Vintage Cinema — Fujifilm X-T5 (X-Trans V) FXW App Patron Early-Access Film Simulation Recipe

Glimpse of a Fleeting Memory – Gilbert, AZ – Fujifilm X-T5 – “Vintage Cinema”

I recently binge-watched a number of classic movies from the 1950’s, and I was really inspired by their picture aesthetics. After some research, I discovered that Kodak ECN 5248 25T motion picture film was used in several of these flicks. The problem, of course, with trying to replicate the look of a motion picture film stock is that not only is the aesthetic dependent on the usual factors of how shot and developed, but also on the lighting and filters used, which can be different movie-to-movie and even scene-to-scene. Instead of attempting to mimic the look of any particular movie or cinema film stock, I wanted to create a certain feel or mood—a “memory color” reminiscent of color movies from the 1950’s.

This Vintage Cinema Film Simulation Recipe is a Fuji X Weekly App Patron Early-Access recipe, which means if you are an App Patron, you have access to it right now. The Fuji X Weekly App is free, yet becoming a Patron unlocks the best App experience! One benefit of being a Patron is you get early access to some new Film Simulation Recipes, such as this one. These Patron Early-Access Recipes will eventually become available free to everyone in time, including this new one. Patrons help support Fuji X Weekly and, really, without them there would be no App, so I want to give a special “thank you” to all of the Patrons!

Ball on a Wall – Buckeye, AZ – Fujifilm X-T5 – “Vintage Cinema”

The Vintage Cinema Film Simulation Recipe, which is the very first Patron Early-Access Recipe for X-Trans V, is only compatible with (as of this writing) the Fujifilm X-T5, X-H2, and X-H2S (and I’m sure the X-S20 when it’s released this spring). I assume that the GFX100S and GFX50S II can also use this recipe, but that it will render slightly different—I don’t have either of those cameras to test it to know for certain. This recipe is best for sunny daylight conditions, and seems especially well-suited for golden hour photography, but can sometimes produce interesting results in cloudy, shade, and indoor situations, too. I believe this recipe would pair especially well with vintage lenses and probably diffusion filters, but for these pictures I used Fujinon lenses, including the 27mm f/2.8, 35mm f/2, 90mm f/2, and 100-400mm, without any filters.

Example photographs, all camera-made JPEGs using this “Vintage Cinema” Film Simulation Recipe on my Fujifilm X-T5:

Birds of a Feather – Gilbert, AZ – Fujifilm X-T5
Flipped Reflection – Gilbert, AZ – Fujifilm X-T5
Three Ducks in a Lake – Gilbert, AZ – Fujifilm X-T5
Bougainvillea Blooms & Blue – Buckeye, AZ – Fujifilm X-T5
Bougainvillea Beams – Buckeye, AZ – Fujifilm X-T5 – Photo by Jonathan Roesch
Side Gate Cracked Open – Buckeye, AZ – Fujifilm X-T5
Bougainvillea Bush in Bloom – Buckeye, AZ – Fujifilm X-T5
Hanging Bougainvillea Blossom – Buckeye, AZ – Fujifilm X-T5
Desert Bunny – Gilbert, AZ – Fujifilm X-T5
Jo on a Dirt Path – Gilbert, AZ – Fujifilm X-T5
Jo on the Patio – Buckeye, AZ – Fujifilm X-T5
Late Autumn Yellow – Buckeye, AZ – Fujifilm X-T5
Leafless Tree – Buckeye, AZ – Fujifilm X-T5 – Photo by Jonathan Roesch
Do Not Enter When Flooded – Buckeye, AZ – Fujifilm X-T5 – Photo by Jonathan Roesch
Dry Leaves on a Patio Chair – Buckeye, AZ – Fujifilm X-T5
Pruner & Gloves – Buckeye, AZ – Fujifilm X-T5
Fruit – Buckeye, AZ – Fujifilm X-T5

Find this Film Simulation Recipe and over 250 more on the Fuji X Weekly — Film Recipes App!

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

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

SOOC Live Season 3 Kicks Off February 9!!

We’re two weeks away from kicking off SOOC Live Season 3! Join myself and Nathalie Boucry as we talk about Film Simulation Recipes, Fujifilm cameras, photography, and so much more. There will be quite a few changes to the show, which we’ll discuss in the initial episode, so you’ll want to tune in. We’ll be broadcasting live on February 9th at 9 AM Pacific Time, Noon Eastern Time, and we hope that you will join us. Mark your calendars now!

One big change is that SOOC Live has its own YouTube channel. All of the “old” episodes will be added there, but it is a work-in-progress and will take some time, so please excuse the construction. You’ll want to take a moment right now to subscribe to the SOOC Live channel, that way you’ll get notified of new broadcasts. Also, the Season 3 Kickoff episode has already been scheduled, so be sure to set the reminder. You know, hit the bell and smash the button and all that fun stuff.

If you haven’t uploaded your photos, don’t forget to do so soon (click here)! Which pictures should you share? Submit up to three of your favorite images captured with the Mystery Chrome Film Simulation Recipe (which was created live during the last episode of Season 2) and/or festive photographs captured over the holiday season with any Film Simulation Recipe. Be sure to include your name and the recipe used in the file name. All the pictures submitted will be included in a slide show, and some will be shown during the show. Everyone who submits a photo will be entered into a drawing for a chance to win a 12-month Patron subscription to the Fuji X Weekly App. Please submit your pictures by February 7th.

If you haven’t visited the SOOC Live website, you’ll want to do so and bookmark it. It’s also a work-in-progress, and you’ll see a few changes and updates over the coming weeks and months.

There are some big things in store for SOOC Live Season 3! Come along for the ride and see where this journey takes us.

Thoughts on the Upcoming X-S20

According to Fujirumors, who has a reputation for being quite accurate, the next Fujifilm model will be the X-S20, which will be announced at the X-Summit in April. What are my thoughts on this upcoming camera?

First of all, I want to state that I have zero inside information. Fujifilm doesn’t tell me anything. I haven’t spoken with anybody who has knowledge about upcoming cameras. What I state about the X-S20—or any unreleased model—is my opinion (nothing more) and should be consumed with a grain of salt.

The X-S10 was a successful model for Fujifilm, doing what it was intended to do: attract those unsatisfied with their Canikony camera who have an interest in Fujifilm but are intimidated by the traditional dials because they have only ever used PASM. I have no doubt that the X-S20 will be just as successful, if not more so.

I believe it will have the same 40-megapixel sensor as the X-H2 and X-T5. It won’t be weather-sealed. It will be 95% the same camera as the X-S10, just with the new sensor and processor. I would be surprised if there were any big surprises. If the X-H2 is too expensive for you, or if you have an X-H2 but want a smaller and cheaper second body, the X-S20 will be the one to consider.

What will separate the X-S20 from the X-S10? Megapixels. Autofocus. Improved IBIS algorithm. Nostalgic Neg. 6K video. I don’t expect the new version to be head-and-shoulders better, but an improvement nonetheless, but with some give-and-take, so an argument could be made that the X-S10 is actually “better” (subjectively, of course), just like the X-T4 might be considered better than the X-T5 by some.

I do wonder if Fujifilm has intentions of introducing a mid-level PASM model. The X-H2/X-H2S cameras are “flagship” cameras that are true “hybrid” models (excellent for both stills and video), but unfortunately those are PASM models, which means long-time Fujifilm photographers were left out in the cold—the X-T4 and X-H1 are the only “flagship hybrid” cameras for you to choose from (yes, an argument could be made for the X-T5, but it is clear Fujifilm intends it for those who primarily are still photographers, not videographers). The X-S10 and X-S20 are entry-level (as in the new entry-level, which used to be mid-level). What’s in-between the high-end X-H2 and the low-end X-S20? For the PASM shooter, nothing. I’m not certain if something is needed, but I wouldn’t be surprised if Fujifilm is exploring that possibility, or even in the process of creating it.

