This new Recipe, which I’m calling Summer Sun, is bright and warm. If a hot summer day was a picture aesthetic, it’s this. It has a vintage film-like charm, maybe along the lines of Kodak Ultra Color 100UC used with a warming filter (maybe 81C). It’s not specifically modeled after that, but has some similarities nonetheless.
Death of a Chevy – Buckeye, AZ – Fujifilm X-E5 – Summer Sun Recipe
This Summer Sun Recipe is very warm, so it’s definitely not for every subject or light situation. It’s best on a bright sunny day, but can still be okay in partly-sunny situations. It’s compatible with all fifth-generation X-Trans cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, and X-E5. It’s also compatible with the latest GFX models, specifically the GFX100 II, GFX100S II, and GFX100RF.
Film Simulation: Reala Ace Dynamic Range: DR200 Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome FX Blue: Weak White Balance: 7200K, -2 Red & +2 Blue Highlight: -1 Shadow: -2 Color: +4 Sharpness: -1 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 captured using this Summer Sun Film Simulation Recipe on a Fujifilm X-E5, X100VI & X-S20:
Manhattan from Hotel Window – NYC, NY – Fujifilm X100VI
Fruits & Vegetables – NYC, NY – Fujifilm X100VI
Building Backsides – Buckeye, AZ – Fujifilm X-E5
Spirits of the Past – Buckeye, AZ – Fujifilm X-E5
Green Mack – Buckeye, AZ – Fujifilm X-E5
It’s Corn – Buckeye, AZ – Fujifilm X-E5
Newly Planted Palms – Buckeye, AZ – Fujifilm X-E5
Evening Palm Tree – Buckeye, AZ – Fujifilm X-E5
Suburban Palm – Buckeye, AZ – Fujifilm X-E5
Flowering Tree – Buckeye, AZ – Fujifilm X-S20 – Photo by Jonathan Roesch
Brooklyn Bridge between Trees – NYC, NY – Fujifilm X100VI
Bridge, Runner – NYC, NY – Fujifilm X100VI
It’s All Greek to Me – Washington, D.C. – Fujifilm X100VI
Red Dumpster – Washington, D.C. – Fujifilm X100VI
Summer Joy – Buckeye, AZ – Fujifilm X-E5
Hidden Tower – Buckeye, AZ – Fujifilm X-S20 – Photo by Jonathan Roesch
Fireworks Stop – Buckeye, AZ – Fujifilm X-E5
Find this Film Simulation Recipe and 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.
On Thursday in the early morning hours, Fujifilm announced the brand-new X-E5. I’ve been traveling in an RV up the east side of America, and just got home late last night. Preferably, I would have posted something about it on announcement day, but aside from being on the road, it was also my wife’s birthday. Because of that, I’m just now getting this typed out—I’m pretty much the last to the Fujifilm X-E5 party.
This upcoming Tuesday and Wednesday I will be at the B&H BILD Expo in New York City. A few weeks back Fujifilm invited me to be a part of their booth—specifically, to help with a “Film Simulation Station” (without any details of what that would be)—which, of course, I am honored to be a part of. Fast forward to a few days ago, just before the announcement of the X-E5, I had a conference call (while in the RV stopped in the middle of nowhere in Pennsylvania) that explained what my specific role was going to be: Fujifilm will have X-E5 cameras to touch-and-try, and I’m there to talk about Film Simulation Recipes with anyone who wants to. It’s going to be a great time, so I hope some of you can stop by. It was on that call that I first learned the camera not only has the ability to save three Recipes in the Film Simulation Dial, but that Fujifilm is using the term “Recipe” in the camera and manual.
Back in early 2017 (before I had even started Fuji X Weekly), I published two Film Simulation Recipes on a blog that I used to have prior to this one. When I showed my wife, she thought the term “Recipe” was a bit cringe, but I liked it, so I continued to use it, including when I launched Fuji X Weekly in August of 2017. Mostly by word of mouth, this website grew and grew (10 million page views two years in a row, and still growing), largely because people had an interest in my JPEG Recipes for Fujifilm cameras. Even though Fuji X Weekly began as a Fujifilm X100F journal, very quickly it became most known for Film Simulation Recipes.
In the summer of 2020, I received a message from a talented cinematographer, who had a funny conversation with Fujifilm North America that he wanted to share with me. They had loaned him an X100V for a few weeks; when he returned it, they asked for his feedback. He told them, “I really like shooting with Portra 400 and Tri-X.” They replied, “What do you mean? It’s a digital camera.” He was very surprised that Fujifilm had no idea about Fuji X Weekly, so he informed them.
