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15 Cool Film Simulation Recipes for Fujifilm Cameras

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

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

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

Jeff Davenport Night

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

CineStill 800T

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

Kodacolor VR 200

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

Thommy’s Ektachrome

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

Ektachrome E100

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

Chrome Slide

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

Kodachrome Blue

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

Fujicolor Blue

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

Nostalgic Print

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

Classic Slide

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

Standard Provia

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

Fujichrome Provia 100F

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

AgfaChrome RS 100

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

Agfa Ultra 100

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

Urban Vintage Chrome

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

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Fujifilm should have Newtro Apparel

Posted on October 3 by Ritchie Roesch

*A Kodak Moment* – Antelope Island SP, UT – Fujifilm X-T20

Three months ago, the New York Times published a story entitled The Kodak Brand Gets a Second Life. In South Korea, there are over 120 Kodak Apparel stores that sell shirts, hats, sunglasses, handbags, luggage, and more with the Kodak logo on them. Kodak Apparel isn’t a part of Eastman Kodak, but a different company called Highlight Brands that simply licenses the name from Kodak. While Kodak Apparel is currently huge in South Korea, it hasn’t quite caught on worldwide… yet. But that’s about to change.

Just today I saw that Reebok collaborated with Kodak, and has released some cool shoes and clothes with vintage Kodak branding. “The resurgence of film is here as Gen Z continues to lean into the ’90s for inspiration and trends,” Carmen Hardaway, director of Reebok Classics and Energy collaborations, told PetaPixel. “Kodak is being rediscovered by a whole new generation inspired by the endless possibilities of film and print colliding with today’s technologies.”

The New York Times suggests that this is a part of an international trend being dubbed newtro, a combination of new and retro. Newtro describes something that is brand-new but seems to be or nods to something that’s vintage. Many Fujifilm cameras, like the X-E5, X100VI, X-T5, X-T50, X-M5, and X half, fall into this category. The X-Pro would, too, if they were currently making one.

What’s old is cool again. While antiques and vintage things are “in” right now, so are things that just seem to be retro or pay homage to that. It shouldn’t be surprising that Kodak clothes are extremely trendy in South Korea. What is surprising is that companies like Kodak and especially Fujifilm aren’t doing more to capitalize on the newtro movement. Yes, Fujifilm is certainly benefiting from it when it comes to camera sales, but they could be doing so much more.

*Fujifilm Drip* – NYC, NY – Fujifilm X-T50 – Pacific Blues

People want to sport their favorite brands. As my kids would say, they want their fit to be fire. I would wear a Kodak Film shirt, and carry Kodachrome duffle bag. These things need to become available everywhere, and not just in South Korea. The Reebok collaboration is a significant step in that direction. While Fujifilm does have a merch store, it’s pretty small with only a handful of options, and most if it isn’t newtro. Even if they have no interest in becoming an apparel brand, Fujifilm should license out their logo—especially their old emblems and trademarks—for other companies to use. I don’t know if they realize just how big this could be. It’s not just about getting a little extra revenue from apparel, but more about increasing brand recognition and affinity.

Shirts, sweaters, jackets, and things like that are obvious options that both Kodak and Fujifilm should sell (or license to a third-party). Camera accessories—straps, bags, etc.—should not be overlooked. For Kodak, why not license to a camera brand? There could be a Leica M11 Kodak collectors edition, with some red and yellow trim, for example. Or—shockingly—a Kodak edition of a Fujifilm camera, something like my faux Kodak Retina.

The benefit of Fujifilm putting their name and logos on clothes, hats, bags, etc., (which would likely be licensed products sold via a third party, like Kodak is doing with Highlight Brands and Reebok) is that the brand is carried into everyday life. Fujifilm has already cultivated a lifestyle around creativity, nostalgia, and artistry, and apparel makes that identity wearable. Every hoodie, hat, or jacket becomes a walking billboard. It can spark conversations like, “Oh, you shoot Fujifilm too?” That organic visibility extends recognition far beyond traditional advertising. And it can serve as an entry point into the brand, reaching people who may later buy a Fujifilm camera and not just a shirt.

Fujifilm’s recommitment to retro-styled bodies comes at an opportune time. With the historic demand of the X100VI, which has already outsold any previous X100-series camera, Fujifilm is working overtime on production—this camera has been a massive hit. Just this year Fujifilm released the GFX100RF, X half, and X-E5. Newtro doesn’t just apply to physical products, though. Fujifilm’s Film Simulations (and, of course, Film Simulation Recipes) are a big part of the appeal. Think of them as newtro aesthetics. They’re not quite film but a big nod to the retro look that film has produced for a very long time. Fujifilm has a massive leg-up on this compared to their competition, and it is an under appreciated aspect of their success. I think, though, that we’re seeing just the tip of the iceberg, and there’s a huge untapped potential. Kodak and Fujifilm both have big opportunities, and they could learn from each other how to fully capitalize on it.

Fujifilm X Half makes Unique Photos Instantly

Posted on October 3 by Ritchie Roesch

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

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

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

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

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

Above: Various pictures captured with the Fujifilm X half

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

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

Camera Makers are Joining the Recipe Fun

Posted on October 1 by Ritchie Roesch

I was quite surprised this morning to see OM Systems (formally Olympus) using the Recipe concept and name for their OM-3 cameras. Instead of calling it Film Simulation Recipes, they named it Creative Recipes. Last year, Nikon also began using the Recipe concept, with the title Imaging Recipes. There are other similar concepts, like Panasonic LUTs, that have recently emerged.

When I published my first two Film Simulation Recipes—which were originally shared on my previous (and now long-defunct) website before they were posted to Fuji X Weekly when I began this blog in 2017—the whole Recipe concept was brand-new. The straight-out-of-camera JPEG community was much, much smaller back then, and often this community existed in the shadows because not shooting RAW was heavily stigmatized. Some photographers were shooting JPEGs, and a few shared their settings, which typically more simply looked like: Classic Chrome, Color +1, Highlight -1, Sharpness -1. In 2017, almost nobody had heard the term Film Simulation Recipe, and for those who had, most—if not all—were visitors to this website.

*Hair & Lips* – Ogden, UT – Fujifilm X100F – Classic Chrome Recipe

The word “recipe” has existed within the photo community for a long time now—I certainly didn’t invent it. Film photographers would create and share darkroom recipes, which were the specific chemicals and times to achieve certain results with specific films. I learned fairly recently that both Capture One and VSCO call their custom-built presets “recipes” and have done so for many years. Five or six years ago someone asked me why I used the word Recipe for JPEG camera settings, and my answer was: they remind me of cookbook recipes. When my wife learned that I was calling them Recipes, she told me it was cringe, and I probably should have thought of a different word.

But here we are eight years later, and Recipe has solidified itself within the lexicon. Fujifilm is officially using it, as are Nikon and OM Systems. It’s becoming increasingly common terminology across the photography continuum. Perhaps more important than that, the acceptance of straight-out-of-camera JPEG photography as a legitimate path has increased by leaps and bounds. There are still some gatekeepers who insist that all serious photographers must shoot RAW, and JPEG photography is only for amateurs, but that ideology has significantly decreased over the last few years. There’s no right or wrong way to do photography—do what works best for you, whatever that is.

*California Coast* – Montaña de Oro SP, CA – Ricoh GR III – Vibrant Nostalgia Recipe

I’ve published over 400 Film Simulation Recipes for Fujifilm cameras since 2017. In August 2021, I began publishing Recipes for Ricoh GR cameras. I published some Nikon Z Recipes in 2022. This helped spread the concept across brands, reaching new communities. This whole thing has grown rapidly, and I’ve had a front-row seat to it all. I’m amazed to see how far it’s come, and honored to have played a major role in it.

One difference between Fujifilm and Ricoh Recipes vs. Nikon and OM Systems Recipes is that the former is largely community driven and the latter is largely corporately driven. In other words, what exists for Fujifilm—the whole community—is almost entirely an organic movement, which started with regular customers—people who weren’t well-known—who spread it across the brand by word-of-mouth. It was a bottom-up initiative, and not top-down. Same for Ricoh. It came very naturally from the enthusiasm of the customers. Nikon and OM Systems (and I’ll throw Panasonic into this, too) are attempting to jumpstart the movement from HQ. I don’t blame them for doing so—if I were a camera maker, I’d want to do everything possible to foster such a community for my brand. If it’s not happening organically quickly enough, why not build it yourself? Other camera makers will inevitably join in. By the way, this isn’t my observation; an industry insider pointed it out to me, with the prediction that the corporately-driven communities are less likely to be as strong as the organic communities. Time will tell, I guess. I sincerely wish them all great success, and I truly hope that it does catch on for every brand, and isn’t just a passing fad. I’d like to see this continue to grow and grow and grow across all of photography.

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

Something that I’d like for Fujifilm to help implement—something that some of these other companies are doing better—is an easier process to add Recipes to the camera. Right now it’s pretty much an all-manual process. You should be able to transfer Recipes directly from your phone to the camera; preferably, you shouldn’t have to manually input them or even connect your camera to a computer. Best case scenario is that it’s done wirelessly right from your phone. I’d love to help Fujifilm create such a process, if they’re willing.

If you are unsure why JPEG Recipes—whether they’re Film Simulation Recipes, Ricoh Recipes, Creative Recipes, or Imaging Recipes—are popular right now, it’s because they’re so transformative. As I’ve said in the past: shoot more, edit less, and let your camera be your darkroom. In other words, Recipes make photography easier, more authentic, and more enjoyable. Film Simulation Recipes changed my life, no hyperbole. I became a more productive photographer while simultaneously improving my home life, while not sacrificing image quality. The journey has been incredible. The community that has sprung from Recipes is nothing short of fantastic—you all are truly the best. The community is the recipe.

The Fujifilm Charm — Create With Us Recap

Posted on September 30 by Ritchie Roesch

*Me, at Create With Us, During Setup* – Minneapolis, MN – Fujifilm X-E5 – 1970’s Summer

I returned home late last night from Fujifilm’s Create With Us event in Minneapolis, Minnesota. This was their third annual Create With Us—I was fortunate to be at the last one, too, which was in Austin, Texas. It was a very quick trip: I flew out Saturday evening, and the returning flight landed just before midnight on Sunday. It was a whirlwind, but I’m so glad that I got to be a part of it.

Fujifilm assigned me three jobs: assist with a Fujifilm X-E5 and X-T50 touch-and-try station, cohost a Tech Talk with Christopher Gilbert, and lead a photowalk. The topic of the Tech Talk was straight-out-of-camera photography. Christopher and I discussed the various Film Simulations, how to set up a Film Simulation Recipe in the camera, and how to reprocess a RAW file using the in-camera RAW converter. It was a fun experience, and hopefully educational for those in the audience (the next Tech Talk is on Wednesday, October 1st).