I don’t think, in the current market, that it makes sense to have three entry-level models. That means either the X-E line or X-T00 line is likely on the way out. The X-T00 has historically been more popular, but the X-E line is beloved, and the X-E4 has been especially successful. I’m not sure what might get the ax or when, but it’s possible that the X-T30 II or X-E4 was the last in their respective series. Or maybe the X-T40 (or X-T50… they might skip using four because it is an unlucky number in Japan) or X-E5 will be the last. I hope I’m wrong about this, and both lines continue for years to come, but I don’t think that will be the case.

I’m disappointed that the X-S20 is the next camera to be announced. Six out of the last nine Fujifilm cameras will have been PASM models—X-S10, GFX100S, GFX50S II, X-H2S, X-H2, and X-S20—while one of the three non-PASM models—X-T30 II—wasn’t much more than a firmware update (so essentially 3/4 of Fujifilm’s latest releases have been PASM). I think it’s clear that Fujifilm is more interested in becoming a part of Canikony (Canikonyfilm?), which they see as their future growth potential, than to embrace and better communicate what makes them unique (and why that uniqueness is desirable). Shame. But, at the same time, the X-S line was due for an update, so I’m not too surprised that this is their next model. Still, I think with the current demand for the X100V, which Fujifilm cannot keep up with due to parts shortages, that they would expedite the X100Z (or whatever it will be called). To me, that would have made more sense.

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-S10:  Amazon  B&H  Moment

Evergreen 35mm Film Canister Case

I used to shoot a lot of film. When I finally discovered the joy of Fujifilm cameras, with their incredible JPEG output, I practically stopped using analog cameras—not entirely, mind you, but almost. It was 25 years ago this upcoming fall (I cannot believe I’m that old…) that I began shooting film, yet I never once figured out a good storage system for my film canisters.

At the pinnacle of my analog adventures, you’d find a half-dozen or so unused film canisters in the refrigerator, another handful in the fridge exposed and waiting development, and another handful stuffed into various pockets of my camera bag, waiting for their chance in the camera. I wasn’t nearly prolific enough to have hundreds of rolls of film in the refrigerator or freezer, but I was a regular at my local lab, buying more film once every week or two. Despite all of the film coming and going for years, not once did I ever have a good system for it. My wife once complained about all of the film in the fridge because it was in the way of the food.

The good folks at Evergreen Cases, who happen to be big fans of Fujifilm cameras and Film Simulation Recipes, sent me a Seahorse X Waterproof 35mm Film Canister Case (with the Fuji X Weekly logo printed on it!). Where was this 25 years ago? If I had had two of these cases, my film could have been a lot more organized. I would have had one case for the refrigerator, where film-in-waiting (either to be exposed or developed) would be stored, and a case in my bag, for the film waiting for its turn in the camera. Now that I shoot a lot less film, one case is enough for me. Film is extremely expensive nowadays, so I’m glad that I use Fujifilm cameras for the vast majority of my photography.

This article doesn’t have much to do with the usual topics of this website, so—to bring it back home real quick—let me tell you a little about the two photographs above, which (admittedly) are nothing special. I used my Fujifilm X-T5 with the Kodak Portra 400 v2 Film Simulation Recipe to capture them. With Fujifilm cameras and recipes, I’m able to quickly and easily snap pictures that are ready to share—whether on social media or this website or with friends and family—the moment that they’re captured. No waiting for the lab. No sitting in front of a computer fiddling with files. Eliminating that second step is revolutionary—at least that’s what Ansel Adams said.

Using Film Simulation Recipes to Recreate Vintage Looks — 10 Recipes to Try Today!

More Than Double Wide – Arlington, AZ – Fujifilm X-T5 – “1970’s Summer” recipe

Fujifilm cameras have color profiles called Film Simulations, which can be customized to create various looks, including emulating the aesthetics of different types of film. Fuji X Weekly Film Simulation Recipes, which are a set of specific camera settings that produce many different looks in-camera without the need for editing, can be used to easily apply various vintage film looks to photos taken with Fujifilm cameras. These recipes can be used without the need for post-processing because they are essentially a set of camera settings that are tailored to emulate the aesthetic of a specific type of film—you get the retro analog look straight-out-of-camera.

One of the benefits of using these Film Simulation Recipes is that they can save a significant amount of time in post-processing. Instead of having to manually adjust various settings in editing software to achieve a vintage film look, photographers can simply apply the appropriate recipe in-camera and get the desired look straight-out-of-camera. The photos are finished and ready to share the moment that they are captured. You don’t even need to involve a computer at any point in your workflow, if you don’t want to. Not editing is a huge timesaver that allows photographers to be more productive thanks to a streamlined workflow.

Another benefit of using the Fuji X Weekly Film Simulation Recipes is that they can help new photographers achieve vintage film looks without having to learn cumbersome, intimidating, and expensive software. These recipes provide an easy way to experiment with different analog aesthetics. Film is expensive, and recipes are a quicker, more convenient, and cheaper alternative that still produces film-like results. And there is instant gratification when the unedited picture looks good, as if it had been post-processed or shot on film.

There are four reasons why photographers might want their pictures to have a retro analog look:

  1. Aesthetics — Vintage looks can evoke a sense of nostalgia and give photos a timeless quality that can be pleasing to the eye.
  2. Branding — Some photographers may want to apply vintage looks to their work as a way to set their brand apart or to appeal to a specific target market that appreciates the vintage aesthetic.
  3. Storytelling — Applying a vintage look to a photo can also help to tell a story or convey a certain mood or atmosphere that may be difficult to achieve with a more modern look.
  4. Experimentation — Some photographers may also want vintage looks as a form of creative experimentation or as a way to add an extra layer of meaning to their photos.

Film Simulation Recipes that produce a nostalgic aesthetic are popular. Below are 10 of my favorite Film Simulation Recipes that recreate vintage film looks.

Kodachrome 64

Abandoned Mobile Home – Arlington, AZ – Fujifilm X-T5 – “Kodachrome 64”

Old Ektachrome

Approaching Mesa Arch – Canyonlands NP, UT – Fujifilm X-Pro3 – “Old Ektachrome”

Chrome Slide

Airstream – Pismo Beach, CA – Fujifilm X-E4 – “Chrome Slide”

1970’s Summer

Going Out of Business – Prescott, AZ – Fujifilm X-T5 – “1970’s Summer”

Nostalgia Color

Seagull Sky – Cannon Beach, OR – Fujifilm X-E4 – “Nostalgia Color

Fujicolor Natura 1600

Tree Blossom Sky – Farmington, UT – Fujifilm X-E4 – “Fujicolor Natura 1600”

Vintage Color

Sentinel & Merced – Yosemite NP, CA – Fujifilm X100V – “Vintage Color”

Vintage Vibes

Autumn Aspen – Big Arm, MT – Fujifilm X100V – “Vintage Vibes”

Vintage Negative

Suburban Reed Evening – Farmington, UT – Fujifilm X100V – “Vintage Negative”

Xpro ’62

Empty Diner – Reno, NV – Fujifilm X100V – “Xpro ’62”

Obviously, there are a lot more options than just these 10—in fact, there are over 250 Film Simulation Recipes published on Fuji X Weekly and found in the Fuji X Weekly App! There are a lot to choose from, and if you are not sure, the list above should provide you with at least a few to try.

See also: Which Film Simulation Recipe, When?

Find these Film Simulation Recipes and over 250 more on the Fuji X Weekly — Film Recipes App!

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

Fujifilm X-T5 in black:  Amazon  B&H
Fujifilm X-T5 in silver:  Amazon  B&H
Fujifilm X100V in black:  Amazon   B&H
Fujifilm X100V in silver: Amazon   B&H
Fujifilm X-E4 in black:  Amazon   B&H
Fujifilm X-E4 in silver:  Amazon   B&H
Fujifilm X-Pro3:  Amazon   B&H

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Five Film Simulation Recipes Every Social Media Influencer Should Try on Their Fujifilm X100V

The Fujifilm X100V is a popular camera with social media influencers—so much so that it’s become hard to find and expensive. One of the main reasons why social media influencers love the camera is its retro design, which gives it a timeless and stylish look that stands out in a sea of modern and generic-looking camera bodies. The X100V’s sleek and compact form factor also makes it easy to carry around, which is ideal for influencers who are often on the go and need a camera that they can take with them wherever they go.