Shortly after this, Fujifilm North America reached out to me. They were more curious about what I was doing than anything else. They wanted to know what a Recipe is. It was a very positive phone call, and I was thrilled to talk with someone at Fujifilm for the first time. A few emails went back-and-forth, and I was asked to write an article for them. Excitedly, I got it typed out and over to them quickly. They said it was great, and they would forward it up the chain. When it came back down, I was told that they liked my article, but they had to reject it because I had used competing brand names (like Kodak, Portra, Ilford, etc.). There wasn’t much communication after that, except that they wanted to use one of my pictures in an article. In December, Fujifilm sent me a coffee mug for Christmas.
A year later I was invited to be a guest on a Fujifilm tech webinar (did you know that Fujifilm does regular webinars?). The tech team is great. They’re all very knowledgable and helpful, and otherwise good people. They are big fans of Film Simulation Recipes, too. I enjoyed that experience. It was my last interaction with the brand until January of 2024, when Fujifilm North America called out of the blue, stating that they’d like to start working with me.
Dumbo Crowd – Brooklyn, New York City, NY – Fujifilm X-T50 – Reala Ace Recipe
Last year was epic. Fujifilm invited me to be a part of various things, including a release event for the X-T50 and GFX100S II, a creator retreat, and their annual Create With Us event. I traveled across the country from coast-to-coast, leading photowalks. Incredible! It was such an honor. I will always remember 2024 fondly.
During that time I noticed Fujifilm began to use the term “Recipe” occasionally on their website and social media accounts. A certain X-Photographer noted to me that after years of promoting Recipes with pretty much zero interest or help from Fujifilm, suddenly Recipes were “the thing” within the company. Now, in 2025, “Recipe” is an official Fujifilm feature, and the term is found within the camera menu.
Nikon beat Fujifilm to the punch when they began using the term Recipe a year ago for their JPEG settings. I’m not sure if it will catch on within that community or not (it will be interesting to see), but it is noteworthy that they are trying to capitalize on it. This whole Recipe concept—whether by name or not—is certainly growing and spreading across photography. I think we will see it more and more in the coming years.
I didn’t invent the word “recipe” and I certainly wasn’t the first to use it within the photo world. Apparently, user-created Capture One presets have been called recipes for some time now (I became aware of this last year, I had no idea). Specific darkroom chemicals and development times have been called recipes for many decades. I discovered that a couple people had used the word when describing their Fujifilm JPEG settings before I ever published my first Film Simulation Recipe. I’m not sure if I coined the term Recipe for JPEG camera setting combinations (I might have, but it doesn’t matter if I did or didn’t). What is certain is that if not for this website and the wonderful community that formed around using Recipes (which is the best community in all of photography, IMHO), the word would not be found in the Fujifilm X-E5 today (and it probably wouldn’t be used by Nikon, either). I’m still in disbelief at where we’re at today, I never imagined it would go this far. Some people will read that and think I’m bragging and taking too much credit, but believe me that I’m writing this in all humbleness.
I won’t get to see the Fujifilm X-E5 until Tuesday morning, about two hours before the BILD Expo doors open. Fujifilm tried to get me a loaner camera a little earlier, but due to travel, it just didn’t work out (it’s not their fault—they really did try). Right now I know as much about the X-E5 as the next person (maybe less), so I don’t have any real insights. I’m going to spend this weekend learning more so that I don’t sound completely ignorant at BILD. Once I’ve had a chance to touch it, and maybe even capture a couple of pictures (hopefully I’ll get an opportunity to do that), I’ll be able to speak more about it, so look for a more thorough article in a couple weeks.
What I can say is that the Fujifilm X-E5 is basically an interchangeable-lens X100VI. It’s not exactly that, but it’s as close as you’re going to get. There are advantages and disadvantages to both. The X100VI has an optical viewfinder, shutter/ISO combo dial, leaf shutter, flash, built-in ND-filter, and can be weather-sealed; the X-E5 has a Film Dial, selfie-capable LCD, and you can change lenses. Otherwise, the two cameras are a lot alike. For those that have asked for an interchangeable-lens X100VI, here it is! You are unlikely to get closer to that wish than this camera.
White Bridge across Pond – Charleston, SC – Fujifilm X-E4 – Pacific Blues Recipe
As a more premium iteration of the X-E line, it obviously has seen a price increase. Add to that inflation and tariffs, and you get a $1,700 price tag. That seems like a lot of money (because it is), but remember 1) every major camera maker has indicated that they will be raising their prices soon (Fujifilm is just the first, beginning with the X half and X-E5), and 2) cameras used to be a lot more expensive—for example, the Canon A-1 was $625 in 1978, which is over $3,000 when adjusted for inflation; the Pentax K-5 was $1,750 in 2010, which is nearly $2,600 in today’s money. The X-E1 was $1,000 in 2012, which is $1,400 today when accounting for inflation—add tariffs on top of that, and it’s the same cost as the X-E5. So maybe the price isn’t so unreasonable after all. People will say, “But I can get an X-T5 for the same money!” Or, “For just a few hundred dollars more, I can get [insert camera name here]!” That’s true, for now. Either the prices of those models will increase shortly, or something will happen with the tariffs, and Fujifilm will be able to reduce the price of the X-E5 to what it was intended to be. Those who wanted 40mp and IBIS and the camera to be more premium but didn’t want the cost to go up were not being realistic. Even the X-E4, when accounting for inflation would be over $1,000 today.
