-frame model with two memory card slots (one SD, one Micro-SD). It will be less plasticky than the Zfc, but it is unknown if it will be weather-sealed. Apparently, it will have IBIS and even pixel-shift. While I’m sure the Zf will generate plenty of excitement, it won’t be a “Fujifilm killer” for a few reasons.

First—and this is Nikon’s mistake—is there aren’t any Nikkor Z-mount lenses with aperture rings. I do believe that some of their lenses can be customized to make the manual-focus ring an (unmarked) aperture ring, but then you don’t have a manual focus ring. That’s not an ideal setup. Because the lenses don’t have aperture rings, Nikon will likely include a PASM dial or switch (like on the Zfc) to toggle on-and-off the knobs on the top plate, which is awkward and seemingly unnecessary. The best solution is to use a third-party lens that has an aperture ring and shoot in manual mode. Nikon should released a series of prime lenses with aperture rings along with the Zf (or, even better, back when they announced the Zfc), but I don’t think that will happen. This oversight means that you’ll have a really hard time replicating the Fujifilm shooting experience; if you want that, you’d better buy a Fujifilm camera instead.

*Nikon Zfc + TTArtisan 35mm f/1.4 + Vintage Color Recipe* – Sedona, AZ

Another important piece of the puzzle that Nikon lacks are JPEG Recipes. A lot of people buy Fujifilm cameras for Film Simulation Recipes, which can save you a lot of time and frustration while providing a more enjoyable experience. There are some Recipes for Nikon Z cameras (here, here, and here), but nothing like what’s available for Fujifilm. A community has even sprung up out of these Recipes, with photographers that are often extremely kind and welcoming. I don’t think there’s a better community in all of photography!

A number of people have said, “If only Fujifilm made a full-frame camera!” With Fuji, there’s either APS-C or medium-format, but not full-frame. At one time APS-C was for amateurs or hobbyists, while full-frame was for professionals and advanced enthusiasts, but that time has come and gone (yet the stigma doesn’t easily disappear, despite being outdated). Nowadays, there are tons of amazingly talented photographers who shoot with APS-C cameras.

The advantages that a 24mp full-frame sensor provides over Fujifilm’s 26mp or 40mp APS-C sensors are improved high-ISO performance and increased dynamic range, but it should be noted that Fujifilm’s cameras are quite excellent at high-ISO and dynamic range, so it only matters in extreme circumstances—and even then, only a little. People will mention depth-of-field (due to the crop factor), but that’s a bit overstated, as it depends on the lens focal-length and aperture—it’s possible to get a narrow depth-of-field on APS-C similar to full-frame, but not with identical focal-lengths and apertures.

*Fujifilm X-T5 + TTArtisan 35mm f/0.95 + 1970’s Summer Recipe* – Sedona, AZ

This isn’t to say that APS-C is just as good or better than full-frame. There are some advantages and disadvantages to both sensor sizes, but overall those advantages and disadvantages aren’t huge. In my opinion, the advantages of APS-C (which are size, weight, and cost) outweigh the advantages of full-frame, but each has to determine what makes the most sense to their unique desires and needs. My only point is that full-frame isn’t massively better (if better at all) than APS-C, so just because Nikon offers a similarly-styled model with a full-frame sensor doesn’t mean that Fujifilm should be quaking in their boots.

A fun side-by-side experiment would be the Fujifilm X-T5 with the Fujinon 33mm f/1.4 and the Nikon Zf with the Nikkor 50mm f/1.8. The Fujinon lens is 2/3-stops brighter, while the Nikkor has about 1/3-stop less depth-of-field (f/1.4 on APS-C has a depth-of-filed more similar to f/2 on full-frame, everything else being equivalently equal). Both offer the same field-of-view. While the Zf is full-frame, on paper the X-T5 has several spec-sheet advantages. The X-T5 is smaller, lighter, and cheaper; however, since the Fujinon lens is more expensive, the cost of these two kits will be similar. The “winner” of this experiment would likely depend on the photographer (one might lean Fujifilm while another might lean Nikon), but I bet it would be a very close call.

