Any Fujifilm Recipe can be used for video, but there are some caveats. First, not all of the options that are available for still photography are available for video (and, to a much lesser degree, vice versa). Also, the various Film Simulations look very subtly divergent for video than stills, simply because the pipeline is different for color sampling, curves, sharpening, and noise reduction—the output is nearly the same, but there are some small inherent variations, with some Film Simulations affected more than others. All of this is to say that Recipes intended for still photography will work for cinematography if you ignore the settings that aren’t available in movie mode, but the outcome will not be exactly the same. Aside from that, what works well for still photography does not always work well for video (and vice versa)—that’s why film manufacturers have some emulsions specifically for photographs and some specifically for motion pictures. With that in mind, I decided to create Fujifilm Recipes that are specifically designed for cinematography.
What I love about the Retro Cinematic Video Recipe is that it emphasizes both warm and cool tones. In the right light, it almost has a split-tone effect. Depending on the situation, it can appear to have a warm cast or a cool cast. While this Recipe is intended for use in sunny daylight, it can also be great for showcasing the blues of twilight and for emphasizing the warmth of artificial light. The Retro Cinematic Video Recipe is a Fuji X Weekly App Patron Early-Access Recipe, which means that it is currently only available to App Patrons; however, in time it will be available to everyone. If you are a Fuji X Weekly App Patron subscriber, it’s available to you right now. The YouTube video that I’ve embedded below is a good sampling of what the Retro Cinematic Recipe looks like.
Retro Cinematic is a video Recipe, and is not intended for still photography; however, you can use it for stills by choosing a Grain size (either Off or Weak/Small), setting Color Chrome Effect and Color Chrome FX Blue to Off, and set Clarity to 0. I did not include a “typical exposure compensation” because you’ll want to carefully consider the exposure for each individual scene, and whether it should be brighter or darker will depend on the exact light situation and desired mood. This Retro Cinematic Recipe is compatible with all fifth-generation cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III. You can also use this with newer GFX cameras, too.
The stills below are from the video above. The video footage was captured using a Fujifilm X-H2s and X-S20. No color grading, just straight-out-of-camera clips. Footage by AV, Dave Geffin, B.Monét, Kyler Steele, and Jeffrey Sun.
Find this Fujifilm Recipe and hundreds more in the Fuji X Weekly App. Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
Any Fujifilm Recipe can be used for video, but there are some caveats. First, not all of the options that are available for still photography are available for video (and, to a much lesser degree, vice versa). Also, the various Film Simulations look very subtly divergent for video than stills, simply because the pipeline is different for color sampling, curves, sharpening, and noise reduction—the output is nearly the same, but there are some small inherent variations, with some Film Simulations affected more than others. All of this is to say that Recipes intended for still photography will work for cinematography if you ignore the settings that aren’t available in movie mode, but the outcome will not be exactly the same. Aside from that, what works well for still photography does not always work well for video (and vice versa)—that’s why film manufacturers have some emulsions specifically for photographs and some specifically for motion pictures. With that in mind, I decided to create Fujifilm Recipes that are specifically designed for cinematography.
Even though there are significantly fewer settings available for video than for stills, I found that creating Recipes for video to be much more difficult. I began this project over a year ago, and only now am I publishing the results. It’s been a lot of fun, but also very challenging. The YouTube video that I’ve embedded below is a good sampling of what the Vivid Fujichrome Recipe looks like. I would describe it as vibrant and leaning warm; slightly contrasty with deep blacks. This is a bold Recipe for colorful subjects, and has a distinctive Velvia quality. It’s specifically intended for sunny daylight, but it can sometimes produce good results in other light situations. It’s especially great for sunset and blue hour.
Vivid Fujichrome is a video Recipe, and is not intended for still photography; however, you can use it for stills by choosing a Grain size (either Off or Weak/Small), setting Color Chrome Effect and Color Chrome FX Blue to Off, and set Clarity to 0. I did not include a “typical exposure compensation” because you’ll want to carefully consider the exposure for each individual scene, and whether it should be brighter or darker will depend on the exact light situation and desired mood. This Vivid Fujichrome Recipe is compatible with most fourth-generation Fujifilm cameras—X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II—as well as all fifth-generation cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III. You can also use this with many GFX cameras, too.
Film Simulation: Velvia White Balance: 5000K, +2 Red & 0 Blue Dynamic Range: DR200 Highlight: -1 Shadow: -2 Color: +2 Sharpness: 0 High ISO NR: -4 Interframe NR: Auto ISO: up to ISO 6400
The stills below are from the video above. The video footage was captured using a Fujifilm X-H2s and X-S20. No color grading, just straight-out-of-camera clips. Footage by AV, Dave Geffin, B.Monét, Kyler Steele, and Jeffrey Sun.
Find this Fujifilm Recipe and hundreds more in the Fuji X Weekly App. Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
Stop Time – Buckeye, AZ – Fujifilm X-T5 – Summer of ’59
This Fujifilm Recipe began as an attempt to recreate the aesthetic of some of Saul Leiter’s color photographs from the 1950’s and early-1960’s, particularly images like Paris 1959, Foot on El 1954, Bus 1954, San Carlo Restaurant 1952, Taxi 1957, Near the Tanager 1954, Phone Call 1957, and Pipes 1960—among others—with the greatest emphasis on Paris 1959. While I don’t think it’s possible to faithfully reproduce that look exactly on Fujifilm cameras, this Summer of ’59 Recipe is definitely at times pretty darn close. Also, some of Saul’s other photographs from that same era had a divergent aesthetic, and this Recipe isn’t good for replicating those.
During this time, Saul Leiter was using the first era of Kodachrome film. Something interesting that I learned while researching this is that Saul preferred shooting Kodachrome that was past the expiration date. He liked the way the film looked when expired, and especially the serendipity of not knowing what the precise aesthetic was going to be. An alternative name for this Fujifilm Recipe could be Expired Vintage Kodachrome.
Fountain at Dusk – Buckeye, AZ – Fujifilm X100VI – Summer of ’59
Saul Leiter liked reflections, shooting through glass, and using layers. He kept his eyes out for catchy colors. He wasn’t afraid of shadows. His favorite lenses were telephoto, particularly 90mm and 150mm. If you are really trying to replicate his look, those are things you’ll want to consider. Vintage lenses will likely help, too (although I didn’t use vintage glass for these images).
This Summer of ’59 Recipe isn’t new—it was an App Patron Early-Access Recipe, and Patrons have had access to it for the last two years. Now that it has been replaced by a different Early-Access Recipe, it’s freely available to everyone. I really like this one, personally, and use it from time-to-time. My wife, Amanda, used it recently, too, and she seemed to really like it. I never intended for Summer of ’59 to be unavailable to everyone for so long, and I’m working to improve that going forward. In the meantime, I hope that you enjoy this Recipe.
Mint Chocolate Shake – Avondale, AZ – Fujifilm X-T5 – Summer of ’59
This Recipe is fully compatible with all fifth-generation cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III. It can also be used on the latest GFX models: GFX100 II, GFX100S II, and GFX100RF. You can also use this on “newer” fourth-generation cameras (X-T4, X-S10, X-E4, and X-T30 II), but it will render very slightly different (try it anyway!). One consideration is White Balance Shift: I wen’t back-and-forth on both Red and Blue, and I think +5 Red could alternatively be used, and/or -7 Blue could be alternatively used. All of the sample pictures in this article are with the WB Shift as published, and not the divergent options mentioned above.
Film Simulation: Eterna Grain Effect: Strong, Small Color Chrome Effect: Weak Color Chrome FX Blue: Strong White Balance: Auto, +4 Red & -8 Blue Dynamic Range: DR400 Highlight: +3 Shadow: +0.5 Color: 0 Sharpness: -1 High ISO NR: -4 Clarity: -3 ISO: Auto, up to ISO 6400 Exposure Compensation: -2/3 to +1/3 (typically)
Example photographs, all camera-made JPEGs using this Summer of ’59 Film Simulation Recipe on a Fujifilm X-T5 and X100VI:
All Way Stop – Phoenix, AZ – Fujifilm X100VI
Hanging Glass – Buckeye, AZ – Fujifilm X-T5
Falling Water in a Fountain – Buckeye, AZ – Fujifilm X-T5
Lion Water – Buckeye, AZ – Fujifilm X-T5
Pet Waste Station – Buckeye, AZ – Fujifilm X-T5
Red & White Blooms – Buckeye, AZ – Fujifilm X-T5
Bougainville & Palm Tree Trunk – Buckeye, AZ – Fujifilm X-T5
Summertime Feelings – Buckeye, AZ – Fujifilm X-T5
Founder’s Day Weekend – Buckeye, AZ – Fujifilm X-T5
Blue Flags – Buckeye, AZ – Fujifilm X-T5
Power Lines – Avondale, AZ – Fujifilm X-T5
An Arizona Home – Buckeye, AZ – Fujifilm X-T5
Corner – Buckeye, AZ – Fujifilm X-T5
Yellow Car – Buckeye, AZ – Fujifilm X-T5
Bougainvillea Along a Sidewalk – Buckeye, AZ – Fujifilm X-T5
Santa Coffee – Buckeye, AZ – Fujifilm X100VI
Jogger – Buckeye, AZ – Fujifilm X-T5
CVS Pharmacy Sign – Buckeye, AZ – Fujifilm X-T5
Next Time – Avondale, AZ – Fujifilm X-T5
Sunlit Lamp – Buckeye, AZ – Fujifilm X-T5
Fake House Plant – Buckeye, AZ – Fujifilm X-T5
Bedroom Plant – Buckeye, AZ – Fujifilm X-T5
1000 Record Covers – Buckeye, AZ – Fujifilm X-T5
Fountain Pot – Buckeye, AZ – Fujifilm X-T5
Jo in the Backyard – Buckeye, AZ – Fujifilm X-T5
Bench End – Goodyear, AZ – Fujifilm X-T5
Twin Seats – Goodyear, AZ – Fujifilm X-T5
Fashion – Buckeye, AZ – Fujifilm X-T5
Outdoor Potted Plant – Buckeye, AZ – Fujifilm X-T5
Desert Cactus Landscape – Buckeye, AZ – Fujifilm X-T5
The Boys – Buckeye, AZ – Fujifilm X-T5
Red Hots – Avondale, AZ – Fujifilm X-T5
Protection – Avondale, AZ – Fujifilm X-T5
Pick Up – Avondale, AZ – Fujifilm X-T5
Find this Fujifilm 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.