The final thing I’ll say about the Fujifilm X-E5 is that, with C1-C7, plus the “bonus 8th Recipe” that you can program into the IQ Menu, plus the three Recipe slots on the Film Dial, it’s possible to have up to 11 Film Simulation Recipes loaded into the camera at any given time. You can only name seven of them, so you’ll have to remember what the other four are. If you use one or both of my “universal” Recipes (here and here), that adds even more flexibility. Awesome! We’ll see if Fujifilm brings that functionality to the X-T50 and X-M5 via a firmware update—I hope they do.
If you are in New York City on Tuesday and Wednesday, be sure to stop by the Fujifilm booth and touch-and-try the X-E5. I’d love to chat Recipes with you, so be sure to look for me. If you are in Colorado Springs on June 28th, I’ll be leading a photowalk with Mike’s Camera (click here for the details and to register); while I won’t have an X-E5 with me, I’d still love to chat with you about it, or any other Fujifilm or photography related topics. I hope to see you soon!
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
Fujifilm X-E5 in black: B&H, Nuzira Fujifilm X-E5 in silver: B&H, Nuzira
Mountain Grass & Flowers – Boulder, CO – Fujifilm GFX100S II – Velvia Slide Recipe
Back in January, I published the Provia Summer Patron Early-Access Recipe, which was supposed to kick off a series of Early-Access Recipes to help clear out the backlog. I never intended for the Early-Access Recipes to be locked for as long as they have been, so I decided to fix that in 2025. My goal for this series was to publish a new Recipe every three to four weeks; however, it’s now May, and this is only the second one. I will try to do better moving forward.
My intention for the Velvia Slide Recipe was a replication of Velvia 100 color reversal (slide) film, which should not be confused with Velvia 50 or Velvia 100F (although Velvia 100 is pretty similar to Velvia 50). I never used Velvia 100 (I have used Velvia 50 many times), so I relied on online resources, as well as my Velvia 50 slides. I feel like, in the right light, this Recipe does quite well at mimicking it, but it’s not always correct. It’s sometimes really convincing and sometimes less so; however, either way, I really like the look of it.
Book & Fake Succulent – Buckeye, AZ – Fujifilm X-T4 – Velvia Slide Recipe
While there are many Film Simulation Recipes that use Velvia, this one is not quite like any that I’ve previously published. Perhaps Kodak Ektachrome E100VS and Improved Velvia are the closest. It works best in sunny daylight, but can also be good for natural light indoors. It’s especially well suited for colorful landscape photography.
This is a Patron Early-Access Recipe. If you are a Fuji X Weekly App Patron, you have access to it right now. If not, no worries, as it will eventually be made available to everyone, once it is replaced by a new Early-Access Recipe. With the exception of the X-T3 and X-T30, it is compatible with all fourth and fifth-generation X-Trans cameras, which (as of this writing) are 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, and X-M5. It can also be used on the newer GFX models, including the GFX100S, GFX100S II, GFX100 II, and GFZ100RF.
Example photographs, all camera-made JPEGs using this Velvia Slide Film Simulation Recipe on a Fujifilm X-T4, X-S20, and GFX100S II:
Bougainvillea in Spring – Buckeye, AZ – Fujifilm X-T4
Oleander Branch in Bloom – Buckeye, AZ – Fujifilm X-T4
Garden Flowers – Charleston, SC – Fujifilm X-S20 – Photo by Jonathan Roesch
Blooming Bougainvillea – Buckeye, AZ – Fujifilm X-T4
Yellow Bougainvillea Backlit – Buckeye, AZ – Fujifilm X-T4
Palm Branch Curve – Buckeye, AZ – Fujifilm X-T4
Toyotires – Buckeye, AZ – Fujifilm X-S20 – Photo by Jonathan Roesch
Palm Trunk – Buckeye, AZ – Fujifilm X-T4
Spring Sun – Buckeye, AZ – Fujifilm X-T4
Setting Sun – Buckeye, AZ – Fujifilm X-S20 – Photo by Jonathan Roesch
Hawk Perched on Desert Rocks – Rock Springs, AZ – Fujifilm X-T4
Old Dog – Buckeye, AZ – Fujifilm X-T4
Lake Waves – Buckeye, AZ – Fujifilm X-T4
Flatirons – Boulder, CO – Fujifilm GFX100S II
Mohawk Mountain – Boulder, CO – Fujifilm GFX100S II
Find this Film Simulation Recipe and 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.