The yet-to-be-announced Nikon Zf will certainly be an excellent camera, and I think it’s smart for Nikon to make it. I don’t believe it will have any significant impact on Fujifilm sales. In fact, if it does well enough, it could even boost Fujifilm’s sales (similarly to how the X100V’s success has caused a spike in Ricoh GR III sales). Most of those who buy the Zf will likely be those already in the Z system. There might be some disgruntled Sony or Canon shooters who are considering switching brands who could be attracted to Nikon by the Zf. There might even be some Fujifilm X-T3 owners who are peeved that Fujifilm left their camera on an island who take a long look at the Zf. Overall, though, I don’t think the Zf will be a “Fujifilm killer” because—while it might have some lovely retro styling similar to what Fujifilm has become known for—it doesn’t offer the same shooting experience, due to the lack of an aperture ring, the inclusion of a PASM switch or dial, and the small number of JPEG Recipes available for it (plus the community built around that). The Nikon Zf will certainly be a popular model, but so is the Fujifilm X-T5—they both can exist simultaneously, and not step on each other’s toes.

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

Fujifilm X-T5 in black:  Amazon  B&H  Moment
Fujifilm X-T5 in silver:  Amazon  B&H  Moment
Nikon Zfc: Amazon   B&H

Creative Collective 054: FXW Zine — Issue 22 — September 2023

Posted on September 1 by Ritchie Roesch

The September issue of FXW Zine is out now! Creative Collective subscribers can download it today. Not a Creative Collective subscriber? Join to gain access to this issue plus all pervious issues of FXW Zine and the many bonus articles.

Issue 22 explores improving your photography by shooting during Golden Hour light. There are 23 pictures (including the cover) over 16 pages. Enjoy!

Subscribe to get access

Read more of this content when you join the Fuji X Weekly Creative Collective today! Click here to learn more.

The new Film Simulation will be…

Posted on August 30 by Ritchie Roesch

*On Top of the World* – Farmington, UT – Fujifilm X100V – Fujicolor Reala 100 Recipe

Fujirumors is reporting that the new film simulation that will be announced—along with the GFX100 II camera—on September 12 will be called Reala.

Fujicolor Reala 100 was Fujifilm’s first Superia film, even though initially it did not have Superia in the name. Superia films shared Fuji’s “4th layer technology” and Reala was the first to have it, but Reala was marketed towards “pro” photographers while Superia was marketed towards “consumer” photographers. Eventually Fujifilm added Superia to Reala’s name. There were several different versions of Reala manufactured, including a high-ISO Tungsten one made for motion pictures, but Reala 100 was the most popular. Reala was very similar to Superia, but Superia was intended for “general purpose” photography while Reala was intended for portrait and wedding photography. Colors are rendered a little differently between the two films, especially blue, which is deeper and more saturated on Reala, despite Reala being overall slightly less saturated than Superia 100. Fujifilm discontinued Reala in 2013.

When I read that Reala would be the name of the new film sim, I wondered how Fujifilm would differentiate the rendering of it from Classic Negative, which is closely modeled after Superia emulsions. Would it be a slight tweak with deeper blues and slightly lower vibrancy? After given it some thought, I believe that the Reala film simulation won’t be an accurate facsimile of Reala film, but something else entirely.

*Golden Light in Abandoned House* – North Salt Lake, UT – Fujifilm X100V – Fujicolor Reala 100 Recipe

Some film sims are meant to be somewhat accurate reproductions of specific emulsions, such as Classic Negative and Acros. Some are meant to be general representations of certain groups of films but not accurate to any specific, such as Classic Chrome (Kodak slide film) and Eterna (motion picture emulsions). Others are just brand names, and aren’t meant to accurately replicate the films they’re named after, such as Provia and Astia; in the case of Astia, Fujifilm says it renders the ideal of the emulsion—what the film would have looked like if they could have done it—but not the actual aesthetic. In the case of Nostalgic Neg., it’s meant to replicate an era of American film, and not any specific stock. Eterna Bleach Bypass emulates a darkroom process.

I have zero inside knowledge, so I can only speculate what the new Reala film simulation will look like. Come September 12th, we’ll have a much better idea. What I think you can expect is a neutral rendering. I believe that it will be low-contrast with accurate-yet-muted colors.

*Almost* – Farmington, UT – Fujifilm X100V – Fujicolor Reala 100 Recipe

A few weeks ago, a Fujifilm manager stated, “…it’s important for us that we have an image that is very clean. Because of course for editing in post-production, you can do anything, right? As long as the original image is very clean and has the best image quality.” The interviewer responded, “I guess my ideal would be if the camera could even save, say, an ‘undisturbed’ JPEG. It’s kind of funny thinking of a JPEG as some sort of a RAW format.”