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Blooms by the Pavilion – Buckeye, AZ – Fujifilm X100V – Kodak Emulsion Recipe
I love this Kodak Emulsion Film Simulation Recipe, even though it was a happy accident. I was trying to replicate the aesthetic of some Kodak ColorPlus 200 film scans that someone shared with me, but I was unsuccessful; however, in the process of failing, I discovered these settings, which are absolutely great! Even though this Recipe doesn’t accurately mimic any specific emulsion (as far as I’m aware), it still looks very analog-like, and highly reminiscent of a few different Kodak negative stocks. I bet you could convince some people that you actually shot with film, and not a modern digital camera. While I used my Fujifilm X100V to capture these pictures, if I were to choose an interchangeable-lens model paired with vintage glass, I’m certain it would be even more convincing.
This was a Fuji X Weekly App Patron Early-Access Recipe, but now it’s freely available because a new Early-Access Recipe has replaced it. So this isn’t a new Recipe, only newly available to everyone. Patrons help support Fuji X Weekly and, really, without them there would be no App. So I want to give a special “thank you” to all of the Patrons!
This Kodak Emulsion Recipe is compatible with all “newer” fourth-generation Fujifilm cameras (X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II; however, not the X-T3 or X-T30). Technically it is compatible with fifth-generation models, but, because X-Trans V renders blue more deeply on some film simulations, it will look very slightly different (probably not a big enough difference that you’ll notice or care, so give it a try!). This Recipe is best for sunny daylight conditions, but it can be good in other natural light situations, too.
Film Simulation: Classic Chrome Grain Effect: Strong, Large Color Chrome Effect: Strong Color Chrome FX Blue: Off White Balance: Shade, -2 Red & +2 Blue Dynamic Range: DR400 Highlight: -2 Shadow: -2 Color: +3 Sharpness: -2 High ISO NR: -4 Clarity: -3 ISO: Auto, up to ISO 6400 Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs using this Kodak Emulsion Recipe on my Fujifilm X100V:
Autumn Sun – Buckeye, AZ – Fujifilm X100V
Autumn Tree Leaves on a Shrub – Buckeye, AZ – Fujifilm X100V
Minolta SLR – Buckeye, AZ – Fujifilm X100V
Homework – Buckeye, AZ – Fujifilm X100V – Flash On
Vines Along a Shaded Wall – Buckeye, AZ – Fujifilm X100V
Sunlit Table & Chairs – Buckeye, AZ – Fujifilm X100V
Potted Flowers & Pavilion – Buckeye, AZ – Fujifilm X100V
Flowers at a Neighborhood Park – Buckeye, AZ – Fujifilm X100V
Palm Tree & White Building – Buckeye, AZ – Fujifilm X100V
Hanging Lightbulbs – Buckeye, AZ – Fujifilm X100V
Flag in the Wind – Buckeye, AZ – Fujifilm X100V
Bougainvillea Branch on a Bright Day – Buckeye, AZ – Fujifilm X100V
Yellow Wildflowers in the Desert – Buckeye, AZ – Fujifilm X100V
Yellow Flowers Blooming – Buckeye, AZ – Fujifilm X100V
Tall Saguaro Behind Dead Tree – Buckeye, AZ – Fujifilm X100V
Reaching Saguaro Fingers – Buckeye, AZ – Fujifilm X100V
Damaged Saguaro – Buckeye, AZ – Fujifilm X100V
A Desert Landscape – Buckeye, AZ – Fujifilm X100V
Dirt Road After Rain – Buckeye, AZ – Fujifilm X100V
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.
I wanted to give a heads up that something big is coming very soon. This is something I’ve been working on for over a year, and it’s finally nearly ready. Within the next few days, I will make an announcement and publish it. This will require that I post a bunch of articles nearly all at once. I know that some of you receive email notifications whenever new articles are posted, so I’m warning you now: you’re going to get inundated with emails. It will be a massive content dump, but that’s just the way it has to be. My apologies in advance, to anyone who might be annoyed by that. Hopefully the content itself will make it worthwhile.
What is this upcoming thing? Well, you’ll just have to wait a bit longer to find out. I don’t know if everyone will appreciate it, but I think some of you will be thrilled. It’s something I’ve wanted to do for probably four or five years now, and it took 14 months from start-to-finish once I began working on it. It was a team effort, with eight people involved in one way or another. I can’t wait to share it with you!
In unrelated news, I’ve experienced something unusual lately, and I’m not sure what to do with it, but I feel the need to share this story. To start, let’s go back in time six years. This was about four years after I first began to make Fujifilm Recipes, and a handful of months before I launched the Fuji X Weekly App. Recipes were just starting to gain popularity within the community. It was before Fujifilm was even aware that their users were creating, sharing, and using camera setting combinations that were being dubbed “recipes”. Fuji X Weekly was (by far) the main source of Recipes back then, but others began to make and publish their own. One day I received a message from someone accusing me of copying another person’s recipes, only changing the names. As it turned out, the exact opposite was true: I created those Recipes and published them months or even years before the other person. They were copied from Fuji X Weekly and the names were simply changed. This was not the first or (anywhere near) the last time that happened, but it was the first time that I was accused of stealing my own creations. I think it happened because the accuser visited that other person’s website prior to discovering this one, so the order in which they saw the Recipes made them believe that I had copied them instead of vice versa, and they didn’t pay attention to the dates.
Fast forward to 2026, and it’s happened twice this year, just within the last couple of months. What I’ve come to realize is that whenever I publish a new Recipe, it’s being republished on different websites and/or uploaded to different apps within days, sometimes within hours. Often enough, it’s with my own photos, used without permission. This happens constantly. Sometimes the Recipe has the same name; sometimes the name has been changed. The uninitiated, who is maybe new to Fujifilm and the whole Recipe thing, knows nothing about the history. Maybe they’re getting their settings from a different website or app and aren’t very familiar with Fuji X Weekly. They just see the same settings that they found elsewhere, and make the (false) assumption that I copied it from that place whenever they find it here, instead of the correct answer, which is that it was copied from Fuji X Weekly.
After the most recent accusation, I looked at one app, and found my Kodak Portra 400 v2 Recipe listed 15 times. Sometimes it was under that name, but a lot of times the name was changed. In one instance it had my photos. Twice there was a setting that was different, and I’m not sure if that was a tweak or a typo (how could anyone know?). In none of the 15 examples was my name or this website mentioned, each time the credit was given to someone else instead. I repeated this for a handful of other Recipes, and the results were similar.
In the article, The Evolution of Fujifilm Recipes, I stated, “Credit isn’t about ownership, it’s about storytelling. It helps to trace how an aesthetic came to be, and it honors the shared journey that got us there.” I wrote that before these recent incidents. It demonstrates very clearly why it’s important. Apparently it needed to be said, and it bears repeating. It’s frustrating to spend hours—if not days, weeks, or (on a rare occasion) even months—getting the settings “just right” for a new Recipe, thinking of all the work and care that oftentimes goes into it, only for someone else to take credit whose only effort was copy-and-paste. And it’s incredibly disheartening to be accused of stealing your own Recipes and photos.
Like I said, I don’t really know what to do with that, other than to emphasize the quote in the last paragraph. When you see the same Recipe listed across the internet or in various apps, and you don’t have any idea who actually created it or why (because a lot of different people are listed as the creator), that history, journey, and deserved honor are lost. I’m far from the only one affected by this, because I found several other people’s Recipes (and photos) in the same boat. If you’ve ever created and shared a Recipe, there’s a reasonable chance it has happened to you, too, and maybe you’re not even aware of it. The creators deserve the credit, and those discovering Recipes should have the opportunity to join the journey, and learn the backstory. Both sides are shortchanged, and that’s unfortunate.
I don’t want to end what started out as an exciting and positive article on a sour note, so let me circle back to the top. And maybe this ties the two points together: when the upcoming thing is announced in the coming days, please don’t take credit for it as if you were the creator. I know it’s not you all, that this is preaching to the choir, but maybe one of the people involved will read this by chance (because they obviously come to this website sometimes), and—if so—I hope that it causes a change of heart. Anyway, coming very soon is something that I’m extremely excited to share. I hope that you’re a bit curious, and perhaps a little excited, too. Within a few days, the mystery will be revealed.
Flower Farm – Buellton, CA – Fujifilm GFX100S II – Vivid Chrome
Among landscape photographers, Fujichrome Velvia is legendary. This line of color slide films was introduced by Fujifilm in 1990, and quickly became the gold standard for vibrant photography. The first iteration was called Velvia RVP, which had an ISO of 50, delivering ultra-fine grain, exceptional sharpness, and intensely saturated hues (especially in greens and reds). Now it’s called Velvia 50, which is nearly identical to the original emulsion (the largest difference is the clear plastic base). There have also been two ISO 100 versions: Velvia 100 and Velvia 100F. Velvia 100, which was initially only sold in Japan before later becoming available internationally, is very similar to Velvia 50, but slightly less vivid, making it better for portraits. Velvia 100F was the most different, with the lowest saturation and leaning less warm, and overall a little more Provia-ish than Velvia 50. Mostly, when people say “Velvia” they mean Velvia 50.
One of the architects of the Velvia Film Simulation also worked on the Velvia 100 and Velvia 100F emulsions. This Film Simulation was intended to closely mimic the aesthetic of the film; however, Fujifilm has stated that technology precluded them from initially achieving what they wanted, and so Velvia has had to evolved a bit over time. While some might prefer the Velvia Film Simulation from one sensor generation over another (which is great, as each has its own charm), the current output from fifth-generation cameras is probably the most refined, the most like how Fujifilm wanted it to be in the first place. Factory-default Velvia looks nice, and seems to aim in-between Velvia 100 and Velvia 100F. With some adjustments, one can tweak it to achieve a lot of various looks, many of them only subtly different.
Factory-default Velvia Film Simulation (no Recipe)
Vivid Chrome Recipe
Vivid Velvia Recipe
I’ve published 30 Recipes that use the Velvia Film Simulation. By utilizing the Filter By Simulation feature in the Fuji X Weekly App (available for both Apple and Android), you can quickly and easily find all of them. For the sake of this article, I wanted to compare some of the most recently published Velvia-based Recipes, specifically: Velvia Film, Vivid Velvia, Vivid Chrome, Velvia Slide, and Velvia 100F. The differences between these five Recipes might not be immediately obvious, so I wanted to compare them, to provide a better idea.
Velvia Film is a part of the Film Dial Recipe set. It’s unintentionally similar to Velvia 50 with a warming filter. Because it uses the Auto White Priority White Balance, it’s an extremely versatile Recipe, and is great for night photography. Vivid Velvia is intended to be similar to The Rockwell Recipe, just slightly less extreme. It’s also very versatile, and is also along the lines of Velvia 50 with a warming filter. Those two are the most similar among these five Recipes. Vivid Chrome is the newest Velvia Recipe. It was intended specifically for colorful travel photography, and is by chance in the general ballpark of Velvia 100. Velvia Slide was an attempt to replicate Velvia 100, and it seems to do so pretty well in some circumstances and less so in others. This is currently a Patron-only Early-Access Recipe available only to Fuji X Weekly App subscribers. Last but not least is Velvia 100F, which is a part of the Universal Negative Recipe set. It’s unintentionally in the general ballpark of Velvia 100F, although not a perfect match.