American Paint Horse – Litchfield Park, AZ – Fujifilm X-E4 – Kodachrome Blue
Kodak made Kodachrome color-reversal (slide) film from 1935 through 2009. There are three era’s of Kodachrome: 1935-1960, 1961-1973, and 1974-2009. Each era has its own look; the second and third eras are probably the most similar. Kodachrome is actually a B&W film, with color dyes added during development. It was a unique and complicated process. Because of how the film works, it’s the most difficult emulsion to scan, often producing a blue cast that doesn’t exist when viewing the slides through a projector or on a light table.
Professional labs will have a profile to color correct Kodachrome scans, but even that’s not usually a 100% match. As it used to be said, “There’s nothing like projected Kodachrome!” If the scans aren’t carefully corrected, the results are often significantly more blue than the slides. The feeling that all the world’s a sunny day (as Paul Simon sang) is completely gone. Once you know what to look for, it’s easy to spot these incorrectly color corrected Kodachrome images, and they’re prevalent.
Rebels – Buckeye, AZ – Fujifilm X-E4 – Kodachrome Blue
Over the last few weeks I’ve stumbled across several sets of these incorrectly color corrected Kodachromes while perusing the web, mostly from the second era of the film. I thought that the look was interesting, so I set out to recreate it on my Fujifilm X-E4; however, the process was more challenging than I had anticipated. I had assumed that Classic Chrome would be the best film simulation to base this new Film Simulation Recipe on—it was the obvious choice, right?—but I couldn’t get it to look right. It was actually the fifth film sim I tried before I decided that I was finally on the right track.
After four different modifications, I felt I got it as close as I could, and had a reasonable facsimile of the film when not appropriately color corrected. Interestingly, I compared my Recipe to some incorrectly colored Kodachrome 64 film scans in my collection—some frames I captured on a Canon AE-1 back in 1999 that (when I later had them scanned) the lab rendered too blue—and the resemblance was striking. I made one more small change to the Recipe to get it even closer, and called it good. One thing that I wish was possible is a little more color saturation, but +4 is the highest option; if +5 or maybe +6 were available, I’d have bumped Color just a tad higher.
Actual Kodachrome 64 film — improperly color-corrected scan
Actual Kodachrome 64 film — improperly color-corrected scan
Actual Kodachrome 64 film — improperly color-corrected scan
This Kodachrome Blue Film Simulation Recipe is compatible with the Fujifilm X-T4, X-S10, X-E4, and X-T30 II cameras, as well as the GFX100S. For fifth-generation X-Trans models, as well as the GFX100 II, GFX100S II, and GFX100RF, set Color Chrome FX Blue to Weak instead of Strong. This isn’t a Recipe that I suspect will be anyone’s go-to for everyday use—I’d look at Kodachrome 64 or Kodachrome II for general photography—but it’s a fun one that I think some of you will really appreciate in certain circumstances. I personally like the retro feelings that Kodachrome Blue produces. Note: this was an App Patron Early-Access Recipe, but now it is available to everyone.
Film Simulation: Eterna Bleach Bypass Dynamic Range: DR200 Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome FX Blue: Strong White Balance: 6500K, -6 Red & +9 Blue Highlight: +2.5 Shadow: -0.5 Color: +4 Sharpness: +1 High ISO NR: -4 Clarity: +3 ISO: Auto, up to ISO 6400 Exposure Compensation: -2/3 to 0 (typically)
Example photographs, all camera-made JPEGs captured using this Kodachrome Blue Film Simulation Recipe on my Fujifilm X-E4:
Play Garden Tools on a Wall – Buckeye, AZ – Fujifilm X-E4
Stormy Day Bougainvillea – Buckeye, AZ – Fujifilm X-E4
Growing Bougainvillea – Buckeye, AZ – Fujifilm X-E4
Bougainvillea Day – Buckeye, AZ – Fujifilm X-E4
Bougainvillea Blue – Buckeye, AZ – Fujifilm X-E4
Building Storm over Street Lamp – Buckeye, AZ – Fujifilm X-E4
Three Palms over Building – Buckeye, AZ. -Fujifilm X-E4
Palm Lights – Buckeye, AZ – Fujifilm X-E4
Corner Tower – Buckeye, AZ – Fujifilm X-E4
Neighborhood Roof – Buckeye, AZ – Fujifilm X-E4
Concrete Roof Tiles – Buckeye, AZ – Fujifilm X-E4
Sunlight From Above – Buckeye, AZ – Fujifilm X-E4
Little Blue Rainbow – Buckeye, AZ – Fujifilm X-E4
Red Umbrella on a Sunny Day – Buckeye, AZ – Fujifilm X-E4
Water Angels – Buckeye, AZ – Fujifilm X-E4
Shoda – Buckeye, AZ – Fujifilm X-E4
Fake Flowers on a Table – Buckeye, AZ – Fujifilm X-E4
Potted Palm Plant – Buckeye, AZ – Fujifilm X-E4
Fresh Flowers – Buckeye, AZ – Fujifilm X-E4
Two Way Stop – Avondale, AZ – Fujifilm X-E4
Underpass – Avondale, AZ – Fujifilm X-E4
Taillight – Avondale, AZ – Fujifilm X-E4
Two Shoes – Buckeye, AZ – Fujifilm X-E4
Unexpected Portrait – Buckeye, AZ – Fujifilm X-E4
Guitarist – Buckeye, AZ – Fujifilm X-E4
Peace – Buckeye, AZ – Fujifilm X-E4
Attic Window – Buckeye, AZ – Fujifilm X-E4
Yellow Honeysuckle Trumpet – Buckeye, AZ – Fujifilm X-E4
Find this Film Simulation Recipe and 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.