*Rooftop View* – Minneapolis, MN – Fujifilm X-E5 – Kodak Vericolor VPS

The photowalk was great. It was supposed to be limited to 15 attendees, plus myself and two assistants (someone from Fujifilm, and a local photographer), and two models. We ended up with over 25 people in total (including myself, the two assistants, and the two models). The new Fujifilm North America CEO Ryuichi “Richie” Matoba (forgive me if his official title is not exactly that) also attended. He was the CEO of Fujifilm Australia, but as of a month ago Richie was given the reins of the North America office. It was an incredible honor to have him join the photowalk! I didn’t get a chance to talk much with him, but I would love an opportunity for a longer conversation (I have a lot of feedback and ideas), should he happen to read this.

It was an honor to photograph with and meet in-person all those who attended the photowalk. The two models were great, too. I’m grateful for those who stopped by the touch-and-try booth to say hello. It was a really good event, and I’m sure all who attended can attest to that. If there’s ever a Create With Us event near you in the future, be sure to attend—it’s well worth whatever effort it takes to get there.

*Eterna 55* – Minneapolis, MN – Fujifilm X-E5 – Kodak Pro 400

The only camera I brought with me was my Fujifilm X-E5. This is such a great travel camera, and for a quick there-and-back adventure, I really didn’t need anything else. I especially appreciate that you can program up to 11 Recipes into the X-E5. I attached the new Fujinon 23mm f/2.8 pancake lens to the camera, and also brought along a Pentax-110 50mm f/2.8 lens and adapter for a second option. One spare battery, which I didn’t even use, rounded out the kit.

Probably the most interesting thing that I learned at Create With Us was from a somewhat off-handed comment from a Fujifilm employee. It would have been really easy to overlook what was said. I don’t think it was intended to be interpreted as an official statement, but I was fascinated by it, so I want to share it with you: “Each sensor generation has its own unique charm. Some people like the Provia rendering of X-Trans I, some people like the Velvia rendering of X-Trans II—each one is different.” I might not have the quote 100% correct, but that’s the gist of it.

*Eterna Demo* – Minneapolis, MN – Fujifilm X-E5 – Cinematic Film

The insinuation was (at least as I understood it when it was said) is that the small differences in image rendering between sensor generations, and even the much more subtle differences camera-to-camera within the same sensor generation, is intentional and even a feature. It’s kind of like when an emulsion is updated, it looks slightly different than it used to; one person might prefer the “old” version of the film, while another might prefer the updated iteration. For example, when Kodak went from the second to third generation of Kodachome in 1974, some photographers liked the change, and some (like William Eggleston) didn’t. If you preferred the old version of Kodachrome, you were soon out of luck once it sold out. Fujifilm cameras are a different story because you can still buy the old models on the second-hand market. You can find and use the one with the charm that you most prefer. Maybe that’s the X-Pro1. Perhaps it’s the X-T1. It could be the X100F. Possibly it’s the X-E4. Maybe it’s the X-T50. Or some other camera. It’s up to you to find the one that you especially love, and the intention is that you’ll continue making photographs with it for a long time, and not just for a couple of years until the next iteration is released.

The specific hardware and software in the camera plays a role in the image rendering. It would be extraordinarily difficult to 100% match the output of various sensors and processors. You can get very, very close, though; however, 100% exactly matching is not quite possible. That’s certainly a part of it. Maybe you don’t want to perfectly match the output anyway, if it would require ignoring a benefit of the updated technology. It could be that the new technology allows the programmers to better achieve the intended results, which were less possible with the older technology. Perhaps the vision of what those results should be has been tweaked a little over time. All of that is a factor. But that’s not the point that was made: each Fujifilm camera generation has its own unique quality, which was purposefully crafted, and you might especially like the particular charm of one more than the others. Since they’re not all perfectly identical, you get to decide which is your favorite.

Above: Fujifilm X-E5 — Kodak Tri-X 400 — Phoenix Sky Harbor Airport, Arizona

My personal favorite is the fourth generation. I think the JPEG output of the X100V, X-T4, and X-E4 (I own those specific models) is special. The fifth generation, which has the advantage of Nostalgic Neg. and Reala Ace, is a very close second-favorite for me. There’s an obvious difference in output between those two generations, most notable (but not limited to) how deeply blue is rendered on some film simulations. Whether you prefer either of those two generations—or a different one entirely—is up to you; I really like the output from the Fujifilm X-Pro2, for example.

We’re all unique. Each of us have our own unique styles. We all have our own tastes. As the saying goes: Different strokes for different folks. The beauty of Fujifilm’s approach is that no X-series camera generation is objectively better than another. Each one might be considered subjectively better, just depending on who you ask, but they each have their own charm. You might even prefer certain aspects of one and certain aspects of another, and use both.

Above: Fujifilm X-E5 — Superia Negative — Minneapolis, Minnesota

When it comes to other brands, for the most part you really don’t hear people talk about the picture charm of various models. People don’t discuss the image quality magic of (say) the Canon Rebel T7i or debate which Sony A6000 series model has the best picture profile rendering. This seems more exclusive to Fujifilm, and it’s because Fujifilm intended each iteration to have a unique allure, which sparks the discussions and debates, but more importantly it provides an avenue to connect with and really love the gear you use.

Below are the photographs that I captured on the Create With Us photowalk in Minneapolis with my Fujifilm X-E5.

*Fujifilm X-E5 & Fujinon 23mm f/2.8 — Kodak Portra 400 v2*

*Fujifilm X-E5 & Fujinon 23mm f/2.8 — Superia Negative*

*Fujifilm X-E5 & Fujinon 23mm f/2.8 — Kodachrome 64*

*Fujifilm X-E5 & Fujinon 23mm f/2.8 — Nostalgic Film*

*Fujifilm X-E5 & Pentax-110 50mm f/2.8 — Superia Negative*

*Fujifilm X-E5 & Pentax-110 50mm f/2.8 — Kodak Portra 400 v2*

*Fujifilm X-E5 & Fujinon 23mm f/2.8 — Xpro ’62*

*Fujifilm X-E5 & Fujinon 23mm f/2.8 — Kodak Tri-X 400*

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

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

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My Top 10 Favorite Recipes of 2025 (so far)

Posted on September 25 by Ritchie Roesch

*Buckeye Motor Hotel* – Buckeye, AZ – Fujifilm X-E5 – Summer Sun

So far in 2025, I have published 29 Film Simulation Recipes; however, 14 of those were a part of the Universal Negative Recipe set, which if you only counted that as one Recipe (and not 14), that means I’ve published 16. For the purpose of this article I’m counting all 14, so 29 total. Of those, I wanted to share which 10 are my personal favorites and why you might want to try them yourself. The list below are not in any particular order. Let’s dive in!

Kodak Vericolor VPS

I published the Kodak Vericolor VPS Recipe on July 7th. It uses the Nostalgic Neg. film simulation, and has a retro negative film aesthetic. It’s surprisingly versatile—I’ve had good results in sunny daylight, overcast, indoor, and even at night. This Recipe is compatible with the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF.

Kodak Pro 400

This is the second most recent Recipe, published earlier this month on September 5th. It’s an alternative Kodak Portra 400 aesthetic, using the Reala Ace film simulation. Like the first Recipe, this one is surprisingly versatile—I’ve had good results in sunny daylight, overcast, indoor, and even at night. This Recipe is compatible with the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF.

Kodak Portra do Sol

The Kodak Portra do Sol Recipe, which was created by Gilson Teixeira, was published back on April 23rd. It’s a modification of my Bright Kodak Recipe, and uses Classic Chrome film simulation. This is excellent in sunny daylight conditions, and works pretty well in blue hour, as well. It’s intended for the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, and GFX100S.

Summer Sun

I published this Summer Sun Recipe, which uses the Reala Ace film simulation, on June 26th. It’s along the lines of Bright Summer, Eterna Summer, Summer of ’59, 1970’s Summer, California Summer, Texas Sun, Kodak Portra 800 v3, and others. Summer Sun works best in sunny daylight conditions, and is compatible with the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF.

Provia Summer

The Provia Summer Recipe is a Fuji X Weekly App Patron Early-Access Recipe, published way back on January 22nd. Unsurprisingly, it uses the Provia film simulation. Like Summer Sun, it is also along the lines of those same “Summer” Recipes, and it works best in sunny daylight situation (I did have some good luck at night with this). Provia Summer is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100S, GFX100 II, GFX100S II, and GFX100RF.

Velvia Slide

This is another Fuji X Weekly App Patron Early-Access Recipe, published on May 19th. It has a Fujichrome aesthetic similar to Velvia 100, and works best in sunny daylight, but can be good in some other light situations sometimes. This Recipe, which uses the Velvia film simulation, is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100S, GFX100 II, GFX100S II, and GFX100RF.

Retro Negative

This is a Universal Negative Recipe, which was published back on March 28th. It uses the Reala Ace film simulation, and is roughly reminiscent of photo prints from the 1990’s. It’s surprisingly versatile—I’ve had good results in sunny daylight, overcast, indoor, and even at night. This Recipe is compatible with the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF.

Fujicolor Superia 200

Another Universal Negative Recipe that was published back on March 28th, the Fujicolor Superia 200 Recipe, which uses the Classic Negative film simulation, is reminiscent of the film of the same name. Like Retro Negative, this is surprisingly versatile—I’ve had good results in sunny daylight, overcast, indoor, and even at night. This Recipe is intended for the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF.

Classic B&W

The Classic B&W Recipe was invented on a photowalk in Colorado. It uses the Acros+G film simulation, and was published on August 2nd. It’s already one of my personal favorite B&W Recipes. It’s compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100S, GFX100 II, GFX100S II, and GFX100RF.

Kodak Plus-X 125

This is the latest Recipe, published just a few days ago on September 20th. It uses the Acros film simulation, and was invented by Dylan Van Matre with some help from Anders Linborg. It’s going to be a fan favorite, I already know it. I don’t think it will overtake the Kodak Tri-X 400 Recipe as the most popular B&W Recipe, but it might become the second most popular—we’ll see. This Recipe is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100S, GFX100 II, GFX100S II, and GFX100RF.

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Join me THIS Sunday in Minneapolis

Posted on September 25 by Ritchie Roesch

If you live in or near Minneapolis, Minnesota, please join me at Fujifilm’s Create With Us event on Sunday, September 28th. This is going to be super fun, with a lot of different things going on. Bring your camera—have a spare SD Card just in case—and wear some comfortable walking shoes.