That’s what I think the new Reala film sim will be: a very clean, “undisturbed” look as a foundation for editing. Maybe Eterna-like low-contrast toning with PRO Neg. Std-like colors, and maybe even more muted than that. From there, you can manipulate the file however you wish using your software of choice. I know there are people who want that, but probably most of those who read this website regularly will be disappointed if it’s true. I’ll hold out judgement until I see it, but I’m crossing my fingers that the Reala film simulation will be a tweak of Classic Negative that will more closely mimic Reala emulsions. If it does not end up replicating the film, I’m sure I will still be able to make some interesting Film Simulation Recipes with it, no matter how it looks. But… I’m sure it won’t be given to any currently existing cameras, only those models that come after September 12th, so it will likely be awhile before I get a chance to try it.

Report: Fujifilm will Introduce a New Film Simulation on September 12

Posted on August 28 by Ritchie Roesch

According to Fujirumors, Fujifilm plans to introduce a new film simulation on September 12, the same day they will announce the upcoming GFX100 II camera. It’s assumed that the new film sim will be found on the new GFX camera, although the rumor doesn’t state that outright.

I’m always excited when Fujifilm introduces a new film simulation, which should be pretty obvious. But I do wonder why Fujifilm has decided to introduce new film simulations on GFX models. Let me explain.

From the data I have, only a small number of people shoot Film Simulation Recipes on GFX cameras. The vast, vast majority do so on Fujifilm X-Trans cameras, not Bayer (GFX or APS-C). Most do so on X-Trans III or newer models, with the majority on X-Trans IV. While some people use film simulations on GFX cameras, most keep it in Provia/STD and adjust the color profiles in Lightroom to whatever they want. The film simulations are mostly for JPEG photographers (yes, Lightroom, Capture One, etc., have their own versions of them), and most GFX owners are not shooting straight-out-of-camera JPEGs, but instead are RAW editing.

Fujifilm introduced the Nostalgic Neg. film simulation, which is the latest film sim, on the GFX 50S II, and Fujifilm used it to promote that camera. Nostalgia Neg. didn’t become available on X-series models until the X-H2S, which was released a whole year later, and it wasn’t even mentioned in any of the promotional material for that camera or the one that followed. It was barely mentioned in the promotions for the X-T5, but at least they talked about it a little. By far, most of those using Nostalgic Neg. are doing so on the X-T5, X-H2, X-H2S, and X-S20, and only some are using it on the GFX 50S II and GFX100S.

*Stop for the Sunset* – Surprise, AZ – Fujifilm X-T5 – Emulsion ’86 Recipe – Nostalgic Neg.

Even though Fujifilm didn’t really use the new film sim to promote the X-Trans V models, I know that it was a significant reason why many have purchased and love the new cameras. Obviously it’s not the only reason or probably even the main reason for many, but an important reason nonetheless. The new film sim—despite Fujifilm doing so very little to get the word out about it—has been a fairly significant selling point for those buying X-Trans V cameras. Similarly, Classic Negative was a big selling point for many X-Trans IV models.

The lesson here is that new film simulations don’t do a whole lot to promote GFX camera sales because, for the most part, GFX owners don’t care about them. Obviously not all, but definitely the majority. On the flip side, new film sims are an important aspect of X-Trans buying decisions, as many X-series photographers use them regularly, yet Fujifilm ignores this potential opportunity. It just makes no sense to me, and I think it’s a pretty significant mistake by Fujifilm.

I don’t know what this new film simulation will be. I have many ideas on what it could be, but I have zero inside information on what it will be. It could be PRO Neg. Z, based on the Fujicolor Pro 800Z film stock. Another idea is PRO 400H, based on Fujicolor Pro 400H, which should produce pastel colors when overexposed like the film does. How about a super vibrant option based on Fortia 50? Or a film sim that replicates IR? Cross process? Instax? There are a lot of potential options.

I do hope that Fujifilm will give this new film simulation, whatever it is, to the current X-Trans V lineup via firmware updates, but I don’t think they will. They absolutely should, though. My guess is that the X100Z (or whatever they will call it) or X-Pro4—whichever model comes next—will be the first X-series camera to get it.

What do you hope the new film simulation will be based on? What are some good ideas for future film sims? Let me know in the comments!

Fujifilm SOOC Summer 2023 Photography Challenge

Posted on August 25 by Ritchie Roesch

I just became aware that Fujifilm Middle East is currently conducting a photography contest just for straight-out-of-camera pictures! Use either the factory-default film sims or Film Simulation Recipes. No editing allowed, only camera-made JPEGs.