Southwind – Litchfield Park, AZ – Fujifilm X-T4 – Kodak Portra do Sol
This new Film Simulation Recipe comes courtesy of Gilson Teixeira. “It started with your Bright Kodak Recipe, which I loved for its energy and vibrancy. But I was looking for something softer—still warm and colorful, but a bit more cinematic and relaxed. I imagined a Recipe that could bring out a golden, mellow vibe even on grey days. That’s how Kodak Portra do Sol came to life: my go-to point-and-shoot simulation for capturing a little warmth wherever I am.”
“As a Brazilian living in London,” Gilson told me, “the long, grey winters can be tough—and this past winter hit particularly hard. I wanted to create something that could bring a bit of Brazil’s tropical spirit into my everyday life. The name is a nod to my mother tongue: do sol means ‘of the sun,’ and I liked the play between Portra and porta—as if it were a ‘Door of the Sun.’ At the same time, something shifted creatively. After years away from photography, I picked up the camera again—not just to escape the grey, but to reconnect with something I thought I’d left behind. Photography has now become part of my self-care. During my 45–60 minute daily walks, I focus on light, angles, composition, and Recipes. That attention clears my mind and helps me recharge—especially through winter, it helped me stay grounded. If anyone reading this is struggling, I truly recommend reaching out to Samaritans—they’re there to listen, wherever you are.”
“Surprisingly, it was AI that brought me back to photography,” he continued. “I work in IT and focus on AI at Microsoft. I noticed how naturally my prompts leaned toward light and composition—photography had quietly stayed with me all along. I studied digital imaging back in 1994 at the New England School of Photography in Boston, so that knowledge was still there, waiting to be revived.”
Back at the Ranch – Litchfield Park, AZ – Fujifilm X-T4 – Kodak Portra do Sol
“Bright Kodak is bolder and more punchy,” Gilson replied when asked what differentiates Kodak Portra do Sol from Bright Kodak. “I wanted something calmer. I removed Grain, reduced Color from +4 to +3, and softened Clarity from -3 to -1. I switched to Auto White Balance, with a gentler Shift (+2R, -6B) for a warm, flexible look, and added Color Chrome Effect Strong to deepen tones without over-saturation.”
“I see recipes as creative tools,” he added, “not shortcuts. They help set the mood in-camera, so I can focus on light and storytelling. With Kodak Portra do Sol, I’m not just capturing images, I’m capturing how those moments feel.”
I want to give a special “thank you” to Gilson Teixeira for sharing this Recipe and the story behind it, and for allowing me to publish some of his photographs. Please check out his Instagram, and leave a kind note for him in the comments. Thank you, Gilson!
Photo by Gilson Teixeira — Fujifilm X-T30 II — Kodak Portra do Sol
This Kodak Portra do Sol Film Simulation Recipe is compatible with the Fujifilm X100V, X-Pro3, X-T4, X-S10, X-E4, and X-T30 II cameras, as well as the GFX100S. You can use it on newer cameras, too, but blue will render slightly deeper (try it anyway).
