The list of Film Simulation Recipes below are my “Essential 7” for X-Trans III cameras, which are the X-Pro2, X100F, X-T2, X-T20, X-E3, and X-H1. If you are not sure which Recipes to program into your C1-C7 Custom Presets, these are my suggestions for you to begin with. These are the ones that you must try, in my opinion. You might love all of them, you might only appreciate some of them, or you might not like any of them. Each person has their own styles and tastes, and there’s no one single Recipe that’s universally loved by everyone (although a few seem close). Still, give these seven a try—keep the ones you like, and replace the ones that you don’t.
Follow the Bird to Salt Lake – Salt Lake City, UT – Fujifilm X-H1 – Cross Process
A couple of important side notes here. First, this list isn’t necessarily made up of versatile Recipes. Like film, most Film Simulation Recipes have specific use cases—such as sunny daylight—so not all of these option will be good for night photography, for example, or perhaps other situations. Be sure to visit my Which Film Simulation Recipe, When?article for a more comprehensive group of options for various use cases. Also, X-Trans III models cannot save a White Balance Shift within the C1-C7 Custom Presets. You can only save one WB Shift per White Balance type, which means you’ll have to remember to adjust the WB Shift each time you change Recipes. The suggestions below do not take this into account; however, the Which Film Simulation Recipe, When? article does, so be sure to read it.
The Essential 7 Film Simulation Recipes to program into your X-Trans III camera first:
Find these Film Simulation Recipes and many more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
The January issue of FXW Zine is out now! Creative Collective subscribers can download it today. Not a Creative Collective subscriber? Join to gain access to this issue plus all pervious issues of FXW Zine and the many bonus articles.
In Issue 26, I discuss 24 Film Simulation Recipes that I anticipate using often in 2024. There are 77 pictures (including the cover) over 54 pages. Enjoy!
The list of Film Simulation Recipes below are my “Essential 7” for the X-T3 and X-T30. Fujifilm left these two models on an island (didn’t give them the same JPEG options as the other X-Trans IV models), so that’s why they get their own article. If you are not sure which Recipes to program into your C1-C7 Custom Presets, these are my suggestions for you to begin with. These are the ones that you must try, in my opinion. You might love all of them, you might only appreciate some of them, or you might not like any of them. Each person has their own styles and tastes, and there’s no one single Recipe that’s universally loved by everyone (although a few seem close). Still, give these seven a try—keep the ones you like, and replace the ones that you don’t.
Evening at Monument Valley – Monument Valley, AZ – Fujifilm X-T30 – Velvia
A couple of important side notes here. First, this list isn’t necessarily made up of versatile Recipes. Like film, most Film Simulation Recipes have specific use cases—such as sunny daylight—so not all of these option will be good for night photography, for example, or perhaps other situations. Be sure to visit my Which Film Simulation Recipe, When?article for a more comprehensive group of options for various use cases. Also, the X-T3 and X-T30 cannot save a White Balance Shift within the C1-C7 Custom Presets. You can only save one WB Shift per White Balance type, which means you’ll have to remember to adjust the WB Shift each time you change Recipes. The suggestions below do not take this into account; however, the Which Film Simulation Recipe, When? article does, so be sure to read it.
The Essential 7 Film Simulation Recipes to program into your X-T3 or X-T30 camera first:
Find these Film Simulation Recipes and many more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
The list of Film Simulation Recipes below are my “Essential 7” for X-Trans IV cameras (except for the X-T3 and X-T30, which will be found in Part 3). If you are not sure which Recipes to program into your C1-C7 Custom Presets, these are my suggestions for you to begin with. These are the ones that you must try, in my opinion. You might love all of them, you might only appreciate some of them, or you might not like any of them. Each person has their own styles and tastes, and there’s no one single Recipe that’s universally loved by everyone (although a few seem close). Still, give these seven a try—keep the ones you like, and replace the ones that you don’t.
An important side note here: this list isn’t necessarily made up of versatile Recipes. Like film, most Film Simulation Recipes have specific use cases—such as sunny daylight—so not all of these option will be good for night photography, for example, or perhaps other situations. Be sure to visit my Which Film Simulation Recipe, When?article (this one, too) for a more comprehensive group of options for various use cases.
This list is for X-Trans IV cameras (except for the X-T3 & X-T30), which include the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II. The X-S20’s exclusion is a bit controversial because it has an X-Trans IV sensor paired with the X-Trans V processor, but since it seems to render more similar to X-Trans V than X-Trans IV, and has the X-Trans V JPEG options, it’s not in this list, but with the X-Trans V cameras.
The Essential 7 Film Simulation Recipes to program into your X-Trans IV camera first:
Find these Film Simulation Recipes and many more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
This is Part 1 of what will be a series of articles on this topic. I actually attempted to do this back in the summer, but got sidetracked, and never made it beyond the first post. So those with an X-Trans V camera get a little bonus. My hope is to make it all the way through X-Trans I, so if you have an older model, don’t worry—we’ll get to your camera soon.
The list of Film Simulation Recipes below are my “Essential 7” for X-Trans V cameras. If you are not sure which Recipes to program into your C1-C7 Custom Presets, these are my suggestions for you to begin with. These are the ones that you must try, in my opinion. You might love all of them, you might only appreciate some of them, or you might not like any of them. Each person has their own styles and tastes, and there’s no one single Recipe that’s universally loved by everyone (although a few seem close). Still, give these seven a try—keep the ones you like, and replace the ones that you don’t.
Left the Lights On – Buckeye, AZ – Fujifilm X-T5 – Fluorescent Night
An important side note here: this list isn’t necessarily made up of versatile Recipes. Like film, most Film Simulation Recipes have specific use cases, such as sunny daylight, so not all of these option will be good for night photography, for example, or perhaps other situations. Be sure to visit my Which Film Simulation Recipe, When?for a more comprehensive list of options for various use cases.
This list is specifically for X-Trans V cameras, which (as of this writing) are the Fujifilm X-H2s, X-H2, X-T5, and X-S20. The X-S20 is a bit controversial to be included here because it has an X-Trans IV sensor paired with the X-Trans V processor, but since it seems to render more similar to X-Trans V than X-Trans IV, and has the X-Trans V JPEG options, it is included in this list. Also, use this list for the upcoming X100V successor, once it comes out (in February or March, most likely). Next up in this series is X-Trans IV.