Another reason why the X100V is popular with social media influencers is its image quality. The camera is equipped with a 23mm f/2 lens, which produces sharp and detailed images. The X100V also features a 26-megapixel APS-C sensor that, thanks to the X-Trans array and processor, delivers excellent low-light performance and a wide dynamic range. These features, combined with Fujifilm’s renowned color science, produce images that are rich and vibrant with a film-like quality that is highly sought after by influencers.

The X100V is also popular with influencers because of its advanced manual controls. Unlike most compact cameras, the X100V provides users with the ability to effortlessly manually adjust settings—such as shutter speed, aperture, and ISO—giving them more creative freedom and control over their images. This makes the X100V an ideal camera for influencers who want to take their photography to the next level and produce professional-looking content.

And, of course, Film Simulation Recipes allow social media influencers to quickly get finished photographs straight-out-of-camera that are ready to share the moment that they are captured. This not only makes photography easier (and perhaps more fun), but it also saves a lot of time over post-processing RAW files. While there are literally hundreds of recipes that you could use, below are five Film Simulation Recipes that every influencer should try on their Fujifilm X100V.

Kodak Portra 400 v2

Once Was a Gas Station – Avondale, AZ – Fujifilm X100V – “Kodak Portra 400 v2”

Kodak Portra 400 is one of the most popular film stocks available today, so it shouldn’t be surprising that the Kodak Portra 400 Film Simulation Recipes are some of the most popular. Of these, Kodak Portra 400 v2 is my personal favorite. One film can produce many different looks depending on a host of factors—including how it was shot, developed, and scanned—and this recipe closely mimics the aesthetic of one photographer’s Portra pictures—feel free to also try Kodak Portra 400, Kodak Portra 400 Warm, and Reggie’s Portra. This Kodak Portra 400 v2 recipe produces bright and warm images, and is particularly great for portraits and golden hour photography. Use it in daylight natural light situations for best results.

Pacific Blues

Fox Holding Flower – Buckeye, AZ – Fujifilm X100V – “Pacific Blues”

The Pacific Blues recipe mimics the aesthetic of Lucy Laucht‘s Spirit of Summer series, particularly the Positano Blues photographs. It is especially well suited for a summer day at the beach, but it is also great for many other situations, including shade, fog, and even night photography. It’s a bold recipe, yet is still good for portraits. Use it for travel, or even just snapping pictures around the house.

Kodachrome 64

Open Warning – Butte, MT – Fujifilm X100V – “Kodachrome 64”

Kodachrome is such an iconic film that once graced the covers of National Geographic, Arizona Highways, and most travel magazines. Sadly it has been long-discontinued; however, thanks to Fujifilm cameras, you can still shoot a reasonably close facsimile of the film today! Kodachrome 64 is one of my favorite recipes for travel photography, producing results reminiscent of classic images from the ’70’s, ’80’s and ’90’s.

Vintage Color

Sentinel & Merced – Yosemite NP, CA – Fujifilm X100V – “Vintage Color”

“This is an artist’s recipe!” That’s what I said of the Vintage Color Film Simulation Recipe. It produces painterly results that are reminiscent of famed Hudson River School painter Albert Bierstadt, particularly his Yosemite paintings. While not modeled after any film stock, it does have a vintage film-like quality that’s easy to appreciate. It’s best suited for sunny daylight situations, yet it is also a good option for shade or overcast.

Kodak Tri-X 400

Motel – Panguitch, UT – Fujifilm X100V – “Kodak Tri-X 400”

Kodak Tri-X 400 is probably the most well-known black-and-white film stock, so it should be no surprise that the most popular black-and-white recipe is Kodak Tri-X 400. While color recipes tend to be much more popular than monochrome, if you want to emulate a classic photographic aesthetic, this recipe should be one of your top considerations. Producing moody images, Kodak Tri-X 400 allows you to focus on the elements within the frame without the distraction of color. In one word, Timeless is how I would best describe this recipe.

Find these Film Simulation Recipes and over 250 more on the Fuji X Weekly — Film Recipes App!

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

Fujifilm X100V Black    Amazon   B&H
Fujifilm X100V Silver   Amazon   B&H

Achieving Consistent Results with Fujifilm Film Simulation Recipes

Pilot – Cordes Lakes, AZ – Fujifilm X-T5 – “Kodachrome 64

Film Simulation Recipes are a great way to achieve consistent results when shooting with Fujifilm cameras. These recipes allow you to replicate the look and feel of various film stocks by applying specific settings to your camera. For a certain photo series or project, you might want all of the images to appear cohesive, and recipes are an easy way to do that. Let’s go over some quick tips for achieving consistent results using Film Simulation Recipes.

First and foremost, it’s important to understand the different Film Simulation Recipes available to you—there are over 250 on this website and the Fuji X Weekly App—and how they differ. Fujifilm offers a variety of film simulations, each with its own unique look and feel, that are then customized to create specific aesthetics. Most, but not all, are designed to mimic the look of classic film stocks or analog processes. Some are more ideal for certain light situations or subjects. Experimenting with various recipes can help you find the one that best suits your style and subject matter.

Denny’s Days – Beaver, UT – Fujifilm X-E4 – “Kodachrome 64

Once you’ve chosen a Film Simulation Recipe, it’s important to stick with it. Consistency is key when it comes to achieving consistent results. This means using the same recipe for all of the shots in a given series or project. This will ensure that all of your images have a cohesive look and feel, rather than appearing disjointed due to using multiple recipes.

Another tip for achieving consistent results is to make sure your camera is set up properly. This might include using or not using flash, shooting through just one lens, using a certain filter, or even selecting a particular aperture or ISO, depending on how strict you want to get. These factors can all impact the final look of your images, so it’s important to get them right throughout the entirety of the project.

Red Taco Trailer – Culleoka, TX – Fujifilm X-E4 – “Kodachrome 64”

In addition to setting up your camera properly, it’s also important to consider the lighting conditions when using Film Simulation Recipes. Different lighting conditions can have a big impact on the final look of your images, so it’s important to take this into account when shooting. For example, if you will be photographing in artificial light, you may want to choose a recipe that is designed to mimic the look of a Tungsten film stock. You might consider using similar light for all of the photographs within the series.

Finally, it’s worth noting that Film Simulation Recipes are just one aspect of achieving consistent results. Other factors, such as composition and subject matter, can all have an impact on the final look of your images. However, by following the tips outlined in this article, you can get started on the path towards achieving consistent results with your Fujifilm camera.

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

Fujifilm X-T5 in black:  Amazon  B&H
Fujifilm X-T5 in silver:  Amazon  B&H
Fujifilm X-E4 in black:  Amazon   B&H
Fujifilm X-E4 in silver:  Amazon   B&H

Find the Fuji X Weekly App in the Google Play Store and Apple App Store.

Creative Collective 038: FXW Zine — Issue 14 — January 2023

It’s 2023! That means the 14th issue of FXW Zine is out now, and if you are a Fuji X Weekly Creative Collective subscriber, you can download today!

What’s in the January issue? My top 50 favorite photographs of 2022. There are 50 pictures, including the cover, across 32 pages.

If you haven’t joined the Creative Collective, consider subscribing today to get access to bonus articles and the FXW Zine—not just this issue, but the first thirteen issues, too!

Subscribe to get access

Read more of this content when you join the Fuji X Weekly Creative Collective today!

Want to be a Wedding Photographer? Your Opportunity Awaits!

Pay attention!

The day after Christmas I saw an article by Charissa Cheong on, Professional TikTok creators are charging couples to film their weddings in a bid to help them go viral on their special day. Despite the long title, I read the article, but I didn’t pay much attention. The next day someone shared it with me and told me that I should, in fact, pay careful attention to it.

Why should I? I’m not a wedding photographer. Sure, like many who carry a camera, I have been asked a few times to capture the big day for family and friends. But that’s not something I’m interested in doing as a career. It’s too much work. Oftentimes, the wedding photographer is the first to arrive and one of the last to leave. Twelve hours of photography might equal 24 hours of culling and editing. Besides that, people sometimes don’t like pictures of themselves, because they see their own perceived flaws as flaws in the pictures, which is an unfortunate predicament for the photographer who photographs people. I’m also not a TikTok influencer. Yeah, I have social media accounts, and my Instagram has nearly 35,000 followers; while I never thought it would ever grow anywhere near that big, it’s still small-potatoes to be considered within “influencer” territory.