The rules, which can be found on Fujifilm’s website, are simple enough:

MUST: Shoot RAW + JPEG
CANT: Post-process outside of camera
NEED: Finalists to submit RAW to verify
ALLOWED: Custom Recipes
COUNTRIES: UAE, KSA, Bahrain, Kuwait, Qatar, Egypt, Lebanon, Iraq, Uzbekistan, Nigeria and Pakistan
DEADLINE: 23 September 2023

Third prize is a $500 coupon for Fujifilm gear, second prize is a $1,000 coupon, and first prize is a $2,000 coupon… enough for a Fujifilm X-T5 or X-H2! If you reside in one of those 11 qualifying countries, definitely consider entering this competition.

*Sentinel & Merced* – Yosemite NP, CA – Fujifilm X100V – Vintage Color Recipe

One of the judges is Fujifilm X-Photographer Bjorn Moerman. If you’ve ever watched any of the SOOC Live YouTube videos, you’ll instantly recognize him, as he regularly tunes-in and participates in the show. You’ve likely seen several of his phenomenal pictures; a few are found in the latest Viewers’ Images slideshow published just today! Many of his amazing photographs are straight-out-of-camera using Fuji X Weekly Film Simulation Recipes (including all of those seen in the SOOC Live videos). Sometimes in photography competitions you have to wonder about who the judges are and if they’re actually qualified for that role, but not in this case, especially since Bjorn is one of them.

I love the idea of this competition, and I hope that it catches on. Shooting straight-out-of-camera JPEGs is becoming a more and more popular approach, and Fujifilm photographers are on the leading edge of it. Fujifilm North America should definitely do a SOOC photo contest, too—I think it would be a huge hit, while also spreading the word that Fujifilm cameras are capable of capturing incredible pictures that don’t require editing. For many people, that realization is a game-changer, making photography more enjoyable, more efficient, and more accessible.

The First 7 Film Simulation Recipes to try on your Fujifilm X-Trans V camera

Posted on August 24 by Ritchie Roesch

I get asked somewhat regularly which Film Simulation Recipes one should try first. Perhaps you just purchased your first Fujifilm camera, or maybe you’ve had one for awhile but have never tried Recipes before—with so many to choose from (there are now 300 Film Simulation Recipes on the Fuji X Weekly App!), it can be hard to know where to start. Which Recipes are essential to program into your camera right away?

Everyone has their own tastes and style, so what one person might love another might not. That’s why it’s great to have such a wide variety to choose from—there’s bound to be at least a few that you’ll appreciate. Options are good up until the point where there are too many, and it becomes difficult to decide. I don’t want you to be paralyzed by choices, so let me suggest seven to program into your C1-C7 Custom Presets first. You might love all of them, or you might find that only one or two suit you well. Either way, these are ones that you should definitely try.

This will be a series of articles. The first one, which you are reading now, is for X-Trans V models, and I’ll work my way through the other sensors in the parts to come. If you have a Fujifilm X-H2, X-H2s, X-T5, or X-S20, I invite you to program the Film Simulation Recipes below into your camera.

There are a couple of special notes about the X-S20. First, it has an X-Trans IV sensor but an X-Trans V processor, so it’s a bit iffy if it should be included in this list or with the X-Trans IV cameras; however, reports I have received indicate that, due to its rendering and options, it best fits in the X-Trans V category. Second, the X-S20 has only four custom presets and not seven, so pick the four below that are the most intriguing to you, and once you’ve had a chance to try those, then replace your least favorite with another from this list.

Without further ado, let’s take a look at seven Film Simulation Recipes to program into your Fujifilm X-Trans V camera first!

Kodachrome 64

Kodachrome 64

Kodachrome 64 was a classic slide film, and it’s become a classic Film Simulation Recipe. It’s very popular, and it would be a shame to not include it—in fact, I put it first for a reason. This is one of those Recipes that everyone should try! It produces a retro 1970’s through 1990’s slide film aesthetic reminiscent of the pictures found on the pages of magazines like National Geographic. For best results use in sunny daylight; however, it can be decent in other situations, too, like overcast, shade, and blue hour.

Kodak Portra 400 v2

Kodak Portra 400 v2

This Recipe mimics the aesthetic of one of Kodak’s most-loved color negative film stocks: Portra 400. As the name implies, it’s especially well suited for portraits, but it is also good for many genres of photography. Kodak Portra 400 v2 is another Film Simulation Recipe intended for use in sunny daylight situations, and it’s my favorite option for golden hour images.