Film Simulation: Classic Chrome Dynamic Range: DR400 Grain Effect: Off Color Chrome Effect: Strong Color Chrome FX Blue: Off White Balance: Auto, +2 Red & -6 Blue Highlight: -2 Shadow: -2 Color: +3 Sharpness: -2 High ISO NR: -4 Clarity: -1 ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 1/3 (typically)
Example photographs, all camera-made JPEGs captured by Gilson Teixeira using this Kodak Portra do Sol Film Simulation Recipe on a Fujifilm X-T30 II:
Photo by Gilson Teixeira — Fujifilm X-T30 II
Photo by Gilson Teixeira — Fujifilm X-T30 II
Photo by Gilson Teixeira — Fujifilm X-T30 II
Photo by Gilson Teixeira — Fujifilm X-T30 II
Photo by Gilson Teixeira — Fujifilm X-T30 II
Photo by Gilson Teixeira — Fujifilm X-T30 II
Photo by Gilson Teixeira — Fujifilm X-T30 II
Photo by Gilson Teixeira — Fujifilm X-T30 II
Photo by Gilson Teixeira — Fujifilm X-T30 II
Photo by Gilson Teixeira — Fujifilm X-T30 II
Photo by Gilson Teixeira — Fujifilm X-T30 II
Example photographs, all camera-made JPEGs captured using this Kodak Portra do Sol Film Simulation Recipe on my Fujifilm X-T4 and X-E4:
Easter Egg Hunting – Buckeye, AZ – Fujifilm X-E4
Easter Swim – Buckeye, AZ – Fujifilm X-E4
Tractor Back – Litchfield Park, AZ – Fujifilm X-T4
Feed Silo – Litchfield Park, AZ – Fujifilm X-T4
Horse Walker – Litchfield Park, AZ – Fujifilm X-T4
Seabee – Litchfield Park, AZ – Fujifilm X-T4
Horse, Fence – Litchfield Park, AZ – Fujifilm X-T4
Ready – Litchfield Park, AZ – Fujifilm X-T4
Horse Walker Detail – Litchfield Park, AZ – Fujifilm X-T4
Harkins at Night – Goodyear, AZ – Fujifilm X-E4
Find this Film Simulation Recipe and nearly 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.
Mike’s Camera is hosting a Spring Photo and Video Expo in Colorado over Mother’s Day weekend. I’ll be at the Boulder location on Sunday, May 11th, from 11:00 AM to 1:00 PM for a free class and photowalk. If you live in the area, please come out and join me—we’re going to have a great time! If your mom or mother-in-law has an interest in photography, bring her along, too.
The class is called Fujifilm Film Simulation & Fuji X Weekly Recipes. We’re going to learn how Fujifilm’s 20 Film Simulations and Fuji X Weekly Recipes can transform your photography, achieving the results you want quickly and easily while making photography more fun. The class will be about 30-40 minutes long, followed by a photowalk on Pearl Street. You don’t need to register, you just need to show up on May 11th at 11:00 AM. Click here for directions.
A picture of last year’s photowalk in Denver
Last year I co-lead a photowalk in Denver with Mike’s Camera, and it was a huge success. About 60 people came out for it—one as far away as Italy!—and we had a great time. It’s a real honor to be invited out again. I want to express my appreciation to Mike’s Camera and Fujifilm USA for including me in this event—thank you!
If you are in the Denver area, I’d love to meet you. It’s a great opportunity for camaraderie and to just chat cameras. It’s awesome that a local camera store is facilitating this community-building event, so definitely take advantage of it. I hope to see you in Boulder!
When Fujifilm released the X-T50 last year, it had a new feature: a Film Dial. In my pursuit of figuring out how to use it effectively, I created the Film Dial Recipe set, a group of 14 Recipes that are really just one “Universal Recipe” (set of settings) that work well with any of the 20 film simulations (I grouped all four Acros options together, as well as all four Monochrome; hence 14 Recipes and not 20). This technique makes the X-T50—and now the X-M5, which also has the Film Dial—more versatile than the other X-series cameras for the straight-out-of-camera photographer. At least so I thought.
As it turns out, this technique can be used on any Fujifilm camera, simply by assigning one of the customizable knobs, wheels, rings, or buttons to activate the film simulation menu. The X-S10 and X-S20 have an unmarked knob on top that are factory-default set for this purpose. On other cameras, the rear command dial (R-Dial in the Fn settings menu) can be set to activate the film simulation menu. On my Fujifilm X100VI, I programmed the Control Ring to adjust the film simulation. On one hand the Film Dial is preferable: you can see what the film simulation is set to just by looking at the camera, it can be adjusted with the camera powered off, and it won’t reset when the camera is powered on. On the other hand, the non-Film Dial cameras are preferable: you have quick access to all 20 film simulations, and not limited by the 12 slots found on the Film Dial. There are advantages and disadvantages to both, and I prefer the Film Dial personally. But the light bulb moment for me was realizing that the Film Dial Recipe can be used on many cameras, and not just those with the Film Dial—I use it regularly on several different models, including my X100VI, X-T5, and GFX100S II.
Fujifilm’s film simulations are good straight-out-of-the-box, but with some parameter adjustments, they can become great. To get the most out of the various film simulations, you need to make changes to the factory-default settings (a.k.a. use Film Simulation Recipes). However, the Film Dial becomes problematic when you do this because rarely do multiple film simulations look good with the same Recipe settings. Sometimes they do, such as with Kodak Portra 400 v2, Vintage Vibes, and Ferrania Solaris FG 400, which require the same exact settings (note: set Color Chrome FX Blue to Off on X-Trans V), but use three different film simulations: Classic Chrome, Classic Negative, and Eterna Bleach Bypass. Most of the time, however, whenever you use a different film sim than what the Recipe calls for, the results are less than spectacular, such as when Omar Gonzalez accidentally used Classic Chrome instead of Classic Negative with the Agfa Vista 100 Recipe. Creating a “Universal Recipe” like the Film Dial Recipe is not an easy task.