The article—what I missed the first time I read it—is about the power of swiftness. People are turning to TikTok creators to capture their wedding day because they can get ready-to-share pictures and videos quickly. People nowadays are less interested in a photo-book or DVD of their big day; instead, they want something that they can post to their social media accounts. Yeah, those polished products with a one or two week turnaround are great, but by the time the married couple receives them, the wedding is old news. Instant can be better than perfection. The younger generation in particularly would rather sacrifice “quality” for quickness.

Something else the article brings up is that people are interested in intimate and genuine content. “[Taylor Richardson] focuses on taking ‘raw footage’ and ‘candid’ images,” the article states, “which have a more ‘personal’ and ‘organic’ feel.” Richardson is then quoted, “The results end up looking like I was attending the wedding myself, like an amazing friend who never put her phone down the entire day.” It’s like the whole blurry picture trend—imperfections make it seem more true, more real, less staged. That’s what the younger crowd wants—authenticity. Or, at least, perceived authenticity.

What does any of this have to do with Fujifilm? Well, you all have a huge advantage! You can shoot straight-out-of-camera pictures using Film Simulation Recipes, and deliver amazing edited-looking pictures very quickly. Because you don’t need to edit, aside from perhaps some cropping, straightening, and maybe occasional very minor touchups, your biggest challenge is culling and delivery, not post-processing. That’s huge! Remember, it’s not perfection the client wants, but authentic pictures, quickly.

It’s not just photographs that the newlyweds want, but also ready-to-share videos. Video editing is even more slow and cumbersome than photo editing, but it doesn’t have to be. You can use Film Simulation Recipes for video, too (note that Grain, Clarity, and Color Chrome Effects are unavailable in video mode), so no need to color grade. You will have to splice clips to make under-a-minute short videos that are oriented tall and not wide. Consider having one camera dedicated to video and another for stills. If you don’t have much experience filming and editing short-form videos, that’s something you’ll want to get comfortable with well before the wedding day, and I suppose that’s why TikTokers have a leg up on everyone else. Storytelling is much more important than perfection, so consider ahead of time which clips you want to get to tell the story that you want to create.

Some people will look at the Insider article with disappointment. Those darn social media influencers with their iPhones and TikToks are ruining wedding photography! Some people will look at it with indifference. Why should I care? I’m not a social media influencer or wedding photographer. For some, though, who pay close attention, there’s a great opportunity for you, and the time is now to jump on it. You are already ahead of the curve because you own a Fujifilm camera and shoot with Film Simulation Recipes. Worry less about perfection and more about authentic in-the-moment images that are perhaps more raw and candid. The quicker that you can get these pictures into the hands of the client, the better.

The real advantage that you have over “TikTok Wedding Content Creators” is quality. While the iPhone is a good photographic and videographic tool—and don’t forget the RitchieCam App (a shameless plug)—it pales in comparison to what your Fujifilm camera is capable of. Your image and video quality can be so much superior while equally quick. The fruit is ripe for you, all you have to do is harvest it. Yes, it’s easier said than done, but if this is something you’ve been thinking about, it’s time to be decisive with your decision. If you want to be a wedding photographer, your opportunity awaits.

So You Got Some Amazon Gift Cards for Christmas

I don’t know about you, but I received several Amazon gift cards for Christmas. You might want to use those gift cards to purchase photography gear, but perhaps you are not sure what to buy. So—if you are stuck—let me offer some ideas. Since this is a Fujifilm blog, these items are mostly geared towards Fujifilm photographers.

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


If your Amazon gift card is $25, here are some camera things you can buy:

SanDisk 128GB Extreme Pro — It’s normally $34, but right now it’s on sale.
Fujifilm X-E4 Thumb Grip (Black)Fujifilm X-E4 Thumb Grip (Silver)
Fotasy M42-to-Fuji-X Adapter — So that you can use vintage M42 lenses.
Xuan 30mm Body Cap Lens — It’s actually $26, but close enough….


If your Amazon gift card is $50, here are some camera things you can buy:

Risespray 35mm f/1.6 — I have no idea if this lens is good or bad, but it is cheap.
Neewer 35mm f/1.4 — Never used it, so I can’t vouch for the quality.
National Geographic 2344 Shoulder Camera Bag — This is my travel camera bag.
1/4 Black Pro Mist10% CineBloom
NP-126 Batter Charger — I don’t travel without this.
Kodak Ektar H35 Half Frame Camera — Not Fujifilm related, but would be fun to try.


If your Amazon gift card is $75, here are some camera things you can buy:

Geekoto Tripod — I don’t have this tripod, but it looks like a good option.
Meike 35mm f/1.7 — Excellent lens for the price.
TTArtisan 25mm f/2 — No idea if this lens is good or not.
Meike 25mm f/1.8 — I’ve never used this one.
7Artisans 25mm f/1.8 — Pretty decent and fun lens.
7Artisans 50mm f/1.8 — Good lens for portraits.


If your Amazon gift card is $100, here are some camera things you can buy:

TTArtisan 35mm f/1.4 — I’ve used this lens on a Nikon Zfc, and it’s pretty good.
Meike 35mm f/1.4 — I’ve heard good things about this lens, but I’ve never used it myself.
Brighten Star 50mm f/1.4 — No idea if this is good or not.
Pergear 50mm f/1.8 — Has character.
Fujifilm Instax Mini 40 — Instant film is fun!
Instax Mini Link 2 Printer — More convenient than a camera.

I hope you all had a very merry Christmas!

Creative Collective 037: Tilted Filter for Flare

I made a really interesting discovery: if you tilt a diffusion filter and spin it, you can control the lens flare and bloom. For example, in the pictures above, I twisted the tilted filter, and the flare and bloom around the street lamp go from sideways to diagonal. There are several creative applications of this!

Below, I’ll explain how I made this filter (it’s simple!), and what you can do with it.

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Why I Don’t Like the New AI AWB on the Fujifilm X-T5

Fujifilm used “deep-learning AI Technology” to improve Auto White Balance on the X-T5 (or, more accurately, on X-Trans V cameras—not just the X-T5). According to the promotional statement, the camera is able to more accurately identify warm tints, and adjust to compensate for that when using Auto White Balance. Sounds impressive, right?

When I first learned about this, I was a little concerned that the new Auto White Balance would affect Film Simulation Recipes that use AWB. So I took a few test shots with the X-T5 and an X-Trans IV model side-by-side to compare, and I didn’t notice any difference between the two regarding white balance. It looked the same to me. But now that I’ve used the X-T5 a little longer, I do, in fact, at times notice something that I initially overlooked.

In the banner above, which comes from Fujifilm’s promo materiel for the X-T5 (even though the X-H2 has this same feature, it wasn’t promoted with that camera), you can see the “conventional model” vs the X-T5 AWB rendering in identical light. I assume that the so-called conventional model wasn’t a Sony or Canon, but an X-T4 (or other X-Trans IV camera). I personally prefer the more golden rendering of the “conventional” AWB to the copper rendering of the AI AWB, but each has their own tastes, so there’s no right or wrong answer. Perhaps you prefer the image on the right over the one on the left. It’s definitely subjective.

Something I have noticed—and I don’t like—is that this new rendering is inconsistent. From one exposure to the next, with identical lighting and identical settings, you can get something more like the “conventional model” rendering or something more like the AI AWB rendering. I’ve noticed it in artificial light, and I’ve noticed it in golden-hour/sunset situations. Two exposures, one right after the other—nothing’s changed—but the camera produces two very different tints when using AWB. Take a look at the two pictures below for an example of this. They were captured under identical light with identical settings, but they clearly aren’t identical. This was in a set of 32 pictures (of my son opening birthday gifts); 19 had the golden-ish cast and 13 had the copper-ish cast (these are frames nine and ten, for those wondering).