The Essential 7 Film Simulation Recipes to program into your X-Trans V camera first:
Find these Film Simulation Recipes and many more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
Yesterday, MPB (“an online platform for used photography and videography equipment”) published an article entitled How to Install and Use Fujifilm Recipes, which was largely written by Michael Schulz. I knew that this story was in the works because MPB had reached out to me several weeks ago just to make sure that it was ok to mention Fuji X Weekly in an upcoming piece; however, I only found out that it was published because I noticed a number of clicks to this website from theirs within today’s daily stats. What I love about the MPB article are the lovely photographs by Michael captured with his Fujifilm X100V, using mostly the Pacific Blues, Kodak Gold 200 (or is it this one?), and Kodak Portra 400 v2 (maybe Vibrant Arizona, too…) Film Simulation Recipes. It’s a real testament to what can be done straight-out-of-camera with Fujifilm models.
I was thinking today: why are camera stores talking about Fuji X Weekly and Film Simulation Recipes? It would be more obviously understood if I had merchandise for sale in their stores or on their websites, but I don’t. What’s in it for them? I think the answer is pretty simple: Fuji X Weekly Recipes sell Fujifilm cameras.
Golden Light in Abandoned House – North Salt Lake, UT – Fujifilm X100V – Fujicolor Reala 100 Recipe
Recipes are one of the reasons why the X100V has been so hard to find for over a year now. Social media influencers began saying that the X100V’s pictures “mimic film” and require “zero editing”—next thing you know they’re out of stock everywhere. With a little research I found out that these influencers were using my Film Simulation Recipes.
If you have a camera store and want to move your Fujifilm inventory, the best way is to point out to customers that the straight-out-of-camera pictures look so darn good, and post-editing isn’t necessary. Specifically, Film Simulation Recipes make it easy to get great-looking pictures without fuss, which can make photography more accessible and enjoyable, saving tons of time and frustration. There’s even an app! I think Fujifilm themselves have overall done a fairly poor job of communicating this; it’s been influencers and camera stores and really just word-of-mouth by Fujifilm photographers that has spread the message to the community at large. Outside of Fujifilm circles, this whole concept is fairly unknown or misunderstood, so there’s still a lot of work to go. MPB’s article will help; hopefully there will be more like it in the near future.
This morning I awoke to an email in my inbox from Anders. As a Christmas gift to you, he wanted to share his methods for creating Film Simulation Recipes that he has developed and put to use. This formula can be used by anyone. I have taken a similar approach a number of times myself (I do it in-camera, and not with X RAW Studio), although—for me—Recipes can come about many different ways; I don’t have one single method, but perhaps a handful of various approaches. I discussed it a bit in my Emulsion ’86 article.
Pink Blossom Bush – San Diego, CA – Fujifilm X-T5 – Emulsion ’86
Anders’ step-by-step formula is a path that you can follow to create your own Recipes that are certain to be accurate to any film aesthetic that you’d like to mimic. Oftentimes you can easily find the film spec sheets with a quick Google search, but for some emulsions you’ll have to dig deeper, or maybe you won’t find them at all. Many spec sheets for Kodak films are readily available, for example, but you may have trouble finding them for other brands or long-discontinued emulsions. If you can locate the spec sheet, then you can begin Step 1. If you don’t have or use X RAW Studio, you can do this in-camera, but it is probably a little easier to do with X RAW Studio; either way, it does require shooting RAW+JPEG so that you can reprocess the RAW file.
Thank you, Anders Lindborg, for sharing this with everyone! Even if you have no interest in creating a Film Simulation Recipe yourself, perhaps this gives you an idea of the incredible effort that sometimes goes into creating one.
Round Window – Pismo Beach, CA – Fujifilm X100V – Kodak Tri-X 400
Anders’ Film Simulation Development Method
Download all reference material you need, including film spec sheets. This is really important to have, if you want to create a realistic simulation. You will need a good chart of color wavelength in nanometers as well, to be able to use this method.
Load some reference photos into X Raw Studio. Select a good one that is taken at noon, as this used to be the official reference for film daylight temperature. Note: The time when the photo is taken is important. Don’t cheat!
Select the base Film Simulation you think is most similar to the film you actually want to simulate. Sometimes, the general characteristics are more important than the color scheme being spot on.
Choose the Dynamic Range you think is most correct for your simulation. The characteristic curves chart from the spec sheets can be a lot of help here.
Set the White Balance (in kelvin) to a value that corresponds to the color of the film base layer. This will most likely make your colors look really off, but don’t worry about that right now. Note: It helps knowing where the film was created, as the daylight temperature varies quite a bit depending on where in the world you are located.
Check the spec sheets and find out what colors of the second and third (with Fuji, sometimes a fourth) layers are. Look at the spectral sensitivity chart to find how the colors are distributed and which color is most prominent. Locate the highest peak of the dominant color and check the specified wavelength of the peak.
Look in the color wavelength chart and find the color that corresponds to the wavelength reading from the previous step. Now go back to X Raw Studio and open the WB Shift panel and locate the exact color you found. This takes some practice, but after doing it a few times it’s quite easy.
Now look at the colors of your photo and check the color distribution compared to the spectral sensitivity chart. Make any adjustments needed to balance out the color distribution.
Look in the spec sheets again and locate the spectral dye density curves chart. This chart describes the tonality of the film. Adjust Highlight, Shadow, and Clarity as needed.
Any other parameters needed should be set at this step. These include Grain, Sharpness, Color Chrome Effects, Noise Reduction, etc.. Note that changing a single parameter can have a huge impact, so be careful here!
Look at your photo again. Do the colors look like they should? If not, make more adjustments to either your selected White Balance or WB Shift. Only minor adjustments should be needed at this step.
Save your current recipe and apply it to your other reference photos in X Raw Studio. Compare them to photos found on Flickr and film review sites. Keep in mind that many of them are developed and scanned at home, so you need to learn how different development and scanning methods affect the final result! Adjust the recipe as needed and keep reapplying it to your reference photos and double check them over and over again.
If you think you might be done, it’s time to test it for real! Load the recipe into your camera and get out there. Try taking photos that mimics what you’ve found on the Internet so they are somewhat comparable. It’s all about details here, so keep iterating from Step 8 until you are happy. With hard work and a bit of luck, you’ll have a spot on clone of the original film!