Fujicolor Super HG v2

Fujicolor Super HG v2

Fujicolor Super HG v2 produces a 1980’s Fujifilm color negative film vibe, which is notably divergent from the aesthetic of the first two suggested options. Perhaps more importantly, this Recipe is highly versatile, and can be used for almost any subject or light—including overcast, indoor artificial light, and nighttime cityscapes—where some other Recipes might be less than ideal. If you are after one option that can do it all, take a look at this one.

Pacific Blues

Pacific Blues

The Pacific Blues Film Simulation Recipe is specifically intended for a sunny summer day at the beach, which it is absolutely incredible for, but it’s surprisingly good for other situations, too. I’ve had great success with it on dreary overcast and foggy days. I’ve used it for portraits. I’ve used it for natural light indoors. It’s definitely not always the best Recipe for a given situation, but it often does quite well, and sometimes the pictures it produces are just stunning.

1970’s Summer

1970’s Summer

If you want a vintage vibe from your photographs, 1970’s Summer is for you! It produces a New American Color aesthetic that will transport you back in time 50 or so years. For best results, use in sunny daylight—this is a great option for when the sun is high in-between the two golden hour periods. This Recipe isn’t particularly versatile, but when it works it’s absolutely incredible.

Vibrant Arizona

Vibrant Arizona

Vibrant Arizona mimics the Wes Anderson look that’s in-style right now. It’s bright, warm, and colorful. This Recipe is intended for use in sunny daylight, especially harsh midday light. It’s not always the best option, but in the right situations it’s wonderful.

Kodak T-Max P3200

Kodak T-Max P3200

It would be a shame not to include a black-and-white Recipe in this list, so we’ll conclude with Kodak T-Max P3200, which is not only a great monochrome option, but is also excellent for high-ISO photography. If the light is getting dim and you need to bump the ISO up a bit, this is a great one to use. Or if you want classic B&W pictures with grain and good contrast, the Kodak T-Max P3200 Film Simulation Recipe will produce that for you.

Coming soon: the next installment in this series!

Find these Film Simulation Recipes and many more on 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 X-T5 in black:  Amazon  B&H  Moment
Fujifilm X-T5 in silver:  Amazon  B&H  Moment
Fujifilm X-H2:  Amazon  B&H  Moment
Fujifilm X-H2S:  Amazon  B&H  Moment
Fujifilm X-S20:  Amazon  B&H  Moment

Help Support Fuji X Weekly!

$5.00

300th Film Simulation Recipe + Fuji X Weekly is 6 Years Old!!

Posted on August 21 by Ritchie Roesch

*American Paint Horse* – Litchfield Park, AZ – Fujifilm X-E4 – Kodachrome Blue Recipe

Today marks two very big milestones: I just published the 300th Film Simulation Recipe in the Fuji X Weekly App, and Fuji X Weekly began six years ago today!

Kodachrome Blue, which is a Patron Early-Access Recipe—meaning, it’s available right now to all those who subscribe to the Fuji X Weekly App—is the 300th Film Simulation Recipe. I never imagined that I’d publish so many—it only took six years! The next handful are already well in the works, so I’m far from finished creating them.

It’s shocking to me how many photographers are using Film Simulation Recipes on their Fujifilm cameras. I don’t know exactly how many, but from the data I have, I would estimate that it’s at least 100,000 people worldwide. I would guess that tens of thousands use Recipes regularly. The way photographers approach the craft is shifting, as the one-step philosophy has been catching on, especially over the last two years.

One-step photography is simply the elimination of the editing step. The process was initially invented by Edward Land, co-founder of Polaroid, who said, “…by removing most of the manipulative barriers between the photographer and the photograph, it is hoped that many of the satisfactions of working in the early arts can be brought to a new group of photographers.” He added, “All that should be necessary to get a good picture is to take a good picture, and our task is to make that possible.” The term one step photography was coined by Ansel Adams (yes, the legend himself!), who stated that Polaroid instant film cameras were “revolutionary” for both amateurs and professional photographers. He wrote a whole book about it called Polaroid Land Photography, and dedicated an entire chapter to the one-step approach. Film Simulation Recipes are having a similar revolutionary affect on modern photography. I’m really honored and humbled to have had a hand in that.