Obviously if you are a wedding or event photographer, and you rely on Auto White Balance, this could be a big issue for you, because you want consistent results. You don’t want the white balance to be bouncing back-and-forth between two tints. I don’t even want it for my son’s birthday pictures! If the camera chose one rendering in the situation, and consistently applied that to each image, whether gold or copper or something else entirely, that’s fine—it’s what is expected to happen—but bouncing between renderings is bad and should not happen. If you can’t trust AWB, and if it’s a tool that you commonly use, the X-T5 (or any of the X-Trans V models) might not be the camera for you.

Of course, for many people this might not be an issue whatsoever. Maybe you don’t even use AWB. Perhaps you do but you don’t care if the results are different between exposures. It could be that you’re going to adjust white balance in software later anyway, so what the camera records makes no difference to you. If that’s you, and none of this matters to you, great! But I do want to point it out for those who it might matter for, because they should know. It’s better to find out now before dropping so much money on something that’s just going to frustrate you.

I imagine that this is something Fujifilm could fix fairly easily via a firmware update. A simple tweak to the code could possibly make this behavior happen much less frequently. Fujifilm should address this issue. I hope in a few months from now this will all be a past problem that was fixed and forgotten. Or it could be the expected behavior that all Fujifilm X-Trans V cameras will have, and it will only be fixed by an even more improved AI-AWB on X-Trans VI models. Time will tell.

See also: Five Fujifilm X-T5 AI AWB Workarounds

A $400 Alternative to the Fujifilm X100V, X-E4, and X70

Since the Fujifilm X100V is difficult to find and sometimes outrageously expensive, something that I inadvertently had a hand in, people have been asking for recommendations on alternatives. Of course, the X100F or any of the older X100-series versions would be a top substitute, but even those are going for a lot of money, more than they should be for how old they are. The Fujifilm X-E4 with a Fujinon 27mm f/2.8 could be a very nice consolation prize, but due to parts shortages, those can be difficult to find, too, but thankfully there doesn’t seem to be much price gouging on it (knock on wood). The Fujifilm X70 would be a solid alternative, but they are pretty pricy, often going for the same or more than the original MSRP, despite being almost seven-years-old. If you are really set on owning a Fujifilm X100V (as a proud X100V owner I can understand why), if you just exercise some patience and constantly stay on the lookout, you are sure to find one for a reasonable price. If you are not patient, a used X100F isn’t too difficult to get, or even consider an X-E3, which can still be found brand-new if you look hard enough.

I’ve had a few people ask me for a recommendation on an X100V-like alternative for under $500, and one even asked for under $400. At first I scoffed at the idea. Even the original 12-year-old X100 currently goes for more than that, as well as every iteration of that camera since. Fujifilm doesn’t make entry-level cameras anymore, but even when they did, they were more than $500. Then I looked at my camera case, and I noticed two things: a Fujifilm X-M1 and a TTArtisan 27mm f/2.8. Hmmm. Maybe it’s possible after all.

Fujifilm introduced the X-M1—the third and last X-Trans I model—nine years ago. It’s an unusual camera, because it has an X-Trans I sensor but the X-Trans II processor, and in the same body as the Bayer-sensor X-A1. I think Fujifilm had some spare X-Trans I sensors sitting around after moving onto X-Trans II, and this camera was their way to unload them. There was never a predecessor, so when the X-M1 was discontinued so was the line. I paid $210 for mine two years ago. More commonly they’re found for around $250, and I’ve seen them for under $200 a couple times.

I think the X-E1 is a better body than the X-M1, and you can find those sometimes for $250 or less, but more often they’re $300-$350. If you see a good deal on one, I’d choose that over the X-M1. The X-A1 is basically the same thing as the X-M1, but with a Bayer sensor instead of X-Trans, and those are often a little cheaper. It’s definitely easier to find one under $250, and it’s not uncommon to see one under $200; however, between the X-A1 and X-M1, I’d choose the X-M1, but the difference isn’t huge. The X-A2 often is found for $250, and is another option. Occasionally you might find a good deal on an X-A3 or X-E2 (or X-E2s), so it’s worth looking just to see if you can get lucky, because that would be even better. If your budget is $500, you certainly have more options, but if the ceiling is only $400, you are much more limited, and the X-M1 is probably your best bet.

Of course, there’s still the lens. Sometimes you can buy the body bundled with a kit lens for nearly the same price as body-only (my X-M1 was bundled with 16-50mm zoom, for example), but the cheap kit zoom isn’t going to give you an X100-like experience. You’ll need a prime, but it has to be compact and cheap. The options are pretty limited, and are even more limited if you expect an autofocus option—the TTArtisans 27mm f/2.8 pancake-ish autofocus lens is the only one I can think of that is both cheap and small. If you don’t mind manual-focus-only, there are a few other lenses that could work, but I think this TTArtisan option is your best bet, and it’s only $160.

So, yeah, add $210 and $160 and you’re under $400. Will the X-M1 with the TTArtisan 27mm really give an X100-like experience? No, not at all. But, for under $400, it’s surely as close as you’ll get. If your budget is $500, spring for an X-E1 instead of the X-M1 and you’ll be a little closer, but still not there. The X-M1 is not as good as any in the X100-series models (or X-E-series or the X70), but that doesn’t mean that it’s not a decent camera capable of capturing good photos, because it is!

So if you are looking for a low-budget alternative to the Fujifilm X100V, X-E4, or X70, I suggest to you the X-M1 with the TTArtisan 27mm lens attached to it. The X-M1 is smaller than the X100V and X-E4, and just a little bigger than the X70. Obviously the TTArtisan lens, despite being pancake-ish, is bigger than the lens attached to the X100V and is especially larger than the one on the X70. It’s also a little bigger than the Fujinon 27mm lens (a popular companion to the X-E4). The Fujifilm X-M1 with the TTArtisan lens is small enough to be in the same compact category as those cameras, but is much, much cheaper. If you can spend more, there are better options; however, if you don’t have much to spend or are looking for an inexpensive first-camera, this is my recommendation for under $400.

It would be easy for me to suggest this to you, and not use it myself. That would not be very genuine of me, so I did use the Fujifilm X-M1 with the TTArtisan 27mm f/2.8. I also let me 13-year-old son, Jonathan, use it a little, too. This combo is very capable of producing lovely pictures straight-out-of-camera that have character and some analog-like qualities. It’s also easy to use for those who want good results without much fuss.

The 15 pictures below are all unedited (aside from some cropping and straightening), captured with the Fujifilm X-M1 and TTArtisan 27mm f/2.8.

Fujifilm X-M1 + TTArtisan 27mm f/2.8 – Photo by Jonathan Roesch
Fujifilm X-M1 + TTArtisan 27mm f/2.8 – Photo by Jonathan Roesch
Fujifilm X-M1 + TTArtisan 27mm f/2.8 – Photo by Jonathan Roesch
Fujifilm X-M1 + TTArtisan 27mm f/2.8 – Photo by Jonathan Roesch
Fujifilm X-M1 + TTArtisan 27mm f/2.8 – Photo by Jonathan Roesch
Fujifilm X-M1 + TTArtisan 27mm f/2.8 – Photo by Ritchie Roesch
Fujifilm X-M1 + TTArtisan 27mm f/2.8 – Photo by Ritchie Roesch
Fujifilm X-M1 + TTArtisan 27mm f/2.8 – Photo by Ritchie Roesch
Fujifilm X-M1 + TTArtisan 27mm f/2.8 – Photo by Ritchie Roesch
Fujifilm X-M1 + TTArtisan 27mm f/2.8 – Photo by Ritchie Roesch
Fujifilm X-M1 + TTArtisan 27mm f/2.8 – Photo by Ritchie Roesch
Fujifilm X-M1 + TTArtisan 27mm f/2.8 – Photo by Ritchie Roesch
Fujifilm X-M1 + TTArtisan 27mm f/2.8 – Photo by Ritchie Roesch
Fujifilm X-M1 + TTArtisan 27mm f/2.8 – Photo by Ritchie Roesch
Fujifilm X-M1 + TTArtisan 27mm f/2.8 – Photo by Ritchie Roesch

Now, let me tell you about the Film Simulation Recipes, because otherwise I’ll get a whole bunch of inquiries—you all want to know, right?! The top picture (of the X-M1 by itself) was captured with a Fujifilm X-E4 and Fujinon 27mm using the Fujicolor Pro 400H recipe. The next four pictures (the X-M1 with other cameras) were captured with a Fujifilm X-T5 and Fujinon 90mm using an upcoming recipe that I’ll publish soon. The 15 pictures above were captured with a Fujifilm X-M1 and TTArtisan 27mm using an upcoming recipe that I’ll publish soon. So, for now, only the very top picture is a recipe that you can currently use—you’ll have to stay tuned for the others.