“Don’t forget to share your creation with the world,” Anders Lindborg wrote, “and feel happy about contributing to the community! Just keep in mind that this is more of learning how to best mimic the original film, rather than creating an exact copy. There are so many variables that can affect the final result of real film and the most important part here is that the general behavior is the same. This method is proven to work for both color and black & white simulations and is all based on color science. Several successful simulations have been created while developing the method, so this is several years of blood, sweat and tears that have been compressed into these steps. While this method might look very advanced, trust me when I say that it works and that it’s worth the effort! Not only the general look of the film will be simulated, but also its behavior in different situations, including weird color shifts and other general quirks. The results have amazed me several times!”
As I was contemplating how I might approach the use of this Recipe on my X-T5, a Fuji X Weekly reader suggested that I should modify it by using the Nostalgic Neg. film simulation instead of Eterna. Because there are some similarities between those two film sims, there is potential for crossover. Sure enough, with the right modifications, I was able to recreate the look and feel of the Kodak Vision3 250D Recipe using Nostalgic Neg.; however, it’s not an identical rendering, especially the shadows, which are a little warmer. There are other small differences, too. As you know, one film can have many different looks depending on how it was shot, developed, and scanned or printed, so you could consider this v2 version of Kodak Vision3 250D to be a divergent (yet still similar) aesthetic that replicates a different handling of the film.
If you have a camera with the Nostalgic Neg. film simulation, I invite you to try this new Kodak Vision3 250D v2 Film Simulation Recipe! You should also try the version that uses Eterna, too, and see which one you like better. While the “v1” Recipe has been my favorite for years, I think I like this new v2 version just a little more. It definitely produces an analog-like look that is easy to appreciate.
Film Simulation: Nostalgic Neg. Dynamic Range: DR200 Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome FX Blue: Off White Balance: Fluorescent 1, -5 Red & 0 Blue Highlight: +4 Shadow: +3 Color: -1 Sharpness: -2 High ISO NR: -4 Clarity: -2 ISO: Auto, up to ISO 6400 Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured using this Kodak Vision3 250D v2 Film Simulation Recipe on my Fujifilm X-T5:
Public Telephone – Scottsdale, AZ – Fujifilm X-T5
Spinning Carousel – Scottsdale, AZ – Fujifilm X-T5
Snack Stop – Scottsdale, AZ – Fujifilm X-T5
Nighttime at Circle K – Surprise, AZ – Fujifilm X-T5
Joyful – Buckeye, AZ – Fujifilm X-T5
Urban Bougainvillea – Phoenix, AZ – Fujifilm X-T5
Little Plant in a Courtyard – Phoenix, AZ – Fujifilm X-T5
Sitting & Waiting – Phoenix, AZ – Fujifilm X-T5
Outdoor Dining – Phoenix, AZ – Fujifilm X-T5
Vines & Concrete – Phoenix, AZ – Fujifilm X-T5
Reflected Light on a Tall Building – Phoenix, AZ – Fujifilm X-T5
In Step – Phoenix, AZ – Fujifilm X-T5
High Rise Condo – Phoenix, AZ – Fujifilm X-T5
Constructing a Tall Building – Phoenix, AZ – Fujifilm X-T5
Jon – Buckeye, AZ – Fujifilm X-T5 – Photo by Amanda Roesch
95 LED Shoes – Phoenix, AZ – Fujifilm X-T5
Parking Garage – Phoenix, AZ – Fujifilm X-T5
Urban Vine – Phoenix, AZ – Fujifilm X-T5
Level 2 – Phoenix, AZ – Fujifilm X-T5
No Left Turn – Phoenix, AZ – Fujifilm X-T5
Holiday Guitarist – Phoenix, AZ – Fujifilm X-T5
Cranes & Palms – Phoenix, AZ – Fujifilm X-T5
Layton – Phoenix, AZ – Fujifilm X-T5
Electric Construction – Phoenix, AZ – Fujifilm X-T5
Apartment Patio – Phoenix, AZ – Fujifilm X-T5
Autumn Rooftop – Buckeye, AZ – Fujifilm X-T5
Gazebo Roof – Buckeye, AZ – Fujifilm X-T5
Rainbows & Bougainvillea – Buckeye, AZ – Fujifilm X-T5
Bougainvillea Veiling Palm – Buckeye, AZ – Fujifilm X-T5
Pink Blossoming Flowers – Buckeye, AZ – Fujifilm X-T5
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
Find this Film Simulation Recipe and over 300 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
In the Season 3 finale of SOOC Live, Fuji X-Photographer Nathalie Boucry and I discussed double exposure photography at length, and especially how to do it in-camera on Fujifilm models. If you are interested in the topic and didn’t catch that episode when it was live, you may want to take some time and watch it now. I’ve included it below. If you are short on time, skip ahead to the 35 minute mark, and begin around there.
I’m not going to rehash all that was said during the show (you’ve got to watch it)—this is a lengthy and complicated topic that can go many different directions. Really, books can be (and have been) written about it. Instead, I want to talk about Film Simulation Recipes for double exposures, and also provide a little more explanation for some things that maybe weren’t clear in the broadcast. I hope it all makes sense by the end.
The three Film Simulation Recipes that we discussed in the show and are challenging you to shoot with for the remainder of December plus most of January are Mystery Chrome, Dramatic Monochrome, and Faded Negative. Some notes about each:
Mystery Chrome is fully compatible with X-Trans III cameras, plus the X-T3 and X-T30. To use it on newer models, set Color Chrome FX Blue to Off, Clarity to 0, and choose a Grain size (Small or Large… I recommend Large). For those using newer cameras, we recommend using the Average setting for this Recipe, but don’t be afraid to try Additive.
Dramatic Monochrome is fully compatible with the Fujifilm X-T3 and X-T30. To use it on X-Trans III cameras, simply ignore Color Chrome Effect—the results will be nearly identical. To use it on newer cameras, set Color Chrome FX Blue to Off, Clarity to 0, and choose a Grain size (Small or Large… I recommend Large). For those using newer cameras, we recommend using the Additive setting for this Recipe, but don’t be afraid to try Average.
Faded Negative is fully compatible with X-Trans IV cameras, except for the X-T3 and X-T30. To use it on X-Trans V models, set Color Chrome FX Blue to Weak instead of Strong. This Recipe is not found in the Fuji X Weekly App because it requires further explanation on how to use it, and the App format is not conducive to that; however, in the broadcast Nathalie provides a great tip for how you can use the New Recipe (Blank Recipe Card) feature to add it to your App if you’d like. Be sure to read the article before attempting to use this Recipe.