I’ll be cohosting a Live Fujifilm Tech Talk with Christopher Gilbert from 12:30 to 1:15. I’ll also be leading a photowalk from 2:00 to 4:00. At other times, I’ll be at the Fujifilm X-E5 touch-and-try station. If you go, be sure to find me at one of those spots, and say hello. Also, my friend Tom Baumgaertel (bewaremyfuji) will be leading a photowalk from 4:00 to 6:00, and you won’t want to miss it. There are other photowalks, too, that will also be excellent, so be sure to join at least one of them.

You have to register to attend, which costs $5. There are also some workshops on the 27th that cost extra. Hope to see you in Minneapolis!

15 Film Simulation Recipes for Fall Foliage Photography

Posted on September 24 by Ritchie Roesch

*Field of Gold* – Flagstaff, AZ – Fujifilm X-T5 – Kodak Gold 200

It’s officially fall! The leaves on the trees will soon change colors, putting on a vibrant show before they drop off completely in time for winter. Autumn is such a great time for landscape photography. The season goes by quickly, and it’s easy to miss out if you procrastinate. That means the time is now to prepare your gear.

One aspect of getting your cameras ready is choosing the Film Simulation Recipes that you may want to use. A common question that I get at this time of the year is: Which Recipes are good for fall foliage photography? There are over 400 to choose from, and they all might be at least ok for this purpose situationally speaking, but there are some that are certainly better than others.

The fifteen Recipes below are all good for autumn pictures. I have used each of them, and can attest that these are excellent options. This is not intended to be a comprehensive list by any means, and some that might be quite good for fall photos aren’t included—if one of your favorites isn’t found below, feel free to mention it in the comments. Also, what one might like another might not; everyone has their own tastes and styles. Perhaps only a few of these 15 are a good match for your personal taste, style, and situation—there’s bound to be at least one that you’ll appreciate.

Without any further delay, here are 15 Film Simulation Recipes for Fall Foliage Photography!

Kodachrome 25

Sharp, clean, and classic. This version of the Recipe is for the Fujifilm X-T4, X-S10, X-E4, X-T30 II, and GFX100S, and there’s another version for the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF.

Elite Chrome 200

Consumer-grade Kodak slide film aesthetic. Compatible with all X-Trans IV cameras except the X-T3 and X-T30, as well as the GFX100S; for fifth-generation X-Trans and newer GFX, set Color Chrome FX Blue to Off instead of Weak.

Kodak Gold 200

Warm negative film look. This version is for the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF, and there is another version that is compatible with the X-Pro2, X100F, X-E3, X-T2, X-T20, X-H1, X-T3, X-T30, and GFX100.

Kodak Ektar 100

Warm, colorful, and clean. Compatible with all X-Trans IV cameras except the X-T3 and X-T30, as well as the GFX100S; for fifth-generation X-Trans and newer GFX, set Color Chrome FX Blue to Off instead of Weak.

Kodak Portra 160 v2

Soft and warm negative film aesthetic. Compatible with the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF; for the X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, and GFX100S, set Color Chrome FX Blue to Strong instead of Weak.

Kodak Portra 400 v2

Warm negative film look. This version is for the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF, there’s another version for the X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, and GFX100S, and another version for the X-T3 and X-T30.

PRO Negative 160C

Fujicolor negative film look. This Recipe is compatible with the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF.

CineStill 400D v2

Warm and cinematic. Compatible with all X-Trans IV cameras except the X-T3 and X-T30, all fifth-generation X-Trans models, as well as the GFX100S, GFX100 II, GFX100S II, and GFX100RF.

Fujicolor Superia 100

Soft Fujicolor Superia aesthetic. This version of the Recipe is for the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, and GFX100S, and there’s another version for the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF.

Superia Xtra 400

Warmer and more colorful—yet more versatile—Superia aesthetic. This version of the Recipe is for the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, and GFX100S, and there’s another version for the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF.

Pacific Blues

Moody and bold. This version of the Recipe is for the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF, and there’s another version for the X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, and GFX100S.

Vintage Vibes

Retro aesthetic. Compatible with all X-Trans IV cameras except the X-T3 and X-T30, as well as the GFX100S; for fifth-generation X-Trans and newer GFX, set Color Chrome FX Blue to Off instead of Weak.

Velvia Film

Colorful, warm, and versatile. This Recipe is compatible with the Fujifilm X-T4, X-S10, X-E4, X-T30 II, X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100S, GFX100 II, GFX100S II, and GFX100RF.

The Rockwell

Vibrant, sharp, and bold. Compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100S, GFX100 II, GFX100S II, and GFX100RF.

Velvia

Colorful and sharp. This Recipe is for the Fujifilm X-Pro2, X100F, X-E3, X-T2, X-T20, X-H1, X-T3, X-T30, and GFX100.

My Post-Processing Workflow

Posted on September 22 by Ritchie Roesch

*Red Barn* – Ronks, PA – Fujifilm GFX100S II – Kodachrome 64

Sometimes I like to go back through the archives of this website, just to see what I wrote years ago. For example, on this day in 2018, I published My Fujifilm Post-Processing Workflow, which, looking back, wasn’t my best work. I had to reread one of the paragraphs twice just to understand what I meant—and I was the one who write it! That’s embarrassing. So I decided to rewrite the article, and make it relevant to 2025.

The question is: What is my post-processing workflow? In other words, what do I do with my photographs after they’ve been recorded to the SD Card? The answer is very simple: Download, crop/straighten, and upload. Of course, that’s the short, simplified answer. Let’s get right into a longer explanation.

*Horsetail Falls from Bridge* – Columbia River Gorge, OR – Fujifilm X100V – Improved Velvia

I’m a straight-out-of-camera photographer. I use Film Simulation Recipes to get the looks that I want in-camera, and avoid editing. This isn’t how I always did it. I used to shoot RAW and post-process my photographs in software on a computer. Once I realized that I could achieve my desired aesthetics in-camera without editing, I abandoned post-processing. This was immensely freeing, and it quite literally changed my life (no hyperbole). I became more productive, photography became more enjoyable, and my at-home life benefitted significantly, too.

When I wrote the original version of this in 2018, I was strictly JPEG-only at that time. I stopped shooting RAW altogether for awhile; however, RAW+JPEG has significant benefits, and for years now I’ve been shooting RAW+JPEG. One benefit of having the RAW file is that it can be reprocessed in-camera or with X RAW Studio (which, essentially, are the same thing—I don’t use X RAW Studio personally; I reprocess in-camera). First, it makes creating new Recipes much, much simpler (not simple, just simpler than doing so in a strict JPEG-only process). Second, I’m able to correct small exposure mistakes by reprocessing in-camera using the Push/Pull Processing feature (which is an exposure adjustment, and does not mimic push or pull processing in a darkroom). Third, I can change to a different Recipe altogether if I decide that I used the wrong one—this is something I try to avoid (it’s better to select the right one in-the-field), but it is sometimes worthwhile when the picture would have been better with a different Recipe. To reprocess a RAW file in-camera, simply push the Q-button while in playback mode.

The RAW files never leave my SD Card. Some people will keep them just incase they may wish to edit them in the future. It gives them a backup. I will keep the RAW file on the SD Card for awhile, but when the card fills up, I erase it. I don’t keep the RAW files. I see the JPEG as the finished photo, so I don’t desire to fill up an external hard drive or cloud storage with RAW files that I’m unlikely to ever have any use for.

Once I’m done photographing and ready to do something with my photos, I will cull through the images on my camera. Which ones do I want to keep? I select the frames I want, and transfer those JPEGs from my camera to my phone using the Cam Remote App or X App. I have both apps on my phone, and much prefer the old Cam Remote App, because 1) I’ve been able to get it to work for me consistently and flawlessly and 2) it is compatible with all of my cameras, and not just some (although the latest firmware updates for the newer cameras remove compatibility with the old app). The main point here is that I use one of Fujifilm’s apps to transfer the photos to my phone.

*Pool Remnant* – Rodanthe, NC – Fujifilm GFX100S II – Kodak Tri-X 400

After that, I use the Photos app on my iPhone to crop and/or straighten the pictures that need it. Even with the electronic level, I am so bad at getting a straight picture. For Recipes that use Strong/Large Grain, the Photos app will sometimes put a weird grid pattern on the picture (mainly with the Kodak Tri-X 400 Recipe), so for those I will use the Snapseed app for cropping/straightening. Most of my post-processing edits are complete at this point. For the majority of pictures, that’s it; however, some picture do require a minor exposure/brightness adjustment, and I also use the Photos app for that. For 99%+ of my photographs, that is the full extent of the editing. On a rare occasion, I will use Snapseed or the RNI app to apply further edits, but that’s pretty unusual nowadays, especially for pictures from my Fujifilm cameras.

Once I’m done with the editing stage, I upload the pictures to cloud storage. That’s it! I’m done, and ready for more photography. Downloading the pictures from the camera and uploading them to the cloud is probably the most time-consuming part of the process. The edit stage is pretty quick because not every picture needs an edit, and for those that do, it’s mostly just a quick tilt or a crop to remove a small distraction from the edge of the frame. I can have a whole vacation completely finished within a couple of hours.

*Orange Twist* – Buena Park, CA – Fujifilm X100VI – California Summer

A question that I often get is: If you print those pictures do they look good? Absolutely, they look great! I recently did some 2′ x 3′ prints from straight-out-of-camera JPEGs that look amazing. I’ve had great results with 16″ x 24″ prints from the 24mp and 26mp sensor cameras, and 12″ x 18″ prints from the 16mp sensor cameras. I think you can go larger than those sizes, but for sure you can go that large. I don’t do anything to prepare the images for print, I just have them printed at a quality lab, who I know will do a good job.

Post-processing can be as complicated or as simple as you’d like it to be. I much prefer a simple workflow, which has made a world of difference for me personally. I avoid editing, and mostly just crop and/or straighten, and sometimes make minor exposure adjustments. I can get through a whole day’s worth of pictures pretty quickly, which allows me to move onto other things, like more photography or spending time with my family.

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

Posted on September 17 by Ritchie Roesch

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

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

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

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

Appalachian Negative

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

1976 Kodak

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

Kodak Vision3 250D

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

Nostalgic Americana

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

Eterna Summer

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

Reala Ace

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

Pacific Blues

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

Superia Negative

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

Fujifilm Negative

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

Kodak Tri-X 400

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

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

Continue Making Digital Look Like Film (but only if you want to)

Posted on September 9 by Ritchie Roesch

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

There’s a strange article up on PetaPixel entitled Stop Making Digital Look Like Film by Bimal Nepal, that I want to offer a rebuttal to. I understand that there’s only so much that happens within the photo world on any given day, and on the slow days you might put out a controversial piece (a.k.a. click bait) to get views and such, especially when ad revenue is a major part of the business strategy. I don’t necessarily have a problem with that—after all, I have written some controversial articles, and I also have advertisements on my website—but I do think PetaPixel should be careful not to overplay it, or they risk losing credibility. I can’t imagine that the editors actually agree with this piece (I hope not), but they’re certainly promoting it. An article that explores why people like the film look when using digital cameras would have been significantly more interesting. Published just one day later, Film Photography in 2025 Is Bluer and Less Saturated is actually quite fascinating, and (ironically and surprisingly) somewhat related to the article in question. My guess—based only on the number of comments—is that the click bait article got a lot more attention, and I suspect that will encourage more similar content in the future, unfortunately.