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

TTArtisan 27mm f/2.8  Amazon

What Film Simulation Recipe Was That?

I get asked at least once per week which Film Simulation Recipe was used for a picture in the Fuji X Weekly homepage gallery. It’s my fault for not telling you. I should have made it much more obvious. Maybe I should make posts with galleries (but actually include the recipes used so that you don’t have to wonder)? If you see a particular picture you like, perhaps you’ll be inspired to try that recipe.

Anyway, this article is simply an explanation of which recipe was used for each picture in the homepage gallery. If you’ve ever wondered, now you know. I’ll probably change out some of the images within the next few weeks, so keep an eye out for that.

For those keeping score, seven of the pictures were captured with a Fujifilm X100V, two were captured with a Fujifilm X-E4, and one each were captured with an X-T30, X-Pro2, and X-T200,

Find these Film Simulation Recipes and over 250 more on the Fuji X Weekly — Film Recipes App!

Superia Xtra 400 — Fujifilm X-T5 (X-Trans V) Film Simulation Recipe

Red & Green Bush – Buckeye, AZ – Fujifilm X-T5 – “Superia Xtra 400”

This is a simple update to the Superia Xtra 400 Film Simulation Recipe, which was originally made for X-Trans IV cameras. I discovered that a slight tweak is needed for X-Trans V models, because the new sensor renders blues just a little deeper on some film simulations, including Classic Negative. For this recipe, simply setting Color Chrome FX Blue from Strong to Weak makes it compatible with (as of this writing) the Fujifilm X-T5, X-H2, and X-H2S.

Thomas Schwab created the Superia Xtra 400 recipe by capturing a roll of actual Superia Xtra 400 film while also capturing identical exposures with his Fujifilm cameras, then, using X RAW Studio, he worked on the settings until he found a match. As you can imagine, he put a lot of time and effort into creating it! He shared with me some of his side-by-side pictures—comparing the film with his recipe—and it was tough to figure out which was which—they looked so close! Also, just recently another photographer shot a roll of Superia Xtra 400 film and used the Superia Xtra 400 recipe on his Fujifilm camera, and he shared with me the similar results he got between the two. Amazing! Of course, with film, so much depends on how it’s shot, developed, and scanned or printed, and the aesthetic of one emulsion can vary significantly.

Lemon Bowl – Buckeye, AZ – Fujifilm X-T5 – “Superia Xtra 400”

Fujifilm introduced Superia Xtra 400, a consumer-grade color negative film, in 1998, replacing Super G Plus 400. This film has been updated a couple of times, first in 2003 and again in 2006. It’s been widely used, thanks to its low cost and versatility. I’ve shot several rolls of this film over the years. This recipe is for Fujifilm X-Trans V cameras. Those with newer GFX models can use it, too, although it will likely render slightly differently.

Film Simulation: Classic Negative
Grain Effect: Strong, Small
Color Chrome Effect: Off
Color Chrome FX Blue: Weak
White Balance: Auto, +3 Red & -5 Blue
Dynamic Range: DR400
Highlight: 0
Shadow: -1
Color: +4
Sharpness: -1

High ISO NR: -4
Clarity: -2
ISO: Auto, up to ISO 6400
Exposure Compensation: 0 to +1 (typically)

Example photographs, all camera-made JPEGs using this “Superia Xtra 400” Film Simulation Recipe on my Fujifilm X-T5:

Forwards or Backwards – Buckeye, AZ – Fujifilm X-T5
Standing Tall – Buckeye, AZ – Fujifilm X-T5
Hiding Saguaro – Buckeye, AZ – Fujifilm X-T5
Don’t Touch – Buckeye, AZ – Fujifilm X-T5
Neighborhood Fog – Buckeye, AZ – Fujifilm X-T5
Dark Desert – Buckeye, AZ – Fujifilm X-T5
Misty Desert – Buckeye, AZ – Fujifilm X-T5
Clearing Clouds & Desert Mountain – Buckeye, AZ – Fujifilm X-T5
Ground Fall – Buckeye, AZ – Fujifilm X-T5
Wet Blossom – Buckeye, AZ – Fujifilm X-T5
Wet Rosebud – Buckeye, AZ – Fujifilm X-T5
Early Morning Lamp – Buckeye, AZ – Fujifilm X-T5
Night Blossoms – Buckeye, AZ – Fujifilm X-T5
Western Boots – Buckeye, AZ – Fujifilm X-T5

See also:
Fujifilm X-Trans V Film Simulation Recipes
Fujifilm X-Trans IV Film Simulation Recipes

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

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

Find this Film Simulation Recipe and over 250 more on the Fuji X Weekly — Film Recipes App!

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I Was Never Meant to Like the Provia Film Simulation + Other Fun Film Sim Facts

Oak Autumn – Pine, AZ – Fujifilm X-E4 – Provia film sim – “KodaNeg VC” recipe

I’ve never really cared for Fujifilm’s Provia film simulation. I mean, it’s alright, but I like most of the other options better, and I wondered why they made it the “standard” film simulation. It doesn’t much resemble real Provia film—why even call it Provia?—yet it is front-and-center on all Fujifilm models.

I Recently stumbled across a fascinating article that helped me better understand why I don’t like Provia, and why the other film sims look the way they do. translated and summarized an interview of two Fujifilm managers who discussed at length the different film simulations found on Fujifilm cameras (the original interview articles can be found here and here, and is two years old). I now have a little better understanding of Fujifilm’s philosophy behind the creation of their profiles.

Truck Stop Cross Process – Bowie, TX – Fujifilm X100F – Provia film sim – “Cross Process” recipe

Specifically to Provia, I discovered that I was never supposed to like it. It wasn’t designed for me. “When it comes to Provia,” one of the Fujifilm managers stated, “photographers that started with film find it hard, but photographers that only shoot digitally find it just right.” Well, I started with film; I don’t know if I’d describe it as “hard” but it is far from “just right” for me personally. “Provia aims at the greatest common denominator that makes you feel ‘beautiful’ at a glance.” In other words, they weren’t trying to mimic any emulsions, but create a profile that looks nice to those who have only ever shot with digital cameras. “In my personal opinion, I would like to change the name ‘film simulation,'” the Fujifilm manager said. “Film simulation is not film imitation.”

Diving into the interview, we discover that Velvia was, in fact, modeled after the film of the same name, but digital sensor and processor limitations have made it difficult to reproduce the film’s aesthetic; however, beginning with X-Trans III, Fujifilm has been able to get closer. Enabling Color Chrome Effect allows you to achieve the appropriate color depth.

Wind from the West – Hammond, OR – Fujifilm X-E4 – Astia film sim – “CineStill 50D” recipe

The Astia film simulation looks so much different than real Astia film. “We often receive comments that ‘reproducibility is different from Astia of silver salt,'” the manager explained. “The reason for this is that ‘the image quality design is not aimed at silver salt Astia.’ You may wonder what it means to bear the name of Astia even though it is different, but it is not completely unrelated. In fact, both film and digital are aiming at the same place. In other words, the film simulation ‘Astia’ was developed to bring it closer to the ‘ideal Astia’ that the development team aimed for when developing the silver salt film Astia.” Put more simply, the film simulation is the aesthetic that Fujifilm would have produced with the film if they could have.

Classic Chrome was modeled after an unmentioned slide film… they can’t say Kodak.