Beach Chairs – Folly Beach, SC – Fujifilm X-E4 – Velvia Film
Mountain Grass & Flowers – Boulder, CO – Fujifilm GFX100S II – Velvia Slide
Small Flowing Creek – Queen Creek, AZ – Fujifilm X100VI – Velvia 100F
These five Recipes have their strengths and weaknesses. They’re good for various subjects and scenarios, and less good for others. Velvia Film and Vivid Velvia are the most colorful and warm; Velvia Film leaning slightly warmer and Vivid Velvia leaning slightly more vibrant, but overall very similar. Both are quite versatile. Vivid Velvia is the sharpest. You might find these two Recipes to be just a bit too wild sometimes, but perfect for landscapes where you want the colors to pop. Vivid Chrome is just slightly more subdued, producing bold images without being over-the-top. In a lot of ways, this is a Goldilocks option. Velvia Slide and especially Velvia 100F are less warm, with cooler cast; the Velvia 100F Recipe leans a little green. These two also are less vibrant than the others, especially Velvia 100F, which is the least saturated of these five. In situations where the others are too warm and colorful, you might like these last two.
Below are each of these five Recipes in three different scenes (the third scene was captured by my wife, Amanda). When you compare the Recipes side-by-side, the differences stand out more. Maybe you’re drawn more to one, and maybe there’s one that you especially dislike. We all have our own tastes and styles. I do think that each of these five can be excellent for the right subject and lighting. Let’s take a look!
It’s your turn! Which of these five Fujifilm Recipes was your favorite in each scene above? Which was your least favorite? Which Velvia-based Recipe do you like that I didn’t include in this exercise? Let me know in the comments!
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.
Windmill – Solvang, CA – Fujifilm X-E5 – Nostalgic Air
I first met Hayden Goldsworthy on a photowalk nearly two years ago. He is extraordinarily knowledgable about Fujifilm cameras (that’s a massive understatement), and is extremely well acquainted with Film Simulations, the various JPEG options, and Fujifilm Recipes. He has lead some Fujifilm events and workshops, and been to many others. Some of you may have met him. When I saw that he had created a Recipe, I knew it would be a good one. I immediately asked if I could share it with you all on Fuji X Weekly, and he happily agreed. Thank you, Hayden!
“Ever since Nostalgic Negative was introduced in 2022,” Hayden told me, “I’ve been drawn to it. It really lives up to Fujifilm’s description—warm, amber, and nostalgic—but what stood out to me the most was how flexible it felt as a base for creating something unique. One of the first NN Recipes that really clicked for me was 1976 Kodak. I used it extensively, including on multiple paid wedding shoots, and I never felt the need to adjust it. That Recipe has a consistent everyday look that works in a wide range of situations, and it’s a big part of why I developed a soft spot for Nostalgic Negative in the first place.”
Sunset Saguaro – Apache Junction, AZ – Fujifilm X-E5 – Nostalgic Air
“Since then,” he continued, “I’ve spent a lot of time experimenting and gradually refining my own take on it. Nostalgic Air is the result of that process—something that’s been slowly shaped over time rather than built all at once. It really came together during a trip to Destin, Florida. The bright blue skies, warm sand, and sunlit buildings made the strengths of the Recipe stand out. The colors felt light and pastel without losing their vibrancy, and the overall rendering had a soft, open quality that matched the environment perfectly. That was the moment it clicked as something worth keeping.”
“From there,” Hayden stated, “I made a few final adjustments to improve its consistency across different lighting conditions. While it naturally shines in sunny environments, I’ve found it to be just as reliable outside of golden and blue hour, which made it feel like a strong everyday option. My goal was to create something soft, airy, and natural—leaning into peachy highlights and calm blues—while still maintaining flexibility. Despite looking great straight out of camera, I intentionally built this Recipe to leave room for subtle curve adjustments when needed. At times I like to gently crush the shadows, and more often I’ll shape the highlights to add a bit more pop. That flexibility is a big part of why I named it Nostalgic Air. “
Small Boat Dock – Avalon, CA – Fujifilm X-E5 – Nostalgic Air
“Nostalgic Negative can sometimes introduce greens and yellows that feel a bit off to me,” he said, “so the White Balance Shift helps push warmer peach-like tones while keeping a subtle teal balance. I tend to slightly overexpose when using this Recipe, using +2/3 to +1 exposure compensation; in higher-contrast scenes, like golden hour or harsh light, I’ll expose for the highlights to keep things under control. I also love pairing this with a Tiffen Glimmerglass 1 diffusion filter.” Nostalgic Air is compatible with all fifth-generation Fujifilm cameras: X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, X-T30 III, GFX100 II, GFX100S II, and GFX100RF. Thanks again, Hayden! It’s an honor to use your Recipe, and host it on Fuji X Weekly.
Film Simulation: Nostalgic Neg. Grain Effect: Strong, Small Color Chrome Effect: Off Color Chrome FX Blue: Off White Balance: Auto, +5 Red & -1 Blue Dynamic Range: DR-Auto Highlight: -1 Shadow: 0 Color: +4 Sharpness: -2 High ISO NR: -4 Clarity: -3 ISO: Auto, up to ISO 6400 Exposure Compensation: +2/3 to +1 (typically)
Example photographs, all unedited camera-made JPEGs using this Nostalgic Air Film Simulation Recipe on my Fujifilm X-E5:
Fog in Avalon Bay – Avalon, CA – Fujifilm X-E5
Welcome to Avalon – Avalon, CA – Fujifilm X-E5
Onboard Docked Boat – Avalon, CA – Fujifilm X-E5
Empty Cafe Table – Avalon, CA – Fujifilm X-E5
Suzuki – Avalon, CA – Fujifilm X-E5
In-N-Out – Rialto, CA – Fujifilm X-E5
Thank You – Rialto, CA – Fujifilm X-E5
Rural Flowers – Buellton, CA – Fujifilm X-E5
Western Wear – Weatherford, TX – Fujifilm X-E5
Rocks Framed by Cactus – Apache Junction, AZ – Fujifilm X-E5
Flash Flood Area – Apache Junction, AZ – Fujifilm X-E5
Golden Light on Hidden Saguaro – Apache Junction, AZ – Fujifilm X-E5
Tall Cholla – Apache Junction, AZ – Fujifilm X-E5
Sunset Cholla – Apache Junction, AZ – Fujifilm X-E5
Aquila – Apache Junction, AZ – Fujifilm X-E5
Aquila Place Hotel – Apache Junction, AZ – Fujifilm X-E5
Nighttime Windmill – Solvang, CA – Fujifilm X-E5
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White Bridge across Pond – Charleston, SC – Fujifilm X-E4 – Pacific Blues
I’ve been asked a couple of times lately which Fujifilm Recipes are the best. Someone also asked which Recipes are my favorite for each Film Simulation. Of course “best” is a subjective term, making it impossible to answer; however, if you consider “best” as a synonym to “my personal favorite” then we can move forward answering these questions. Instead of compiling a list of (say) the Top 10 Best Recipes, I decided to tackle this by sharing my favorite Recipe for each Film Simulation.
Some of these were difficult decisions because I have so many favorite Recipes for Classic Chrome, Classic Negative, Reala Ace, Nostalgic Neg. and Eterna. I’m not 100% sure that I actually chose the best, and it probably depends on what day of the week you ask me. If I had written this yesterday or if I procrastinated until tomorrow, some of the selections might be different. I guess take this list with a small grain of salt.
I also included a “runners up” selection for each Film Simulation. Those Recipes were in the running as possible picks for the best, but didn’t quite make the cut. For Classic Chrome and Classic Negative, I could have made the runners up list much longer, and I still would have felt like I left some worthy contenders out. And I know that I did leave a large number of excellent Recipes out of this list, but that’s just the way it goes. So feel free to tell me in the comments what you agree with, what you disagree with, and which Recipes should have been mentioned but weren’t.
Spring Wildflowers & Dead Wood – Buckeye, AZ – Fujifilm X-Pro2 – Provia Slide
Provia Slide is a Recipe for X-Trans III cameras, plus the X-T3 and X-T30 by setting Color Chrome Effect to Off. It’s probably the most ideal Provia Recipe, just really lovely. Generally speaking, I’m not a big fan of the Provia film sim, but this Recipe forces me to like it.
Red Yucca in the White Sand – White Sands NP, NM – Fujifilm X-T4 ES – Aerochrome v2
I love Velvia for colorful landscape photography, and there are a number of excellent options. Being pressed to choose my favorite, the obvious answer is Aerochrome v2, a Recipe for full-spectrum infrared cameras, like the X-T4 ES. This Recipe is an absolute thrill; unfortunately, most can’t use it.
Astia is a Film Simulation that I have to warm up to, it’s not one that I typically choose. But there are a number of good Recipes that use Astia as the base, and my favorite is CineStill 400D v2, which was collaboratively created by Nestor Pool and myself.
Red Barn – Ronks, PA – Fujifilm GFX100S II – Kodachrome 64
Classic Chrome is the king of Film Simulations. There are probably 25 or more Recipes that could have been chosen to represent the “best” but Kodachrome 64 jumped out to me as the one I should pick. There are so many excellent ones, and I feel like the five “runners up” below is a significantly insufficient selection—lots of great Recipes were unfortunately excluded.
Service – Bisbee, AZ – Fujifilm X-T5 – Fujicolor PRO 160C Warm
Even though this is the newest Film Simulation, there are a lot of excellent Reala Ace Recipes. I went back-and-forth a bit, but decided on Fujicolor PRO 160C Warm, which is a part of the Film Dial set. The Reala Ace film sim is essentially a “better” PRO Neg.—as Fujifilm put it, a negative for the new era.
Spiky Arms – Saguaro National Park, AZ – Fujifilm X-T5 – PRO Negative 160C
Between PRO Neg. Hi and PRO Neg. Std, I tend to choose the latter much more often than the former. Now that we have Reala Ace, I don’t go for either very often anymore. But there are some good Recipes to choose from, and for PRO Neg. Hi, PRO Negative 160C is my favorite.
Urban Binding – Salt Lake City, UT – Fujifilm X-T30 – Fujicolor 100 Industrial
I have several favorite Recipes for PRO Neg. Std, but Fujicolor 100 Industrial, which is for X-Trans III cameras (plus the X-T3/X-T30), is something special.
Misty Saguaro– Buckeye, AZ – Fujifilm X-T5 – Pacific Blues
Classic Negative is one of my top favorite Film Simulations. Like Classic Chrome, choosing a top favorite and narrowing to just five “runners up” was difficult, and I’m certain I left a number of excellent ones off the list. With that said, Pacific Blues seemed like a good choice to represent this film sim as the best Recipe.