You can use any Film Simulation Recipe with double exposure photography, but in my experience the ones that work best are Recipes that are especially contrasty. For the purpose of the show, we’re using three specific ones; however, feel free to try any Recipe that interests you. The color pictures below were captured using the Ferrania Solaris FG 400 Recipe, and Kodak Tri-X 400 was used for the B&W. As for submitting images for the Viewers’ Images Slideshow, please only use the Mystery Chrome, Dramatic Monochrome, and Faded Negative Recipes.
One thing that perhaps should have been demonstrated in the show but wasn’t is what in-camera double exposures look like, taking a peek at each of the two exposures individually and then the combined image. Since the newer cameras can save a RAW file of each exposure (which can be processed into a JPEG in-camera), it’s possible to demonstrate this pretty easily.
Exposure 1
Exposure 2
Double Exposure using Average
Exposure 1
Exposure 2
Double Exposure using Average
Exposure 1
Exposure 2
Double Exposure using Additive
I would say that double exposure photography takes a lot of practice to feel comfortable with, but there is a ton of potential for creativity. It’s worth trying, and it’s worth going through a lot of failures in order to get good at it. There are also so many different approaches and methods that can yield very different results. You’ll discover some of these as you practice. So my encouragement for you is to try and try again. If the pictures aren’t very good at first, don’t give up! Keep at it, and pretty soon you’ll surprise yourself with what you create.
One last thing: below I’ve included the Viewers’ Images Slideshow for the Reala Ace episode. If you haven’t yet seen it, be sure to watch it now. I want to express a very big “Thank you!” to everyone who submitted their photographs for inclusion in it. I always enjoy seeing your wonderful pictures!
Left the Lights On – Buckeye, AZ – Fujifilm X-T5 – Fluorescent Night Recipe
I wanted to create a Film Simulation Recipe for my Fujifilm X-T5 camera that would produce a certain look when shot under fluorescent lights at night. Now there are different varieties of fluorescent lightbulbs, and the kelvin temperature can vary quite significantly between them. It’s also not uncommon to find fluorescent lights mixed with other nearby light sources. In other words, results will very depending on the exact light situation. Sometimes this Recipe will produce warm results, and sometimes cool. While not modeled after any specific emulsion, this Recipe is similar to using a Tungsten-balanced film—perhaps something similar to Fujicolor NPL 160T or Kodak Portra 100T, although it’s not exactly like either of those. This Recipe gives you one more option for nighttime photography.
What I found myself enjoying more than I thought I would is using this Fluorescent Night Film Simulation Recipe during the day. It has an obvious cool cast with pronounced blues. Still, I was pleasantly surprised that this Recipe is halfway decent for daylight use. If you are looking for a retro film-like aesthetic that isn’t warm, Fluorescent Night might be a good option for your daylight photography.
A Visit with Santa – Buckeye, AZ – Fujifilm X-T5 – Fluorescent Night Recipe
This Fluorescent Night Film Simulation Recipe is compatible with all Fujifilm fifth-generation X-Trans cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, and X-S20 (yes, the X-S20). You should also be able to use this on newer GFX models, but the results will likely be slightly different (try it anyway). For nighttime use, I most often selected -2/3 or -1/3 exposure compensation, and for daylight I most often used +1/3 or +2/3; however, “typical exposure compensation” is only meant as a starting point, and each exposure should be judged individually.
Film Simulation: Nostalgic Neg. Dynamic Range: DR200 Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome FX Blue: Weak White Balance: Fluorescent 2, -8 Red & -1 Blue Highlight: -1 Shadow: -1.5 Color: +4 Sharpness: -2 High ISO NR: -4 Clarity: -3 ISO: Auto, up to ISO 6400 Exposure Compensation: -2/3 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured using this Fluorescent Night Film Simulation Recipe on my Fujifilm X-T5:
Happy Girl – Buckeye, AZ – Fujifilm X-T5
Neighborhood Bougainvillea – Buckeye, AZ – Fujifilm X-T5
Bougainvillea Blue – Buckeye, AZ – Fujifilm X-T5
Bougainvillea Along Stucco Wall – Buckeye, AZ – Fujifilm X-T5
Sidewalk Potted Plant – Buckeye, AZ – Fujifilm X-T5
Potted Palm Tree – Buckeye, AZ – Fujifilm X-T5
Hairstyle Chair – Buckeye, AZ – Fujifilm X-T5
Christmas Tree & Letters to Santa – Buckeye, AZ – Fujifilm X-T5
Illuminated Door at Abandoned Building – Buckeye, AZ – Fujifilm X-T5
Broken Window – Buckeye, AZ – Fujifilm X-T5
Birria – Surprise, AZ – Fujifilm X-T5
Circle K Gas Station – Surprise, AZ – Fujifilm X-T5
Christmas Star – Buckeye, AZ – Fujifilm X-T5
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
Find this Film Simulation Recipe and over 300 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
Spooner Cove – Montaña de Oro SP, CA – Fujifilm X100V – Fujicolor 100 Gold
When I published my Top 25 Most Popular Film Simulation Recipes of 2023 (so far…), what was surprisingly absent were any that were modeled after or inspired by Fujifilm emulsions. The Top 25 were almost entirely Kodak-like Recipes. That shouldn’t be too surprising since Kodak was the most popular film manufacturer, so the desire for a Kodak rendering is to be expected. But, personally, I really appreciate many of the Fujicolor Recipes, and their complete exclusion from the Top 25 list was a bit unexpected.
Someone suggested that I should make a new list, this one showcasing the most popular Fujifilm-like Recipes. Just like the Top 25 list, this one is based on page-view website statistics. It’s a flawed method, but the best that I have available to me. I included the overall ranking, too, just so that you can see where they stand in the big picture.
The number one most popular Fujicolor Recipe is for X-Trans III cameras (plus the X-T3 and X-T30), as is number eight. The tenth spot is an X-Trans V Recipe. All the others are for X-Trans IV cameras. Eight of these use Classic Negative as the base, one uses PRO Neg. Std, and one uses Velvia. Some of these are personal favorite Recipes of mine, while some of my other personal favorite Recipes that are modeled after or inspired by Fujifilm emulsions didn’t make this list.