*This picture appeared in the very first Fuji X Weekly article, captured with my first Recipe: Acros*

It began six years ago today, when I published the very first Fuji X Weekly article. This website was originally a Fujifilm X100F journal—essentially, a long-term review of that particular model. I said in the first post, “If nobody ever reads this, I’m OK with that.” I also stated, “I want this to be a treasure for those who find it and are truly interested in its content.” People came—a lot of people, far more than I ever thought possible—as word of it spread, almost entirely organically.

Things took a completely different turn in the months and years to come. The focus shifted from one specific camera to all Fujifilm models. Film Simulation Recipes were initially only a small part of this website, but later became its primary focus. Then the App came. It’s really unbelievable how far all of this has come. And it’s thanks to you! Without your regular readership and continued support, Fuji X Weekly would have probably vanished awhile ago. I’m so very grateful to all of you!

Perhaps six years in the future we’ll look back, and today’s huge milestones will seem small in comparison. I can feel the tide building, and bigger things are on the horizon. I don’t know what exactly, but I can feel it. I hope that you’ll continue this journey together with me, and we’ll collectively see where it all goes, because it is indeed going somewhere. Thanks for being a part of Fuji X Weekly!

Now let’s all grab our Fujifilm cameras, head out the door, and capture some wonderful pictures using one or more of the Film Simulation Recipes in the Fuji X Weekly App. Not sure which to try? The Which Recipes When series is intended to help you with that. Still not sure, try the Random Recipe selector, and let the App choose for you!

Don’t have the Fuji X Weekly App on your phone? Download for free today, and consider becoming a Patron to unlock the best App experience and to support this website.

Magenta Negative — Fujifilm X-E4 (X-Trans IV) Film Simulation Recipe

Posted on August 21 by Ritchie Roesch

*Flag & Dome* – Hot Springs, AR – Fujifilm X-E4 – Magenta Negative

This Magenta Negative Film Simulation Recipe is intended to mimic the use of a Magenta Color Correction Filter, such as the Tiffen CC30M, which reduces the intensity of green, and is used to combat green color casts. Back in the film days, using Color Correction Filters was common, but it is much less so now, since you can dial in very precise white balance adjustments for whatever the light is; however, you can still use these filters if you want to. Instead of using a magenta filter, you can simply shoot with this Film Simulation Recipe.

Because this recipe uses Classic Negative, it has a generic Fujicolor Superia aesthetic; however, it is not meant to precisely mimic any specific Superia emulsion. The inspiration actually came from a YouTube video by Cammackey, entitled Fujifilm X100V Recipes / Old Film Tricks. A couple of Fuji X Weekly readers requested a Recipe similar to his, but without the need for extra gear. While Magenta Negative is a little different than his, it is intended to produce similar results, just without the need of a Color Correction Filter, which his Recipe requires. I want be sure that credit is given where it is due: Cammackey was the original influence for Magenta Negative.

*Abandoned Porch Seats* – Hot Springs, AR – Fujifilm X-E4 – Magenta Negative

This Film Simulation Recipe is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras. For X-Trans V, simply set Color Chrome FX Blue to Weak instead of Strong. Magenta Negative was published in June of 2022 as a Fuji X Weekly App Patron Early-Access Recipe, but it’s been replaced by a different Early-Access Recipe, so now it’s available to everyone!

Classic Negative
Dynamic Range: DR400
Highlight: -2
Shadow: -1
Color: 0
Noise Reduction: -4
Sharpness: -2
Clarity: -4
Grain Effect: Strong, Large
Color Chrome Effect: Strong
Color Chrome Effect Blue: Strong
White Balance: 5100K, +4 Red & +2 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: 0 to +2/3 (typically)

Example photographs, all camera-made JPEGs captured using this Magenta Negative Film Simulation Recipe on my Fujifilm X-E4:

*Overcast Bougainvillea* – Buckeye, AZ – Fujifilm X-E4

*Wet Red Rose* – Ridgedale, MO – Fujifilm X-E4

*Flowers by a Rock Wall* – Ridgedale, MO – Fujifilm X-E4

*Birdcage Wall* – Buckeye, AZ – Fujifilm X-E4

*Waterfall in the Ozarks* – Ridgedale, MO – Fujifilm X-E4

*Staircase Waterfall* – Ridgedale, MO – Fujifilm X-E4

*Unexpected Canyon* – Ridgedale, MO – Fujifilm X-E4

*Chapel & Cannon* – Ridgedale, MO – Fujifilm X-E4

*Pine Above Rooftop* – Ridgedale, MO – Fujifilm X-E4

*Magnolia Flag* – Hot Springs, AR – Fujifilm X-E4

*Ozark* – Hot Springs, AR – Fujifilm X-E4

*Little Cloud* – Hot Springs, AR – Fujifilm X-E4

*Plaza* – Hot Springs, AR – Fujifilm X-E4

*Window View* – Hot Springs, AR – Fujifilm X-E4

*Spiderweb on a Window* – Hot Springs, AR – Fujifilm X-E4

*Tree Prism* – Hot Springs, AR – Fujifilm X-E4

*Ford & Tree Shadows* – Hot Springs, AR – Fujifilm X-E4

*Steampunk Art* – Hot Springs, AR – Fujifilm X-E4

Find this Film Simulation Recipe and nearly 300 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Help Support Fuji X Weekly!

$5.00

What could a Fujifilm Digital XPan Camera look like and should they make it?

Posted on August 18 by Ritchie Roesch

In my Will there be a new Fujifilm X camera announced in September? article I mentioned that Fujifilm should include an XPan 65:24 aspect ratio as an option on the X-Pro4, whenever that camera comes out. GFX models already have this, but Fuji hasn’t given the XPan ratio to any X-series cameras. The X-Pro4 seems like a logical place to start, especially if it is given the 40-megapixel sensor, which has plenty of resolution to support the crop. But, should Fujifilm make a “real” XPan camera, and what would that look like?

XPan was a collaboration between Fujifilm and Hasselblad in the late-1990’s and early-2000’s. XPan cameras were 35mm interchangeable-lens rangefinders that produced panoramic pictures across two film frames—the pictures were twice as wide as normal 35mm images. The cameras were also capable of capturing regular 35mm frames, should the photographer not wish to create panoramic pictures. Two XPan cameras were made; Hasselblad called them XPan and XPan II while Fujifilm named them TX-1 and TX-2. The X100-series models have a striking resemblance to XPan cameras.

*XPan crop — Fujifilm X-T5 — CineStill 400D v1 Recipe*

I don’t think it would be all that difficult for Fujifilm to make a true XPan camera. It would require two APS-C sensors placed side-by-side, or—probably more preferably—one chip cut to the same size as two. The lens would be the big issue, since X-Series lenses wouldn’t offer enough coverage. Either Fujifilm would make it a fixed-lens camera (like the X100V, but with a different lens that has coverage), or they’d need lenses that would cover the wide frame. If they decided on the interchangeable-lens concept, GF-mount lenses from the GFX series would have enough coverage, so it would make sense to use them. In other words, the XPan camera would technically be GFX, but in an X-series body and with an X-Trans sensor.

Even though the TX-1 and TX-2 looked more similar to the X100V, I think using an X-Pro body would be a good option to build it on. Call it the TX-Pro4 or X-Pan1 or something like that. The hybrid viewfinder would need to be modified to accommodate the wider frame, but otherwise the camera wouldn’t need a whole lot of changes.

*XPan crop — Fujifilm X-T5 — Kodak Ektachrome E100VS v1 Recipe*

There are three different sensors that Fujifilm is currently using in the X-Trans V generation of cameras: 40-megapixel (X-H2, X-T5), 26-megapixel stacked (X-H2s), and 26-megapixel X-Trans IV (X-S20). Which would they put into the XPan camera?

If they chose the 40-megapixel option, which would actually be 80-megapixel, that would be the most marketable, since megapixels sell. On the 100-megapixel GFX cameras, the XPan aspect ratio reduces the resolution to 50mp, while the 50-megapixel models reduces the resolution to 25mp; 80mp would be much more than either! The disadvantage would be the processing power required and heat dispersion necessary, which would be a huge challenge for Fujifilm, so I don’t think this is a likely option.

*XPan crop — Fujifilm X-T5 — Fujicolor Superia 100 Recipe*

The other two are both 26-megapixel sensors, which would equal 52mp on an XPan model. This would be the same resolution as using the XPan aspect ratio on the 100mp GFX cameras. The new stacked sensor is great for speed but is much more expensive, while the older X-Trans IV sensor is still good yet affordable. Of the two, the stacked sensor is the most intriguing; however, it would likely raise the price of the camera by around $800-$1,000 over using the X-Trans IV option. As the X-S20 demonstrates, pairing the X-Trans IV sensor with the X-Trans V processor is a viable option, and probably what Fujifilm should choose.