Pilot – Cordes Lakes, AZ – Fujifilm X-T5 – Classic Chrome film sim – “Kodachrome 64” recipe

PRO Neg. Std and PRO Neg. Hi were not modeled after any specific emulsions, but are for faithful color reproduction. “The main difference is the tone curve. PRO Neg. Hi is adjusted to tighten the shadows and tighten the highlights. On the other hand, the color design is the same.”

The Eterna film simulation was modeled after Eterna motion picture film. Regarding Eterna Bleach Bypass, “This setting is equivalent to ‘half of the silver remaining’ on film….”

Coastal Blooms – San Simeon, CA – Fujifilm X-E4 – Classic Negative film sim – “Pacific Blues” recipe

“Classic Negative is a very special kind of film simulation, designed so that the appearance of colors changes depending on the brightness. Therefore, I make adjustments so that dark tones are cyan, and bright tones are magenta. Classic Negative… was originally ‘Superia.'” It’s clear that this film simulation was carefully crafted to closely mimic Superia film. “To tell you the truth, I feel that Classic Negative was a little too bold.” I think Fujifilm should consider going “too bold” more often!

There’s a heck-of-a-lot more said in the interview that’s quite fascinating. I think Fujifilm doesn’t want its users to interpret “film simulation” as “film imitation” because not all of their film sims are intended to mimic film. Some are, and some are not. But, even the ones that are not, the digital side teamed up with the film side to assist in designing all of the film simulations—including Provia/Std—and I think their careful attention to detail and vast film experience translates into profiles that can be made to resemble film, even if the film sim was never intended to. Still, the film simulations that are, in fact, modeled after film are my favorites.

Which Film Simulation Recipes, When? — Part 4 (X-Trans II)

Hummingbird Feeder Along a Wall – Buckeye, AZ – Fujifilm X-T1 – “Classic Kodak Chrome”

Part 1Part 2Part 3

When should you use which Film Simulation Recipes on your Fujifilm X-Trans II camera? With so many recipes to choose from, it can be difficult to know what recipe you should select in a given situation, and this article is intended to help you with that. If you haven’t read Part 1, it’s important to do so because it explains what exactly we’re doing—the backstory—which is imperative to understand. There’s a video to watch in that article, too. Take a moment right now to hop on over to Part 1 (click here) before continuing on with this post, if you haven’t viewed it already.

One thing to note about X-Trans II cameras is that not all of them have the Classic Chrome film simulation, including the X100S, X20, and XQ1. Unfortunately, if you have one of those models, this list is slightly less useful to you, although I hope you still find it helpful. For those with an X100T, X-E2, X-E2S, X-T1, X-T10, X30, X70, or XQ2, this list is fully compatible with your camera.

Like Parts 2 & 3, I set out to recommend seven recipes, one for each C1-C7 Custom Preset, that don’t share the same white balance type or, if they do, they also share the same shift, because X-Trans II cameras cannot remember a White Balance Shift within the C1-C7 Custom Presets. If two recipes share the same white balance type but not the same shift, then when you switch presets you must remember to adjust the shift, too. That can be inconvenient and frustrating, so my best solution is to program recipes that use different white balance types and/or share the same white balance type and shift. The user experience is much improved, but you might not be able to program all of your favorite recipes at the same time, which is the one downside to doing this. It was a difficult task, but I think I came up with a good set for you.

Let’s take a look!

C1 — Classic Kodak Chrome — Golden Hour

Purple Mountains – Buckeye, AZ – Fujifilm X-T1 – “Classic Kodak Chrome”

The Classic Kodak Chrome Film Simulation Recipe is a great option for sunrise or sunset photography, or pretty much anytime of the day or night. This is my current favorite recipe for X-Trans II cameras—I shoot with it often, more than all of the other X-Trans II recipes combined. This is my top allrounder choice! Almost no matter the subject, situation, or light, this is the recipe that I go with. Classic Kodak Chrome uses the Auto white balance type; if I wasn’t concerned about white balance type, I’d go with this recipe or Ektachrome 100SW whenever the sun is low to the horizon.

Alternatives for “golden hour” photography:

Ektachrome 100SW

C2 — Kodak Portra 160 — Midday

An Arizona Autumn – Buckeye, AZ – Fujifilm X-T1 – “Kodak Portra 160”

Whenever the sun is not low to the horizon, my top-choice for daylight photography is the Kodak Portra 160 recipe, although it is good for “golden hour” too, and can be used anytime the sun is out. This is one of my favorite X-Trans II recipes, and is especially good for portrait photography, or whenever you want warm Kodak-like negative film colors. Kodak Portra 160 uses the Daylight white balance type; if I wasn’t concerned about white balance type, this or any in the “alternatives” list would be good options.

Alternatives for “midday” photography:

Kodachrome II
Kodachrome 64

Portra v2
Color Negative Film


C3 — Fujichrome Slide — Overcast

A Yellow Trumpet Blossom – Buckeye, AZ – Fujifilm X70 – “Fujichrome Slide”

I really like the Fujichrome Slide recipe, but it’s not my first option for overcast conditions. It does well enough, but I’d go with Classic Kodak Chrome instead (which is already in the C1 custom preset slot). Unfortunately, there aren’t a lot of good options for dreary days that don’t use a white balance type that’s already taken for another category. Fujichrome Slide uses the Fluorescent 1 white balance type; if I wasn’t concerned about white balance type, I would consider Winter Slide or Porto 200 as better alternatives.

Alternatives for “overcast” photography:

Winter Slide
Porto 200
Kodacolor 200
Jon’s Classic Chrome

C4 — Kodak Color Negative — Indoor

Morning Coffee – Glendale, AZ – Fujifilm X70 – “Kodak Color Negative”

The Kodak Color Negative Film Simulation Recipe is pretty versatile and does well in a number of situations—indoor is just one of them. It uses the Incandescent white balance type; if I wasn’t concerned about white balance type, I’d still choose it, but Agfa Optima would be a good alternative.

Alternatives for “indoor” photography:

Agfa Optima
Classic Chrome

C5 — CineStill 800T — Nighttime

Night Synergy – Centerville, UT – Fujifilm X-T1 – “CineStill 800T”

The CineStill 800T recipe for X-Trans II cameras is my absolute favorite nighttime option, period. If it’s after dark and I’m photographing artificial lights, this is the recipe I’m using. CineStill 800T uses the Kelvin white balance type; if I wasn’t concerned about white balance type I’d still use this one.

Alternatives for “nighttime” photography:

Scanned Negative

C6 — Lomography Color 100 — Wildcard

Freedom – Buckeye, AZ – Fujifilm X70 – “Lomography Color 100”

In Parts 1-3, this category is called Alternative Process; however, for X-Trans II there’s only one recipe for that category—Cross Process—and it uses a white balance type that’s already taken. So I changed the rules a little, and called this category Wildcard instead, which is simply a recipe that’s included just because. Lomography Color 100 can produce good results in a number of situations, including golden hour, midday, shade, and indoors. It’s good for landscapes, street, and portrait photography. However, it has a little different aesthetic than the other recipes in this list. Lomography Color 100 uses the Shade white balance type; if I wasn’t concerned about white balance type, I’d choose Cross Process instead.

Alternatives for “wildcard” photography:

Cross Process
Yosemite Velvia
Kodak Platinum 200

C7 — Monochrome Red — B&W

Jonathan with a Smile – Buckeye, AZ – Fujifilm X70 – “Monochrome Red”

The Monochrome Red Film Simulation Recipe is an excellent option for black-and-white photography. It’s especially well suited for blue-sky landscapes, but it does pretty well in other situations, too. It uses the Fluorescent 1 white balance type and shares the same shift as Fujichrome Slide, so both can occupy a slot in the C1-C7 custom presets simultaneously; if I wasn’t concerned about white balance type, the Monochrome recipe is a pretty good alternative—you really can’t go wrong with either.

Alternatives for “B&W” photography:

Faded Monochrome

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Creative Collective 035: FXW Zine — Issue 13 — December 2022

The 13th issue of FXW Zine is out, and if you are a Fuji X Weekly Creative Collective subscriber, you can download it now!

What’s in the December issue? The cover story is about nighttime street and urban photography in Phoenix, Arizona, with a Fujifilm X100V. There are 29 pictures, including the cover, across 20 page.