The Nostalgic Neg. film sim is one that seems to work very well or only so-so, just depending on the subject and lighting. Of the various color Film Simulations, I would probably rank this one fifth best. There are a number of excellent Recipes that use Nostalgic Neg. as the base, and 1970’s Summer is probably my top favorite.
Working – Salt Lake City, UT – Fujifilm X-E4 – Kodak Vision3 250D
The Eterna Film Simulation is probably most often used for video, but it is excellent for stills, too. It has a unique tonality that can be fun to experiment with. While I chose Kodak Vision3 250D as my favorite, it was a difficult decision, and any of the five below could have just as easily been chosen instead.
Low Sun over Tetons – Grand Teton NP, WY – Fujifilm X-E4 – Ferrania Solaris FG 400
I feel like Eterna Bleach Bypass is one of the least used color film simulations, maybe even the least used. But that doesn’t mean it’s not good, because it certainly can be great. My favorite Recipe that uses Eterna Bleach Bypass is Ferrania Solaris FG 400, but the runners up below are good, too.
Pool Remnant – Rodanthe, NC – Fujifilm GFX100S II – Kodak Tri-X 400
When people ask what my favorite Recipe is, I often tell them Kodak Tri-X 400, which was created by Anders Lindborg. This is my favorite B&W Recipe, and one of my top Recipes, period. Acros is such a great Film Simulation, and this Recipe really makes the most of it.
Horsetail Falls From Bridge – Columbia River Gorge, OR – Fujifilm X100V – Ilford HP5 Plus 400
I don’t like the Monochrome Film Simulation (which is simply Provia without color) nearly as much as Acros, but it can still be a good base for black-and-white Recipes. Ilford HP5 Plus 400, which was also created by Anders Lindborg, is my favorite that uses the Monochrome Film Simulation.
Last and least is Sepia. After Fujifilm introduced Monochromatic Color on X-Trans IV, which allows custom toning of B&W photos, the Sepia Film Simulation seemed obsolete. Still, it’s found on every Fujifilm camera. I haven’t created very many Sepia-based Recipes, but there are a few. B&W Sepia, which is a part of the Universal Negative set, is my personal favorite.
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Flower Farm – Buellton, CA – Fujifilm GFX100S II – Vivid Chrome
Fujifilm Nordic asked if I’d be interested in making a Film Simulation Recipe specifically designed for Denmark that would be unveiled at the upcoming Fujikina event in Copenhagen next month. Of course I said yes! I made three Recipes, and then traveled to Solvang and Catalina Island in California to test them out. Solvang is probably the most Danish town in America, so that was an obvious choice. Catalina Island has more of a Mediterranean vibe than Baltic Sea, but it’s colorful and leans slightly European, making it another good option. After photographing with each of the three Recipes at those two locations, the winner was obvious to me. That Recipe will be unveiled in Copenhagen in a little less than a month, and published on Fuji X Weekly a short time later. Second place was Avalon Ace, which is currently available in the Fuji X Weekly App. This Recipe, called Vivid Chrome, came in last; however, it’s very nice, and I’m sure many of you will appreciate it. Even though it didn’t win, it’s still a winner.
Vivid Chrome is probably most reminiscent of Fujichrome Velvia 100, but it’s not intended to be a replication of that or any other specific film. The idea was more to produce good results for colorful scenes. This Recipe produces punchy, vibrant colors; however, it’s also slightly restrained, and avoids being too over-the-top. This is a great option for landscape photography, and also for travel if you’ll be someplace colorful. This Recipe works best in sunny daylight, and can be ok for nighttime photography in the right lighting situations.
The Vivid Chrome Recipe is compatible with all fifth-generation Fujifilm X-series cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III. It’s also compatible with “newer” fourth-generation models: X-T4, X-S10, X-E4, and X-T30 II. Additionally, it works well on the latest GFX cameras, like the GFX100S, GFX100 II, GFX100S II, and GFX100RF.
Film Simulation: Velvia Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome FX Blue: Off White Balance: Daylight, +2 Red & -2 Blue Dynamic Range: DR400 Highlight: -1 Shadow: -0.5 Color: +2 Sharpness: -2 High ISO NR: -4 Clarity: +3 ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs using this Vivid Chrome Film Simulation Recipe on a Fujifilm X-E5, GFX100RF, and GFX100S II:
Green Pleasure Pier & Boats in the Bay – Avalon, CA – Fujifilm GFX100RF
Shoreboat – Avalon, CA – Fujifilm X-E5
Nautical Preparations – Catalina, CA – Fujifilm X-E5
Docked Boats in Avalon Bay – Avalon, CA – Fujifilm X-E5
Green Rope on a Dock – Avalon, CA – Fujifilm X-E5
Yellow Rope in the Water – Avalon, CA – Fujifilm GFX100RF
Ready for a Ride – Avalon, CA – Fujifilm GFX100S II
Avalon Morning – Avalon, CA – Fujifilm GFX100S II
Hotel St. Lauren – Avalon, CA – Fujifilm GFX100RF
Atwater Hotel at Dusk – Avalon, CA – Fujifilm GFX100RF
Christmas Window – Solvang, CA – Fujifilm X-E5
Patina Rooftop – Solvang, CA – Fujifilm X-E5
Office – Solvang, CA – Fujifilm GFX100S II
Windmill Morning – Solvang, CA – Fujifilm GFX100S II
Hamlet Square Ice Cream – Solvang, CA – Fujifilm GFX100RF
Golden Light on Windmill – Solvang, CA – Fujifilm GFX100RF
Last Light on Solvang – Solvang, CA – Fujifilm GFX100S II
Windmill Closeup – Solvang, CA – Fujifilm X-E5
Danish Design – Solvang, CA – Fujifilm X-E5
Hotel – Solvang, CA – Fujifilm GFX100S II
Green Apex – Solvang, CA – Fujifilm GFX100S II
Pinnacle – Solvang, CA – Fujifilm GFX100S II
Flower Bed – Solvang, CA – Fujifilm GFX100RF
Field of Flowers – Buellton, CA – Fujifilm GFX100RF
Flower Field – Buellton, CA – Fujifilm X-E5
Prickly Cactus – Apache Junction, AZ – Fujifilm X-E5
Superstition Mountains – Apache Junction, AZ – Fujifilm X-E5
Western Desert Girl – Apache Junction, AZ – Fujifilm X-E5
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Dark Cloud Over The Dark Mountain – South Weber, UT – Fujifilm X-T30 – Ilford HP5 Plus 400 Push-Process
Some people like grainy photos, and some people don’t. Back in the film days, there were photographers who chose their film based on the grain. Kodachrome 25 was a one of the finest-grained color films, and some liked it for the near lack of grain. Kodak Tri-X 400 had a strong grain structure, and some preferred the character of it over options with finer grain. Personally, I like grain in my photos, because it adds texture and feels more organic. Digital photography can be super clean, essentially “grain-free” (noise free, really), but to me that’s a bit clinical or sterile. With your Fujifilm camera, you can choose to keep the ISO low and Grain set to Off for a clean image, or you can bump up the ISO and select Strong/Large Grain for texture and character, or anything in-between. There’s no right or wrong approach, only what each photographer wants for their pictures.
For those who desire a lot of grain and not just a little, below are 10 Fujifilm Recipes that will produce grainy pictures. These aren’t the only ones (this is not an exhaustive list by any means), just some that I think you might like. For more, use the Filter By Categories feature in the Fuji X Weekly App, and select Grain. If grainy photos are something you’re after, take a look at these Recipes.
Pickup Truck Taillight – Litchfield Park, AZ – Fujifilm X-T5 – Ilford HP5 Plus 400 Push-Process
The Ilford HP5 Plus 400 Push-Process Recipe is super grainy not only because Grain is set to Strong, but also because it requires ISO 25600 or 51200. It’s a combination of the Grain setting, the built-in Grain that the Acros Film Simulation has (which increases as the ISO increases), and the digital noise from the ultra-high ISO that makes it especially grainy, the most of any Recipe. It’s not the easiest to use in sunny daylight (an ND filter helps), but it produces a lot of texture, if that’s something you want. Besides, it can come in handy in low-light situations. This Recipe is specifically for the X-T3 and X-T30; to make it compatible with newer cameras, set Grain size to Large, Color Chrome Effect and Color Chrome FX Blue to Off, and Clarity to 0.
Fujifilm’s first official Recipe, FRGMT B&W—created by fashion designer, producer, and artist Hiroshi Fujiwara—was included in a limited edition of the GFX100RF. I asked for and received permission to publish it on Fuji X Weekly. This is a contrasty and grainy black-and-white Recipe that produces dramatic results. It’s compatible with fourth and fifth-generation X-series cameras, as well as newer GFX models.
The Kodak T-Max P3200 Recipe was a collaborative effort between Anders Lindborg and the lateJohn Sevigny. This is one of the best black-and-white Recipes, producing dramatic and grainy images. For more grain, use ISO 3200 and higher. It’s compatible with fourth and fifth-generation X-series cameras, as well as newer GFX models.
Low Clouds Over Manhattan – New York City, NY – Fujifilm X100VI – Kodak Tri-X 400
My personal favorite B&W Recipe is Kodak Tri-X 400, which was created by Anders Lindborg. This Recipe requires a minimum ISO of 1600, and the higher you go the grainier it gets. It has compatibility with X-Trans III, X-Trans IV, and X-Trans V cameras, as well as GFX. It can be modified a few different ways, which is discussed in the Recipe article.
Classic B&W is a newer monochromatic Recipe that I really like. For grainer photos, increase the ISO (all the way to 12800 if you’d like). It’s compatible with fourth and fifth-generation X-series cameras, as well as newer GFX models.
Orange Lighter & Abandoned Home – Phoenix, AZ – Fujifilm X-E4 – GAF 500
Mimicking the aesthetic of the highest ISO color slide film of the ’60’s and ’70’s, the GAF 500 Recipe requires using an ultra-high ISO: 12800! This Recipe is compatible with fourth-generation X-series cameras; for fifth-generation, simply reduce Color Chrome FX Blue to Weak (instead of Strong). You can use it on newer GFX cameras, too.
Protect our Wildlife – San Simeon, CA – Fujifilm X100V – Urban Dreams
Urban Dreams produces a look somewhat similar to Kodachrome 200, a high-ISO version of Kodachrome introduced in 1986 and discontinued in 2006. It was never as popular as Kodachrome 64 or even Kodachrome 25 due to its pronounced grain. This Recipe is not an exact match for that film, but not terribly far off, either. It’s for fourth-generation models; while it can be used on fifth-generation cameras, the results will be just slightly different.
Fujicolor Natura 1600 is a Recipe that mimics one of the highest ISO color films. I really like this one, personally. The Recipe linked above is for fourth-generation cameras; however, there is a version for fifth-generation models.