Not content with having just one “Universal Recipe”, I set out to create another. I’ve been working on this one for more than three months now, and I’m excited to share it with you. It can be used in conjunction with the Film Dial on the X-T50 and X-M5; however, it can also be used on any fifth-generation X-Trans camera or even the latest GFX models. I created this Recipe on my Fujifilm X100VI, and all of the photos below were made using that camera. Also, if you don’t want to use it as a “Universal Recipe” but you like the results of just one of them—such as Classic Negative (a.k.a. “Fujicolor Superia 200”) below—simply use that one standalone. Or pick your favorite three and use it in conjunction with the Film Simulation Bracket feature.
I wanted this new universal option, which I’m calling Universal Negative, to be different than the Film Dial Recipe set. I didn’t want to merely repackage a small adjustment to it; I wanted something significantly divergent, and maybe a tad more film-like. Hopefully that’s what I accomplished here. My plan is to have both this Universal Negative Recipe set and the Film Dial Recipe set programmed into at least one of my cameras (right now it’s my X100VI), which really just opens up the opportunity to achieve various looks in-camera. It’s kind of like having C1-C35, instead of just C1-C7. While this is intended for fifth-generation models (currently: X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, and X-M5), it can also be used on X-Trans IV (except the X-T3 and X-T30); however, blue will render slightly less deeply on Classic Chrome, Classic Negative, Eterna, and Eterna Bleach Bypass, and some film sims won’t be available.
Film Simulation: Any (See Below) Dynamic Range: DR400 Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome FX Blue: Strong White Balance: 4000K, 0 Red & -5 Blue Highlight: 0 Shadow: -2 Color: -2 Sharpness: -2 High ISO NR: -4 Clarity: 0 ISO: Auto, up to ISO 6400 Exposure Compensation: -1/3 to +2/3 (typically)
Additionally, for Acros and Monochrome, set Monochromatic Color to WC 0 & MG 0 (a.k.a. Off). Also, Color will be disabled for Acros, Monochrome, and Sepia. For Eterna and Acros, ISO can be up to ISO 12800.
Provia/STD — “Universal Provia”
This “Universal Provia” Recipe doesn’t much resemble real Provia film, but that doesn’t mean it doesn’t produce an appealing aesthetic. It is true-to-life with a slight analog vibe, perhaps reminiscent of a Fujicolor Crystal Archive print. It’s kind of a Goldilocks Recipe—not too vibrant or muted, not too contrasty or flat, not too warm or cool. For best results, use in sunny daylight; however, it can do well in shade, indoor natural light, and even blue-hour with artificial light.
Velvia/Vivid — “Velvia 100F”
Velvia was the go-to film for vibrant landscape photography. If you wanted the colors to pop, Velvia 50 slide film is what you’d want to use. There were multiple versions of Velvia, and Velvia 100F (not to be confused with Velvia 100) was the least saturated of them all. This “Velvia 100F” Recipe isn’t strictly modeled after the emulsion, but it is in the ballpark, and close enough to name this after the film. This is an excellent option for colorful pictures that are not over-the-top vibrant. Great for sunny daylight landscapes, golden hour, sunrise/sunset, and even some nighttime situations.
Astia/Soft — “Indoor Astia”
This “Indoor Astia” Recipe is my favorite of all these for indoor natural light photography. It’s also good for sunny daylight, dreary overcast, and nighttime pictures. While this Recipe is more similar to actual Astia 100F film than the film simulation is when set to the factory default settings, it’s not necessarily a good match for the emulsion.
Classic Chrome — “Elite Chrome”
Elite Chrome was Kodak’s consumer-grade version of Ektachrome color slide film, produced in the late-1990’s and early-2000’s. While this “Elite Chrome” Recipe wasn’t modeled after the emulsion, surprisingly it does resemble Elite Chrome 100 film to a degree. For best results, use in sunny daylight; however, it does do well in overcast and blue hour light.
Reala Ace — “Retro Negative”
Reala Ace is Fujifilm’s newest film simulation. It’s purportedly based on Reala film, but it’s not a very close replication of that emulsion, which is in the Superia line, and more similar to Classic Negative. Instead, Reala Ace is nearer to the Fujicolor PRO 160 line, and shares similarities with PRO Neg. Std and PRO Neg. Hi. Reala Ace probably should have been named PRO Neg. C, since it is most similar to Fujicolor PRO 160C film. Of the three “PRO Neg.” film sims, Reala Ace is my personal favorite. This “Retro Negative” Recipe is reminiscent of color negative film from the 1980’s and ’90’s, and might even remind you of some photos printed in magazines from that time frame. I found it is quite excellent for golden hour and blue hour photography; however, it’s good for a lot of different subjects and situations, including rainy days, natural light indoors, and portrait photography.