Without any further delay, here are the Top 10 Fujicolor Film Simulation Recipes:
Working – Salt Lake City, UT – Fujifilm X-E4 – Kodak Vision3 250D Recipe
This is a long-overdue adaptation of the X-T3/X-T30 Kodak Vision3 250D Film Simulation Recipe for use on “newer” X-Trans IV cameras. Kodak Vision3 250D is one of my favorite Recipes, but it’s only compatible with the Fujifilm X-T3 and X-T30; however, I’ve been using it on my X100V and X-E4 occasionally for years. It’s not hard to adapt X-T3/X-T30 or X-Trans III Recipes for use on newer models by simply selecting a Grain size (Small or Large), setting Color Chrome FX Blue (and Color Chrome Effect for X-Trans III Recipes) to Off, and Clarity to 0. In the case of this Recipe, I prefer Clarity set to -2 and not 0, but it’s acceptable either way.
Vision3 250D is a medium-speed daylight-balanced color motion picture film introduced by Kodak in 2009. It was a replacement for the similar (yet slightly inferior) Vision2 250D. Vison3 250D can be developed in ECN-2 chemistry or C-41. There is a lot of variation in how the film can look depending on a host of factors—especially how shot, developed, and scanned—but I’ve always been impressed with how closely this Recipe mimics some of the aesthetics produces by the emulsion.
This Kodak Vision3 250D Film Simulation Recipe is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras. For fifth-generation models, which are the X-H2s, X-H2, X-T5, and X-S20 (yes, the X-S20!), you can use this Recipe, but blue will render more deeply, so it will look slightly different.
Film Simulation: Eterna Dynamic Range: DR100 Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome FX Blue: Off White Balance: Fluorescent 1, -3 Red & -1 Blue Highlight: +3 Shadow: +4 Color: +3 Sharpness: -2 High ISO NR: -4 Clarity: -2 ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured using this Kodak Vision3 250D Film Simulation Recipe on my Fujifilm X-E4:
MartAnne’s – Flagstaff, AZ – Fujifilm X-E4
Dancing Joy – Salt Lake City, UT – Fujifilm X-E4
No Fun – Salt Lake City, UT – Fujifilm X-E4
Urban Daisies – Salt Lake City, UT – Fujifilm X-E4
Boat on Lake Hamilton – Hot Springs, AR – Fujifilm X-E4
Rainy Rose – Buckeye, AZ – Fujifilm X-E4
Willow – Bountiful, UT – Fujifilm X-E4
Afternoon Joy – Buckeye, AZ – Fujifilm X-E4
Desert Creek – Buckeye, AZ – Fujifilm X-E4
Arizona Date Palm – Buckeye, AZ – Fujifilm X-E4
Bougainvillea & Palm Trunk – Buckeye, AZ – Fujifilm X-E4
Potted Flower Blooms – Buckeye, AZ – Fujifilm X-E4
Park Gazebo – Buckeye, AZ – Fujifilm X-E4
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I get asked sometimes a very fair question: why use Film Simulation Recipes when Fujifilm’s factory-default film simulations are just so darn good?
Fujifilm has, in my opinion, the best JPEG output of any brand. Their film simulations are significantly influenced by Fujifilm’s vast experience with analog film, and it should not surprise anyone that they look good without any modifications. However, Fujifilm does provide a number of tools to customize and fine-tune the straight-out-of-camera results, which I believe makes them even better.
For those who don’t know, Film Simulation Recipes are settings for Fujifilm cameras that produce certain aesthetics, often modeled after classic film emulsions. I have published over 300 of them, which you can find on this website and the Fuji X Weekly App. Recipes are intended to be shot as JPEGs (or RAW+JPEG, if you prefer), and produce out-of-camera pictures that don’t require any editing, or perhaps minimal post-processing if you like. They appear as though they were edited, or even film-like. This saves a lot of time, hassle, and possibly money. It opens up photography to those who don’t know how to RAW edit, or don’t have the desire to learn, or maybe don’t even have access to editing software. This also makes photography more enjoyable to folks (like me) who have RAW-edited for years but don’t care much for it, and would rather be doing other things (like capturing more pictures!).
Golden Light in Abandoned House – North Salt Lake, UT – Fujifilm X100V – Fujicolor Reala 100
Many photographers who own a Fujifilm camera never dive into the menu to adjust the JPEG parameters. They keep it on Provia/STD and at factory defaults, which is 0, Off, or Auto. Or maybe they try the other film simulations, but they still keep everything else set to the default settings. It’s completely understandable. The results are already good, and, besides, the options can seem overwhelming and confusing. Film Simulation Recipes, which takes the guesswork out of the various options, improve upon the standard film sims, but also provide some variety. If you only ever use the default options, you are limited to (for example) a maximum of 10 looks for color photography (11 if you have the latest GFX model with Reala Ace), but there are over 300 Film Simulation Recipes, so (depending on your camera model) you could have hundreds to choose from. You can find the Recipes that produce aesthetics that best match your style and taste.
This is in no way intended to put down factory-default film simulations, or those who use them. My intention is to simply compare a default film sim photograph with a Film Simulation Recipe. Maybe you like the non-Recipe picture better, and that’s ok if you do. There are so many other Recipes to choose from, and I bet at least one would produce a look that you like more than the default film sim—for example, there are 80 Recipes in the Fuji X Weekly App that use Classic Chrome, so if you don’t like the Recipe I chose for this article, there are 79 others that could possibly be a better match for you.
Some Film Simulation Recipes are drastically divergent from the default film simulations, and some are only subtly altered. Many are intended for certain light situations (sunny daylight or artificial light, for example), while Auto White Balance is the factory standard. There’s no one single “right” Recipe or even a perfect film simulation. What matters is finding what works best for you and your photography. That could be a collection of Film Simulation Recipes, it could be a default film sim, or it might be shooting RAW and editing with the software of your choice, or any combination thereof or something different entirely. There’s no right or wrong way. For me, it’s shooting straight-out-of-camera JPEGs using Film Simulation Recipes.
Below are examples of factory-default film simulations compared to Film Simulation Recipes.