Basically, I’m suggesting that Fujifilm modify the (eventual) upcoming X-Pro4 with two 26mp X-Trans IV sensors (instead of the presumably 40mp X-Trans V sensor that the regular X-Pro4 will have), utilizing X-Processor 5. This would give the camera 52mp of resolution when shooting the XPan aspect ratio, or 26mp when shooting in 3:2. The XPan camera would have over 2.5-times more resolution than shooting a 40mp sensor cropped to the XPan aspect ratio.

*XPan crop — Fujifilm X-T5 — Classic Slide Recipe*

Who would buy this camera? Wouldn’t it be super niche? It would indeed be niche, but it would also be a “wow” product that a lot of people would talk about. Where I think it would get a lot of unexpected attention is with cinematographers, since some of the ultra-wide aspect ratios (think Ultra Panavision) could be shot in 4K, 6K, and possibly even 8K. Also, it would provide a bridge between the X-series and GFX, since those with GFX models could use their existing lenses on this camera, and those not in the GFX system could eventually jump in after buying a couple lenses for their XPan model.

Will Fujifilm make this camera? Probably not. I’d be pretty shocked. Should they? I think so. I believe it would sell well enough that it would be worthwhile for Fujifilm. I’d definitely buy one! Would you?

Provia/STD — Fujifilm XF1 (EXR-CMOS) Film Simulation Recipe

Posted on August 17 by Ritchie Roesch

A Film Simulation Recipe for the Fujifilm XF1, X100, X10 & X-S1 cameras.

*Tower Above the Trees* – Buckeye, AZ – Fujifilm XF1 – Provia/STD Recipe

This Film Simulation Recipe was simply an attempt to improve the factory default Provia film sim, with the goal of creating a more analog-like rendering. On the XF1, Provia doesn’t look half bad out-of-the-box, but I thought with some adjustments, I could make it better. I think it turned out pretty well—I’m quite happy with the results I’m getting from this Recipe.

The Fujifilm EXR-CMOS sensor generation quality reminds me of analog half-frame, which are cameras that only expose half of a 35mm frame, allowing you to get twice as many pictures on one roll of film, but at the expense of image quality. For smaller prints it’s no big deal, but if you want to enlarge bigger than 8″x10″, the difference is noticeable, particularly the larger you print. For internet viewing and prints up to 8″x10″, the image quality from the Fujifilm XF1 is great, but I wouldn’t want to print large or crop deeply, because it would begin to fall apart. With that said, I do like the rendering from this camera—it’s a bit different from the other sensor generations.

*Lamps & Neon* – Buckeye, AZ – Fujifilm XF1 – Provia/STD Recipe

This “Provia/STD” Film Simulation Recipe is compatible with the Fujifilm XF1, X100, X10, and X-S1 cameras. You can use it on X-Trans I, X-Trans II, and Bayer models, too, but it will look slightly different (feel free to try, though)—at the bottom of this article is one picture captured on my Fujifilm X70, which is an X-Trans II model, using this Recipe.

Provia/STD
Dynamic Range: DR-Auto
Highlight: -1 (Medium-Soft)
Shadow: -1 (Medium-Soft)
Color: +1 (Medium-High)
Sharpness: -1 (Medium-Soft)
Noise Reduction: -2 (Low)
White Balance: 5600K, -3 Red (R/CY) & -1 Blue (B/Ye)
ISO: Auto, up to ISO 1600
Exposure Compensation: 0 to +1/3 (typically)

Example photographs, all camera-made JPEGs using this Provia/STD Film Simulation Recipe on a Fujifilm XF1:

*Potted Palm* – Buckeye, AZ – Fujifilm XF1

*Five-Story Tower* – Buckeye, AZ – Fujifilm XF1

*Block Wall Vines* – Buckeye, AZ – Fujifilm XF1

*Singular Bulb* – Buckeye, AZ – Fujifilm XF1

*Yellow Trumpet Blossoms* – Buckeye, AZ – Fujifilm XF1

*Bunch of Blossomed Bougainvillea* – Buckeye, AZ – Fujifilm XF1

*Roof Design* – Buckeye, AZ – Fujifilm XF1

*Street Lofts* – Buckeye, AZ – Fujifilm XF1

*Multicolored Water in Mason Jars* – Buckeye, AZ – Fujifilm XF1

*Moose Antlers* – Buckeye, AZ – Fujifilm XF1

*Fuji X Weekly* – Buckeye, AZ – Fujifilm XF1

Comparison

*Captured using this Provia/STD Recipe on a Fujifilm X70*

Find this Film Simulation Recipe and nearly 300 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Help Support Fuji X Weekly!

$5.00