The main problem with Bimal’s piece is that it demands you change your photography. You aren’t doing it right. The title is second-person declarative: “(You) stop making digital look like film.” It’s a command, and you are being told what to do. The body of the post continues the sentiment. It would not be controversial had the author simply stated, “This is why I don’t make my digital pictures look like film.” That’s great. We all have our reasons for doing what we do, and maybe we can even learn from each other. But the article is more like: my way is right, your way is wrong. It’s just like the whole “You must shoot RAW” thing, which is tired, outdated, inaccurate, and needs to stop. It would have been equally as wrong if the author had demanded that everyone apply (say) VCSO filters to their pictures.

*Pool Remnant* – Rodanthe, NC – Fujifilm GFX100S II – Kodak Tri-X 400 Recipe

There’s no right or wrong way to do photography. There are thousands of paths, and you might take multiple trails at various times. If something works for you, that’s awesome! That’s what matters—finding what works for you personally. If someone tells you that you are doing photography wrong, and especially if they tell you that you must do it their way, I strongly advise you to take that advice for what it’s worth, which is not much of anything, certainly not two pennies (or a click to PetaPixel). You do photography however you want to do photography, whatever that looks like.

I might be reading too much into this, but the author seems to dislike Fujifilm, and especially the Fujifilm Recipe community (that’s you and I), which is known for analog aesthetics on digital images. He never states Fujifilm specifically, but what caught my attention was the mention of Film Simulations. In another PetaPixel article, he seems to dislike mirrorless cameras, or—perhaps more accurately—prefers DSLRs to mirrorless. Fujifilm, of course, does not make DSLRs (at least not since the S5 Pro, which was built on a Nikon D200, and is long discontinued), and all of their cameras for the last 20 years feature Film Simulations. Like I said, I could be connecting dots that were never meant to connect, and making much more of this than the author intended, but it seems like Fujifilm photographers in particular are doing digital photography all wrong, if you were to ask Bimal.

So let me get to the rebuttal. Below are five reasons why a photographer might prefer to make their digital photographs look like film—five reasons why you may want to continue making your pictures appear analog.

Digital is Clinical

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

Modern digital cameras are really good. They produce images that are especially clean and clear, free from defects and artifacts, which was nearly impossible in the film era. It’s great but also sterile, like a hospital room prepped for surgery. This might be preferable, but I find it boring, lacking character. Adding an analog aesthetic to digital pictures can make them less perfect, which can more easily convey certain feelings or moods. This is just my opinion, and it’s perfectly ok to disagree with it. There’s no right or wrong answer here, just personal preferences. Personally, I don’t like my pictures to appear so perfect, so clinical, so digital.

Film is Appealing

The reason why I like the aesthetic of film is because it has character. It has texture. Each emulsion has unique qualities. There are emotions that each look conveys to the viewer. It can be serendipitous, with wonderful surprises. Film photography requires much patience and thoughtfulness. One must have a willingness to fail and an acceptance for when that inevitably happens. Those are good qualities, but they’re born out of frustrating circumstances. I love the look of film, but not always the process of analog photography.

Digital is Convenient

*Two Caballeros* – Culleoka, TX – Fujifilm X-E4 – Kodachrome 64 Recipe

A common response to this article is going to be, “If you like the look of film, just shoot film.” Yeah, that’s great and all, and certainly something I have done for many years, but digital is much faster, more reliable, more flexible, and probably less expensive (depending on how many rolls of film you shoot). Digital cameras are so much more convenient than film, and that’s why I like digital photography. If there’s a way to get the best of both worlds—the convenience of digital with the look of film—that’s a major win-win. And, thankfully, you can get the best of both worlds. There’s nothing wrong with digital photography, there’s nothing wrong with film photography, and there’s nothing wrong with mimicking film-like looks with digital cameras.

Authenticity is King

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

The pictures produced by Fujifilm cameras feel authentic and film-like because they reflect in-camera processing designed by Fujifilm utilizing their renown film heritage. When you use Film Simulation Recipes, what you see is what you get, and the pictures don’t require manipulation—they’re not “photoshopped” (which, right or wrong, has become a bad word in recent times). Like using a particular film across a series of photos, choosing one Recipe can give your images a cohesive, intentional, and stylized aesthetic. Not having to edit allows for a simple and efficient workflow, which can save you a lot of time while increasing your productivity.

Using Recipes is Fun

*Happy* – Buckeye, AZ – Fujifilm GFX100S II – Fujicolor PRO 160C Warm Recipe

Last but far from least, shooting straight-out-of-camera JPEGs using Film Simulation Recipes is fun. A lot of people do it because they enjoy it. I can’t tell you how many times people have told me that using Recipes has made photography fun for them again. You should be enjoying the process of making pictures, and if you’re not, it might be time to ask yourself why, and consider if you should make any changes to your process. Maybe you don’t find Recipes and camera-made JPEGs enjoyable, and that’s ok. Different strokes for different folks. But a lot of people do find it fun, and it’s become a big part of the Fujifilm appeal. The Fujifilm Recipe community continues to grow and grow, and for good reason.

These five points highlight why a Fujifilm photographer using Film Simulation Recipes might love making their digital images look like film. Recipes combine some of film’s iconic character with digital’s convenience, consistency, and immediacy. There’s a very large community who appreciates the aesthetics of film and use it to purposefully convey certain feelings and moods through their pictures, but they also appreciate the ease of digital. The ability to combine both into a simplified workflow is quite attractive, which is why so many people are making their digital pictures look like film—and, no, unless they want to, they should not stop.

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

Posted on September 6 by Ritchie Roesch

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

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

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

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

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

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

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

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

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

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

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

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

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

*(Not) Riding a Trolley* – Washington, D.C. – Fujifilm X100VI

*We’re on a Roll* – New York City, NY – Fujifilm X100VI

*AMC* – New York City, NY – Fujifilm X100VI

*Electric Sunset* – Elk, CA – Fujifilm X-T5

*California Sunset* – Elk, CA – Fujifilm X-T5

*Full Moonrise* – Elk, CA – Fujifilm X-T5

*Light, Reflected Light* – Elk, CA – Fujifilm X-T5

*Canon Camera* – Buckeye, AZ – Fujifilm X100VI

*Sunset in the Mirror* – Avondale, AZ – Fujifilm X100VI

*Terminally Waiting* – Phoenix, AZ – Fujifilm X100VI

*Underground Station* – New York City, NY – Fujifilm X100VI

*Roundhouse Locomotive* – Savannah, GA – Fujifilm X100VI

*Shop Interior* – Savannah, GA – Fujifilm X100VI

*The Tides* – Bodega Bay, CA – Fujifilm X-T5

*Bodega Bay* – Bodega Bay, CA – Fujifilm X-T5

*Greenwood Cove* – Elk, CA – Fujifilm X-T5

*Turquoise Pacific* – Elk, CA – Fujifilm X-T5

*Fog over Wild Brush* – Elk, CA – Fujifilm X-T5

*Fog Rolling In* – Elk, CA – Fujifilm X-T5

*Magnolia* – Savannah, GA – Fujifilm X100VI

*Wet Sidewalk* – Savannah, GA – Fujifilm X100VI

*Wet Alley* – Savannah, GA – Fujifilm X100VI

*Red Bull* – Savannah, GA – Fujifilm X100VI

*Squirrel Box* – Washington, D.C. – Fujifilm X100VI

*Turn Arrow* – Washington, D.C. – Fujifilm X100VI

*Corridor* – Arlington, VA – Fujifilm X100VI

*Gravestones* – Arlington, VA – Fujifilm X100VI

*Empty Trail* – Navarro, CA – Fujifilm X-T5

*Southwest Sky* – Arlington, VA – Fujifilm X100VI

*Pilot Paused* – New York City, NY – Fujifilm X100VI

*Bus Stop* – San Francisco, CA – Fujifilm X100VI

*Box Truck* – South San Francisco, CA – Fujifilm X100VI

*Jackpot* – New York City, NY – Fujifilm X100VI

*Bike, Parking* – New York City, NY – Fujifilm X100VI

*Blue Car* – San Francisco, CA – Fujifilm X100VI

99 – San Francisco, CA – Fujifilm X100VI

*No Parking, unless it’s an RV* – Fort Bragg, CA – Fujifilm X100VI

*Tall Saguaro* – Buckeye, AZ – Fujifilm X100VI

Comparison

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

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

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Let’s Talk About X-Trans VI

Posted on September 3 by Ritchie Roesch

In my estimation, the next generation of Fujifilm cameras is right around the corner, likely to be announced early next year. I’ll tell you why I think that, and I’ll take some guesses at what X-Trans VI could look like—what might be different on the next generation of X-series cameras.

Fujifilm’s generational lifespan for the X-series is about three years. Some are a little longer, some are a little shorter. X-Trans I had the shortest lifespan of only about one year, or maybe two years, depending on how you classify the X-M1, which had an X-Trans I sensor paired with X-Trans II processor. Otherwise, though, three or three-and-a-half years is the average. Even though the X-S20 and X-M5 (and likely the X-T30 III when it is announced soon) have an X-Trans IV sensor, I consider them fifth generation cameras because they have the X-Processor 5 and everything that goes with that—they have some notable similarities to the other fifth generation models (the X-M1, on the other hand, had notable dissimilarities with X-Trans II models). The X-H2/X-H2s kicked off X-Trans V a little over three years ago, so we’re due for the next generation.

Fujifilm has been using the X-E series as a marker for the end of an X-Trans generation—not as the last camera, but as the second-to-last. The X-E1 was the second-to-last X-Trans I camera, with the X-M1 as the last; the X-E2s was released simultaneously with the X70, the last two X-Trans II cameras; the X-E3 was the second-to-last X-Trans III model, with only the X-H1 following; the X-E4 was the second-to-last X-Trans IV release (not including the X-S20 and X-M5), with the X-T30 II as the last. The Fujifilm X-E5 will most likely continue this pattern, and be the second-to-last fifth-generation model, with only the upcoming X-T30 III following. I think it’s safe to say, based on past patterns, that 2025 will be the final year for the fifth-generation, and the sixth-generation will kick off in 2026.