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Yellow Aspen Forest – Flagstaff, AZ – Fujifilm X-T5 – Kodak Portra 160 v2 – DR-P Auto
Fujifilm introduced a feature called D-Range Priority (abbreviated DR-P) on the Fujifilm X-T3 in late-2018. Except that’s not entirely true, as the history of DR-P goes back much further than that. You see, Fujifilm EXR cameras, which were before X-Trans and utilized pixel-binning, also had something called D-Range Priority. Oh, and on their Frontier scanners, Fujifilm had something nearly identical to DR-P called Hypertone. The origins of DR-P seem to be found somewhere in the 1990’s.
My first camera that had D-Range Priority—a Fujifilm X-T30—arrived at my doorstep in early-2019, but I haven’t utilized the feature all that much, only sparingly. I get questions about it fairly regularly, particularly after I publish a Film Simulation Recipe that uses it, so I thought I’d take a moment and explain what DR-P is, plus how, when, and why to use it.
Let’s go back to Fujifilm’s Frontier scanners, which were common in photo labs in the 1990’s and 2000’s. Fujifilm modeled their film simulations—at least in part—after scans of films with corrections applied. Those scans were likely from Frontier scanners, and one of the corrections that Fujifilm recommended was Hypertone set to Auto. One limitation of digital camera sensors compared to color negative film is dynamic range. Negative film often has a larger dynamic range than digital cameras (especially in the early days of digital). Film tends to be more forgiving to overexposure (highlights), where digital tends to be more forgiving to underexposure (shadows). Hypertone was a software trick to maximize dynamic range so that it would digitally render more similarly to printed film on Fujicolor paper. D-Range Priority is a trick to achieve a dynamic range more similar to Frontier film scans that had Hypertone enabled.
Which answers the question of why to use it. D-Range Priority maximizes dynamic range, so as to keep highlights and shadows in check, but especially highlights. It’s more difficult to blow out highlights when you use DR-P. If you want to have the greatest dynamic range so as to avoid clipped highlights and blocked-up shadows, this is your best tool.
A few notes. First, like the regular Dynamic Range options (you know, DR100, DR200, DR400, and DR-Auto), D-Range Priority is ISO dependent. In this regard, DR-P Weak is like using DR200, and DR-P Strong is like using DR400. D-Range Priority is used in lieu of the Dynamic Range settings, so you cannot choose (for example) both DR200 and DR-P Weak simultaneously, only one or the other. Also, D-Range Priority disables the Tone Curve, so you cannot select a Highlight and Shadow setting. When enabled, DR-P is the Tone Curve. Interestingly, DR400 with both Highlight and Shadow set to -2 produces similar results to DR-P Weak. DR-P Auto chooses DR-P Weak almost always, and only selects DR-P Strong when there is a very bright light source, like shooting directly at the sun. D-Range Priority Strong produces a very low-contrast image, while DR-P Weak is a little less flat, but is still low-contrast.
To choose D-Range Priority, within the IQ section of the camera’s main Menu find D-Range Priority and select Auto, Strong, or Weak. Normally, D-Range Priority is set to Off. You only enable it when you want to use it. You can also choose D-Range Priority within Edit/Save Custom Presets, and have it enabled on any of your C1-C7 (or C1-C4, depending on your model) options.
To answer the when to use D-Range Priority question, it’s important to remember what DR-P does: produce a low-contrast picture that maximizes dynamic range to protect shadows and especially highlights. If you want punchy pictures, DR-P is not what you want to use (although in high contrast situations, you might still get dramatic results). If you want light pictures that might more closely resemble film scans (particularly from Frontier scanners), then DR-P is an option that you’ll want to consider.
While D-Range Priority is a fairly recent addition to X-Trans cameras—first introduced on X-Trans IV models—it turns out to have a much longer history. For years I assumed that D-Range Priority was for emergency use in extreme situations only, so I pretty much ignored it. I have since warmed up to DR-P, and I use it much more often than I used to. I still feel it’s probably not an option to utilize all of the time, but in the right situations or for a certain look, it works really well.
No Cigarettes – Avila Beach, CA – Fujifilm X-E4 – Kodachrome 64 Recipe
I get asked fairly regularly which Film Simulation Recipes are the most popular. For me, this is a fascinating topic, but it’s definitely hard to know definitively. While I get a glimpse on social media, my best gauge is the Fuji X Weekly website statistics; specifically, which Recipe articles are viewed the most. I don’t collect any data on the Fuji X Weekly App, so that’s no help—although, if I did, it would likely offer the most accurate picture; however, it would still be impossible to know which Recipes people programmed into their Fujifilm cameras, or how often they use each. Perhaps a survey would be particularly useful, yet even it has its limitations. While certainly a flawed method, page-view website statics offer the best glimpse at which Film Simulation Recipes are the most popular, so that’s what I’m using for this article. These are simply the Top 25 most-viewed Recipes on the Fuji X Weekly website.
There’s a lot that can be gleaned from this exercise, but also a grain of salt must be consumed, too. For example, Vibrant Arizona actually has four Recipes in that article (two versions of two), so it would certainly rank lower if it only had one; also, it was published near the end of April, so it has a time disadvantage, as do all of the other Recipes published after January 1st. But, setting those limitations aside, there are still some fascinating trends to be explored. Some of these rankings are quite surprising to me, and others are not surprising at all.
Classic Chrome is the king of film simulations. The five most popular Fuji X Weekly Recipes all use Classic Chrome, as do 21 of the Top 25. Second place, which is Classic Negative with two, is a very distant second. Acros and PRO Neg. Std have one each. The other film simulations don’t even chart on this list. For those who use Film Simulation Recipes, Classic Chrome is clearly the film sim of choice for most.
Not surprisingly, Recipes with Kodak brand names are the most popular. 13 have Kodak in the name, eight have Portra in the name, and five have Kodachrome in the name. Kodak was the most popular film brand, so it should be expected that Film Simulation Recipes that mimic those emulsions would also be popular. What is surprising to me is that none with Fujifilm, Fujicolor, Superia, Provia, Velvia, etc., in the Recipe name made this list, as some of those are my personal favorites.
10 of these Recipes use a Kelvin White Balance, eight use Auto White Balance, six use Daylight, and one uses a Custom White Balance measurement. Almost all of them are warm, at least a little. Only one B&W Recipe made this list, which isn’t a shock to me because the color Recipes are typically far more popular than monochrome. Only one Recipe specifically intended for night photography made this list, and I’m actually a little surprised by which one and how high it ranks. 10 Recipes use DR200, nine use DR400, five use DR-Auto, and one uses D-Range Priority Strong.