Corndog – San Francisco, CA – Fujifilm X100VI – 1970’s Summer
One of my personal favorite Recipes is 1970’s Summer. It seems to either work really well or only ok, but when it works really well it is absolutely fantastic! It’s compatible with fifth-generation cameras and the latest GFX models.
Church – Litchfield Park, AZ – Fujifilm X-E4 – Pacific Blues
Last but certainly not least is Pacific Blues, another personal favorite Recipe. While intended for a sunny day at the beach, this one delivers dramatic photos in a variety of situations. The Recipe linked above is for fourth-generation cameras; however, there is a version for fifth-generation models.
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.
Red Barn – Ronks, PA – Fujifilm GFX100S II – Kodachrome 64
I get asked fairly regularly which Fujifilm Recipes are the most popular. For me, this is a fascinating topic, but it’s definitely hard to know definitively. While I get a glimpse on social media, my best gauge is the Fuji X Weekly website statistics; specifically, which Recipe articles are viewed the most. I don’t collect any data on the Fuji X Weekly App, so that’s no help—although, if I did, it would likely offer the most accurate picture; however, it would still be impossible to know which Recipes people programmed into their Fujifilm cameras, or how often they used each. Perhaps a survey would be particularly useful, yet even it has its limitations. While certainly a flawed method, page-view website statics offer the best glimpse at which Film Simulation Recipes are the most popular, so that’s what I’m using for this article. These are simply the Top 26 most-viewed Recipes on the Fuji X Weekly website through the first three months of 2026.
For awhile I was doing these “25 Most Popular Recipes” type articles monthly, but the month-to-month movement is often predictable. A longer gap is more revealing. So let’s try quarterly in 2026, and see how that goes. And just for fun, I included a bonus 26th Recipe, because it’s 2026. If you’d like, you can compare these results to the 25 Most Popular Recipes of 2025.
Misty Saguaro– Buckeye, AZ – Fujifilm X-T5 – Pacific Blues
While the order changed a little, it’s almost entirely the same group. The usual suspects made the list. The top few results remained in their same positions, but those a little lower moved around. As usual, those Recipes with Kodak brand names in the title—Kodachrome, Portra, Gold, Tri-X, etc., etc.—are typically the most popular. Classic Chrome is the king of film simulations, as the majority of the most-viewed Recipes are based on that Film Simulation. Classic Negative, Reala Ace, Acros, Eterna, and Nostalgic Neg. are neck-in-neck for the second, third, fourth, fifth, and sixth positions.
Without any further delay, below are the most popular Fujifilm Recipes of 2026 through the first quarter!
Top 26 Most Popular Film Simulation Recipes of 2026 So Far
Reggie’s Portra, which uses Classic Chrome, is the number one top Film Simulation Recipe on Fuji X Weekly. Reggie Ballesteros created it in 2022 by modifying my Kodak Portra 400 Recipe to better suit his style and needs. Of the various Portra Recipes, this is the most versatile, and the most popular for portrait photography. Reggie’s Portra is compatible with X-Trans IV and X-Trans V cameras. Also, take a look at his latest Recipe: Reggie’s Superia.
A Classic Chrome based Recipe for X-Trans IV cameras that was the long-time most popular Film Simulation Recipe for Fujifilm cameras on this website. It’s a lot of people’s favorite.
This is the X-Trans V version of Kodak Gold 200; the X-Trans III/IV version is found later in the list. The Kodak Gold 200 Recipes uses the Classic Chrome Film Simulation.
The Kodak Tri-X 400 Recipe, created by Anders Lindborg, is the long-time most popular B&W Recipe on Fuji X Weekly. It’s based on the Acros film simulation, and has compatibility with X-Trans III, X-Trans IV, and X-Trans V models. This is one of my absolute top-favorite Recipes.
This is the X-Trans V version of Kodak Portra 400 v2; the X-Trans IV version is found below. This is another of my personal favorites. It uses Classic Chrome.
It’s probably unfair to include this Recipe in the list because it’s not one, but 14 Recipes. It’s intended to be used with the Film Dial, or with any X-Trans V camera by mapping Film Simulation to a customizable button. I have no way of knowing which of the 14 are the most used.
Pacific Blues is currently the most popular Classic Negative Recipe. This particular version is compatible with X-Trans IV models, but there’s also an X-Trans V version just below. This is another of my personal favorite Recipes.
This is currently the highest-ranked Recipe that uses the Nostalgic Neg. Film Simulation (not including Universal Negative). It’s compatible with X-Trans V cameras.
This version of Kodak Portra 400, which uses Classic Chrome and is compatible with X-Trans IV cameras (although it can be used on X-Trans V), was once commonly the third most popular Film Simulation Recipe on Fuji X Weekly. While it doesn’t rank nearly as high as it once did, it’s still quite popular.
The Film Dial Recipe, which is for X-Trans V cameras with a Film Dial, is another one that’s a bit unfair to include since it is actually 14 Recipes. I have no idea which of them are the most used. This is another personal favorite.
Vintage Kodachrome, which is based on Classic Chrome, is one of the older Film Simulation Recipes on Fuji X Weekly (it was the fifth one published), and is compatible with X-Trans III cameras. This might be the most pivotal Recipe.
This Recipe, created by Anders Lindborg and the late John Sevigny, is reminiscent of scanned Kodachrome 64 slides, and is compatible with X-Trans IV cameras. It’s another Recipe that uses the Classic Chrome film simulation.
Avalon Bay – Avalon, CA – Fujifilm GFX100RF – Avalon Ace
I have an upcoming project that requires the invention of a new Fujifilm Recipe. I’ll have more details on all that later, but the thing to know now is that I created a few different options, but there could only be one winner. This Avalon Ace Recipe is not the winner, it’s the runner up. I didn’t quite like it as much for the project as the one that won. In determining which Recipe would be chosen for the project, I used them all quite extensively (I have a lot of photos that I could include, this is only a small sampling). It was a tough choice. Even though this Recipe wasn’t the winner, I really like it, and I’m excited to share it with you!
I intended for the Avalon Ace Recipe to be especially great for travel photography, particularly coastal images with a lot of blue, and also European architecture. I wanted it to be analog-esque. I studied many film scans from various photographers who traveled across Europe—mostly (but not exclusively) Kodak stocks like Gold and Portra. While this Recipe isn’t specifically intended to mimic any one emulsion, the film-like character of the Recipe should be obvious. It should feel like you have an analog camera with you to document your journey.
Clearing Fog Over Avalon – Avalon, CA – Fujifilm X-E5 – Avalon Ace
The Avalon Ace Recipe is for fifth-generation Fujifilm cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, X-T30 III, GFX100 II, GFX100S II, and GFX100RF. There is a mix of X and GFX images in this article, but mostly GFX. One obvious difference is Grain. Fujifilm doesn’t scale their faux grain for sensor size, so Grain looks smaller and more fine on GFX than X-series, and it looks much more pronounced on the X half (you can’t use Recipes on the X half…). If you were shooting film, you would expect grain to be smaller and less pronounced on 120 film than 35mm, and you’d expect grain to be larger and more pronounced on 110 film than 35mm. If you think of GFX as medium-format film, X-series as 35mm, and the X half as 110 film, it’s easier to come to terms with the Grain difference between sensor sizes.
This is a Fuji X Weekly App Early-Access Recipe, which means that it is currently only available to App Patrons; however, in time it will be available to everyone. If you are a Fuji X Weekly App Patron subscriber, it’s available to you right now. Please note: currently there is a caching issue that seems to only affect Samsung Galaxy phones. I’m working on this problem, and will hopefully have it resolved soon. What it means is that if you have a Samsung Galaxy, it might not load the current data, and this Recipe might take days or even weeks to appear. Hopefully a fix will be ready in the coming days. I’m sorry for this issue.
Example photographs, all camera-made JPEGs using this Avalon Ace Film Simulation Recipe on a Fujifilm X-E5, GFX100S II and GFX100RF:
Marilla & Crescent – Avalon, CA – Fujifilm GFX100RF
Isuzu – Avalon, CA – Fujifilm GFX100RF
Garbage Truck – Avalon, CA – Fujifilm GFX100RF
Hotel St. Lauren – Avalon, CA – Fujifilm GFX100RF
1901 Ford – Avalon, CA – Fujifilm GFX100RF
Low Clouds over Catalina Island – Avalon, CA – Fujifilm GFX100RF
L74700 – Avalon, CA – Fujifilm GFX100RF
Guy Wearing Blue in a Boat – Avalon, CA – Fujifilm GFX100S II
Orange Bicycle – Avalon, CA – Fujifilm GFX100S II
Boats at a Dock – Avalon, CA – Fujifilm GFX100RF
Fishing Tackle – Avalon, CA – Fujifilm GFX100RF
Dock Corner – Avalon, CA – Fujifilm GFX100RF
Yellow Kayak – Avalon, CA – Fujifilm GFX100RF
Bird on a Kayak – Avalon, CA – Fujifilm GFX100S II
Clearing Clouds Over Avalon – Avalon, CA – Fujifilm GFX100S II
Boats in Avalon Bay – Avalon, CA – Fujifilm X-E5
Blue Sky, Blue Bay – Avalon, CA – Fujifilm GFX100RF
Lifesaver – Avalon, CA – Fujifilm GFX100RF
Disney Cruise – Avalon, CA – Fujifilm GFX100RF
Shore Chains – Avalon, CA – Fujifilm GFX100RF
Rainbow Field – Buellton, CA – Fujifilm GFX100RF
Flower Farm – Buellton, CA – Fujifilm GFX100S II
Colorful Poppies – Solvang, CA – Fujifilm GFX100RF
Danish Building – Solvang, CA – Fujifilm GFX100S II
Fake Birds on Yellow Building – Solvang, CA – Fujifilm GFX100S II
European Architecture – Solvang, CA – Fujifilm GFX100S II
Mission Drive Windmill – Solvang, CA – Fujifilm X-E5
Solvang Windmill – Solvang, CA – Fujifilm GFX100S II
California’s Nordic – Solvang, CA – Fujifilm GFX100S II
Building Backside – Solvang, CA – Fujifilm GFX100S II
The Landsby – Solvang, CA – Fujifilm GFX100S II
Superstitions Between Saguaros – Apache Junction, AZ – Fujifilm X-E5
Girl in the Desert – Apache Junction, AZ – Fujifilm X-E5
Find this Film Simulation Recipe and over 400 more in the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
View of the North Rim from the South – Grand Canyon NP, AZ – Fujifilm X-T5 – 1971 Kodak
I was flipping through the pages of a photo album that my grandma had put together a long time ago, when I saw something interesting. Most of the pictures in this book were captured before I was born, and some when I was very young. I came across a group of color prints that all looked similar. They were warm—very yellowish—with fairly subdued colors, kind of flat-looking, yet with a decent amount of contrast. Blown-out highlights was a commonality among many (but not all) of the prints. A month and year were printed on the border, along with a red fox. Kodak is faintly visible on the back of the paper.