Fujifilm often announces cameras in January/February, which are shipped in February/March. There’s a reasonable chance that will continue; however, not every year sees a camera released at the very beginning. A spring announcement with a late-spring, early-summer release is also common. My best guess is that the first sixth generation camera will be announced on or before the end of May, but probably sooner. Keep in mind this is merely a guess and nothing more.

What will X-Trans VI look like? I think it will be more about speed and efficiency than resolution. X-Trans takes a lot more computing power than Bayer, which not only puts a strain on the processor, but can also be more prone to heat dispersion issues. By emphasizing speed and efficiency improvements, Fujifilm can minimize some of the drawbacks to X-Trans. Besides, 40mp is already more than enough resolution for the format. I’m not sure if Fujifilm plans to continue using the same sensors and just upgrade the processor, or if we’ll see new sensors, too—or maybe a mix. Or it could be that we’ll see “new” sensors that have identical specs to the old ones, with small design improvements.

Sony makes Fujifilm’s camera sensors, as they do for many camera companies. If Fujifilm wants a partially-stacked 40mp APS-C sensor, Sony has to be willing to manufacture and sell it to Fujifilm. I think such a sensor would be well received in an X-H3 and X-T6, and would help to address speed and efficiency. Would Sony make that sensor, and how much more will it cost than the non-stacked version? That’s a good question. I think there is potential for some cameras to have a partially-stacked 40mp sensor (X-H3 and X-T6), and some to have a non-stacked 40mp sensor (for example, X-T60 and X-E6).

What about the X-H3s? Will it continue with the 26mp stacked sensor? If the X-H3 has a partially-stacked sensor, that might narrow the gap sufficiently for Fujifilm to discontinue the X-H2s line altogether. I think it’s possible that Fujifilm offers some small under-the-hood improvements along with the X-Processor 6, and simply call it the X-H2s II (basically, a very minor update). I also think it’s possible that Fujifilm replaces the X-H2s with an X-series version of the upcoming GFX Eterna cinema camera. I’m not sure how well the X-H2 and X-H2s have sold, and if Fujifilm feels that both models are justified in the new generation. If there’s one camera potentially on the chopping block, it’s likely either the X-H2 or the X-H2s; however, my guess is that they both continue, unless an “X Eterna” model is introduced as a sort-of replacement for the X-H2s.

I also wonder if Fujifilm will continue to use the X-Trans IV sensor into the sixth generation. As far as I know, Sony doesn’t offer any APS-C sensor in-between the 26mp that X-Trans IV is built on and the 40mp that X-Trans V is built on. Maybe Sony has been developing (say) a 32mp sensor behind the scenes; after all, Fujifilm was the first and (so far) only customer of the 40mp sensor, so it could happen with another one. If so, Fujifilm would move beyond the X-Trans IV sensor in its lower-resolution sixth generation cameras, like the X-S30, X-M6, and X-T30 IV (perhaps the X-T30 III and X-T50 “merge” into one line, called the X-T60, with a 32mp X-Trans VI sensor). If not, I suspect that the X-Trans IV sensor will live on for a few more years, or maybe they make a minor change to it and call it 26mp X-Trans VI. It might even make sense for Fujifilm to offer three different resolution options.

It’s possible, albeit highly unlikely, that Fujifilm will stop using Sony sensors. Samsung makes pretty good camera sensors, and Fujifilm even helps with some of their technology. They used to manufacture APS-C sensors for their long-defunct NX line, including a 28mp one that was pretty well regarded at the time. I could see Fujifilm using a new sensor maker for X-Trans VI, but I would be highly surprised if that actually happens. Sony is tried-and-true, reliable, and comfortable—if it ain’t broke, don’t fix it.

My guess is that the next X-Pro, which might be called X-Pro4, X-Pro5, or maybe even X-Pro6, will be announced early next year, and will be the first sixth generation camera. I have no idea what will be different about it. I really hope that it has the XPan aspect ratio—it would be an absolute shame if it doesn’t. The X-Pro1 kicked off X-Trans I, the X-Pro2 launched X-Trans III (there was a significant gap in-between the two), and the X-Pro3 was the first camera with Classic Negative (and some other JPEG goodies). It’s overdue, so it makes sense to me that it will be the first X-Trans VI model.

After that, the X-H3 and X-H3s (or X Eterna) seem like logical options, followed by the X-T6, which might come in late 2026 or early 2027. I could see the X-S30 announced in May of 2027, and with it the new 32mp sensor (if such a sensor happens). Of course, this is all highly speculative. I have no inside information, these are merely guesses that should be taken with a huge amount of salt.

I do think that X-Trans VI should introduce a new Film Simulation or two. While Fujifilm is the in-camera JPEG processing leader, other companies are trying to close the gap, so Fujifilm should not be complacent. Some ideas: PRO Neg. H, that resembles Fujicolor PRO 400H film, and turns pastel with overexposure; Velvia XPRO, which mimics Fujichrome Velvia 50 that has been cross-processed; Fortia, which is simply the Pop Color Advanced Filter graduated to Film Simulation, resembling Fujichrome Fortia film; Natura, a facsimile of Fujicolor Natura 1600; Neopan, a new B&W option similar to Acros but with more contrast. I have many other ideas, but those should get Fujifilm started if they’re not sure what to do.

It shouldn’t stop with Film Simulations. Some other JPEG ideas are: Highlight and Shadow Color Toning, allowing for a split tone aesthetic (available for both color and B&W photos; something like the Monochromatic Color option, but specifically for Highlight and/or Shadow); Faded Shadow Effect (Strong, Weak, Off); Vignetting (Strong, Weak, Off); Halation Effect (Strong, Weak, Off); Light Leak Effect (On, Random, Off); Mid Tone adjustment within the Tone Curve (-2 to +4); Medium Grain size and strength; Extra Strong and Extra Large Grain Effect. Additionally, I’d like to see the Retro and Expired Film Filters from the X half make their way into Advanced Filters, and also the ability to set Grain and perhaps some other customizations within Advanced Filters. Last but certainly not least, all of the 40mp cameras should have the XPan aspect ratio. If Fujifilm introduced just half of those ideas, it would be highly celebrated.

I’d also like to see Fujifilm address the IQ options—the Recipe parameters—linked to other settings, such as AF, sound, etc., within C1-C7. I explained this problem last year, and provided Fujifilm with a potential solution that came from Fred Miranda—if you’re from Fujifilm, you may want to read that article. Also, John Peltier covered this topic in his Fujifilm X-E5 video. There’s more than one way that this could be addressed, and the X-E5 does sort-of somewhat fix it, but I think it’s important to find a solution sooner than later.

We’re nearing the end of the fifth generation of the X-series. In all likelihood, the sixth generation will come in 2026, which is right around the corner. I have no idea what changes that will bring, but it will certainly bring some. While I’m excited for the new cameras, I also want to express my opinion that camera successors come too quickly. If parts can be secured, camera makers should keep manufacturing models for many years. The refresh rate should be five-to-seven years; three years should be an exception and not a rule. Regular firmware updates can keep “old” products fresh. This also means you have to keep building the current models, and situations where a certain one is discontinued and the successor doesn’t come for a couple of years should be avoided. Discontinue the old model when the new one is six months out, and when the new one is released, it should be a substantial update, and not a minor refresh. This seems like a more realistic approach, and is more similar to how the camera industry worked for many, many decades—I hope we can get back to that. In the meantime, I’ll continue to enjoy the cameras I have, which are quite excellent photo-making machines. It’s fun to consider what the future might be, but it’s important to not lose sight of here and now, which is what actually matters.

Polaroid might take down Fujifilm — maybe

Posted on August 27 by Ritchie Roesch

I’m not a lawyer, and I don’t play one on TV, either. I’m not able to provide any insight on this topic, I can only bring it up and maybe ask some questions, and speculate a little, which should be taken with a massive grain of salt. I probably know less about legal matters than the average person my age, so keep that in mind—I’m not pretending to be an expert on this whatsoever.

The news yesterday, as reported by PetaPixel, is that Polaroid (that is, PLR IP Holdings, LLC, which owns the rights to the Polaroid brand name, and doing business as Polaroid Originals) has filed a lawsuit against Fujifilm, and a judge has found sufficient evidence to allow the case to move forward. At some point in the coming months—unless the two parties agree on a settlement—this will go to trial.

The complaint is that Fujifilm’s Instax Square instant film is too similar to Polaroid’s classic film, which they trademarked years ago. Essentially, as I understand it, Polaroid’s film is not just film, it’s their logo. Since the white border of the film is highly recognizable, Polaroid registered a trademark for it. So, if a company wants to make instant film, it must look different than a Polaroid print. For example, Instax Mini is divergent enough that Polaroid would have a weak infringement case. Instax Wide isn’t 100% identical to the classic Polaroid frame, but it is very similar, and the judge in this case believes it is similar enough to move forward with the trial.

Fujifilm’s argument is that 1) the border serves a functional purpose (for example, housing the chemistry), and as such cannot be trademark protected (for example, Goodyear cannot trademark a tire just because it’s round and black), and 2) Polaroid had stopped making their film, which could be considered an abandonment of the trademark on the grounds of non-use. I think both of these arguments hold some merit, but are either strong enough to win? I have no idea.

Nearly a decade ago, Polaroid threatened Fujifilm with a lawsuit unless they paid them “millions per year” for their trademark. I’m not sure how much they will be seeking in damages should they win this suit, but I’m reminded of when Polaroid sued Kodak, and won big. Well, it was more that Kodak lost big than Polaroid won, because this lawsuit—how much was spent, and, perhaps more importantly, how much of a distraction it was—has been identified as a contributing factor to Polaroid’s eventual bankruptcy. But Kodak had to pay $925 million dollars to Polaroid (which, at the time, was the largest ever settlement), plus stop production of their Kodamatic instant film line. Oh, and they had to give their Kodamatic customers a refund, too. It was a huge blow to Kodak, and eventually contributed to their bankruptcy, at least a little.

Polaroid took Kodak out, and took themselves out in the process. Of course, that’s a massive—just massive—oversimplification of it all. The lawsuit was only a very, very small factor in both bankruptcies, as there were many other—and much larger—issues at play. A lot of articles have been written about this topic, and even a book (there are a lot of resources available, should you want to learn more). Obviously we’re only briefly touching the very surface here in this article and overgeneralizing, but it should be noted that the Polaroid vs Kodak lawsuit did have an impact on the film industry, probably more than most realize. There was no winner, despite Polaroid’s legal win.

I want to bring this back around to Fujifilm. It is very possible that a judgement could be ruled in Polaroid’s favor, and that Fujifilm will have to pay them millions—tens of millions at least, but quite possible hundreds of millions, if not more—and they’ll have to stop making Instax Wide cameras and film. They’ll probably have to give their customers a refund, too. I mean, if Red Bull had to pay a settlement because you don’t actually grow wings after drinking it, any judgement is possible. If such a ruling were to happen, that would be a massive blow to Fujifilm, which has the potential to ultimately end Fujifilm’s photography business.