Most people who use Recipes do so on X-Trans IV cameras, specifically the X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II models. Of the Top 25 Recipes, 16 of them are for those specific X-Trans IV cameras, including each of the Top 3. Six are for X-Trans III cameras plus the X-T3 and X-T30, two are for X-Trans V, and one is for X-Trans II (the very last one). But it’s a little more convoluted than that, because some Recipes (Vibrant Arizona and Kodak Tri-X 400 for sure, and probably others) are being used on X-Trans V cameras. Some of the X-Trans III plus X-T3 and X-T30 Recipes are likely being used on X-Trans IV and X-Trans V models to some extent. The majority of X-Trans V Recipes are at a disadvantage because they were published after January 1st, and there are only four fifth-generation X-Trans models anyway. I think the biggest takeaway is that the majority of people who shoot with Film Simulation Recipes in 2023 are doing so on X-Trans III and newer cameras, and X-Trans IV is the largest group within that. Recipes are not as popular on EXR, X-Trans I, X-Trans II, Bayer, and GFX models, although there are certainly many who do use them.
There are some rankings that surprise me. Vibrant Arizona is the only one published in 2023 to make the Top 25, although the fact that there are actually four Recipes in that article certainly affect its page-views. The X-Trans III version of Kodak Portra 400 requires a hard-to-get-right custom White Balance measurement, so it’s always surprising to me that so many use it. Kodak Portra 400 Warm and Bright Summer are especially warm, and their use case is more narrow than the others. If you had asked me what the second-most popular Recipe that uses the Classic Negative film sim, I would not have guessed Kodak Max 800, yet here it is! The X-Trans III version of Kodachrome II was ranked #7 last year, the X-Trans IV version of Kodachome II was ranked #8, Nostalgic Negative was #9, and Kodak Ektar 100 was #10, so those have fallen significantly, now ranked #12, #19, #24, & #16, respectively. I’m a little surprised that Classic Kodak Chrome is the most popular X-Trans II Recipe.
Anyway, I’ve held you up long enough. Let’s get to the list!
Top 25 Most Popular Film Simulation Recipes of 2023 (…so far)
There are over 300 Film Simulation Recipes on this website and the Fuji X Weekly App. Having so many options to choose from is great, because no matter your style there’s bound to be at least one that you love, and different Recipes are sometimes best in specific situations. The only problem with having all these options is that sometimes it’s hard to know which ones to choose. There can be a paralysis of choice, or, at the very least, it can seem overwhelming.
But not to worry, I’m here to help! Over the last year I’ve been publishing articles to help with this specific problem—to be a guide of sorts through the many Recipes. There’s no comprehensive list (nor should there be, I think) of when to use each option, because whether or not a particular Recipe is great for a specific scenario is subjective. I might like one, but you might dislike it. However, I can provide some direction—something that I have been attempting to do over the last 12 months.
The problem with my method, though, is that it’s easy for my articles on this subject to get lost in the shuffle. So I thought it would be helpful to round them up, and put them into one place. That’s the intention of this article.
First up is my Which Film Simulation Recipe, When? series. If you only open one article, that’s the one to choose. I think it’s probably the most helpful out of all of them in this post. You might appreciate many of the others, too, so I would encourage you to click on more than one article to read, especially if the number of Film Simulation Recipes feels overwhelming to you, or you’re just not sure where to begin. I hope this helps with that, and you’ll have a little more confidence choosing some to program into your camera.
Find these Film Simulation Recipes and many more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
Help Support Fuji X Weekly!
Nobody pays me to write the content found on the Fuji X Weekly blog. There’s a real cost to running this website. I also put a lot of my own time into writing the posts. If you’ve found something on Fuji X Weekly helpful to you and you’d like to give back, this is a good place to do it. You can donate to this blog using PayPal by clicking below. I appreciate it! Thank you for your support! Please do not feel obligated to give, but do so only if you want to.
Luxury Among Palms – Laguna Hills, CA – Fujifilm X-T5 – Reala Ace Recipe
Today’s SOOC Livebroadcast was wonderful. Thank you to everyone who tuned in and participated—you all make it great!
We discusses the new Reala Ace film simulation, and talked at length about my Reala Ace Film Simulation Recipe. The Reala Ace Recipe is for X-Trans V cameras, and not everyone has one of those cameras, and even if you do, you might prefer a different option, so Nathalie Boucry and I offered three similar Recipes as alternatives. Specifically, we suggested Fujicolor Reala 100, Fujicolor Superia 100, and Fujicolor 100 Industrial. Watch the video below to learn more.
There are two Fujicolor Reala 100 Recipes—one for X-Trans IV (excluding the X-T3 and X-T30), and one for X-Trans V. Likewise, there are two Fujicolor Superia 100 Recipes—one for X-Trans IV (excluding the X-T3 and X-T30), and one for X-Trans V. The Fujicolor 100 Industrial Recipe is just for the X-T3 and X-T30; however, simply ignore Color Chrome Effect to use it on X-Trans III (it will look very similar, and only slightly different), or for newer cameras, set Grain size to Small, Color Chrome FX Blue to Off, and Clarity to 0.
While you are here, the long-overdue Viewers’ Images slideshow from the previous broadcast was finally published. You can watch it below. There are some really great pictures by you all, so you’ll definitely want to take a look. Thanks to everyone who submitted photographs!
Color film almost always is either Daylight balanced or Tungsten balanced. The majority of emulsions are Daylight balanced. Use film intended for sunny light in the daytime, and use film intended for artificial light at night. If the light condition is something else, color correction filters can be used to achieve a correct color cast.
Film Simulation Recipes are often quite similar, and many are meant for use during daylight hours or (less commonly) at night. I get asked sometimes if there are good Recipes that can be used anytime, no matter the light. I think it’s a great strategy to have at least one versatile option programmed into your Custom Presets ready to go. It may or may not be your favorite Recipe, but you know it’s going to deliver good results no matter the situation.
There are actually quite a few of these types of Recipes. The easiest way to find them is, if you are a Fuji X Weekly App Patron, is to Filter by White Balance in the App, and look for Auto White Balance (or Auto White Priority) Recipes. Some are more all-purpose than others, but all of those will be at least somewhat versatile. Even some Recipes that are don’t use Auto White Balance can be surprisingly capable in a variety of light situations—just because it doesn’t use AWB doesn’t mean that it can only be used in one scenario—but those that do use Auto are going to be more so.