I was very intrigued by the aesthetic of these photographs. It was much different than the prints from my childhood. There was an obvious resemblance to my 1970’s Summer Film Simulation Recipe, although not quite identical. So I set out to recreate it with my Fujifilm X-T5.
Grand Dome – Grand Canyon NP, AZ – Fujifilm X-T5 – 1971 Kodak
From the clues, I determined that the film was most likely Kodacolor-X, which was a popular color negative film from that era. It required the C-22 development process, which was a predecessor to C-41. The prints likely are a bit discolored and faded due to age, and probably looked slightly different when they were newly made. Many of them were square, and those were likely shot on a Kodak Instamatic camera and on 126 format film; the rectangular pictures are from 35mm film. Most of the prints were developed in 1971, although some had dates in 1972 printed on the border. The red fox indicates that it was developed at Fox Photo, which at the time was a popular one-hour photo lab. Interestingly, in the iconic mall scene in Back to the Future, it’s a Fox Photo that get’s destroyed by the VW van.
I made a scan of one of the prints, and it really messed up the look. I did my best to correct it to closely match the print, and I did get pretty close; however, it’s not 100% identical. I didn’t use this scan, but the prints themselves, to create the 1971 Kodak Film Simulation Recipe. I think you can still get a pretty good idea of what the prints look like from the scan.
A scan of one of the prints from 1971. The kid on the right with the trombone is my dad when he was 15.
The aesthetic that the 1971 Kodak Recipe is intended to produce is Kodacolor-X film printed on Kodak paper in the early-1970’s, and viewed today after aging. The most similar Recipe to this is 1970’s Summer, and I’ve included a comparison at the bottom so that you can see the difference. This Recipe is compatible with fifth-generation X-Trans cameras from Fujifilm, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III cameras, as well as the latest GFX models: GFX100 II, GFX100S II, and GFX100RF. This Recipe pairs very well with vintage glass (or inexpensive third-party lenses with character), and is best for sunny daylight scenarios. This isn’t a new Recipe. It was a App Patron Early-Access Recipe for the last two years, but now it’s available to everyone.
Film Simulation: Nostalgic Neg. Grain Effect: Weak, Large Color Chrome Effect: Strong Color Chrome FX Blue: Weak White Balance: 5900K, -1 Red & -6 Blue Dynamic Range: DR100 Highlight: +2 Shadow: -2 Color: -2 Sharpness: -4 High ISO NR: -4 Clarity: -4 ISO: Auto, up to ISO 6400 Exposure Compensation: -1/3 to +1/3 (typically)
Example photographs, all camera-made JPEGs captured using this 1971 Kodak Film Simulation Recipe on my Fujifilm X-T5:
BM&LP RR 6001 – Williams, AZ – Fujifilm X-T5
Standing at the edge of the Canyon – Grand Canyon NP, AZ – Fujifilm X-T5
Four Kids at the Canyon – Grand Canyon NP, AZ – Fujifilm X-T5
Golden Sunlight in the Canyon – Grand Canyon NP, AZ – Fujifilm X-T5
Garden Wall – Buckeye, AZ – Fujifilm X-T5
Last of Autumn – Buckeye, AZ – Fujifilm X-T5
Backlit Backyard Leaves – Buckeye, AZ – Fujifilm X-T5
Leaf Pile – Buckeye, AZ – Fujifilm X-T5
Autumn Tree and Grey Sky – Buckeye, AZ – Fujifilm X-T5
Construction – Buckeye, AZ – Fujifilm X-T5
Old Saguaro Reaching High – Buckeye, AZ – Fujifilm X-T5
Pinyon Pine at the South Rim – Grand Canyon NP, AZ – Fujifilm X-T5
Lookout Store Sign – Grand Canyon NP, AZ – Fujifilm X-T5
Swift – Litchfield Park, AZ – Fujifilm X-T5
No Teasing the Horses – Litchfield Park, AZ – Fujifilm X-T5
Comparison:
1970’s Summer Film Simulation Recipe
1971 Kodak Film Simulation Recipe
1970’s Summer Film Simulation Recipe
1971 Kodak Film Simulation Recipe
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I remember a long time ago heading out with my old Canon AE-1 loaded with a roll of 35mm film. If I had planned ahead, I might have had a second or third roll in my pocket or camera bag. You were limited by the film you had loaded into the camera, and maybe the film in reserve. Having just a few options felt like a gift. Today, we find ourselves in a very different place. Fujifilm cameras offer a deep set of JPEG controls—there are over 400 hundred Fuji X Weekly Recipes and probably thousands available elsewhere online, so the possibilities seem nearly endless. And yet, sometimes, that abundance doesn’t feel freeing—it feels paralyzing.
Curiously, the more choices we have, the harder it can be to choose. You scroll through Recipes, finally narrowing it down to just seven—which you program into your camera—and head out to shoot. But instead of fully engaging with the scene in front of you, you find yourself wondering, is this the right Recipe? Which of these seven should I choose? Should I switch? Should I find a different Recipe entirely? Would another be better?
Misty Saguaro– Buckeye, AZ – Fujifilm X-T5 – Pacific Blues
Film didn’t work that way. When you loaded a roll of Kodachrome 64 or Portra 400 into your camera, you were committed, at least for 24 or 36 frames. Not because it was objectively the best choice for every situation, but because it was the choice you made when you loaded the roll. And in that commitment, you weren’t second-guessing, you were seeing. You worked with the light you had, the colors in front of you, and the characteristics of the film you chose. Limitations are not restrictive, they’re clarifying.
Fujifilm Recipes can function in much the same way, but only if we allow them to. The key is not to chase the perfect Recipe for every scenario, but to select a few that resonate with you and stick with them long enough to understand them. Learn how they respond to different light conditions. Discover their strengths, and (just as importantly) their weaknesses. Over time, those Recipes not only become familiar tools, but extensions of your creative voice.
Pool Remnant – Rodanthe, NC – Fujifilm GFX100S II – Kodak Tri-X 400
I think a simple approach can be helpful. Narrow your choices to just two or three Recipes. That’s it. Ideally, pick ones that complement each other, such as a versatile everyday color Recipe, a less versatile but stylized option, and maybe a black-and-white. This small set will cover most situations without overwhelming you, and it is more obvious when to choose each. Then commit to them. Don’t switch constantly. Give each Recipe time to prove itself. Use it in different lighting conditions and with different subjects. Pay attention to how it renders colors, how it handles highlights and shadows, and how it shapes the mood of your images. The goal is not to find a perfect match for every scene, but to learn how your chosen Recipes behave.
Once you’ve done that, select a different set of two or three and repeat the process. Then repeat it again. Once you’ve done it five or six times, you’ll have a really good idea of which seven Recipes are your favorites, and when each should be used. It will be second nature. And you might find yourself mostly sticking with a few of the seven, while the majority are only used occasionally when the time is right. When each Recipe has a role, the decision becomes easier because you’re no longer guessing, you’re selecting with intention.
This doesn’t mean you should ignore the wealth of Recipes available. Far from it. Exploration can be a lot of fun. But if you’re feeling overwhelmed by all the choices, consider the suggestion above. Use the tools available in the Fuji X Weekly App, such as the new Filter By Categories feature, to really narrow it down. Then choose only a few, and really get to know them before trying out others.
The question isn’t whether there are too many Recipes—maybe there are, maybe the most ideal one for you hasn’t been created yet—it’s how many you truly need, and how do you find those. For most, we probably need less than we think we do—a few really good ones that match our personal aesthetic preferences and that we’re familiar enough with to know how to get the most out of them. A few well-chosen Recipes, used consistently, will take you much further than a camera full of options you’re unsure of when and how to use. Try out a few and use them for awhile, then try out a few more, until you’ve got a set that you’re comfortable with and have confidence in.
Last year, Reggie’s Portra, which uses Classic Chrome, was the number one most popular Fujifilm Recipe on Fuji X Weekly, and it’s on track to be number one this year, too. The creator of that Recipe is Reggie Ballesteros (website, YouTube, Instagram), and he just recently published a new Recipe based on Classic Negative called Reggie’s Superia. The two of us talked recently, and he was super kind to allow me to publish his Recipe on this website and in the Fuji X Weekly App—thank you for creating Reggie’s Superia and sharing it with the community!
Reggie Ballesteros, also known as Reggie B, created his famous Recipe nearly five years ago, and I published it on Fuji X Weekly four years ago. It’s steadily grown in popularity thanks to its versatility—it’s one of those Recipes you can use in pretty much any situation. Reggie told me that this new Recipe is not intended to replace Reggie’s Portra, but is an intentional expansion, providing an alternative aesthetic that’s more Fujicolor-like instead of Kodak-esque. He was inspired to create Reggie’s Superia after many requests for his take on the Classic Negative film simulation from the Fujifilm community.
The problem that Reggie found with most of the Classic Negative Recipes he has tried is that they tend to be calibrated for street or landscape photography, and not for portraiture, especially across a range of skin tones. He designed his Recipe specifically to retain depth and richness in melanated skin while simultaneously embracing a film-forward look. Reggie’s Superia is intended to be moodier, grainer, and more contrasty than his take on Portra, prioritizing character and emotion over tonal preservation or strict color accuracy. He told me that it is best suited for directional light, where the photographer consciously chooses to lean into highlights or shadows, oftentimes allowing either very dark shadows or slightly blown-out background highlights as part of the aesthetic.
The Fuji X Weekly Recipe that’s probably the most similar to Reggie’s Superia is Fujicolor Superia 100, but the two are notably divergent in a number of ways. 1-Hour Photo might also be considered somewhat similar. Actually, if Fujicolor Superia 100 and 1-Hour Photo had a baby, it might roughly be along the lines of Reggie’s Superia. If you like those two Recipes, you are highly likely to appreciate this one, too. I used Reggie’s Superia pretty extensively on a trip across Texas, and I really liked the results.
You’ll find the parameters to Reggie’s Superia below, but please watch the YouTube video above first, which explains a lot more about the Recipe, how to use it, and even how to program it into your camera. Once you’ve watched it, then come back for the Recipe parameters. Reggie’s Superia is designed for fifth-generation X-series cameras, which are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III, as well as the latest GFX models; however, you can use it on fourth-generation cameras (except the X-T3 and X-T30), too, with slightly different results (most notably, the color blue will render a little less deeply)—Reggie says not to worry about the small differences, and just go for it.