Instax is Fujifilm’s big moneymaker. While the X-series and GFX-series have both grown in recent years, Instax is still Fujifilm’s largest camera/photo segment. Losing hundreds of millions in a judgement would be a massive setback, but if they have to stop making Instax Wide, that might be just as big of a blow—a double whammy. This has the potential to be devastating.

I don’t know, nor do I care to speculate, if Fujifilm violated Polaroid’s trademark. Maybe they did, maybe they didn’t—I have no idea, and that’s not for me to decide, anyway. With that said, I hope the judge rules in favor of Fujifilm, or, if not, it is like when the USFL sued the NFL and won, but only got a $1 judgement. The worst-case scenario (from my perspective as a long-time loyal Fujifilm customer) is that Polaroid wins and receives a very large settlement, which becomes a turning point for Fujifilm, eventually leading to a future bankruptcy or a shuttering of the photographic business (which is only a small part of the company overall). It’s like dominoes, where knocking one down can lead to more falling. Obviously, I hope that can be avoided.

It seems more likely than not that Fujifilm will pull through this just fine, even if they lose the case. Instax Mini has a larger market share than Instax Wide, and the digital camera division has been on a roll lately. But, to a small extent that I’m clearly overstating, Polaroid took down Kodak, and they could do the same to Fujifilm, even if it’s seemingly unlikely. This is something to keep an eye on. No court date has been set, and I’m not sure how long we’ll have to wait to find out—the battle between Polaroid and Kodak took 14 years to play out. Oh, and I know it may sound like it, but by no means am I anti-Polaroid. I have Polaroid cameras and film, and even sport a Polaroid t-shirt from time-to-time. I sincerely wish them much success in everything …aside from this lawsuit.

What do you think? Will Fujifilm win? Will Polaroid? What kind of impact will it have if they do? Is this all much ado about nothing? Let me know your thoughts in the comments!

September Surprises — Three Upcoming Don’t-Miss Events!!

Posted on August 26 by Ritchie Roesch

I’m so happy to announce three upcoming events that you won’t want to miss. I can’t give you all of the details just yet, but I want to start getting the word out so that you have the opportunity to plan, as these will come up fast. You can expect the full details to be released very soon. In the meantime, I’ll share with you what I can.

September 6th — Fujifilm Film Simulations & Fuji X Weekly Recipes Class — Scottsdale, Arizona

I will be leading a class at Nuzira—an up-and-coming camera store in Scottsdale, AZ—on Saturday, September 6th, at 11 AM. The class is called Fujifilm Film Simulations and Fuji X Weekly Recipes — Film Like Photos Without Editing. We’ll discuss each of Fujifilm’s Film Sims and using Film Simulation Recipes on your X or GFX camera, why you might choose a certain Recipe and what you can expect when you do. This class will probably be the most helpful to Fujifilm photographers, but if you are just Fuji-curious, please come anyway. It will last about one hour.

I’ve co-led two photowalks with Nuzira: one in Scottsdale and one in Phoenix. This isn’t a photowalk, but please bring your Fujifilm camera. We’re going to have a great time! And this will be an excellent opportunity to ask any questions you might have about Film Simulations, Recipes, and Fujifilm cameras. More information, including how to register, is coming very soon, and as soon as it does I will let you know.

September 13th — Fujifilm X half Photowalk — Los Angeles, California

On Saturday, September 13th, at 2 PM, I will be leading a photowalk in Los Angeles, as a part of Samy’s Camera 49th Anniversary three-day event. This photowalk is all about the Fujifilm X half, which is such a fun camera. You don’t need to own an X half to take part in this—in fact, this is a great opportunity to try one out—please bring an SD Card so you can take your photos home. Spaces are limited and won’t likely last long, so be sure to register today! It’s $25 per-person ($27.13 after taxes), but each participant will receive a $25 Samy’s gift card, essentially making it free.

This photowalk will last about two hours, and we’re going to have a ton of fun. It will be a great opportunity to create film-like street and urban photos. While you are at Samy’s for this event, you will also want to attend Reimagining Reality Through Multiple Exposures by Tom Baumgaertel (bewaremyfuji), which will be on Friday, September 12th, at 10:30 AM. This is a don’t-miss class, so be sure to go.

September 28th — Photowalk — Minneapolis, Minnesota

I can’t provide the details about this event just yet, other than it will be a photowalk in Minneapolis, MN, on Sunday, September 28th, at 2 PM. Once I get the green light, I’ll be sure to share everything with you, including how to register. The picture above is from a photowalk in Ann Arbor, MI, last year.

September is going to be a busy month. If you are in Arizona on the 6th, L.A. on the 13th, or in Minnesota on the 28th, I hope that you can join me. I’d love to meet you in-person, talk shop, and answer any questions you might have. Whichever event you can go to, we’ll have a good time. Hope to see you soon!

The Destination is the Look — Buying Cameras for the Aesthetic

Posted on August 19 by Ritchie Roesch

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

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

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

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

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

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

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

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

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

The Fujifilm X-Series Buyers Guide — Which Camera is for You

Posted on August 14 by Ritchie Roesch

A common question I get is, “Which Fujifilm X-series camera should I buy?” With so many options, it can be difficult to figure out which one is right for you. Some models are quite alike, with overlapping features and similar price points, which can be confusing—especially if you’re new to the system. Each camera in Fujifilm’s lineup has its own role to play, and understanding that role makes it much easier to choose the right one for you. To help you out, I’ll break down each X-series camera below and explain its purpose in the lineup—what it’s best at, who it’s for, and why Fujifilm made it. With that foundation, you’ll be better equipped to make your decision.

Fujifilm X-H2s

The Fujifilm X-H2s is Fujifilm’s most premium X-series camera—the flagship model. It’s designed for speed, which makes it the most ideal option for videography, as well as sports and wildlife photography. It’s the only X-series camera—and only APS-C camera—with a stacked sensor, which allows it to be faster than other models. Interestingly, a large majority of the official Fujifilm videos (found on their various YouTube channels) are filmed on this camera—if you want to know what you can do with it cinematically, there are tons and tons of excellent examples online. Because the X-H2s is the top-of-the-line option, it is also the most expensive at $2,799 (after the recent price increase across the Fujifilm lineup).

A couple of possible downsides to the X-H2s are that it’s the largest (along with the X-H2, which shares the same body), which might make it less ideal for travel or walk-around photography, and it doesn’t have the traditional tactile exposure controls that Fujifilm is known for. This is a PASM model that’s specifically intended to be appealing to those coming from Canikony brand cameras, who might not appreciate Fujifilm’s retro-styled bodies. It’s weather sealed and has two card slots (one for CFexpress Type B). The rear LCD screen is vari-angle, and can twist many directions. I find it fascinating that camera reviewers often compare the X-H2s to full-frame models; those are somewhat unfair apples-to-oranges comparisons, but you see it often, which just goes to show that this camera punches above its weight class.

If you really need speed, the Fujifilm X-H2s is your best bet. It’s the top X-series option for video, sports, and wildlife. This is the most “pro” camera in the lineup, if that’s important to you. I have never used this camera personally.

Fujifilm X-H2

The Fujifilm X-H2 is nearly identical to the X-H2s. The main difference is that, instead of a 26mp stacked X-Trans V sensor intended for speed, it has a 40mp non-stacked X-Trans V sensor intended for resolution. It’s not quite as quick as the “s” version, so it’s not as ideal for video, sports and wildlife; however, it’s still snappy, and still excellent for those situations—it’s a great hybrid camera. You simply trade a little speed for megapixels, while saving $600. You get basically the same camera for significantly less money. If you need the fastest X-series model, the “s” version is the one to get; if not, the X-H2 is quite compelling, especially if you are moving over from one of the “big three” brands. I have not used the X-H2 personally.

Fujifilm X-Pro5

There is not currently an X-Pro5. The last camera in this series was the X-Pro3, released in 2019 and discontinued in 2022. A successor is overdue, and likely to come next year (my prediction is in the spring, but that’s merely a guess). Nothing is known about the camera (not even the name… “X-Pro5” is speculation); however, it probably won’t be too dissimilar from other X-Pro models. The X-Pro series offers classic rangefinder styling, a hybrid EVF/OVF, and durability (other than the rear LCD cable on the X-Pro3… that’s another story, and probably why that camera was discontinued). X-Pro is top-of-the-line out of all the retro-styled X-series models. These cameras are beloved, they’re classics—the Leica of Fujifilm, so to speak. There’s not much to say about it at this time other than it’s coming someday, and it will likely be over $2,000 (maybe well over) when it does come. I wouldn’t be surprised if Fujifilm kicked off the sixth generation with this camera. Whenever it is released, you’ll know, because it will definitely make headlines. The picture above is of an X-Pro1.

Fujifilm X100VI

The X100 series is legendary. It’s probably the most iconic Fujifilm line, with a beautiful retro rangefinder design, including a hybrid OVF/EVF. Pairing the 40MP X-Trans V sensor with a fixed 23mm (35mm full-frame equivalent) f/2 lens, the X100VI is perfect for street, travel, and documentary photography. This iteration is the first in the series to have IBIS. The leaf shutter, built-in flash, and built-in ND filter are three especially great but often overlooked features. The X100VI is compact and discreet, yet eye catching—no wonder it is the most viral camera of all time!

Because you cannot change the lens, this camera is not for everyone; however, it can inspire you to see differently because you’re limited to one focal length, which can force you to think more creatively. The Fujifilm X100VI is my “desert island” camera—if I could only have one model for the rest of my life, it would be this one. With that said, I find that the X100-series tends to pair really well with an interchangeable-lens model, for when the 35mm-equivalent focal length just isn’t the right choice. The X100VI isn’t a point-and-shoot; it’s a premium compact, which is reflected by the $1,799 MSRP (after the recent price increase).

Fujifilm X-T5

If there’s one quintessential interchangeable-lens Fujifilm camera, it’s probably the X-T5. It closely embodies Fujifilm’s retro styling and tactile controls, while packing in their latest 40mp X-Trans V sensor and processor. You get IBIS, a three-way tilting LCD, dual card slots, and weather sealing—all in a body that still feels compact. It’s basically an X-H2, but smaller, lighter, better-looking, and cheaper. This is a premium stills-centric model, yet it’s no slouch when it comes to video capabilities. A lot of comparisons have been made to the Nikon Zf, which is a full-frame camera (not necessarily a fair equivalence), yet the X-T5 holds its own pretty well, (again) punching above its weight class.