PRO Neg. Hi — “Fuji Negative”
This “Fuji Negative” Recipe is generally similar to various Fujicolor negative films, without mimicking any one specifically. This is probably my favorite of this group for overcast light, but it also does well in sunny daylight and blue hour.
PRO Neg. Std — “Pulled Negative”
Pulling film means to overexpose a little, then reduce the development time to compensate. The results are lower contrast photos with less pop. You could consider this “Pulled Negative” Recipe a one-stop pulled version of the “Fuji Negative” Recipe above. This Recipe is one of the best of this group for artificial light situations, such as nighttime and indoors.
Classic Negative — “Fujicolor Superia 200”
This “Fujicolor Superia 200” Recipe is probably my favorite of this group. Inadvertently, it’s reminiscent of Fujicolor Superia 200 color negative film, which was introduced in 1998 and discontinued in 2017. I especially like this Recipe for indoor natural and artificial light situations; however, it’s good for many subjects and light scenarios.
Nostalgic Neg. – “Americana Film”
Nostalgic Neg. is the second most recent addition to the film simulation lineup, and is modeled after American New Color images from the 1970’s. The Nostalgic Neg. film simulation has a strong Kodak aesthetic, particularly photographic prints from five decades ago. This is the warmest film sim, which means that this “Americana Film” Recipe is the warmest of this group. It’s great for portraits or any situation where you want a retro rendering.
Eterna/Cinema — “Eterna Film”
This “Eterna Film” Recipe is the second lowest saturated and least contrasty of all the color options in this series. It has a lovely soft cinematic quality that is especially great for taming high-contrast scenes; however, it has a limited use-case where it does well. I had trouble finding scenarios where it was the most appropriate option for the situation, but occasionally I did.
Eterna Bleach Bypass — “Chrome City”
Eterna Bleach Bypass has the lowest saturation and highest contrast of all of the film simulations. Bleach bypass is a development technique where the bleach step is reduced or eliminated, resulting in a high-contrast, low-saturation image that almost appears like a B&W picture over a color picture. It can be used in still photography, but is more commonly found in motion pictures (think Saving Private Ryan). This “Chrome City” Recipe is reminiscent of LomoChrome Metropolis film, which is an emulsion by Lomography that mimics the aesthetic of the bleach bypass technique. The results from this Recipe can be spectacular, and it’s one of my favorites from this group; however, it’s definitely not for every subject or situation.
Fujifilm introduced Neopan Acros black-and-white negative film back in 1952. Neopan Acros came in four versions: ISO 100, ISO 400, ISO 1600, plus an ISO 400 version for C41 development that was actually repackaged Ilford XP2 Super 400. Neopan Acros was briefly discontinued in 2018, and reintroduced in 2019 as Neopan Acros 100 II. Curiously, the new version is actually manufactured by Harman (the parent company of Ilford), although it behaves quite similarly to the original.
Typically, I prefer contrasty black-and-white pictures; however, this “Acros Negative” Recipe is fairly low-contrast. It has to be used thoughtfully, or else the pictures will look slightly muddy. The Acros filter options (+Y, +R, +G) are your friend, and this Recipe thrives on high-contrast scenes. In the right situations, the results can be wonderful. For grainer pictures, use higher ISOs, as the Acros film sim has built-in Grain that increases with the ISO. If I could only pick one Acros option for the “Acros Negative” Recipe, I’d go with Acros+R.
The Monochrome film simulation is simply Provia with the color turned off. It was the standard B&W film sim until the introduction of Acros on X-Trans III. Generally speaking, I like Acros much more than Monochrome, as Acros has more of an analog feel to it; however, Monochrome does have a slightly harsher tonality, so there are times that the Monochrome film simulation could be preferable, and you might choose this “B&W Negative” Recipe. Similar to the “Acros Negative” Recipe above, this one thrives in high contrast light, and the filter options (+Y, +R, +G) are your friends.
Sepia — “B&W Sepia”
Last and least is Sepia. This film simulation has been around for a long time, but very few use it. If Fujifilm discontinued it, most probably wouldn’t even notice. Sepia is a darkroom technique where you bathe B&W prints in a chemical for archival and artistic purposes. Most commonly, Sepia baths are quick, and the toning subtle; however, the prints can be left in longer, resulting in a pronounced reddish/brown tone (this film simulation replicates that), which was popular a hundred or more years ago. For a more subtle effect, simply use either “Acros Negative” or “Monochrome Negative” with Monochromatic Color set to WC +2 MG -2. Most likely you’ll skip this one, but if you’re looking for something different, maybe give it a try.
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