Film Simulation: Classic Negative Dynamic Range: DR-Auto Grain Effect: Strong, Large Color Chrome Effect: Strong Color Chrome FX Blue: Strong White Balance: Auto, +1 Red & -3 Blue Highlight: -2 Shadow: -1 Color: +1 Sharpness: -2 High ISO NR: -4 Clarity: 0 ISO: Auto, up to ISO 6400
Update: Reggie Ballesteros asked that the “Typical Exposure Compensation” be removed from this Recipe, as each exposure should be judged individually. He does not suggest any specific exposure for this Recipe. My suggested exposure starting point was +1/3 to +2/3.
Example photographs, all camera-made JPEGs captured using Reggie’s Superia Film Simulation Recipe on my Fujifilm X-E5 & X-T5:
Backlit Red Oleander Flowers – Buckeye, AZ – Fujifilm X-T5
Spiderweb on Spent Rose Blooms – Humble, TX – Fujifilm X-E5
Drainage Pond – Humble, TX – Fujifilm X-E5
Big Brother & Little Sister Having Fun – Richland Hills, TX – Fujifilm X-E5
Plastic Ax – Richland Hills, TX – Fujifilm X-E5
Lube Express – Humble, TX – Fujifilm X-E5
Hotel Windows – Humble, TX – Fujifilm X-T5
Old Main Street Tower – Grapevine, TX – Fujifilm X-E5
Buc-ee’s – Madisonville, TX – Fujifilm X-E5
Corvette Corner – Humble, TX – Fujifilm X-E5
Good (Not Grim) Days – Humble, TX – Fujifilm X-E5
Curtain – Richland Hills, TX – Fujifilm X-E5
Boot – Weatherford, TX – Fujifilm X-E5
Cowboy Jon – Weatherford, TX – Fujifilm X-E5
Happy Jo – Weatherford, TX – Fujifilm X-E5
Bride & Groom – Weatherford, TX – Fujifilm X-E5
Bouquet on a Chair – Weatherford, TX – Fujifilm X-E5
Wedding Flowers – Weatherford, TX – Fujifilm X-E5
Grass – Weatherford, TX – Fujifilm X-E5
Son and Dad – Weatherford, TX – Fujifilm X-E5
Light Strand at Sunset – Weatherford, TX – Fujifilm X-E5
Red Railroad Lights – Grapevine, TX – Fujifilm X-E5
D Y – Grapevine, TX – Fujifilm X-E5
White Cadillac – Grapevine, TX – Fujifilm X-E5
Red Dirt – Grapevine, TX – Fujifilm X-E5
Red Neon – Grapevine, TX – Fujifilm X-E5
Christmas Lights – Grapevine, TX – Fujifilm X-E5
Red Cowboy – Weatherford, TX – Fujifilm X-E5
Comparison:
Factory-default Classic Negative (no Recipe)
Fujicolor Superia 100 Recipe
Reggie’s Superia Recipe
1-Hour Photo Recipe
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Herbie on Route 66 – Antares, AZ – Fujifilm GFX100RF – 1-Hour Photo
There are 20 Film Simulations on the latest Fujifilm cameras. These Film Simulations are good on their own; however, they can be made even better by adjusting the various JPEG parameters into a Fujifilm Recipe, which are the factory-default JPEG settings fine-tuned in conjunction with a Film Simulation to form a new picture aesthetic. You can do this on most any camera from any brand, but Fujifilm’s JPEG processing engine is (in my opinion) the best in the industry. What you can do with it is more than with most brands, and what people have done is far and away more than any other brand. I’ve published more than 400 Recipes, which you can find on this website and in the Fuji X Weekly App.
But are Recipes actually better than the standard unmodified Film Simulations? Are they all that much different? Are the Film Simulations doing the heavy lifting, and all the other setting adjustments just minor tweaks? Should you use the factory-default settings in conjunction with the Film Simulations? Or is it better to find a good Recipe? That’s the subject of this article.
To clarify, Film Simulations cannot be modified. They are hard-set. You can’t increase or decrease their intensity. What can be modified are the other JPEG parameters, like Tone Curve (Highlight/Shadow), Color Chrome Effect, Grain, White Balance, etc., etc., etc.. When you change those settings—whether a little or a lot—to something other than factory-default (which is 0, Off, or Auto) and combine it with a Film Simulation, that’s a Recipe. I hope that all makes sense.
Fujifilm Recipes can produce a very subtle change to the picture aesthetic, or a very drastic one, or anything in-between. A lot of them tend to lean warm because most Fujifilm Recipes are modeled after film stocks—Kodak was by far the most prominent film manufacturer, and many of their emulsions had a warm cast. Aside from that, in the film era, it was quite common for photographers to use warming filters, further increasing the warmth. So it shouldn’t be surprising that many Recipes also tend to be warm; however, there’s a massive variety of looks possible with Recipes. There’s something for everyone if you look hard enough for it.
As you can see in the examples above, the difference between using a Recipe and not using a Recipe is pretty noticeable. The standard Film Simulations (no Recipe) don’t look bad at all, but the Recipes are definitely divergent, and (in my opinion) better. Of course, this is all quite subjective—there’s no right or wrong way to use Fujifilm cameras, Film Simulations, or Recipes. It’s about finding what works for you and your photography.
The best way to think about all this might be to consider a Film Simulation as the foundation, basement, and first floor of a building. Sometimes that’s all you need—for example, that’s perfect for a quick lube oil change business. Adjusting the settings to something other than factory-default (a.k.a. Recipes) is constructing the third, fourth, fifth, etc., floors into a high rise. When you look at a downtown cityscape, think of all those skyscrapers as Recipes. Some of the buildings are quite tall, some are ornate, some are unusual, others are fairly ordinary, and many are hidden in the shadows. Recipes take a Film Simulation to new heights.
Rainbow over Hoboken – Hoboken, NJ – Fujifilm X-T50 – Pushed Analog
To illustrate how one Film Simulation can produce many different looks, below are eight photos, each made with a different Classic Negative-based Recipe. Each one has its own character. Each produces its own unique picture aesthetic. I could repeat this with all of the Film Simulations. Perhaps one is perfect for you, perhaps none of them are. I simply want to show that one Film Simulation can make a variety of looks depending on the settings (Recipe). Maybe warm, neutral, or cool. Maybe high contrast, maybe low contrast. Maybe colorful or muted. Whatever look you are after, there’s a pretty good chance that a Recipe exists that will deliver that aesthetic. You just have to find it.
Let’s try something new: Recipe of the Month. The idea is to encourage you to try a Fujifilm Recipe that maybe has gone a bit under-the-radar, that isn’t necessarily popular, but is really good. You could consider this a challenge. Use this Recipe just once to see what it does, or use it exclusively throughout March to truly get acquainted with it, or anything in-between. That’s the idea, anyway.
For the very first Recipe of the Month, I selected CineStill 400D v2. This is an Astia-based Recipe that’s compatible with fourth-generation (except the X-T3/X-T30) and fifth-generation cameras, as well as newer GFX models (for those keeping score, that’s 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-TM5, X-E5, X-T30 III, GFX100S, GFX100 II, GFX100S II, and GFX100RF). It was collaboratively created by Nestor Pool and myself, and published three years ago. This Recipe is good in a lot of scenarios, but I especially love it for golden-hour photography—if you are just giving it a quick test drive, make sure that you use it during sunrise or sunset, because it’s especially good for that. CineStill 400D v2 is one of my favorite Recipes that use the Astia Film Simulation, and I think many of you will like it, too.
Above: Two pictures I made this morning using the CineStill 400D v2 Recipe on my Fujifilm X-E5.
If you do happen to use this Recipe during the next 31 days, and should you post the pictures to Instagram, feel free to tag me. I may or may not see it (I’m not on social media all the time, and I get tagged in a lot of pictures), but I would love the chance to view some of them. It would be a great way to spread the love for this Recipe, and hopefully introduce even more Fujifilm photographers to it.
If you are looking for a Fujifilm Recipe to try, let me recommend to you CineStill 400D v2. If you want to attempt the full Recipe of the Month challenge, starting today and continuing through March 31st, see what pictures you can create using this Recipe. If you simply want to kick the tires, program it into your camera and capture a few frames during golden-hour light, and see if you like it—you might find it to be your new favorite option. If you don’t like it, well, there will be a new Recipe of the Month in April.
My plan for the Recipe of the Month articles is to include some sort of Recipe roundup with it. In other words, it will be both Recipe of the Month plus Recipe Roundup altogether in one post. I’m not sure what exactly that will look like and if it will be the same formula for each month, or if I’ll change up what it is from month-to-month, but there will be a second (or maybe even third) section to the articles. For March, I thought I’d do a quick recap of the Top 25 most popular Recipes of February 2026 (based on website page view statistics), in order of most-to-least popular. There are certainly a few surprises!
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Back in 2018, one year after starting Fuji X Weekly, I published my Agfa Scala Film Simulation Recipe, which was intended for X-Trans III cameras (like the X100F that I was using back then). It was the 15th Fujifilm Recipe published on this website, and the third black-and-white. It’s been a long-time personal favorite; however, I never updated it for the newer cameras. Earlier this year, I decided that this Recipe was long overdue for a refresh, so I set out to make a new iteration. I started from scratch, trying many different adjustments, but ultimately came back to those 2018 settings, with only minor changes.
Agfa introduced Scala 200 in 1992 (renamed Scala 200x shortly thereafter). It was the only commercially available black-and-white slide film ever made (although you could make slides from any B&W film, if you wanted to). It used a proprietary development process known as AP-44. I didn’t shoot much Scala personally, only a few rolls. What was great about it is that you had a finished photo straight from the lab. With black-and-white negative film, the darkroom printing process played a major role in the finished picture; Agfa Scala removed that requirement. Obviously, the intention was that you’d project the pictures onto a screen, which we don’t do anymore (most film you see today are scans). In 2005, Agfa discontinued Scala, as well as the chemicals for the AP-44 development process. The last roll of Scala that I shot couldn’t be developed, unfortunately. Adox introduced a new Scala slide film, called Scala 50, in 2019; however, it’s a different emulsion with a different development process. Interestingly, the old Agfa Scala 200x could be processed in the new chemistry, but with slightly different results.
Route 66 in Rural Arizona – Seligman, AZ – Fujifilm X-E5 – Agfa Scala
Scala was known for deep blacks and glowing highlights. It had a much smaller dynamic range than black-and-white negative film. Like color slides, you really had to nail the exposure, as there was very little leeway for underexposure or overexposure. If you got it right, the results were great; if not, there wasn’t much forgiveness. The film was extremely fine-grained for being ISO 200—it was sharp and looked beautiful when projected. This Agfa Scala Recipe mimics the film pretty well. The camera’s histogram can be very helpful to prevent overexposure. This Recipe is compatible with most fourth-generation and all fifth-generation cameras (as well as newer GFX models), which includes 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, X-T30 III, GFX100S, GFX100 II, GFX100S II, and GFX100RF.