The X-T5 is a workhorse that can do a bit of everything. It seems well suited for landscapes, portraits, travel, etc., etc.. I used this camera extensively for about a year-and-a-half, then my wife, Amanda, used it for a year (mostly portraits, theater, and video), and now I have it back, and am enjoying photographing with it again. As a stills-centric yet good-for-everything camera, it’s easy to recommend. With an MSRP of $1,899, it’s under 2K but definitely not cheap.

Fujifilm X-T50

The Fujifilm X-T50 is the little brother of the X-T5. It has the same sensor, processor, and IBIS—it’s basically the same internally as the X-T5 and even the X-H2—but lacks weather sealing and dual card slots. It’s smaller and lighter, with a little more plastic. This was the first camera with a Film Dial, which adds a bit of aesthetic versatility, and is great for exploring which Film Simulations you might like best. This is Fujifilm’s mid-range retro SLR-styled camera, but is just as capable as the higher-end X-T5.

Because this camera is smaller and lighter, it’s a little better for travel or walk-around photography. The X-T50 is a bit more beginner or enthusiast orientated than the X-T5, but you can grow with it, since it’s just as capable as the higher end model. At $1,699, it’s only a little cheaper than the X-T5. If size and weight are a priority, that might be a reason to choose this camera, or if you want a slightly less complicated camera; otherwise, the X-T5 is the better option. I really like the X-T50 personally, particularly because of the Film Dial.

Fujifilm X-E5

The Fujifilm X-E5 is the newest X-series camera. It’s basically an X-T50, but in an X100VI-like body. It’s as close as you’re going to get to an interchangeable-lens X100VI, especially when paired with pancake lenses. It’s Fujifilm’s smallest camera with an EVF, which makes it especially great for travel photography, or just everyday carry. It’s also the only model where you can program up to 11 Recipes into it. The X-E5 is the most premium camera in the X-E series, and is solidly mid-tier, with improved build quality over its predecessor. I have no doubt that this will be a big hit, even with the $1,699 price tag. If you like retro rangefinder styling, this is the interchangeable-lens camera to buy.

Fujifilm X-S20

The Fujifilm X-S20 is the little brother of the X-H2s. It’s a hybrid model that’s especially good for video, but is no slouch for stills. It uses the “old” 26mp X-Trans IV sensor paired with the new X Processor 5. It is not weather sealed and has only one card slot. It’s not necessarily retro styled, and lacks the traditional tactile dials found on most Fujifilm models; instead, it has PASM controls similar to the X-H2s and X-H2, and it has an articulating rear LCD screen. It’s intended to be appealing to those coming from Canikony brand cameras. It only has C1-C4 and not C1-C7 like many other Fujifilm cameras, for those who use Film Simulation Recipes. There are two X-S20’s in my house: one belongs to my wife, Amanda, and the other belongs to my son, Jonathan. They both really love it—in fact, my wife chose the X-S20 over the X-T5. At $1,599, this is a mid-tier camera, but it is slightly more affordable than the X-T50 and X-E5.

Fujifilm X-T30 II / X-T30 III

The current entry-level X-series camera with an EVF and retro tactile controls is the Fujifilm X-T30 II. It has the 26mp X-Trans IV sensor and X Processor 4; however, it was the very last fourth-generation model, so it does have some options that the earlier 4th-gen cameras lack, making it seem a bit less dated. At $999, it is definitely more affordable than the options above, making it a compelling choice, and probably the best overall value right now—a great beginners camera. It doesn’t have IBIS, and may not be the best option for video—although, with a gimbal or tripod, it’s certainly capable of recording quality clips.

The X-T50 was not this camera’s successor, but a whole new highly similar line that is a bit more premium. Fujifilm is about to replace the X-T30 II with (what will likely be called) the X-T30 III. Because of this, the X-T30 II can be a bit tough to find in-stock, as I believe Fujifilm has stopped production of it. If you want the best affordable Fujifilm camera, be sure to buy an X-T30 II—that is, if you can find one. Fujifilm is expected to announce the X-T30 III later this year, likely in the fall. I anticipate it being nearly identical to the X-T30 II, just with the new X Processor 5, possibly with a Film Dial like the X-T50, and perhaps a couple hundred dollars more expensive. In all likelihood, the X-T30 III will be the last fifth-generation X-series camera.

Fujifilm X-M5

The Fujifilm X-M5 is the bargain basement entry-level X-series camera, with an MSRP of $899. It has a striking rangefinder-like retro design, but lacks traditional tactile controls (it has PASM instead) and lacks an EVF. It’s the smallest and lightest interchangeable-lens model in the lineup. Like the X-S20, it pairs the 26mp X-Trans IV sensor with the X Processor 5. It’s touted as a hybrid camera that’s excellent for video, but it lacks IBIS. In a sense, X-M5 is the little brother of the X-S20, and in a sense it’s the X-E5’s smaller sibling. If you have a tight budget or if you prioritize size and weight, this camera might be for you. Between this and the X-T30 II, if you are primarily a videographer, the X-M5 is your best bet, but if you are primarily a stills photographer, I recommend the X-T30 II. It seems like a good option as your very first camera, or else as a second camera for when your larger model isn’t ideal. I’ve never used the X-M5 personally.

Fujifilm X half

Last and maybe least is the Fujifilm X half. This is technically an X-series camera, but it’s not X-Trans, and isn’t APS-C, either. It has a 1″ Bayer sensor orientated vertically, with a fixed 32mm-equivalent f/2.8 lens. It’s essentially a digital version of half-frame cameras, like the Fujica Half, Olympus Pen, Kodak H35N, and Pentax 17. The X half has as much in common with the Instax Evo line as it does the X-series, and bridges a gap between the two systems, with a foot in both camps. It’s a heck-of-a-lot of fun, but definitely less serious than all of the options above. This could be a toy for the photographer who has everything, or a casual camera for events and vacations, or a first camera for your child that shows an interest in photography. You’re unlikely to capture portfolio-worthy pictures with the X half, but for social media or scrapbooks, this camera is quite excellent. Both my wife and I enjoy using it (and have fought over it), but neither of us would chose it as our primary model. At $850, it’s a bit expensive for what it is.

Conclusion

If you’re still unsure which Fujifilm cameras are right for you, let me break it down even more simply. If you are coming from one of the big three camera companies and want the easiest transition, you’re going to look at the X-H2s, X-H2, and X-S20. If you are primarily a videographer, you’ll want to consider those same three cameras, and I’ll throw in the X-M5 if you are on a tight budget. If you simply want the best-of-the-best, the X-H2s, X-H2, and X-T5 are your top options (and the next X-Pro, whenever that comes out). If you are primarily a stills photographer, the X-T5 is top-of-the-line (the next X-Pro will be, as well), the X-T50 and X-E5 are nearly as good (and smaller), and the X-T30 II is the best bargain. The best looking cameras are the next X-Pro (assuming that Fujifilm doesn’t change much), X100VI, and X-E5. If you don’t want to invest in a whole system, and just want to dip your toes into the Fujifilm world, the X100VI is what you should buy. If you don’t have a lot of money to spend, the X-T30 II and X-M5 are the two cameras you need to consider. If you have large hands and/or plan to use long lenses, the X-H2s, X-H2, and X-S20 have the best ergonomics, and I’ll throw in the X-T5 as a bonus. If you want small and lightweight, look at the X-M5, X-E5, X100VI, and (of course) the X half. If you want the most enjoyable, the X half, X100VI, X-E5, and the next X-Pro are the ones to consider. I’m sure I’m missing some situations, but I hope this provides clarity for some of you who are trying to decide which camera to purchase, and are just unsure.

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-H2:
Amazon, B&H, Moment, Nuzira
Fujifilm X-H2s:
Amazon, B&H, Moment, Nuzira
Fujifilm X-T5 in black:
Amazon, B&H, Moment, Nuzira
Fujifilm X-T5 in silver:
Amazon, B&H, Moment, Nuzira
Fujifilm X-T50 in black:
Amazon, B&H, Moment, Nuzira
Fujifilm X-T50 in silver:
Amazon, B&H, Moment, Nuzira
Fujifilm X-T50 in charcoal:
Amazon, B&H, Moment
Fujifilm X100VI in black:
Amazon, B&H, Moment, Nuzira
Fujifilm X100VI in silver:
Amazon, B&H, Moment, Nuzira
Fujifilm X-S20:
Amazon, B&H, Moment, Nuzira
Fujifilm X-E5 in black:
Amazon, B&H, Moment, Nuzira
Fujifilm X-E5 in silver:
Amazon, B&H, Moment, Nuzira
Fujifilm X-T30 II in black:
Amazon, B&H, Moment, Nuzira
Fujifilm X-T30 II in silver:
Amazon, B&H, Moment, Nuzira
Fujifilm X-M5 in black:
Amazon, B&H, Moment, Nuzira
Fujifilm X-M5 in silver:
Amazon, B&H, Moment, Nuzira
Fujifilm X half in black:
Amazon, B&H, Nuzira
Fujifilm X half in silver:
Amazon, B&H, Nuzira
Fujifilm X half in charcoal:
Amazon, B&H

Classic B&W Film Simulation Recipe

Posted on August 3 by Ritchie Roesch

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

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

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

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

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

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

*Monochrome Umbrella* – Buckeye, AZ – Fujifilm X100VI

*Empty Chair in a Dark Room* – Litchfield Park, AZ – Fujifilm X100VI

*Lonely Chair* – Buckeye, AZ – Fujifilm X-E5

*Hanging Shadows* – Buckeye, AZ – Fujifilm X-E5

*Grey Odadiuc* – Buckeye, AZ – Fujifilm X-E5

*Shadow Abstract* – Litchfield Park, AZ – Fujifilm X100VI

*Suburban Palm Shadow* – Buckeye, AZ – Fujifilm X100VI

*Coffee Cups* – Tucson, AZ – Fujifilm X-E5

*In the Raw* – Tucson, AZ – Fujifilm X-E5

*Facing North* – Tucson, AZ – Fujifilm X-E5

*Horse on a Ledge* – Buckeye, AZ – Fujifilm X-E5

*Baldwin 2* – Manitou Springs, CO – Fujifilm X-E5

*Mission Church* – Tucson, AZ – Fujifilm X-E5

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

Review: Fujifilm X-E5 — Pancakes & Recipes

Posted on July 30 by Ritchie Roesch

Fujifilm recently loaned me an X-E5 to try out for a week or so. I also got to play with one at the B&H BILD Expo last month, so I was already a bit familiar with the camera before it arrived in the mail. Included with the X-E5 was the brand-new Fujinon 23mm f/2.8 pancake lens, so I’ll also be discussing that in this review, too. Let’s dive right in!