Night Snakes – Tempe, AZ – Fujifilm X-T5 – Fujicolor Super HG v2
Below I have five personal picks for versatile Film Simulation Recipes. These are options that I know from my own use are going to be good for when the light condition is uncertain or changing. These are fantastic all-purpose Recipes that you should considered having at-the-ready in your C1-C7 (or C1-C4 if you have an X-S camera) Custom Presets. I like to have at least one programmed, just in case I need it.
Everyday Astia is an X-Trans III plus X-T3 and X-T30 Recipe; to use it on newer X-Trans IV cameras, set Grain size to Small, Color Chrome Effect and Color Chrome FX Blue to Off, and Clarity to 0. Fujicolor NPS 160 Pulled is my go-to Recipe for indoor artificial light (including a wedding reception); to use it on X-Trans V, set Color Chrome FX Blue to Weak. Fujicolor Super HG v2 has both an X-Trans IV version and an X-Trans V. Reggie’s Portra is a very popular for X-Trans IV, to use it on X-Trans V set Color Chrome FX Blue to Off. Reala Ace, which is for X-Trans V, is pretty new but currently getting a lot of buzz—join Fujifilm X-Photographer Nathalie Boucry and myself this coming Thursday (November 2nd) as we discuss the Reala Ace Film Simulation Recipe!
Just in time for Halloween, this video is about using the world’s smallest interchangeable lens—the Pentax-110 24mm f/2.8—on my Fujifilm X-T5 camera, and photographing a haunted ghost town in the Arizona desert!
Field of Gold – Flagstaff, AZ – Fujifilm X-T5 – Kodak Gold 200 Recipe
A favorite Film Simulation for the Fujifilm X-T3 and X-T30, plus X-Trans III cameras, is Kodak Gold 200. I published this Recipe about two-and-a-half years ago, and have had many requests to adapt it for newer models, something that I just recently got around to doing. I took the opportunity to see if I could improve it, utilizing the options that have come out since. While it is still quite similar to the original, I really like how this Kodak Gold 200 Film Simulation Recipe came out.
Kodak introduced Gold color negative film in 1986, and it is still around today. It was originally called Kodacolor VR-G, then Kodacolor Gold, and finally Gold. It replaced Kodacolor VR, which actually (and interestingly) still exists today as ColorPlus. While the film has been improved a few times over the years, it still looks pretty much the same today as it did in the 1980’s. The film is prone to color shifts, and results can vary significantly depending on how i was shot, developed and printed or scanned. Unfortunately, it’s not possible to emulate all of the possible aesthetics of Gold in one Recipe, so this is only a facsimile of one particular Kodak Gold 200 look.
This Kodak Gold 200 Film Simulation Recipe, which will work best in sunny daylight situations, is intended for and is fully compatible with all fifth-generation X-Trans cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, and X-S20 (yes, X-S20). Because X-Trans V renders blue more deeply on some film simulations, setting Color Chrome FX Blue to Weak (instead of Off) will make this Recipe compatible with newer fourth-generation X-Trans cameras—specifically, the X-T4, X-S10, X-E4, and X-T30 II. This Recipe is not compatible with the X100V and X-Pro3; however, you can either try this one with Highlight set to -2 and Shadow set to +1 (and maybe increase exposure by 1/3 stop), or adapt the old Recipe by selecting Grain size Small, Color Chrome FX Blue Off, and Clarity set to 0. Those with newer GFX cameras can use this Recipe, too, but it will render slightly different (give it a try).
Film Simulation: Classic Chrome Grain Effect: Strong, Small Color Chrome Effect: Weak Color Chrome FX Blue: Off White Balance: Daylight, +4 Red & -5 Blue Dynamic Range: DR400 Highlight: -1.5 Shadow: +0.5 Color: +3 Sharpness: -2 High ISO NR: -4 Clarity: -2 ISO: Auto, up to ISO 6400 Exposure Compensation: +2/3 to +1 (typically)
Example photographs, all camera-made JPEGs using this Kodak Gold 200 Film Simulation Recipe on my Fujifilm X-T5:
Evening Hoop – Buckeye, AZ – Fujifilm X-T5
Jon on the Gold Coast – Laguna Beach, CA – Fujifilm X-T5
Wave Crashing – Laguna Beach, CA – Fujifilm X-T5
Rainbows & Palms – Buena Park, CA – Fujifilm X-T5
Vines & Cage – Buckeye, AZ – Fujifilm X-T5
Trumpet Blossom Day – Buckeye, AZ – Fujifilm X-T5
Sun Pouring Over Tree Leaves – Buckeye, AZ – Fujifilm X-T5
Rays & Leaf – Buckeye, AZ – Fujifilm X-T5
Happy Thoughts – Buckeye, AZ – Fujifilm X-T5
Golden Hour Fountain – Buckeye, AZ – Fujifilm X-T5
Golden Bougainvillea – Buckeye, AZ – Fujifilm X-T5
Bougainvillea Arm – Buckeye, AZ – Fujifilm X-T5
Mission Inn & Flag – Riverside, AZ – Fujifilm X-T5
Dodge Van Steering Wheel – Buena Park, CA – Fujifilm X-T5
Bird on a Twisted Dead Tree – Buckeye, AZ – Fujifilm X-T5
Leaf Alone – Flagstaff, AZ – Fujifilm X-T5
Red Leaves – Flagstaff, AZ – Fujifilm X-T5
Golden Trees – Flagstaff, AZ – Fujifilm X-T5
Yellow Forest – Flagstaff, AZ – Fujifilm X-T5
Autumn Woods – Flagstaff, AZ – Fujifilm X-T5
Aspen Leaves – Flagstaff, AZ – Fujifilm X-T5
Golden Aspen – Flagstaff, AZ – Fujifilm X-T5
Dream – Flagstaff, AZ – Fujifilm X-T5
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Find this Film Simulation Recipe and over 300 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
Help Support Fuji X Weekly!
Nobody pays me to write the content found on the Fuji X Weekly blog. There’s a real cost to running this website. I also put a lot of my own time into writing the posts. If you’ve found something on Fuji X Weekly helpful to you and you’d like to give back, this is a good place to do it. You can donate to this blog using PayPal by clicking below. I appreciate it! Thank you for your support! Please do not feel obligated to give, but do so only if you want to.