If you haven’t joined the Creative Collective, consider subscribing today to get access to bonus articles and the FXW Zine—not just this issue, but the first twelve issues, too!

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Timeless Negative — Fujifilm X-T5 (X-Trans V) Film Simulation Recipe

Soft Rose – Buckeye, AZ – Fujifilm X-T5 – “Timeless Negative”

On February 3, 2021, Fujifilm shared the very first Nostalgic Neg. Film Simulation Recipe. As part of their promotion for the GFX100S, which was the first camera to have the new Nostalgic Neg. film sim, Fujifilm Japan shared a YouTube video, and hidden within was a recipe put together by the creators of Nostalgic Neg. “Nostalgic Negative is tuned for the best allrounder settings, but if you want to tweak it to get that classic American New Color look from the ’70’s, there are some adjustments you should make.” Fujifilm recommended, when using the Nostalgic Neg. film simulation, to set everything to 0, Off, or Auto, except for three things: shift Auto White Balance to +2 Red & -3 Blue, adjust Shadow to -2, and reduce Color to -2. Additional to that, I recommend using -4 High ISO NR.

I’m not a huge fan of Nostalgic Neg. set to factory defaults. It’s not bad, but it’s not what it purports to be, which is a vintage 1970’s aesthetic inspired by Eggleston, Shore, Sternfeld, and Misrach. I think Fujifilm should have had the courage to make their recipe the default, and not worry so much that it wasn’t the “best allrounder” film simulation. Fujifilm’s suggested adjustments do improve Nostalgic Neg. and bring it closer to a ’70’s vibe, but I felt I could improve it just a little more. Of course, that’s all subjective, and you might prefer factory default Nostalgic Neg., or Fujifilm’s recommended recipe, or something different altogether—in other words, when I say that this is “improved” it’s perfectly alright to disagree with that assessment, but hopefully many of you will agree that this is indeed better—at least a little, as my adjustments to Fujifilm’s recipe are pretty subtle. This particular recipe seems to be especially versatile, and can be used for many different genres of photography and in various light conditions—it looks good most anytime of the day or night.

Evening Bougainvillea – Buckeye, AZ – Fujifilm X-T5 – “Timeless Negative”

This Timeless Negative Film Simulation Recipe is only compatible with (as of this writing) the Fujifilm X-T5, X-H2, and X-H2S. I assume that the GFX100S and GFX50S II can also use this recipe, but that it will render slightly different—I don’t have either of those cameras to test it to know for certain. Unless Fujifilm gives X-Trans IV cameras the Nostalgic Neg. film simulation, which I doubt they will do, this recipe is only for X-Trans V cameras, and maybe the latest GFX, too; however, Nostalgic Neg. isn’t too dissimilar from Eterna, so perhaps consider the Arizona Analog, SantaColor, Eterna V2, and Polaroid recipes as potential alternatives for those with X-Trans IV models.

Film Simulation: Nostalgic Neg.
Grain Effect: Weak, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Off
White Balance: Auto, +2 Red & -3 Blue
Dynamic Range: DR400
Highlight: +2
Shadow: -2
Color: -3
Sharpness: 0

High ISO NR: -4
Clarity: -2
ISO: Auto, up to ISO 6400
Exposure Compensation: -2/3 to +1/3 (typically)

Example photographs, all camera-made JPEGs using this “Timeless Negative” Film Simulation Recipe on my Fujifilm X-T5:

Dark Coffee – Buckeye, AZ – Fujifilm X-T5
Night Train – Williams, AZ – Fujifilm X-T5
Color Behind Frosted Glass – Williams, AZ – Fujifilm X-T5
Hot Hot Hot – Williams, AZ – Fujifilm X-T5
Sleigh Bell – Williams, AZ – Fujifilm X-T5
Round Trip Ticket – Williams, AZ – Fujifilm X-T5
Dusk Train – Williams, AZ – Fujifilm X-T5
Keep Off – Williams, AZ – Fujifilm X-T5
Please… Use RitchieCam – Williams, AZ – Fujifilm X-T5
Barricades – Williams, AZ – Fujifilm X-T5
ATSF Caboose – Williams, AZ – Fujifilm X-T5
Route 66 Gift Shop – Williams, AZ – Fujifilm X-T5
Car Above, Coke Below – Williams, AZ – Fujifilm X-T5
UnAmerican Experience – Williams, AZ – Fujifilm X-T5
Stop Route 66 – Williams, AZ – Fujifilm X-T5
Los Angeles, 1978 – Buckeye, AZ – Fujifilm X-T5
Looney Tune – Buckeye, AZ – Fujifilm X-T5
Backyard Trumpet Blossoms – Buckeye, AZ – Fujifilm X-T5


Factory default Nostalgic Neg., except High ISO NR set to -4.
Nostalgic Neg. with Fujifilm’s suggested adjustments.
This new Timeless Negative Film Simulation Recipe.

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Making the Fujifilm X-T5 Make a Lot of Noise — Testing High-ISO on X-Trans V

Lights from a Frosted Window – Williams, AZ – Fujifilm X-T5 – “Kodachrome 64” – ISO 6400

A lot of people have asked me if the Fujifilm X-T5, with the new 40-megapixel X-Trans V sensor and processor, is better or worse than the 26-megapixel X-Trans IV cameras when it comes to high-ISO noise. Conventional wisdom would suggest that the lower-resolution sensor would be superior. Is it? Or did Fujifilm pull a rabbit out of a magic hat and somehow make X-Trans V better at high-ISO despite more megapixels?

I’ve spent some time pixel-peeping, comparing X-Trans V to X-Trans IV. Right off the bat I can tell you that both are pretty similar to each other. You’ll have a very hard time noticing the differences without pixel-peeping, and with pixel-peeping, they’re still quite similar. Below I’ve included a massive crop from an X-Trans V camera and an X-Trans IV camera. If these crops were sections of the whole pictures printed, I don’t know how large the prints would be, but they would be very large, so keep that in mind. The picture on the left (revealed by moving the bar to the right) is X-Trans IV, and the picture on the right (revealed by moving the bar to the left) is X-Trans V. Take a look at these two images.

You likely notice that the X-Trans V image is a little more detailed with noticeably finer digital noise, while the X-Trans IV picture is a tad fuzzier with chunkier digital noise. This is a result of the higher resolution sensor of the 40mp X-Trans V camera. What might be less obvious is that there seems to be just a bit more color blotchiness in the X-Trans V image. Perhaps even less obvious, I believe the X-Trans V camera is applying a slightly heavier-handed noise reduction to the picture than X-Trans IV, despite both set to -4 High ISO NR. However, please take all of this with a grain of salt, because we’re seriously pixel-peeping here. In real world photography, both cameras are pretty darn good at high-ISO, and neither are significantly better or worse than the other, and there’s no practical variance between the two. Unless you print posters or crop deeply, you’re not going to even notice a difference—even if you did print large or crop massively, the differences are pretty minor, but I guess you can feel confident that ultra-high ISO pictures will look slightly better (for the most part) on X-Trans V than X-Trans IV. That’s the takeaway, I think: high-ISO on X-Trans V cameras are just a hair better than X-Trans IV, but not enough to make a practical difference for most people. What I will add, though, is that it’s pretty amazing that they could do this while also increasing the resolution. I do wonder, though, if Fujifilm could make—say—a 20mp X-Trans camera with significantly increased dynamic range and high-ISO performance—that’s something I would be highly interested in.

Below are a few more high-ISO examples from my Fujifilm X-T5 camera.

Polar – Williams, AZ – Fujifilm X-T5 – “GAF 500” – ISO 12800
Train Wheels – Williams, AZ – Fujifilm X-T5 – “GAF 500” – ISO 12800
Tracks – Williams, AZ – Fujifilm X-T5 – “Kodachrome 64” – ISO 6400
Polar Express Passengers – Williams, AZ – Fujifilm X-T5 – “Kodak Tri-X 400” – ISO 12800
Tree Lights – Williams, AZ – Fujifilm X-T5 – “Kodachrome 64” – ISO 6400

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

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