Film Simulation: Acros (including +Ye, +R, or +G) Monochromatic Color (Toning): WC 0 & MG 0 (Off) Dynamic Range: DR100 Grain Effect: Weak, Small Color Chrome Effect: Off Color Chrome FX Blue: Off White Balance: Auto, 0 Red & 0 Blue Highlight: +4 Shadow: 0 Sharpness: +1 High ISO NR: -4 Clarity: +2 ISO: Auto, up to ISO 6400 Exposure Compensation: -1/3 to +1/3 (typically)
Example photographs, all camera-made JPEGs captured using this Agfa Scala Film Simulation Recipe on a Fujifilm X-E5, X-T5 and GFX100RF:
Buick in B&W – Seligman, AZ – Fujifilm X-E5
Truxton Gas Station – Truxton, AZ – Fujifilm X-T5
Rural Mailboxes – Antares, AZ – Fujifilm GFX100RF
End of the Road – Litchfield Park, AZ – Fujifilm GFX100RF
Herbie on Route 66 – Antares, AZ – Fujifilm X-E5
Tom’s Orlando Motel – Truxton, AZ – Fujifilm GFX100RF
God Bless America – Kingman, AZ – Fujifilm X-E5
Ranchero – Antares, AZ – Fujifilm X-E5
Frontier Motel Restaurant – Truxton, AZ – Fujifilm GFX100RF
Welcome RT 66 – Williams, AZ – Fujifilm X-T5
Arizona American – Buckeye, AZ – Fujifilm GFX100RF
Happy for Lunch – Kingman, AZ – Fujifilm X-E5
Bougainvillea Growing Over Backyard Wall – Buckeye, AZ – Fujifilm GFX100RF
Monochrome Bougainvillea – Buckeye, AZ – Fujifilm X-E5
Coyote Pass – Flagstaff, AZ – Fujifilm X-T5
Apartment Row – Flagstaff, AZ – Fujifilm X-T5
Church Steeple – Flagstaff, AZ – Fujifilm X-T5
Flagstaff Station at Night – Flagstaff, AZ – Fujifilm X-T5
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So you just got a Fujifilm camera. Which Film Simulation Recipes should you program first? With over 400 to choose from on Fuji X Weekly and in the Fuji X Weekly App, it can be difficult to know which ones to begin with. This article is a quick-start guide for those wanting to dive into the Fujifilm Recipe world.
Most Fujifilm cameras have seven Custom Settings presets, also known as C1-C7. You can program a Recipe into each of those positions, which means you’ll find seven Recipes below as your suggested starting point. Some cameras (like the X-H2) only have six presets, and some (like the X-S20) only have four. This article assumes that you’ve purchased a fifth-generation model, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III. This list also applies to the latest GFX models: GFX100 II, GFX100S II, and GFX100RF. In other words, these are fifth-generation Recipes, and not for older models (although I might turn this into a series if there’s enough interest in the topic).
If you are unsure how to program a Recipe into your Fujifilm camera, simply press MENU/OK, navigate to EDIT/SAVE CUSTOM SETTING in the IQ Menu set, choose the C1-C7 slot that you want to save a Recipe in, select EDIT/CHECK, enter the Recipe parameters, and hit DISP/BACK to save. If you’re stuck, check out this article (click here) or this video (click here). I also have a short set of slides below that quickly demonstrate the steps. Hopefully, between all of that, you won’t have any issues. It can be a little intimidating and confusing the first time through, but after you’ve programmed a couple of Recipes it becomes quite easy.
What makes a good set of seven Recipes? If each one in the group serves a purpose, that’s a solid group. Just throwing some random ones in might produce a good set, but most likely not. It’s better to be intentional; however, since most newcomers don’t know where to begin, that’s a near impossible task. This article is intended to help with that. If you are unsure which Recipes to try, the set of seven below is what you should use first. Once you’ve tested these out, if there were any that you didn’t love, simply replace those with something else—repeat that enough times, and you’ll end up with a set of seven that are a perfect match for you. Let’s dive right in!
Red Barn – Ronks, PA – Fujifilm GFX100S II – Kodachrome 64
Kodachrome was the most iconic film, and it stands to reason that you should start with the Kodachrome 64 Recipe. It’s intended for sunny daylight photography, but can sometimes be good in other scenarios, too, just depending on the subject and lighting. It’s a good allrounder for a variety of genres. Kodachrome 64 is essential to try, in my opinion, so you might as well place it in C1.
Misty Saguaro– Buckeye, AZ – Fujifilm X-T5 – Pacific Blues
The Pacific Blues Recipe is intended for a sunny summer day at the beach; however, I have found it works wonderfully well on foggy or dreary days, too. It’s more dramatic and significantly different than Kodachrome 64, so it offers a good alternative aesthetic that’s still film-like. This is one of my personal favorite Recipes.
Boulder Theater – Boulder, CO – Fujifilm X100VI – Fujicolor PRO 160C Warm
With a softer tonality than the previous two, Fujicolor PRO 160C Warm is a highly versatile Recipe that can be used anytime of the day or night. Most of the Recipes in this list will do quite well in certain situations but not for everything, but this one is good almost no matter what you encounter with your camera. It’s a part of the Film Dial set, so if you have an X-T50, X-M5, X-E5, or X-T30 III, it is especially great for those cameras; however, even if your specific model doesn’t have a Film Dial, you can still use it similarly. A quick tip for those with a Film Dial model is to use a Film Simulation that’s not on the Dial (such as Eterna) instead of Reala Ace, since Reala Ace is easily accessible to you. Having a Film Dial Recipe available in your C1-C7 adds a ton of aesthetic versatility.
Corndog – San Francisco, CA – Fujifilm X100VI – 1970’s Summer
The 1970’s Summer Recipe is warm with a retro aesthetic. It’s not going to work well for every subject or situation, but when it works, which is typically sunny midday light and Americana type scenes, it does especially great—some of my favorite photos have been made using this Recipe. It’s the warmest option in this list. If you want a nostalgic look, this is a must-try Recipe.
Boldly colorful, Vivid Velvia is intended for landscape photography where you want the scene to pop. It’s fairly versatile, but probably not the best option for portraits. If you are primarily a landscape photographer, you might find yourself using this one the most.
While C3 will do quite well for nighttime photography due to its versatility, CineStill 800T is specifically intended for photographing after dark. You can use it during the day if you should desire a cool cast, but for the most part you’ll want to save it for after sunset.
C7 — Kodak Tri-X 400
Pool Remnant – Rodanthe, NC – Fujifilm GFX100S II – Kodak Tri-X 400
No C1-C7 would be complete without at least one B&W Recipe, and Kodak Tri-X 400 is my go-to option. I love monochromatic photography, and you’ll be hard-pressed to find a better Recipe than this one for it. This might be my all-time personal favorite.
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Red Barn – Ronks, PA – Fujifilm GFX100S II – Kodachrome 64
In an interesting conversation I had recently, someone mentioned that Fujifilm Recipes are great because they provide freedom—freedom from the computer and Lightroom (or other RAW editing software), freedom from indecisive aesthetic choices, freedom from unfinished work (such as RAW files just sitting around waiting to be edited)—but it can be too much freedom sometimes. For example, I’ve published over 400 Film Simulation Recipes for Fujifilm cameras; while having so many options allows you to find a great match for your subject, situation, and style, narrowing it down can feel overwhelming. Perhaps there are too many choices. “Limitations are necessary constraints for creativity,” he told me, “and freedom is most productive when it’s narrowed on purpose.” In other words, intentional constraints. Sometimes, less is more. Finding the “right” Recipe out of hundreds might seem daunting, but even choosing from among the seven programmed into your camera’s C1-C7 Custom Settings presets might be too much.
Something to try, he suggested, is to program fewer Recipes into your camera—perhaps three, or even just one. Instead of scrolling through your C1-C7 options before every shot, try pre-selecting one, two, or three Recipes before you head out, and commit to just those. Use just those for the duration of your walk, day, or trip. When the look is already decided, your attention naturally shifts to light and framing. Instead of asking, “Which Recipe should I use?” Ask, “How can I make this scene work with what I’ve chosen?” When selecting your Recipes (if it’s more than one), consider having one specifically for color daylight, one specifically for color nighttime, and one for black-and-white. If the Recipes are too similar in aesthetic or serve a similar purpose, it makes it less obvious which one to shoot with.
Analog photographers understood all of this instinctively. Loading a roll of film was a commitment for 12, 24, or 36 frames. You accepted the look, learned its strengths and weaknesses, and worked within them. That constraint didn’t stifle expression, it shaped it. On X and GFX cameras, you can benefit from that same discipline by using one Recipe long enough to understand where it shines and where it fails. You adapt rather than escape. Using a single Recipe for an extended period—days, weeks, or a full project—can be especially revealing and rewarding.
Fujifilm Recipes work best when they’re treated like film stocks: chosen with purpose, used with commitment, and understood through experience. When you narrow your options on purpose, the freedom they offer becomes more focused, more useful, and ultimately more gratifying. Freedom in photography isn’t about having endless options at every moment, but about choosing a direction and going far enough down that path to discover something meaningful. When freedom is narrowed on purpose, it stops being a distraction and starts being productive.
Low Clouds Over Manhattan – New York City, NY – Fujifilm X100VI – Kodak Tri-X 400
This is all theoretical, of course, and I don’t want to leave you hanging with that. Let me give a practical example of how this could be implemented. As you might have guessed from the photos in this article, you could choose the Kodachrome 64 Recipe for daylight photography, Fluorescent Night for nighttime, and Kodak Tri-X 400 for B&W. Alternatively, you could choose Pacific Blues for daytime, CineStill 800T for night, and Classic B&W for monochrome. There are a ton of possible three-Recipe combinations, but the larger point is to pick three (or fewer), and use those for an outing, a day, a month, or a project to better familiarize yourself with the strengths and limitations of those specific Recipes. If you do this enough times, you’ll be intimately aware of which Recipe to use for each subject and circumstance you encounter, and you’ll be more in tuned with your personal style.
I have often told people that when I started creating and using Fujifilm Recipes, I experienced a ton of freedom. Photography became more enjoyable to me when I detached editing software from it. Because I was spending much less time at a computer, I had more time to photograph (increasing productivity) and also more time to spend with my family. But as more and more Recipes are created (which is a good thing), it can be difficult to know which to use and when to use them. Narrowing it down through experience—simply by picking one, two, or three and using those for a period—is a great way to help with this. Another option is to use the Categories feature in the Fuji X Weekly App (available for Android and Apple), which can help to really zero in on specific genres, styles, and situations. For example, if you want a retro Americana aesthetic that’s good for midday light, you can find that. By selecting multiple Categories, you can significantly narrow down the selection to assist in finding the perfect Recipe for your needs.