The Fujifilm X-E5 is actually the sixth X-E camera. The X-E1, released in 2012, was the very first, and the third X-series model overall, with only the X100 and X-Pro1 predating it. The X-E2 came out only one year later, followed by the nearly identical X-E2s in 2016. A year after that, Fujifilm released the X-E3, which saw the first significant design change (although it was still pretty similar). The X-E4 came out in 2021, which was the most different, with an emphasis on minimalism, compactness, and affordability; however, it was still similar overall. We have another significant design change with the X-E5, yet it still retains the distinctive look of an X-E series model.

With the X-E5, Fujifilm quite noticeably improved the construction quality—for example, the top plate is a single piece of machined aluminum, and the camera seems less plasticky overall. It just feels more sturdy, more premium, more refined than the X-E4. With a pancake lens attached—like the new 23mm f/2.8—the camera closely resembles an X100VI, which was clearly intentional. The X-E5 is essentially an interchangeable-lens X100VI; for those who have asked for such a camera: here it is! The two models aren’t exactly the same, and they each have their advantages and disadvantages, but they’re certainly similar enough to justify the comparison.

I don’t want to dive too deeply into the specs, but some important notes are that the X-E5 has the same 40-megapixel X-Trans V sensor and processor as the X100VI, X-T50, and X-T5. Like those models, the X-E5 also has IBIS. This is a camera capable of capturing high quality photos and videos. Not surprising, the X-E5 is also much more expensive—plus a tad larger and heavier—than its predecessor.

Like the X-T50 and X-M5, the X-E5 has a Film Dial, although it’s implemented a bit differently. Instead of a knob, it’s a wheel on the back, with a little window on the top plate. This is a really cool design; however, there is a downside: it has fewer Film Simulations. The X-T50 and X-M5 have only eight of the 20 Film Sims on the knob, with three customizable slots for your favorites that were left out; the X-E5 has only six Film Simulations, with three customizable slots. The six Film Sims on the dial are Provia, Velvia, Astia, Classic Chrome, Reala Ace, and Acros. Somehow—shockingly and inexplicably—Classic Negative was left out, as was Nostalgic Negative. I know that not all of them could make the cut, but I definitely question why Classic Negative was not included—seems like a sin.

The three customizable slots—called FS1, FS2, and FS3—can be set to any Film Simulation. In addition to that, they can also be customized into Film Simulation Recipes (functionality that should be—and hopefully will be—brought to the X-T50 and X-M5 via a firmware update). This is the very first time that Fujifilm has used the term “Recipe” in a camera—amazing! You can have 11 different Recipes programmed into the X-E5: seven within the C1-C7 Custom Settings presets, one in the IQ Menu set, and three on the Film Dial. The Film Dial also works well with my Universal Negative and Film Dial Recipes, providing extra aesthetic versatility. Only the C1-C7 Recipes can be custom named, so you have to remember what the other four are.

While this is certainly a welcome evolution of this feature, it could be made even better. For example, all of the Film Simulations should have the option for Recipes, and not just FS1/FS2/FS3. One issue with this UI, though, is that Recipes are scattered: some in Custom Settings presets, some on the Film Dial, and one in the IQ Menu. I think, more ideally, you’d find them all in one place. A lot of Fujifilm users would appreciate a Custom Settings Dial instead of a Film Dial, with maybe C1-C9 or C1-C12 (more is better). There are a lot of different ways that this could be addressed, and it’s something that should be addressed for future models. Still, the opportunity to have three extra Recipes programmed into the camera at any one time is quite nice, and I’m thankful for it. This is the main reason why I preordered this camera, even though I own an X-E4 that I really like.

Included with the X-E5 was the new Fujinon XF 23mm f/2.8 R WR pancake. This lens is very similar to the Fujinon 27mm f/2.8 R WR, which happens to be one of my absolute favorite lenses. I’ve been saying for years that Fujifilm should have more pancake lenses in their lineup, since a major selling point of Fujifilm cameras are their compact size and minimal weight. A camera like the X-E5 paired with a handful of tiny pancakes is ideal for traveling. This particular camera and lens combo is especially great for everyday walk-around photography.

The lens is sharp with minimal flaws. It has great close-focus capabilities; it’s not a macro-lens by any means, but with 40mp to crop from, it’s possible to use it for near-macro photography. From a technical point-of-view (and mind you, I didn’t do any serious testing), it’s pretty darn good for what it is, a marvel of engineering; from an artistic point-of-view, it seems to lack a little of the magic (a.k.a. character) that the 27mm f/2.8 and 23mm f/2 lenses are known for. Like the 27mm, it isn’t the quietest Fujinon lens. If you are trying to decide between the 23mm f/2.8 and the 27mm f/2.8, that’s going to be a tough call—personally, I like the 27mm just a bit more; however, the close-focus capabilities of the 23mm is certainly a significant plus. If you are trying to decide between the 23mm f/2.8 and 23mm f/2, that’s also going to be difficult, and your decision might come down to just how small is small enough for you. If you are buying the Fujifilm X-E5, it seems like an easy choice to get it bundled with the 23mm f/2.8, since it’s only $200 more when the lens itself is $500—if you have no intentions of keeping it, just turn around and sell it for $450, which makes the camera more affordable.

*Ants & Funyun* – Tucson, AZ – Fujifilm X-E5 & 23mm f/2.8 – Kodachrome 64

Getting back to the X-E5, the camera has a couple of really cool features, but you can only use one of them, and not both. The first, which is borrowed from the GFX100RF, is called Surround View Mode. It allows you to see outside of the frame when using an aspect ratio other than 3:2, giving a faux optical viewfinder experience (sort of). This is particularly nice when using the 1:1 aspect ratio. The XPan ratio would have been a great addition, but (sadly) it’s still missing on X-series models. The second feature is called Classic Display Mode, which turns the EVF into a really cool retro 1980’s-inspired display. I like both, but I couldn’t figure out how to activate the Classic Display Mode for some time—eventually I asked a Fujifilm tech rep for help. As it turns out, if Surround View Mode is activated, even when using the 3:2 aspect ratio, Classic Display Mode is disabled (and vice versa). Fujifilm: I suggest that Surround View Mode be automatically disabled when in the 3:2 aspect ratio, so that Classic Display Mode can be used; when changing aspect ratios to anything other than 3:2, if Surround View is activated, it would automatically disable Classic Display. This way, you don’t have to jump through hoops to use both of these cool new features.

While the X-E4 saw a lot of buttons removed in the name of minimalism, Fujifilm gave them to the X-E5 in spades. Just the new front control lever alone allows for five customizable functions. The inclusion of the rear command wheel and M/C/S switch means that you shouldn’t be short of camera controls, no matter how many functions you need quick access to. Those who disliked the direction of the X-E4 should especially appreciate its successor.

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

What else can I tell you about the Fujifilm X-E5? It isn’t weather-sealed (although it seems to have some level of weather resistance—I wouldn’t put it under a faucet, though). It uses the “old” NP-W126S battery. I expected that, as those things would have increased the size, weight, and cost even more. The X-E5 is definitely more premium than previous X-E cameras. I had suggested that Fujifilm prioritize size, weight, and cost by keeping it nearly the same as the X-E4; however, my opinion was clearly in the minority. Most people asked for an interchangeable-lens X100VI, and the X-E5 is as close to that as you’re likely ever going to get. It’s a very nice camera.

It comes with a “nice” price tag, too. In America, it’s $1,700 for the body-only, and $1,900 when bundled with the new 23mm pancake lens. That’s pretty shocking, especially when it’s double the price of the X-E4; however, keep in mind that inflation and tariffs have impacted the price in addition to the more expensive components that Fujifilm used in the camera. Interestingly enough, the X-E1 was $999 in 2012, which is about $1,400 in today’s dollars; add to that tariffs, and you’ve pretty much got the X-E5 price tag, never mind the 40mp sensor, IBIS, and better build quality. While it seems expensive, it is not an entry-level model. And with Fujifilm raising the price (in America) of the X100VI to $1,800, the X-T50 to $1,600, the X-T5 to $1,900, the MSRP of the X-E5 makes a little more sense. I do think it’s worthwhile to buy at $1,700, which is why I have it preordered bundled with the 23mm f/2.8 lens.

*Mission San Xavier del Bac* – Tucson, AZ – Fujifilm X-E5 & 23mm f/2.8 – Kodak Vericolor VPS

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

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

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

Apparently, Fujifilm Price Increases are Coming Very Soon

Posted on July 28 by Ritchie Roesch

According to Fujirumors, Fujifilm is likely to raise the price by about 10% on most of their cameras and lenses beginning August 1st, which is Friday. It’s unclear if this is worldwide or just in America, but my suspicion is that it will just be in America, and is related to the tariffs. I also highly doubt that the X half and X-E5 will be affected, because the increase was already built into their MSRP.

Every major camera maker has either already increased their prices, or has announced that they will be soon—or both (already raised prices, but further price increases are forthcoming). While the X half and X-E5 were on the leading edge of the increase (and both were criticized for it), Fujifilm has largely delayed price increases on everything else. My guess is, with the Japan trade deal finalized, Fujifilm has something stable to determine what the increase should be, so that’s why it’s been delayed until now. I also suspect that Fujifilm will try to manufacture more of their U.S.-bound units in Japan instead of China, something they’ve already begun doing.

It’s also possible that this will be the first in a series of price increases. If Fujifilm were to raise the cost by (say) 20% all at once, that could scare off potential customers; however, by increasing it by “only” 10% now and another 10% later (perhaps on January 1st), it allows customers to acclimate more gradually to the higher prices. It’s like the frog in boiling water thing. Hopefully, though, this will be the one-and-only increase; if it is worldwide and not limited to America, I think that could possibly be an indication of it being only a one-time thing. It’s all just speculation at this point, and time will eventually tell—until then, take it all with a very large grain of salt.

Of course some will say that this is just Fujifilm being greedy or that Fujifilm has lost the plot and is out-of-touch with their customers. That’s all nonsense, spoken largely by trolls and click-bait content creators. Every camera maker is dealing with this same issue right now, and they are all raising their prices (RED is the only camera made in America as far as I’m aware, but I’m not sure how long that will last since they’ve been purchased by Nikon). I said back when the X half was announced that it was a foreshadowing of future price increases. When everyone complained about the cost, I said in time it would seem pretty normal, once the MSRP of everything else goes up. Now they’re going up. My suspicion is that we’re still five or six months out from all the dust settling, and it’s even possible that the X half and X-E5 could see a small price reduction at some point (since they were announced when there was a lot more uncertainty), who knows?

All of that is to say, if you’ve been eyeing a certain camera or lens, you might want to get your order in now and not wait until the price goes up later this week. If you delay, you may have to pay about 10% more. This is probably just for those in America, although I’m not 100% sure, and worldwide price increases are certainly a possibility, albeit a fairly slim possibility in my estimation.